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Wesley  Smith  -:-  Simeon  Aller 
DuPont  Film  Manufacturing  Company 


January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


One 


66 


RICO 


9* 


"THE      FINEST     IN      SOUND" 

— -announcing  a  new  product,  far  in  advance  of  the  in- 
dependent field,  but  priced  for  the  independent  budget 

THE  NEW  "RICO"  STUDIO 
SOUND  CAMERA 

equipped     for 
GLOW  LAMP   —   LIGHT  VALVE   —   VARIABLE  AREA 

A  Perfect  Product  Designed  for  Operation  with  Any  Existing  System 


"RICO"  STUDIO  TRUNK 
CHANNEL 

Variable  Area 
$5500 

FAMOUS  "RICO"  SENIOR 
UNIT 

Noiseless  Recording 
$8000 


"RICO"  SINGLE  SYSTEM 

UNIT 

Including  Camera 
$3365 

"RICO"  JUNIOR  TRUNK 
CHANNEL 

Finest  Available 
$3000 


All  "Rico"  Equipment  Guaranteed  to   Your  Satisfaction- — 
Time  Payments  If  Desired 

THE  RADIO  INSTALLATION 
COMPANY 

Incorporated 

6067  Santa  Moniea  Boulevard 

LOS  ANGELES  CALIFORNIA 

Phone:    GLadstone  9400  Cable  Address  "Deining'" 


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INTERNATIONAL 
PHOTO  GFAPHE  R 


Official  Bulletin  of  the  International 
I'hotographcrs  of  the  Motion  Pic- 
ture Industries,  Local  No.  659,  of 
the  International  Alliance  of  The- 
atrical Stage  Employes  and  Mov- 
ing Picture  Machine  Operators  of 
the  United  States  and  Canada. 


Affiliated  with 

Los  Angeles  Amusement  Federa- 
tion, California  State  Theatrical 
Federation,  California  State  Fed- 
eration of  Labor,  American  Fed- 
eration of  Labor,  and  Federated 
Voters  of  the  Los  Angeles  Amuse- 
ment Organizations. 


Vol.  4 


HOLLYWOOD,  CALIFORNIA,  JANUARY,  1933 


No.  12 


"Capital  is  the  fruit  of  labor,  and  could   not  exist  if  labor  had  not  first  existed. 
Labor,   therefore,  deserves  much   the  higher   consideration."  —  Abraham  Lincoln. 


C  0  N  T 

Cover 

By  George  Scheibe 

When  Drama  Rides  in  Hungry  Eyes.  . .  3 
By  Essclle  Parichy 

Sound  Recording  Camera  Designed  by 
Rico  Contains  Novel  Features 5 

Out  of  the  Diaries  of  the  Unsung.  ...   6 
Through  arrangement  with  Norman 

Alley 
By  Fred  Felbinger 

Screen  Has  Made  Progress  Slowly...  8 

By  Earl  Theisen 
Under  Tahitian  Skies  With  Kershner.10 

By  Glenn  R.  Kershner 
Chicago  666   17 

By  Fred  A.  Felbinger 

Award  Japanese  Second  Prize  in  Amer- 
ican Cinematographer  Contest 19 


E  N  T  S 

Shooting  Moonshiners  Has  Risks 22 

By  Percy  Knighton 

From  "Animal  Kingdom"  to  Just  An- 
other Injunction  Judge   23 

By  the  Editor 
The  Joys  of  Christmas 24 

By  J.  Jay  Castle 
Newsreelers'  Dope  Sheet   29 

By  Ray  Fernstrom 
Looking  In  on  Just  a  Few  New  Ones.  .32 

By   George  Blaisdell 
When  Seen  Through  Feminine  Eyes.. 34 

By  Helen  Boyce 

Motion     Picture     as     Well     as     Still 
Cameramen  Interested  In  Contax..30 
By  Jackson  Rose 

Veloy    Enlarger    Marketed    by    Leica 
Has  Many  Photographic  Advantages. 31 


George  Blaisdell 
Ira  Hoke 
Esselle  Parichy 


Midwest  Correspondent 
Technical  Editors 


The  International  Photographer  is  published  monthly  in  Hollywood  by  Local  659,  I.  A.T.S.E. 

and  M.  P.  M.  0.  of  the  United  States  and  Canada 
Entered  as  second  class  matter  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Calif.,  under 

the  act  of  March  3,  1879 
Copyright   1932  by   Local  659,   I.  A.  T.  S.  E.   and  M.  P.  M.  O.  of  the  United  States  and  Canada 

Howard  E.  Hurd,  Publisher's  Agent 

Editor       Fred  A.  Felbinger   • 
Associate  Editor       Lewis  W.  Physioc   1 
-     Staff  Correspondent       Fred  Westerberg      \ 
John  Corydon  Hill,  Art  Editor- 
Office  of  publication,  1605  North  Cahuenga  Avenue,  Hollywood,  California.     HEmpstead  1128 

James  J.    Finn,   1   West   47th   St.,    New  York,  Eastern  Representative. 

McGill's,    179    and    218    Elizabeth    Street,    Melbourne,    Australian    and    New    Zealand   agents. 

Subscription    Rates — United    States    and    Canada,  $3  a  year.     Single  copies,  25  cents 

The  members  of  this  Local,  together  with  those  of  our  sister  Locals,  No.  644  in  New  York,  No.  666  in  Chicago,  and 
No.  665  in  Toronto,  represent  the  entire  personnel  of  photographers  now  engaged  in  professional  production  of 
motion  pictures  in  the  United  States  and  Canada.  Thus  THE  INTERNATIONAL  PHOTOGRAPHER  becomes  the 
voice  of   the   Entire   Craft,   covering   a    field    that   reaches   from   coast  to  coast  across  North   America. 

Printed  in  the  U.  S.  A.  at  Hollywood,  California. 


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January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Three 


PThen  Drama  Rides  in  Hungry  Eyes 


Describing  Havana  Parichy  Tells  How  Mothers    ablest  ate  of^preservatiom  The 
Without  Rings  Pathetically  Seek  Familiar 
Features  in  Beneficencia's  Orphans 


By  ESSELLE  PARICHY 

Staff  Correspondent  Internatonal  Photographer 
With  his  own  Leica  illustrations 


OLDLY  engraved  in  the  annals  of 
Cuban  history  are  the  epochal 
years  since  her  discovery  more 
than  four  centuries  ago,  when 
Columbus  landed  an  impatient 
crew  from  the  Santa  Maria  in 
the  harbor  of  Baracoa. 

This  island  was  one  of  the 
richest  gems  for  the  crown  of 
the  Catholic  king  of  Spain,  when 
all  the  sovereigns  reached  out 
talons  to  grasp  the  silvertine, 
raw  riches  of  possession  in  the 
New  World. 

Cuba's  early  colonization 
marched  hectickly  in  a  hodge- 
podge fashion  under  the  cloth 
of  civilization,  baptized  in  blood 
and  wisdom  .  .  .  cankered  by 
every  swashbuckling  pirate  and 

free  booter  of  the  seven  seas,  who  ate  into  her  hoarded  treasures 

despite  the  gallant  defense  of  her  early  settlers. 
In    1898    Cuba    won    liberty 


from  Spain,  loosing  the  last 
shackles  in  the  Americas  of 
Spanish  domination. 

The  die  of  a  great  republic 
was  cast  in  these  turbulent 
years  during  the  fanfare  of  anti- 
Spanish  and  piratical  conquest, 
and  Cuba's  star  was  in  the  as- 


cendant till  today  she  stands 
majestically  serene,  the  most 
outstanding  nation  of  the  West 
Indies. 

Closely  bound  with  her  holo- 
caust of  bloody  history  are  the 
aged  and  hoary  forts  and  strong- 
holds that  today  are  in  a  remark- 


is  La 
Fuerza,  built  in  1538  by  Her- 
nando de  Soto  to  combat  the 
inroads  of  piracy  in  Havana. 
The  fort  has  a  fine  tower  to 
strike  the  hour  and  relay  sig- 
nals from  El  Morro  across  the 
harbor. 

Fort  of  Four  Centuries 

El  Morro,  guarding  the  har- 
bor entrance,  was  built  in  1597. 
It  stands  on  a  high  rocky  bluff 
overlooking  the  city,  with  its 
beacon  lighthouse,  watch- 
towers,  and  deep  moat.  Little 
has  it  changed  since  the  inquisi- 
tion of  foreign  dominance,  and 
its  dark,  dank  tunnels  and  dun- 
geons whisper  and  echo  the 
tragic  terror  of  Cuban  patriots 
incarcerated  and  slaughtered  for 
their  convictions  of  independ- 
ence. 

As  I  stood  peering  down  the 
stone  shoot  that  is  called  El 
Nido  de  Tiburones  I  could  see 
the  gray  shadows  of  the  man- 
eating  descendants  whose  for- 
bears had  claimed  the  executed 
prisoners  thrown  through  this 
shark's  nest. 

As  I  walked  through  the 
bomb  -  proof  dungeons  with 
gated  apertures,  I  could  discern 
stalactites  of  lime  caused  by 
centuries  of  damp  erosion,  and 
as  I  listened  in  the  crashing 
silence  I  heard  the  melancholy 
dripping  of  water  that  seemed 
to  svnchronise  with  the  trage- 


Left,  door  of  the  three  hinges,  Faith,  Hope  and  Charity,  behind  which  aivaits  a  Sister  of  Mercy  to  receive  the  foundling 
passed  through  its  portals.     Right,  a  new  arrival  held  in  the  arms  of  a  "Goddess  of  Mercy" 


Four 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  1933 


Remains   of  the   "Twelve  Apostles"   on   the   rampart  of  old  El  Morro   (left);   patient   oxen  drowse  in   the   hot  sun. 


dies  that  had  been  enacted  with- 
in these  walls. 

Famous  Old  Cabana 
The  stalactites  cast  grewsome 
shadows  in  the  deep  recesses 
like  phantom  claws  to  menace 
and  recreate  the  horrors  of  the 
past. 

On  the  main  rampart  are  the 
twelve  bronze  cannons  known 
as  the  "Twelve  Apostles,"  once 
harbingers  of  death  to  the  fili- 
buster vermin  who  manned  the 
ships  that  carried  the  black  flag 
and  crossbones. 

Like  a  blow  from  Mars  they 
dealt  grim  destruction,  record- 
ing many  a  nautical  defeat  for 
these  devil  sea  rovers  who  were 
so  strong  in  evil  and  therefore 
so  much  needed  recreating. 

Among  other  strongholds  ripe 
in  tradition  is  La  Cabana  Fort- 
ress, adjoining  El  Morro,  anct 
it  is  from  here  that  you  still  hear 
the  9  o'clock  cannon  salute 
which  once  marked  the  hour 
to  clear  the  streets  of  every 
one  except  Spanish  soldiers,  and 
the  hour  when  the  huge  iron 
chain  was  strung  across  the  har- 
bor to  prevent  the  passage  of 
ships  at  night. 

Peace  after  strife  reposes  here 
in  lethargy  among  the  aged  and 
mossy  battlements  and  cannon 
of  the  old  regime. 

*  *         * 

"The  quality  of  mercy  is  not 
strained". .  .  in  Havana.  Here 
the  poor  and  unfortunate  are 
well  provided  for  by  charitable 
clubs  and  public  sentiment 
which  is  ever  ready  with  a  help- 
ing  hand  .  .  .    also    the    Govern- 


ment Lottery  plays  an  impor- 
tant part. 

Every  one  plays  the  lottery  in 
Cuba  and  why  not?  It  is  gam- 
bling for  a  worthy  cause.  Every 
week  there  is  a  drawing  of  the 
National  Lottery  which  fills  the 
coffers  of  the  charitable  insti- 
tutions. 

El  primer  premio  is  $50,000 
and  the  total  distribution  of 
prizes  is  $91,000  each  week, 
with  a  grand  prize  at  the  Christ- 
mas holidays  of  a  half  million 
dollars.  One  can  readily  see 
when  a  portion  of  these  funds 
is  used  for  charity  the  result  is 
commendable. 

No  Questions  Asked 

To  me  one  of  the  most  inter- 
esting institutions  of  Havana 
was  La  Beneficencia  orphan 
home,  founded  by  Bishop  Baldez 
in  1794.  The  unusualness  of 
this  place  is  the  method  they 
have    of    receiving    the    babies. 

Opening  a  door  in  the  wall 
from  the  street,  one  finds  a  re- 
volving receptacle  of  three  com- 
partments, that  rings  a  bell 
when  the  weight  of  the  infant 
child  is  put  upon  it,  and  from 
within  a  waiting  Sister  of  Mercy 
receives  the  unfortunate  waif. 

These  infants  are  cared  for 
until  they  reach  the  age  of 
twenty-one,  with  a  trade  learned 
to  face  an  intolerant  world. 

As  I  watched  the  kind-visaged 
Sister  of  Mercy  with  the  babies 
hovering  about  her  skirts  like 
a  brood  of  chicks  in  the  fluff  of 
mother  feathers  it  was  plain  to 
be  seen  these  children  were  re- 
ceiving loving  kindness  and  care 


from  the  hearts  of  these  sisters 
grown  old  in  duty  and  service. 

At  the  present  time  seven 
hundred  children  are  within  the 
portals  of  this  door  of  Destiny 
to  receive  the  Milk  of  Human 
Kindness  denied  them  by  their 
own  mothers  through  misfor- 
tune and  circumstances  un- 
known. 

Deeper  Than  Drama 

Under  the  cover  of  darkness 
one  can  picture  the  desperate 
drama  as  it  unfolds  itself  with 
the  unfortunate  mother  opening 
the  crude  wooden  door  of  the 
three  hinges,  that  I  call  Faith, 
Hope  and  Charity.  Tearing 
from  her  bosom  the  velvet  cords 
of  motherhood,  she  places  her 
babe  in  the  sanctum  of  sanc- 
tums that  revolves  slowly  from 
her  sight  and  hand  leaving  an 
empty  void. 

In  a  glass  case  hangs  many  a 
gold  and  silver  chain  suspend- 
ing half  an  amulet,  the  other 
precious  half  having  been  re- 
tained by  the  mother  against 
the  years  in  dreams  of  reclama- 
tion. .  .  .  What  stories  these 
mutilated  amulets  could  tell!  .  .  . 
They  seem  to  symbolize  the 
half-lives  of  these  waifs  of 
God's  Acres. 

Who  knows  .  .  .  within  the 
visiting  hours  there  must  be 
eyes  that  peer  hungrily  into 
each  little  face,  trying  to  pierce 
through  the  veil  of  months  .  .  . 
years  .  .  .  with  an  unerring  sense 
emanating  from  the  severed 
bond  of  a  bleeding  heart. 

Though  the  mills  of  God  grind  slowly, 
Yet  they  grind  exceeding  small. 


January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Five 


Develop  Sound  Recording  Camera 

Rico    Engineers    Produce   Device   Designed   for 

Major  as  Well  as  Independent  Studios — 

New  Sprocket  Tooth  Arrangement 


WITH  a  revolutionary  step  for- 
ward in  the  independent  field, 
Rico  engineers  have  perfected 
a  sound  recording  camera  which  is  be- 
ing offered  to  major  producers  as  well 
as  independents. 

Many  original  design  features  are 
incorporated  in  this  product  which  is 
expected  to  fill  a  requirement  of  the 
industry  for  a  compact,  light  and  effi- 
cient recorder. 

To  insure  perfect  film  motion  the 
design  of  this  camera  is  the  ultimate 
within  the  limits  of  mechanical  per- 
fection. A  32-tooth  pull  down  and 
feed  sprocket  passes  the  film  in  free 
loops  to  the  64-tooth  recording  drum, 
over  well-designed  strippers. 

Realizing  that  a  recording  drum 
without  sprocket  teeth  would  be  ideal 
but  would  present  the  problem  of  slip- 
page on  its  smooth  surface,  Rico  en- 
gineers have  designed  a  new  sprocket 
tooth,  these  being  placed  only  on  one 
side  of  the  recording  drum  away  from 
the  sound  track,  eliminating  this  diffi- 
culty. 

Smooth  motion  is  imparted  to  the 
recording  drum  by  an  especially 
heavy  flywheel,  carefully  balanced 
and  driven  by  means  of  a  damped 
dynamic  spring  filter  arrangement. 
All  machine  tolerances  are  maintained 
at  less  than  two-tenth  of  a  thousandth 
of  an  inch.  Bearings  and  moving 
parts  are  amply  designed  for  long 
life.  Lubrication  is  simple  and  per- 
fect. 

All  magazine  takeup  belts  have  been 


eliminated  by  a  clever  shaft  and 
clutch  drive  to  the  takeup  spindle. 
Adaptor  plates  make  possible  the  use 
of  Bell  and  Howell  or  Mitchell  maga- 
zines. Facilitating  use  with  any  ex- 
isting system,  the  motor  drive  mount- 
ing is  designed  to  take  a  standard 
camera  motor,  at  standard  rotation 
direction  and  speed.  This  camera  may 
be  furnished  with  accessory  equipment 
for  glow  lamp,  light  valve  or  galvan- 
ometer recording. 

A.  A.  Gonzaga,  owner  of  Cinedia 
Studios,  Rio  de  Janeiro,  Brazil,  re- 
cently left  the  United  States  after  a 
nation-wide  study  of  sound  produc- 
tion technique  and  recording  equip- 
ment. Prior  to  his  departure  Mr. 
Gonzaga  purchased  a  Rico  trunk 
channel  sound  unit,  the  first  of  sev- 
eral of  these  successful  studio  re- 
corders to  be  used  in  the  ambitious 
program  of  Cinedia  Studios. 

With  a  Rico  trunk  channel  record- 
ing unit  as  baggage,  Harry  Blanch- 
ard,  well  known  Hollywood  sound  en- 
gineer, sailed  for  Manila  aboard  the 
steamer  Greystoke  Castle.  Tait  Pro- 
ductions of  Manila  are  assured  of  the 
"Finest  in  Sound"  under  the  capable 
supervision  of  Mr.  Blanchard. 

J.  P.  Muller,  cinematographer  and 
director  of  the  War  Department  fea- 
ture production  dealing  with  the 
transportation  problems  of  the  Missis- 
sippi Valley,  being  especially  made 
for  showing:  at  the  coming  World's 
Fair  at  Chicago,  reports  continued 
success  under  difficult  operating  con- 


Back  view  of  new  Rico  recorder 

ditions  with  his  Rico  trunk  channel 
unit. 

Carlton  W.  Faulkner,  engineer,  has 
just  returned  from  India,  where  he 
supervised  the  installation  of  further 
Rico  sound  equipment.  He  reports 
senior  and  junior  units  operating  in 
major  Indian  studios. 

Producers  anxiously  are  watching 
the  rising  British  pound  with  the 
promise  of  further  equipment  orders 
upon  a  more  favorable  exchange. 

Overcoming  the  problems  brought 
about  by  the  Japanese  invasion,  China 
again  is  looking  forward  to  the  start 
of  intensive  production  of  native  talk- 
ing pictures,  and  Rico  is  preparing 
to  send  engineers  to  instruct  the  Chi- 
nese technicians  in  modern  sound 
methods  using  its  equipment. 

To  facilitate  an  intensive  develop- 
ment program,  the  Company's  sales 
office  has  been  removed  from  the  lab- 
oratory building  and  is  now  at  6067 
Santa    Monica    Boulevard. 


New  Rico  studio  record* 


Victor 's  Model  10  Regular 

Heads  New  Projector  Line 

THE  Victor  Animatograph  is 
featuring  a  new  line  of  projec- 
tors consisting  of  three  highly 
improved  models.  Taking  the  place  of 
the  previous  Models  3  and  7  is  the 
Model  10  regular.  The  latter  is  sup- 
plied with  the  400  Watt  110,  115  or 
120  volt  lamp,  but  may  also  be  used 
wth  200  and  300  watt  lamps  if  de- 
sired. 

All  of  the  Victor  features  have 
been  retained  in  the  new  models.  Out- 
standing among  the  improvements  of 
the  10  regular  are  a  new  cool-run- 
ning, constant-speed  motor.  The  in- 
strument is  much  more  quiet  and 
smooth  running  than  its  predecessor. 
The  Premier  Hi-Power  Model  10FH 
is  the  feature  model  of  the  new  line. 
The  400  watt,  100  volt  biplane  fila- 
ment lamp  is  supplied  as  standard  on 
this  equipment,  but  200,  300,  and  400 
watt  lamps  of  line  voltage  ratings 
also  may  be  used.  The  recently  per- 
fected Victor  Hi-Power  optical  sys- 
tem is  supplied  as  standard  equip- 
ment. 


Six 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  1933 


"Out  of  the  Diaries  of 

the  Unsung!"—^  /w  Feibmger 


By  Arrangement  with 

NORMAN  W.  ALLEY 

Copyright  by  International  Photographt 
All  Rights  Reserved 
In  Seven  Chapters 


CHAPTER  ONE 

MANY  planes  have  taxied  to  the 
far  end  of  a  flying  field  on  the 
North  A  m  e  r  i  c  an  continent. 
Pilots  have  gunned  these  ships  as  they 
lumbered  dizzily  across  the  field  under 
the  strain  of  a  maximum  load  of  fuel 
and  gear,  finally  having  them  bump 
off  the  ground  and  rise  into  the  air, 
slowly  gain  altitude  and  then  head 
out  into  the  vast  expanses  of  the 
lonely  Atlantic. 

Some  have  made  the  other  side; 
still  many  others  have  perished — 
joined  that  mysterious  Utopia  of  mar- 
tyrdom to  the  god  of  Adventure — 
never   to   be   heard  of  again. 

On  August  23,  1932,  another  plane, 
The  City  of  Richmond  took  off  on  its 
mission  of  high  adventure.  It  carried 
a  crew  of  eight,  among  whom  were 
Norman  Alley,  pioneer  of  newsreel 
cameramen  on  transatlantic  flying. 
Norman  was  setting  out  to  fulfill  his 
assignment  of  recording  for  the  first 
time  in  history  an  actual  pictorial 
record  of  trail  blazing  by  way  of  the 
air  over  the  treacherous  unknown 
spaces  of  the  Atlantic. 

Jerry  Altfilisch,  sound  technician, 
was  to  assist  Alley  as  recording  en- 
gineer and  also  to  pinch-hit  as  radio 
operator  for  the  flight.  Peter  Red- 
path,  former  associate  of  Harold 
Gatty  in  planning  the  famous  Post- 
Gatty  round-the-world  flight,  was  act- 
ing as  navigator.  These  three  mem- 
bers of  the  crew  managed  to  keep  a 
vivid  diary  of  their  part  in  blazing 
a  trail  along  the  high  road  of  adven- 
ture. 

Big  Camera  Equipment 

Of  the  first  leg  of  the  flight  Nor- 
man Alley  records  the  following  in  his 
diary: 

"We  took  off  from  New  York 
aboard  the  S-38  Sikorsky  Amphibian 
with  the  most  elaborate  array  of  cam- 
era equipment  ever  to  be  used  from 
the  sky.  We  had  a  talking  picture 
camera  and  sound  recorder,  together 
with  smaller  hand  cameras  for  emer- 
gency use. 

"Our  intentions  were  to  try  and 
bring  back  to  America  a  true  cellu- 
loid record  of  the  little  known  lands 
that  border  the  arctic  regions.  Leav- 
ing the  city  and  steering  toward  Bos- 
ton we  did  not  bother  very  much  with 
photoing.  Instead  every  one  seemed 
busy  adjusting  himself,  in  the  allotted 
space  aboard  the  plane,  to  the  long 
and  perhaps  venturesome  journey 
across   land  and  water  to  London. 


"Crossing  the  Bay  of  Fundy,  after 
entering  Canadian  territory,  we  soon 
were  over  the  City  of  St.  John,  New 
B'runswick.  Pilot  Hutchinson  swooped 
down  and  around  the  land  airport  two 
or  three  times,  but  decided  it  would 
be  better  to  land  outside  in  the  water. 
He  knew  that  the  field  was  quite  short 
and  rather  than  risk  a  dangerous 
takeoff,  fully  loaded  the  next  day, 
took  the  water. 

"The  City  of  St.  John  showed  its 
appreciation  of  our  visit  with  an  offi- 
cial banquet  that  evening  and  a  warm 
send-off  the  next  morning,  as  we 
winged  away  for  Port  Menier,  375 
miles  northward.  The  flight  from  St. 
John  to  Port  Menier  was  nothing 
unusual  with  the  exception  of  our  last 
hour  and  a  half,  when  we  climbed  to 
about  seven  thousand  feet  and  scur- 
ried across  the  Gaspe  Mountains. 

"This  terrain  is  perhaps  the  most 
rugged  land  on  the  North  American 
Continent,  in  a  wooded  condition.  We 
flew  for  half  hour  stretches  with 
nothing  beneath  except  solid  miles  of 
timber.  It  offered  an  opportunity  for 
taking  a  few  feet  of  movies,  but  they 
contain  very  little  contrast  because  of 
the  unbroken  forest  appearance  of 
the  ground. 

Wait  on  Weather 

"Arriving  at  Port  Menier,  which  is 
on  Anticosti  Island,  near  the  mouth  of 
the  St.  Lawrence  river,  we  made  a 
good  landing  and  were  greeted  by  the 
manager  of  the  Anticosti  Island  Cor- 
poration. 

"Our  stay  at  this  place  for  five  days 
awaiting-  a  good  weather  report  was 
made  most  interesting  through  thfj 
good  efforts  of  our  hosts.  We  went 
trout  fishing,  horse  back  riding  anl 
played  lots  of  cards." 

Glancing  into  the  diary  of  Peter 
Redpath.  however,  proves  that  the 
stay  at  Port  Menier,  Anticosti  Island, 
was  not  all  vacation  .  .  .  Redpath 
entered   the   following  in  his   record: 

"Raining,  misty  and  o'cast.  Four 
days  of  bad  weather,  but  excellent 
hospitality.  Joe  Ruff  overhauled  the 
motors,  with  myself  as  somewhat 
poor  assistant.  Finally  take  off  for 
Hopedale,  Labrador,,  with  good  wea- 
ther report. 

"When  setting  course  compass 
needle  deflected  10  degrees  toward 
north  by  local  attraction.  Straight- 
ened out  on  course  okeh,  steering  by 
the  directional  gyro  (a  non-magnetic 
compass,  which  is  checked  every  half 
hour    by    standard    compass).       This 


FOREWORD 

SOMETIMES  men  keep  diaries 
.  .  .  Diaries  are  nothing  more 
than  the  recording  on  paper 
of  the  innermost  thoughts  of  men 
.  .  .  thoughts  going  on  at  the  mo- 
ment which  a  man  wishes  to  keep 
for  posterity  .  .  .  for  his  own  pos- 
terity, as  a  truthful  remembrance 
of  strange,  unusual  thoughts  that 
trickle  through  his  memory  at  a 
historical  moment  or  moments  in 
his  own  personal  life. 

What  follows  herewith  is  a  yarn 
woven  around  one  of  the  strangest 
documents  I  have  had  the  pleasure 
to  browse  through  ...  a  document 
containing  the  diaries  of  four  in- 
trepid characters  from  Life  .  .  . 
four  characters  in  the  face  of 
Danger  .  .  .  four  characters  whose 
tale  herewith  stamps  them  as  Men. 
So  we  take  four  diaries  and  out 
of  them  we  weave  a  human,  dy- 
namic, dramatic  tale  of  adventure; 
of  disaster;  at  times  of  despair  .  .  . 
only  to  close  in  a  happy  finale  .  .  . 
Here  is  a  yarn  about  four  men  of 
guts  .  .  .  They  say  truth  is  stranger 
than  fiction!  .  .  .  Well,  this  yarn 
is  truth;  written  by  four  unsung 
authors  from  Life  with  your  hum- 
ble Sassiety  Reporter  merely  act- 
ing as  interlocutor.  F.  F. 


Sperry  directional  gyro  is  worth  its 
weight  in  gold. 

"The  highest  part  of  the  Labrador 
country  is  just  about  3,500-4,000  feet 
high,  extremely  rugged  and  barren, 
but  with  thousands  of  small  ponds 
and  lakes.  We  experienced  a  fair 
amount  of  magnetic  disturbances  over 
the  Labrador  area.  Checked  position 
at  Hamilton  R.  (about  half  way)  and 
found  plane  had  drifted  about  15 
miles  to  the  eastward.  Allowed  for 
extra  drift  and  proceeded  at  approx- 
imate altitude  of  3000  feet.  Moderate 
head  wind." 

Meanwhile,  between  "takes"  in  his 
celluloid  record.  Alley  registers  an- 
other sequence  in  his  diary: 

Water  Everywhere 

"Receiving  a  good  weather  report 
covering  the  Labrador  coast,  we  pre- 
pared to  take  off  for  Hopedale,  a  re- 
mote Eskimo  colony,  about  500  miles 
north.  Due  to  our  fuel  capacity  it  was 
considered  necessary  to  make  for  a 
direct  line  across  the  vast  untraveled 
wasteland  of  Labrador  rather  than 
choosing  the  more  safe  route  around 
the  coast  line. 

"We  crossed  over  the  St.  Lawrence 
and  steered  immediately  inland  and 
northeast.  After  two  hours  of  rather 
monotonous  cruising  we  reached  the 
edge  of  the  timber  line  and  could  see 
nothing  forward  except  great  spaces 
of  barren,  foreboding  masses  of  gray 
rock. 

"An  abundance  of  small  lakes  and 
rivers  loomed  around  us  at  all  times 
so  that  we  were  not  confronted  with 
danger  in  case  of  a  forced  landing. 
Many  movies  of  interest  were  taken 
over  this  remote  country. 

"Our  arrival  at  Hopedale  was  the 
occasion  for  a  most  unusual  reception 
on  the  part  of  the  natives.    The  entire 


January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Seven 


colony,  including  more  than  200  husky 
dogs,  clambered  down  the  rocky  shore 
line  and  showed  us  by  sign  and  facial 
expressions  that  they  were  glad  to 
see  us.  We  found  a  Moravian  mis- 
sionary at  Hopedale  and  received 
most  courteous  treatment  from  him. 

"An  Eskimo  fellow,  about  50  years 
old,  was  able  to  speak  a  fair  degree  of 
English  and  gave  me  valuable  assist- 
ance in  obtaining  many  feet  of  good 
movies.  We  staged  the  entire  landing 
scene  over  again  and  the  natives  en- 
tered into  the  activity  most  interest- 
ingly. I  have  never  worked  among 
such  a  patient  people  as  the  Eskimo. 
Weather  the  Big  Question 

"We  watched  our  weather  reports 
for  the  next  two  days  with  more  than 
usual  interest.  The  great  variations 
of  weather  to  be  usually  found  over 
the  Davis  Straits  from  Labrador  to 
Greenland  make  it  extremely  difficult 
to  predict,  from  any  given  reports, 
what  we  might  encounter  on  this  leg 
of  our  flight. 

"We  do  want  to  know  if  possible 
before  taking  off  whether  the  coast  of 
Greenland  is  free  of  fog,  but  our  only 
radio  contact  in  Greenland  is  at  Julian- 
nahaab,  and  that  station  is  about  400 
miles  south  of  our  intended  destina- 
tion. They  are  not  eager  to  assist  us 
with  these  reports,  however,  inasmuch 
as  the  Danish  Government  has  turned 
thumbs  down  on  our  crossing  that 
country." 


CHAPTER  TWO 

THE  Lord  Talbot  steamed  out  of 
Aberdeen,  Scotland,  carrying  a 
crew  of  hardy  Scot  fishermen. 
Nothing  unusual  about  a  fishing  traw- 
ler like  the  Lord  Talbot.  There  were 
hundreds  like  her  in  the  North  Atlan- 
tic, but  Fate  was  to  cast  the  sea- 
worthy Lord  Talbot  and  her  crew  of 
men  into  a  part  that  would  go  down 
into  the  annals  of  nautical  history. 
Fate  was  to  stamp  on  the  Lord  Tal- 
bot and  on   her  crew  on  this  trip  an 


indelible  mark  of  courage  and  heroism 
that  would  survive.  So  as  the  Lord 
Talbot  steamed  out  of  Aberdeen  Cap- 
tain Watson  was  on  the  bridge  and 
First  Mate  Alex  Main  was  off  watch. 
The  first  mate  had  a  habit  of  keeping 
his  own  record  of  the  activities  aboard 
the  good  old  Lord  Talbot. 

So  today  the  first  mate  in  a  new 
little  black  book  began  to  write  a 
chronology  of  what  he  thought  was 
to  be  another  fishing  voyage  but  what 
was  to  end  in  a  great  display  of  cour- 
age, daring  and  heroism. 

Alex  Main,  first  mate  of  the  Lord 
Talbot,  turned  to  Page  1  of  his  new 
little  black  book  and  made  the  brief 
entry: 

"Sept.  2 — Leave  Aberdeen  at  2  a.m. 
bound  for  Wick,  ease  up  outside  for 
fog.  Arrive  Wick  2  P.  M.,  G.M.T. 
Bait,  which  is  herring,  not  plentiful." 

Uneventful    Beginning 

Sort  of  an  uneventful  beginning  of 
a  sea  voyage  for  a  son  of  the  sea.  As 
time  went  on  the  first  mate  added  to 
his  entry  on  Page   1  the  following: 

"Sunday,  4th — We  are  still  laid  in 
Wick.  The  breeze  is  still  on.  The 
crew  pass  away  the  time  on  Sunday 
listening  in  to  the  wireless  and  read- 
ing. 

"Monday,  5th — We  leave  Wick  at 
2  A.  M.  and  proceed  to  the  Pentland, 
arriving  there  about  6  A.  M.  We 
decide  there  is  too  much  sea  to  ven- 
ture through.  We  dodge  till  daylight, 
then  proceed  to  Stroniness,  where  we 
discover  the  Aberdeen  Line  boat, 
Mount  Arch,  also  bound  east  for 
Greenland,  weather  bound.  The 
weather  is  now  very  bad,  blowing  a 
strong  gale  from  the  northwest  and 
raining  very  hard. 

"Two  more  boats  are  driven  in  to 
seek  shelter,  the  Aberdeen  trawler 
Dandina  and  the  Grimsby  trawler 
Grendear  II.  Toward  night  the  wea- 
ther eases  up  a  bit  so  a  few  of  the 
crew    go    ashore    and    spend    a    good 


night's  fun  at  a  fair  which  is  visiting 
Stroniness. 

"Tuesday,  6th — We  sail  12  noon, 
the  wind  now  having  abated.  A  heavy 
swell  is  still  in  our  head,  but  we  make 
nine  knots  all  day  Tuesday.  The 
swell  is  now  falling  all  the  time. 

"Wednesday,  7th — Weather  is  still 
fine.  It  is  a  pleasure  to  be  on  the  sea. 
The  Mount  Arch  is  running  alongside 
of  us.  Our  crew  are  getting  our  gear 
all  ready  for  starting  fishing.  You 
have  to  take  every  chance  to  get  your 
fishing  gear  ready.  The  reason  for 
having  it  ready  so  early  is  because  it 
might  start  to  blow  at  any  time,  so 
therefore  you  cannot  lose  a  fine  day 
like  what  it  is  today. 

But  Sandwich  Runs  Second 

"Thursday,  8th — The  weather  is  still 
fine  and  our  ship  is  doing  about  ten 
knots  now,  the  sea  being  flat  and  calm. 
One  or  two  of  the  crew  are  giving 
their  oilskins  a  coat  of  bonocred  oil, 
so  we  are  preparing  now  for  any  kind 
of  weather.  A  few  of  us  have  backed 
a  horse  today  through  the  wireless, 
so  we  are  waiting  now  on  5  o'clock 
G.M.T.  to  hear  the  result  from  Dav- 
entry.  Sandwich  is  the  horse's  name. 
She  is  backed  to  win  straight. 

"A  slight  breeze  is  springing  up 
from  the  northeast.  We  look  for  that 
about  this  quarter.  Our  spirits  are 
dumped — our  horse  came  in  second. 
The  usual  saying  all  round  now  is 
we  might  get  a  winner  tomorrow. 

"Friday,  9th — We  have  now  sighted 
the  Westenunn  Islands.  A  heavy 
southwest  swell  is  beginning  to  make 
itself  felt.  Our  course  is  now  set  for 
Rikyness.  We  arrive  there  about  5 
p.  m.,  the  Mount  Arch  still  in  com- 
pany with  us.  We  set  a  course  for 
Cape  Dan  northwest  one-half  west. 
The  sea  is  flat  calm,  but  a  deep  swell 
is  coming  from  the  southwest.  Up 
to  midnight  the  weather  is  just  the 
same." 

And  thus  a  few  pages  of  the  diary 
of  Alex  Main,  first  mate  of  the  Lord 
Talbot,  have  taken  shape. 


The  Lord  Talbot  steamed  cnit  of  Aberdeen,  Scotland,  carrying  a  crew  of  hardy  Scot  fishermen  (Chapter  II) 

Photo  courtesy  of  London   Daily  Sketch. 


Eight 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  19  Jo 


Screen  Has  Made  Progress  Slowly 

Effort  to  Simulate  Motion  by  Means  of  Lines  or  -* 

Photographs  Began  Thousands  of  Years 

Ago  in  Cro-Magnon  Age  I 


By  EARL   THEISEN 

Honorary  Curator  Motion  Pictures,  Los  Angeles  Museum 


THROUGHOUT  history  we  find 
man  has  struggled  to  better  his 
means  of  expression,  of  convey- 
ing his  thoughts  and  ideas  to  others. 
From  the  beginning  racial  success  has 
depended  upon  giving  to  others  that 
which  the  individual  discovered.  The 
most  urgent  need  of  mankind  is  to 
emancipate  himself  from  his  natural 
handicaps,  to  discover  new  things, 
afterward  recreating  for  others. 

Into  this  enters  pictures  as  the  most 
efficient  means  of  expression,  of  recre- 
ating scenes  further  to  generalize  and 
organize  knowledge. 

Originally  the  means  of  expression 
only  assisted  the  race  to  survive.  It 
is  easy  to  imagine  the  few  gesticula- 
tions or  shrugs  our  savage  ancestors 
would  have  used  to  indicate  a  new 
thing  in  his  existence.  We  easily  may 
imagine  the  gurgling  grunts  of  ecstasy 
accompanying  the  discovery  of  a  new 
food  or  the  squeal  of  fright  upon  the 
approach  of  danger. 

All  this  was  done  for  a  mutual  serv- 
ice. It  is  embryonic  art.  It  is  giving 
ideas  to  others.  It  is  furthering  the 
race  growth,  that  time  refines  with 
the  addition  of  inspirational  qualities. 
Art  is  a  result  of  time,  and  embodies 
the  technique  of  serving  inspiration. 


The  many  mediums  in  use  today 
furnish  incentives  for  going  beyond 
the  casual  standard.  Some  artists  use 
a  brush,  others  a  lens,  others  words, 
another  will  use  printers'  ink,  and  still 
another  will  serve  with  a  musical 
note.  These  various  mediums  are  to 
some  extent  limited  in  a  geographical 
or  ethnic  way,  with  the  exception  of 
pictures.  These  enjoy  international 
appreciation.  Pictures  are  funda- 
mental. 

Creature  of  Machine  Age 

A  new  medium  is  coming  into  being 
as  an  art,  the  motion  picture.  This 
newer  medium  is  characteristic  of  the 
machine  age.  It  is  a  combination  of 
science  and  art.  Although  only  re- 
cently perfected  to  the  point  of  serv- 
ice, it  has  existed  with  the  artist  van- 
guards in  the  wish  to  lend  realism, 
action,  and  great  perspective  in  their 
picture  creations.  Through  history 
we  may  trace  the  many  attempts  and 
the  aim  to  show  action  in  pictures. 

As  far  back  as  the  stone  and  chisel 
day  artists  tried  to  draw  action  in 
their  pictures.  A  record  of  one  of 
these  attempts  exists  in  a  cave  in 
Altmira,  in  Spain,  drawn  by  a  Cro- 
Magnon    man    of    some    25,000    years 


Reynaud  Optical  Theater  of  1877  in  Paris — Reynaud  gave  shows  on  trans- 
parent screens,  using  continuous  bands  of  a  substance  known  as  "Crystaloid." 
His  most  famous  was  a  thirty-foot  story,  "Pauvre  Pierrot,"  told  by  hand-drawn 
pictures  similar  to  our  present  cartoons.  Photo  from  Tissandiers'  La  Nature 
Part  2,  1892,  France,  by  Leo  G.  Young 


1  haumatrope,  invented  by  Si)'  John 
Herschel  and  Dr.  William  Henry  Fit- 
ton  in  1825.  This  device  ivas  the  first 
to  employ  the  principle  of  "Persistence 
of  Vision."  Photo  courtesy  Leo  G. 
Young 

ago.  It  is  a  picture  of  a  well-drawn 
bear  with  two  sets  of  legs  in  an  at- 
tempt to  draw  him  running. 

It  was  probably  an  inspiration  of  a 
sort  to  the  primitive  people  seeing  it 
in  that  day  that  one  ard  all  they 
would  decide  what  to  do  if  the  bear 
should  be  running  their  way.  They 
would  devise  ways  and  means  to  safe- 
guard themselves.  To  be  prepared  in 
advance  seems  to  be  the  word  for  all 
situations,  and  that  is  what  pictures 
and  expression  are  doing,  even  now. 

Leonardo  Da  Vinci  was  not  satisfied 
with  the  conventional  methods  at  his 
disposal.  He  tried  many  ways  to  in- 
troduce realism  into  his  pictures,  the 
camera  obscura  being  the  result,  per- 
fected so  as  to  instill  a  truer  line. 
Many  of  our  prominent  artists  subse- 
quently used  this  "father"  of  our  pres- 
ent day  photographic  camera. 

Contemporarily  paralleling  the  work 
of  these  artists  in  their  meanderings 
on  canvas  was  the  work  in  the  earlier 
theater,  which  was  practically  nothing 
more  than  bits  of  tableau  showing 
action. 

Early   Shadow  Show 

They  were  tragic  in  nature  and  the 
same  actor  covered  his  face  with  dif- 
ferent masks  to  represent  the  char- 
acters in  the  various  scenes.  This 
type  of  theater  existed  in  Grecian 
times  and  lasted  after  the  Roman  era 
in  general  form.  This  all  is  a  prelude 
to  the  later  motion  picture. 

Another  form  of  expression  exist- 
ing in  all  racial  growths  was  the 
shadow  show.  These  existed  in  Egypt, 
Arabia,  Turkey,  and  were  prevalent 
in  early  China  as  "Chinois  Hombres." 
The  most  notable  ones,  however,  were 
in  Java,  where  the  Javanese  "Way- 
ang,"  or  shadow  show,  was  a  ceremony 
of  every  festive  occasion. 

Here  the  "gamelong,"  or  operator, 
manipulated  small  figures  of  gods  and 
devils  made  of  wood,  pasteboard  and 


Januao  y,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Nine 


This  representation  of  the  Edison 
peepshow  was  the  perfected  model 
made  for  commercial  purposes  in  1893, 
subsequent  to  the  inventor's  first  suc- 
cessful pictures  of  1889.  The  device 
showed  pictures  of  15  to  40  feet  in 
length  in  a  continuous  band.  Courtesy 
Leo  G.  Young 

other  materials  in  front  of  a  bonfire 
that  threw  a  silhouette  upon  a  screen. 
The  showing  of  these  shadows  would 
be  accompanied  with  suitable  conver- 
sation, reed  or  gong  music. 

The  sounds  were  used  to  raise  the 
emotional  pitch.  These  early  shadow 
shows  incorporated  a  marked  emo- 
tional similarity  to  the  non-physical 
aspects  of  our  present  picture  house. 

Can  you  visualize  the  early  audience 
sitting  on  some  hillside  viewing  this 
early  form  of  motion  pictures?  There 
they  would  sit  intently  looking  at  pic- 
tures upon  a  screen,  at  the  same  time 
hearing  atmospheric  sounds,  all  blend- 
ing into  a  crescending  whole  to  some 
story  telling  climax. 

The  student  investigating  the  themes 
in  these  earlier  shows  in  both  theater 
and  shadow  finds  a  marked  difference 
in  the  climaxes  which  represent  the 
advancement  in  dramatization.  Now 
the  climax  is  often  alleged  whereas 
then  all  doubts  were  removed  by  a 
tragic  content. 

Persistence  of  Vision 

The  shadow  show  lasted  in  Europe 
until  about  1870,  after  having  pictur- 
ized  folklore,  heroes  and  ceremonies 
for  countless  generations  previously. 
Vestiges  remain  today  only  in  the 
form  of  amusement  derived  by  children 
in  seeing  pictures  of  animals  and 
heroes  cast  upon  the  walls  by  their 
elders. 

In  tracing  the  evolution  of  the  am- 
bition to  see  pictures  in  motion  we  find 
Sir  John  Herschel  and  Doctor  William 
Henry  Fitton,  sometime  n  1825,  were 


the  first  to  introduce  a  device  using 
the  principle  of  persistence  of  vision. 
It  was  a  cardboard  disc  with  two  pic- 
tures, one  on  either  side,  and  when 
spun  would  combine  the  pictures  of 
both  sides.  The  first  one  consisted  of 
a  bird  on  one  side  and  a  cage  on  the 
other.  When  spun  the  bird  appeared 
in  the  cage.  It  was  known  as  the 
Thaumatrope,  and  exists  as  a  toy  in 
many  forms  today. 

From  here  follows  a  period  of  over 
fifty  years  before  anything  of  real 
value  was  invented,  although  several 
men  each  year  were  working  on  the 
idea  of  motion  pictures  using  hand 
drawings,  since  photography  had  not 
reached  a  stage  of  perfection  where 
it  could  enter. 

The  more  noted  attempts  were 
Plateau  (1832),  who  made  a  disc  de- 
vice with  pictures  around  the  outer 
rim,  with  an  accompanying  slotted 
disc  to  act  as  a  shutter.  Both  were 
spun  together.  The  inventor  sacrificed 
his  sight  to  the  cause  by  his  endless 
peering  into  his  many  devices  made  to 
improve  the  first. 

William  George  Horner  (1834), 
made  the  "Deadaleum"  or  "Wheel  of 
the  Devil."  It  was  a  drum  with  drawn 
pictures  inside  and  slots  around  the 
top  of  the  rim.  Desvignes  in  1860 
made  a  similar  device  in  France, 
which  he  patented  as  the  "Zoetrope," 
or  "Wheel  of  Life." 

Kinema  on  a  Paddle 

Coleman  Sellers  in  Philadelphia  was 
the  first  man  to  enjoy  a  measure  of 
success  using  a  photographic  image. 
In  1861  he  perfected  a  system  where 
he  photographed,  tediously,  his  chil- 
dren pose  by  pose,  building  up  the 
action  in  steps  in  this  manner. 

He  had  to  keep  his  plates  wet  with 
glycerine  since  photography  had  only 
reached  the  "wet  plate"  stage.  He 
mounted  his  finished  pictures  on  a 
series  of  paddles  on  a  belt,  and  upon 
turning  the  belt  the  paddles  carrying 
the  pictures  came  into  view  through 
an  eyepiece,  giving  a  semblance  of 
motion. 

Sellers  called  his  device  the  "kine- 
matoscope."  The  word  kinema  here 
used  for  the  first  time  was  finally  to 
designate  the  motion  picture  in  all 
languages. 

Among  others  to  use  various  sys- 
tems were  Linnett  (1868),  hand  drawn 
pictures  in  a  book  form  similar  to  the 
biograph  peepshow  of  the  early  days. 
Rudge  (1866)  made  a  lantern  device 
to  be  later  used  in  cooperation  with 
Friese-Green;  Uchatius  (1853)  com- 
bined the  oil-burning  lantern  of 
Kircher,  invented  in  1640,  and  the 
Plateau  device,  projecting  the  motion 
of  traveling  bullets. 

Dumont  (1861)  had  a  drum  device; 
Heyl  (1870)  made  a  device  that  em- 
bodied all  the  underlying  principles  of 
the  "^esent  projector,  throwing  pic- 
tures photographed  step  by  step;  Le- 
Prince  (1886)  started  his  investiga- 
tions in  making  motion  picture  de- 
vices; Muybridge  (1872)  started  his 
famed  investigations  in  the  movement 
of  horses.  Although  this  has  no  place 
in  the  history  of  motion  pictures  he 
did  much  to  popularize  the  idea. 

In  the  late  eighties  both  Edison  and 


Bio-Phantoscope  lantern  device  showed 
pictures  taken  in  various  stages  of  a 
complete  action  by  photography  in 
1866-72.  It  had  an  intermittent  ar- 
rangement for  moving  the  successive 
pictures  forward  and  a  shutter  for 
stopping  the  light  during  the  change 
such  as  is  used  today.  Friese-Greene 
formed  a  partnership  with  J.  A.  R. 
Rudge  in  1885.  Coleman  Sellers  was 
the  first  to  use  photography  in  an  at- 
tempt to  record  motion  photograph- 
ically 


Friese-Greene  unknowingly  were  con- 
ducting a  race  successfully  to  move 
pictures  and  show  motion  by  mechan- 
ical means.  They  both  tried  various 
mediums,  including  glass  plates,  heavy 
sheets  of  celluloid  made  by  Carbutt 
coated  with  photographic  emulsion, 
and  other  mediums  including  paper 
made  transparent  with  oil. 

Enters  Celluloid 

They  were  left  grasping  at  straws 
when  George  Eastman  and  Harry 
Reichenbach  finally  completed  a  sys- 
tem of  making  thin  celluloid  sheets  in 
1889,  on  which  was  coated  a  photo- 
graphic emulsion.  They  had  perfected 
a  medium  upon  which  eventually  an 
epic  of  the  human  race  was  to  be 
recorded. 

The  first  order  to  be  shipped  from 
the  Eastman  Company  to  the  Edison 
Laboratories,  on  September  2,  1889, 
made  it  possible  for  Edison  to  com- 
plete the  scientist's  duty  to  make  pic- 
tures move.  That  was  a  momemtous 
day  for  the  motion  picture.  It  was 
like  Independence  Day.  The  race  had 
achieved  another  step  in  freeing  itself. 
Both  Edison  and  the  race  were  to  be 
congratulated  upon  Edison's  achieve- 
ment. 


Ten 


The     INTERNATIONAL     PHOTOGRAPHER 


Ja>i  nary,  193  J 


Under  Tahitian  Skies  with  Kershner 


Cameraman-Artist-Musician   Brings   Back  Fond 

Memories  of  Land  and  Water  Where  Food 

Is  Least  of  Mankind's  Worries 

By  GLENN  R.  KERSHNER 


ON  THE  18th  of  last  November 
when  the  Union  SS  Makura  tied 
up  at  Pier  33  in  San  Francisco 
and  after  all  my  cameras,  film,  cocoa- 
nuts,  funny  gadgets  and  souvenirs 
were  heaped  on  the  dock  and  the  cus- 
toms officials  had  stuck  on  their  last 
stamp,  I  had  the  same 
thoughts  in  my  mind  that 
thousands  of  others  have 
had.  That  was  that  some 
day  I  will  carry  most  of 
that  junk  right  back  up 
that  gangplank  and  go 
right  back  down  to  those 
beautiful  Society  Islands 
and  stay  as  long  as  the 
islands  and  the  natives 
will  let  me. 

Now  this  was  my  sec- 
ond trip  there  and  I  am 
praying  for  my  third. 
First  reason  is  because 
everybody  is  happy  down 
there.  Seems  like  they 
don't  object  to  you  liv- 
ing, and  now  I'll  tell  you 
why    they    are    happy. 

They  don't  have  to 
worry  how  they  are 
going  to  live  after  they 
are  forty-five  years  old 
because  their  families 
have  right  now  and  will 
have  all  they  want  to  eat 
for  generations  to  come. 
There's  plenty  in  the 
ocean,  fish,  clams,  octo- 
pus, maoa  with  its  little 
trap  door;  the  uao,  that 
winds  through  the  coral; 
the  giant  wrinkled  shell 
fish  pahua;  turtles,  centi- 
pedes, etc. 

On  land  there  are  or- 
anges, mangoes,  cocoa- 
nuts,  papayas,  avocados, 
chermoya,  fai  (the  ban- 
ana used  for  cooking), 
breadfruit — well,  in  fact 
every  month  there  are 
trees  of  some  kind 
weighted  down  with  deli- 
cious fruit.  And  then 
they  grow  the  sweetest 
bananas  I  have  ever  eaten. 

Now  another  reason  is  we  can 
throw  away  all  these  heavy  suits  and 
leather  shoes,  have  a  nice  white  suit 
made  for  90  francs  ($3.60  in  our 
money) ;  a  pair  of  canvas  shoes  for 
lOf,  a  hat  for  7f,  and  forget  all  about 
the  underclothes  and  socks,  for  they 
will   only   be   in   the   way. 

Shorts  in  a  Big  Way 

I  soon  got  the  habit  of  wearing- 
shorts  like  the  others,  for  they  are 
cool  and  much  more  comfortable  than 


long  trousers.  I  also  adopted  the 
pareau  whenever  possible,  and  with 
these  you  can  cut  down  your  laundry 
bills  practically  to  zero. 

You  wear  the  pareau  instead  of 
trousers.  You  can  use  it  for  a  towel. 
It  makes  a  good  sleeping  garment,  a 


Location  on  Moorea  Island,  where  was  photographed  the  land 

eel  sequence.   The  great  area  brought  within  the  camera's  range 

is  part  of  the  Med  Kellam  estate 


splendid  window  shade,  and  is  great 
for   seigning  shrimp. 

Well,  they  are  the  handiest  twelve 
square  feet  of  cloth  I  have  ever  seen. 
Of  course  the  secret  is  to  learn  to 
wind  the  garment  around  yourself  so 
it  won't  fall  off  and  precipitate  an 
embarrassing  moment. 

To  think  South  Seas,  is  to  think  of 
pearls,  black  pearls,  skin-diving, 
sharks,  lazy  lagoons  filled  with  out- 
rigger canoes,  skies  filled  with  great 
masses  of  beautiful  clouds,  shapely 
girls    with    their    wreaths    of    tiare 


Tahiti,  tall  palm  trees  swaying  in  an 
air  laden  with  the  fragrance  of  the 
frangi  pani,  gardenias  and  the  deli- 
cate white  jasmine  and  sunsets  that 
are  beyond  the  painter's  brush. 

This   is   all   true,   but   never   forget 
that  storms  swoop  in  on  you  and  rain 
comes  down  like  no  other  place  in  the 
world  except  under  Niagara  Falls,  and 
what  it  did  to  my  poor  seven  reflectors 
would  break  any  cameraman's  heart. 
When    In    Rome — 
Writers  who  wish  to  tell  of  all  these 
lovely  things  must  go  there,  live  like 
the  native  does,   do  what  the   native 
does,  and  in  the  native  way.     It  took 
Nordhoff   and  Norman   Hall  nineteen 
years    down    there    wan- 
dering around  research- 
ing for  their  books. 

Loring  Andrews,  who 
wrote  "Isles  of  Eden" 
and  whom  I  met  on  the 
islands,  is  well  into  his 
third  book.  Ralph  Daw- 
son, the  film  editor,  was 
there  preparing  and  ac- 
cumulating atmosphere. 
Mr.  and  Mrs.  Gouver- 
neur  Morris  own  a  beau- 
tiful estate  (where  we 
lived)  on  Tahiti,  and 
like  Viscount  Hastings 
did  for  his  book  "The 
Golden  Octopus"  have 
spent  years  gathering 
data  for  their  many 
stories. 

Ray  Long  is  there  with 
his  typewriter,  and  Fris- 
by  is  still  perched  up  on 
the  tall  cliffs  of  Moorea, 
where  he  has  a  full 
sweep  of  that  beautiful 
Cook's  Bay  for  inspira- 
tion. 

It  is  there  that  I  am 
wild  to  go  again  with  my 
camera  to  stay  for  a 
while  and  picture  those 
beautiful  effects,  settings 
and  backgrounds,  for  the 
majority  o  f  pictures 
down  there  have  been 
made  like  machinery, 
and  this  is  wrong;  Mur- 
neau  proved  that  to  us 
with  his  beautiful 
"Tabu." 

I    would    like    to    have 
my  typewriter,  my  pen- 
cils and  pens,  my  Leica 
camera      and      Mitchell 
camera     all     hitched    up 
like  the  harness  was  in 
the  old  fire  barn  and  I  guarantee  that 
some  of  those  beautiful  effects  would 
not  be  missed. 

This  time  I  went  with  Mrs.  Gouver- 
neur  Morris  and  Irvin  Willat  and  had 
genuine  success.  We  made  two  native 
stories,  one  by  Mr.  Morris  and  the 
other  by  Mrs.  Morris.  She  being  so 
well  acquainted  with  and  well  liked 
by  the  island  people  extra  privileges 
were  granted  us.  We  used  the  Islands 
of  Tahiti  and  Moorea  with  all  their 
grandeur  for  the  settings,  with  a 
beautiful  story  running  through  each, 


January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Eleven 


built    our    interiors    right    there    and 
used  an  entire  native  cast. 
Natives  Liked  Sets 

Then  we  made  the  South  Seas  at- 
mosphere and  thousands  of  feet  of 
backgrounds  for  UniversaFs  "Black 
Pearl,"  during  which  we  hunted  every 
nook  and  corner,  palm  tree  and  village 
of  Tahiti,  Moorea,  Tahaa,  Huahine. 
Raiatea  and  Bora  Bora,  where  we 
spent  nights  building  little  villages, 
constructing  churches  and  painting 
them  so  as  to  "shoot"  at  sunrise,  and 
how  enthused  the  natives  were  to  see 
such  sudden  changes !  Incidentally 
when  we  started  to  raze  our  sets  the 
natives  begged  us  to  let  them  stand, 
which  we  did. 

In  doing  these  things  I  believe  I 
became  acquainted  with  every  person, 
dog  and  schooner  in  the  Islands.  I 
have  paused  many  nights  to  watch  the 
natives  squatted  in  circles  sing  a 
"himene"  with  their  marvelous  six- 
part  harmony,  the  women  forming  the 
inner  circles,  while  the  men  were 
ranged  on  the  outer  edges,  bending 
over  near  the  floor  and  swaying  back 
and  forth  while  they  filled  in  the  bass 
notes. 

At  intervals  the  man  who  conducted 
would  sing  in  a  shrill  falsetto  voice, 
piercing  metallic  notes,  almost  a 
scream,  and  when  heard  from  a  dis- 
tance was  weird  and  had  a  terrifying 
effect  yet  beautiful,  knowing  what  it 
was. 

While  at  Tahaa  I  photographed  the 
famous  stone-drive  fishing  and  the 
sacrificial  Maraes  on  the  Taareu 
River  of  Huahine  Island. 

Comes  and  Goes  All  Right 

During  these  trips  through  the  Is- 
lands we  had  many  wild  rides  in 
storms.  On  our  way  back  from  Bora 
Bora  to  Papeete  on  the  little  forty- 
foot  schooner  Xavier  Marie  Stella  we 
plowed  into  a  head  wind  and  terrific 
rolling  sea  that  went  right  over  us 
for  thirty-six  hours.  Believe  it  or  not, 
I  found  a  place  on  deck,  right  back 
of  the  wheel  where  the  main  boom 
sheets  came  down,  and  lay  in  that  one 
spot  for  nineteen  hours  holding  on  to 
a  copra  sack  with  water  going  right 
over.  This  time  I  was  mighty  glad 
it  wasn't  away  up  in  Baffinland  in  the 
ice. 

On   first   arriving   back   at   Papeete 


my  many  native  friends  whom  I  met 
there  in  1922  gave  me  a  fine  native 
dinner  and  named  me  "Manu  Reva," 
which  means  "A  bird  that  comes  and 
goes."  We  then  went  up  the  beautiful 
Fautau  River,  wandering  through  the 
groves  of  fai,  of  coffee  trees  laden 
with  the  little  brown  berries,  of  tree 
ferns  with  leaves  twenty-five  feet 
long. 

Up  and  up  we  climbed  through  little 
paths  cut  in  the  tall  tropical  growth 
until  we  came  to  the  beautiful  falls 
which  dropped  like  a  silver  thread  for 
hundreds  of  feet  into  a  dark  canyon. 
It  soon  began  to  rain,  as  it  always 
does  up  there. 

On  the  way  down  we  followed  the 
tumbling  rapids  holding  big  upae 
leaves  over  our  heads  as  umbrellas. 
Soon  we  came  into  the  sunshine,  gath- 
ered oranges  and  candle  nuts  and  then 
stopped  for  a  plunge  in  the  famous 
Loti   Pool. 

Knowing  how  well  the  natives  love 
music  and  play  I  took  along  some  in- 
struments— flute,  guitar  and  mouth 
harp — and  enjoyed  many  hours  with 
them  in  the  moonlight  under  the 
Southern  Cross  or  on  the  forecastle 
head  of  some  little  bounding  schooner. 

I  soon  learned  to  beat  rhythm  on 
their  toere,  a  block  of  hollowed  out 
wood.  Then  I  learned  some  of  their 
native  music  and  dances. 

I  studied  their  modes  of  living,  how 
they  prepared  their  many  foods, 
built  their  homes,  existed  on  the  reef, 
how  they  speared  fish  and  learned  to 
skin-dive.  I  soon  realized  that  climb- 
ing those  tall  cocoanut  palms  was  ab- 
solutely a  native  trick  all  its  own,  for 
a  native  will  go  up  a  sixty  footer  in 
ten  to  twelve  seconds,  and  slide  down 
quicker. 

Thirteen  Letters  in  Language 

Half  of  the  native's  life  is  spent  in 
or  on  the  water,  for  half  of  his  living- 
comes  from  the  ocean.  So,  like  the 
Eskimo  boy  of  the  North,  the  island 
boy  soon  learns  his  father's  tricks 
with  the  outrigger.  Most  any  time  of 
the  day  that  you  cross  a  river  or  a 
creek  you  will  find  a  bunch  of  chil- 
dren playing  in  the  water  or  native 
women   washing  clothes. 

Their  native  language  has  but  thir- 
teen letters  in  it,  which  are  A,  E,  F, 
H,  I,  M,  N,  O,  P,  R,  T,  U,  V.     This 


is  the  way  a  few  words  are  translated 
such  as:  Go,  pronounced  hare;  stop, 
faaoti;  wind,  matai;  music,  upa  upa; 
run,  ahoro;  slower,  hare  matie; 
thanks,  mauruuru;  to  eat,  amu.  One 
can  readily  recognize  that  T,  A  and 
M  are  the  most  used  letters. 

The  school  system  of  the  island  is 
good.  Being  under  French  protection 
the  children  are  taught  French,  but 
owing  to  so  many  Chinese  inhabitants 
by  the  time  the  pupil  leaves  school 
he  can  talk  French,  Tahitian,  Chinese 
and  English. 

The  charming  city  of  Papeete,  being 
the  port  of  entry  and  the  seat  of 
island  government,  has  the  splendid 
upper  grades  and  finishing  schools, 
good  stores,  a  cinema  theatre,  a  mar- 
ket, good  garages  and  hotels,  especi- 
ally the  Blue  Lagoon  and  Hotel  Tiara, 
and  a  city  where  a  number  of  retired 
white  men  (paoupaas)  live.  Here  I 
met  two  659  members,  Eric  DeBraugh 
and  Max  DuPont.  Each  is  happy  and 
sends  back  best  wishes. 

The  Magic  Burau  Tree 

While  modernized  homes  have  been 
built  the  native  still  clings  to  his  home 
built  out  of  Burau  poles  on  which  are 
tied  braided  cocoanut  palm  leaves 
called  neau.  The  roof  is  made  of 
braided  pandanus  and  all  tied  to- 
gether with  strips  of  burau  bark. 

In  fact,  this  burau  tree  furnishes 
the  greater  part  of  the  native  home, 
dishes  for  the  table,  the  leaves  are 
plaited  together  to  build  mats,  made 
into  big  bundles  to  put  over  the  native 
ovens  to  hold  in  the  heat,  and  serve 
many  other  intimate  domestic  pur- 
poses. It  is  the  beautiful  love  flower  of 
the  burau  tree  that  floats  so  prettily 
down  the  little  streams. 

The  breadfruit  tree  supplies  one  of 
the  most  staple  foods,  the  inner  bark 
makes  material  for  clothes,  and  the 
wood  is  one  of  the  most  durable  for 
usage  in  the  island,  for  oak  taken 
from  the  states  down  there  will  only 
last  a  few  years. 

The  cocoanut  tree  is  the  main  sup- 
ply of  food  and  a  native's  wealth  is 
generally  told  by  the  number  of  trees 
he  possesses.  There  are  many  inter- 
esting things  to  know  about  the  cocoa- 
nut  tree  and  the  nut.  As  in  all  trees 
there  is  a  male  and  a  female.  The 
female    fronds    or   leaves    are    longer 


i:     . 


Left,  beach  cabin  of  Mr.  and  Mrs.  Gouverneur  Morris,  authors,  in  Tahiti.  Right,  bamboo  platting  of  island  home  and 
its  construction,  everything   being   built  off  ground  on  account  of  termites 


Twelve 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  1933 


A. 


IsJWBp 


Left,  Mira   Tiana   (Sunshine),  Mr.  Kershner  and  Mira's  playmate,   Revi   Mana   (Shadow),   devoted   folloivers   of   the 

cameraman.     Right,  himene  or   community    sing   house 


and  thinner,  while  the  male  stand  up 
more  straight. 

There  are  some  twelve  different 
varieties  and  they  thrive  best  nearest 
to  salt  water.  The  meat  in  the  four- 
months-old  nut,  pape  hare,  is  soft  and 
good  to  eat  and  splendid  for  drink- 
ing. It  contains  the  same  properties 
as  mother's  milk  and  babies  are  raised 
on  it. 

The  six-months-old  are  called  opaa 
and  miti  hare.  The  twelve-month-old 
nut  is  called  copra.  These  are  split 
open  and  left  to  dry  for  a  couple  of 
days.  Then  the  meat  is  extracted, 
spread  on  trays  and  let  dry  in  the  sun 
for  about  four  days. 

Long  Lived  Cocoanut 

This  is  then  called  copra  out  of 
which  cocoanut  oil  is  made.  Out  of 
the  meat  of  the  three-months-old  nut 
a  white  milk  is  squeezed  after  it  is 
shredded.  This  we  use  for  our  coffee 
or  to  make  cake,  but  one  of  the  main 
uses  is  to  take  this  milk  with  the 
juice  of  a  lime  and  some  salt  water  in 
which  to  dip  our  raw  fish  when  eating. 

When  a  nut  has  sprouted  and  is 
ready  to  plant  it  is  called  opaa  uto, 
and  as  the  tree  grows  the  leaves  are 
called  fronds,  and  one  of  these  fronds 
drop  each  month.  Each  tree  is  good 
for  about  fifty  nuts  a  year  and  con- 
tinues to  bear  from  60  to  100  years, 
but  are  best  between  their  fifteenth 
and  fortieth  years.  It  takes  about 
5000  average  nuts  to  a  ton  of  dry 
copra,  for  which  they  receive  around 
$28  at  the  present  date. 

The  husks  or  fibre  called  perru  are 
employed  to  make  rope  and  matting. 
It  is  used  as  the  firewood  of  the 
Islands  and  generally  in  the  smoke 
one  will  see  food  being  cooked  in 
Standard  Oil  Company  five  gallon 
gasoline  cans.  In  fact,  five-gallon  cans 
are  used  for  everything. 

Now  I  could  go  ahead  and  tell  you 
pages  and  pages  about  the  use  of  the 
taro  root,  ufi;  yam,  umura;  pumpkin 
and  the  many  other  funny  things 
about  the  cocoanut  tree  and  vegeta- 
tion that  raises  the  dickens  with  you 
when  you  start  to  using  different 
filters. 

Watch  Your  Filters 

Speaking  of  filters,  it  is  well  to 
know   your   filter    ratios    because    the 


light  changes  so  fast,  and,  being  one 
of  the  trickiest  places,  one  has  to  use 
good  judgment  in  his  selection,  espe- 
cially when  everything  is  being- 
brought  back  to  the  United  States  to 
be  developed. 

On  this  trip  we  used  both  Dupont 
and  Eastman,  all  different  speeds,  to 
get  the  best  results  and  to  find  out 
exactly  the  best  working  conditions 
for  future  trips  there. 

On  arriving  at  the  islands  I  made  a 
number  of  hand  tests,  then  at  night  I 
tested  each  roll  when  unloading.  The 
laboratory  work  was  done  at  the  Par- 
amount laboratories  with  splendid  re- 
sults. 

While  only  three  of  us  went,  it  was 
necessary  to  have  interpreters  and 
native  help.  Bertha  Low,  Mrs.  Mor- 
ris' Chicago-born  Chinese  maid,  was 
very  valuable  in  interpreting  to  the 
Chinese. 

We  were  fortunate  in  securing  the 
advice  of  Thomas  Bunkley  and  the 
services  of  Bill  Bambridge,  to  whom 
I  attribute  a  great  deal  of  the  success 
of  "Tabu";  also  Adram,  the  garage 
man;  Sam  Russell  and  Whitney  Jones. 
Two  other  boys  whose  services  were 
invaluable  to  me  were  Taro  Spitz  and 
Sunny  Chave.  Each  speaks  three  or 
four  languages  and  will  be  very  val- 
uable to  any  one  going  there  to  make 
pictures. 

Mr.  Editor,  when  you  get  a  little 
spare  time,  come  over  to  the  house 
and  I'll  show  you  a  marvelous  collec- 
tion of  giant  tree  crabs,  conch  shells, 
miniature  house,  ceremonial  clothes, 
tekes  (gods),  musical  instruments, 
shells,  etc.,  and  I'd  like  to  have  you 
drop  in  and  see  screened  a  few  of  the 
film  I  made  for  lectures,  and  some 
time  I'll  tell  you  of  some  very  inter- 
esting trips  around  these  beautiful 
islands,  some  wonderful  legends  about 
them  and  what  the  natives  can  do 
with   their   cocoanut    wireless. 

A  Tender  Memory 
[That  invitation  has  been  accepted. 
Four  reels  of  film  were  shown  at  the 
Eastman  Little  Theatre,  and  the  wri- 
ter still  is  under  the  spell  of  that  pic- 
turesque country  and  its  wholesome 
natives.  He  has  heard  that  conch 
shell,  two  of  them  in  fact,  the  second 
manipulated   by  the   son   of  the   trav- 


eler. The  resulting  volume  can  be 
measured  only  by  an  expert  in  those 
decibel  things,  but  it  was  ear-split- 
ting. And  the  writer  has  seen  and 
marveled  at  all  the  many  strange 
things  added  to  the  Kershner  interna- 
tional museum. 

So,  too,  has  been  heard  from  the 
traveler's  own  lips  his  vivid  memories 
of  Mira  Tiani,  charming  and  brilliant 
seven-year-old  shown  in  one  of  the 
accompanying  illustrations,  and  of 
how  Mira  taught  him  the  secrets  of 
the  weird  cocoanut  wireless  and  its 
telepathic  mysteries  and  how  he  in 
turn  had  taught  her  English  words; 
of  how  as  the  ship  moved  away  from 
the  pier  he  heard  a  faint  good-bye 
and  spotted  that  slip  of  a  maid  with 
wet  cheeks  waving  to  him,  recalling 
to  him  that  in  the  hurry  of  departure 
he  had  overlooked  a  farewell  embrace 
of  the  little  one  who  with  Revi  Manu, 
her  inseparable  playmate,  from  6 
o'clock  in  the  morning  on  had  fol- 
lowed him  through  the  long  day;  and 
of  how  a  bit  later  while  watching  the 
moving  farewell  staged  by  his  friends 
on  skimming  outriggers,  the  fifty-one 
leis  still  hanging  about  his  neck,  he 
again  heard  that  faint  good-bye  and 
saw  outlined  against  the  glistening 
water  the  standing  figure  of  radiant- 
orbed  Mira  with  flying  hair  and  dress 
again  waving   good-bye. — Ed.] 


Erpi  Develops  Attachment 

Making  for  Cutting  Economy 

RECENTLY  developed  and  made 
available  by  Electrical  Research 
Products  is  a  preview  attach- 
ment being  utilized  by  west  coast  pro- 
ducers at  a  considerable  saving  in 
previewing  talking  pictures. 

The  attachment's  advantage  is  that 
it  enables  the  sound  track  and  the 
picture  to  be  run  on  separate  films 
through  the  same  machine,  obviating 
the  expense  and  time  involved  in 
processing  a  composite  print. 

While  the  process  is  subject  to 
modification  according  to  the  type  of 
projector  in  the  theatre,  the  usual 
procedure  is  to  remove  the  front  plate 
of  the  projector  head  and  mount  in 
its  place  the  attachment,  which  is 
driven  from  the  main  drive  sprocket 
by  a  series  of  gears  and  silent  chains. 


«.*2^. 


Qream  oth Stills 


c&HL'o* 


Joe  Lykens  brings  back  from  Kentucky  this  picture  of  a  remarkable  type  of  mountaineer — "shrewd,  keen 
and  a  crack  shot" — which  might  be  taken  for  granted.  This  camera  study  will  hold  the  attention  of  those 
who   ordinarily   just   slip   ot'er   a   picture — this   watchman    of   the   hills   with   the    benevolent   face — maybe. 


Francis  Burgess 
shows    us    what 
the  explosion 
of  an  ammunition 
train  looks  like 
even   though   we 
are  spared  the 
ear-splitting 
detonation. 
Debris  rising 
to  height  of 
200  feet. 


Lake  Tee  Jay, 

one  of  the 

Mammoth  Lakes, 

lies  under  the 

12,000-foot 

elevation 

of    the    high 

Sierras. 

Photo   by 

George   H.   Scheibe. 


c.^'o.,. 


@ream  a  t h  S tills 


c?WOa, 


Here   is 

Sylvan  Lake, 

photographed  at 

dusk  in  Rome  City, 

Indiana,    by 

Otto   Benninger. 


One  of  the 
members  of  the 
recent  Zone  Grey 
expedition  to 
the  Northwest 
has   some 
narrow    squeaks 
on  Black  Bar, 
at  one  time  the 
navigator's  head 
being  the  only 
part  of  the  outfit 
above  water. 
Photo   by 
H.  C.  Anderson. 


Emmett  Schoenbaum  with  this  shot  of  an  interior  set  at  Pathe  for  showing  fog  at  night  in  London  demon- 
strates what  the  effects  men  can  accomplish  when  they  really  get  going. 


Jan  (((in/,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 

CHICAGO 


Seventeen 


mttm 


J-  ■*■  -*■ 


/w  Focus — In  Spots! 

WELL,  Happy  New  Year  to  you. 
And  here's  hopin  the  headache 
and  motorman's  glove  taste  is 
gone  when  you  lamp  this.  Well,  mebbe 
we're  all  set  for  a  fresh  start  in  '33, 
but  afore  we  burns  down  that  bridge 
let's  go  back  and  have  a  bonfire  on  ole 
'32  and  see  what  milestones  them  666 
Knights  of  the  Celluloid  plastered  on 
the  screens  and  then  into  newsreel 
morgues  for  posterity. 

To  me  '32  sure  looks  like  anythin 
but  a  depression  when  lampin  over 
what  them  hombres  what  juggles 
tripods  for  newsreels  did  that  year. 
Their  escapades  go  like  this  for  me. 

They  starts  off  the  year  with  a  high 
class  weddin  on  January  first — Emilio 
Montemuro  was  the  brave  lad  what 
caused  us  to  go  out  the  first  day  of 
the  new  year  and  git  the  old  headache 
all  over  agin.  It  wuz  a  grand  weddin 
anyways. 

Then  in  the  middle  of  January  we 
makes  history  at  the  annual  Cary  Ski 
meet  which  we  covers  evry  year.  This 
one  was  unusual  as  it  wuz  the  first 
one  the  ole  timers  kin  look  back  on 
and  remember  where  you  didn't  freeze 
your  pants  on  to  you  in  about  20  be- 
low. It  wuz  a  regular  California  after- 
noon and  we  didn't  have  to  drink  that 


By  the  Sassiety  Reporter 

As  Told  to 
FRED  A.   FELBINGER 

Swedish  punch  we  had  to  guzzle  other 
years — a  mixture  of  gin,  moonshine 
and  strong  black  coffee — in  order  to 
keep  warm. 

Then  right  in  the  middle  of  the 
month  our  own  original  Don  Juan 
made  history.  Orlando  Lippert  in  per- 
son fell  in  love  with  the  sweetest  kid 
the  Lord  ever  breathed  wind  into. 
This  love  wuz  the  real  thing  accordin 
to  Lippert  at  the  time. 

Touch  of  Summer 

February  wuz  swell  for  yours  truly. 
It  took  me  down  to  New  Orleans, 
where  it  wuz  warm,  for  the  Mardi 
Gras.  And  I  met  a  lot  of  ole  time 
friends  while  down  there — among 
them  Tracy  Mathewson,  Ed  Dyer, 
Webber  Hall. 

Then  back  to  Chicago  just  in  time 
for  the  annual  March  Blizzard.  And 
the  night  the  big  wind  was  twirlin 
the  snow  into  the  lenses  of  the  rest  of 
us  6G6ers  Lippert  ups  and  announces 
he  has  found  a  new  Honey,  and  wuz 
he  in  love  this  time! 

He  broke  up  with  this  one  jest  about 
the  time  the  gang  wuz  settin  up  down 


at  South  Bend  the  1st  of  April  to 
shoot  the  fightin  Irish  going  through 
the  Spring  workout. 

Eddie  Moi-rison,  Red  Felbinger  and 
Tony  Caputo  predicted  loud  mouthed 
how  them  Irish  wuz  set  to  smear 
Southern  Calif,  the  comin  fall. 

Durin  this  month  a  gang  of  crank- 
ers  with  wings  wuz  zooming  in  forma- 
tion up  at  Selfridge  field  with  the 
First  Pursuit  Squadron  of  the  U.  S. 
Air  Corps  shootin  some  high  class 
formation  stuff  above  the  clouds. 

This  army  of  winged  sharpshooters 
included  Montemuro,  Caputo,  Lippert 
and  Bob  Hollahan.  They  stuck  to 
handcrank  Akeleys  standin  in  the 
open  cockpits  of  ships  that  flew  at 
greater  speeds  than  190  miles  an  hour. 

Sun  Shone  on  Derby 

Then  the  sunshiny  month  of  May 
dragged  the  gang  south  to  Churchill 
Downs  to  make  the  pan  fi-om  the  roof 
on  the  annual  Kentucky  Derby.  It  was 
another  unusual  story  this  year  be- 
cause for  once  the  sun  shone  and  the 
gang  could  stop  down.  Also  the  whole 
gang  wuz  bettin  on  Burgoo  King  right 
on  the  nose. 

A  couple  of  days  later  these  same 
sport  historians  wuz  kneelin  in  the 
street  of  a  small  town  in  Michigan 
named  Holland,  makin  odd  angles  on 
a    ole    Dutch    scrubbin    contest.     Jack 


Left,  Conrad  Luperti,  whose  interest  in  his  camera  seems  eclipsed  by  that  in  the  expedition's   bathtub   in  the  fore- 
ground; right,  sleeping   tents  of  the   expedition.  From  story  in   December  International   Photographer. 


Eighteen 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  1933 


Left,  Conrad  Luperti  with  his  Model  A  Bell  &  Howell;  right,  Dave  Hargan  with  a  puff  adder  that  came  to  grief  when 
it    ran    into    the    expedition.     From    story     in    December    International    Photogratpher. 


Barnett  wuz  leadin  the  odd  angle  con- 
test on  this  one,  and  then  he  ran  out 
of  film  and  had  to  quit. 

Memorial  Day  ended  the  merry 
month  of  May  for  the  gang  down  at 
the  500-mile  auto  grind.  Up  at  the 
north  turn  at  that  benzine  derby  the 
gang  flirted  with  death  and  wuz  re- 
warded with  some  fancy  crack-up 
pictures. 

This  gang  included  Charlie  David, 
Urban  Santone,  Phil  Gleason,  Eddie 
Morrison,  Tony  Caputo  and  Ralph 
Saunders. 

And  while  these  daredevils  are  glued 
to  their  cameras  down  at  Indianapolis 
Orlando  Lippert  pops  up  at  the  Omaha 
balloon  races  and  announces  he  finally 
has  met  THE  little  woman.  What  a 
Honey,  etc.,  etc.,  and  wuz  any  of  them 
other  guys  ever  in  love  like  he  was? 

Then  the  beautiful  sunshiny  month 
of  June  opens  up  in  the  Windy  Vil- 
lage. Everythin  wuz  nice  and  green 
in  the  parks.  People  marched  to  the 
city  beaches.  Couples  spooned  in  the 
parks.  Life  wuz  swell  in  the  month  of 
June  in  Chicago. 

Chaos  in  Ches's 

At  least  that's  what  that  gang  of 
666  newsreelers  read  daily  in  them 
papers  what  was  tossed  to  us  as  we 
lived  in  our  hot  sticky  perches  out 
there  in  the  Stadium  at  the  Repub- 
lican and  Democratic  Conventions 
listenin  and  shootin  night  and  day  as 
politicians  read  off  reams  and  reams  of 
speeches  on  what's  wrong  with  the 
country  and  preached  on  givin  us  good 
beer — while  we  sat  there  with  our 
tongues  hangin  out  wishin  we  wuz 
over  at  Ches's  Place  hoistin  a  cool  one 
or  two. 

The  gang  finally  got  out  of  the 
Stadium  and  dashed  down  to  Ches's 
Place  jest  in  time  to  see  the  G.  men 
raidin  the  joint  and  haulin  out  the 
good  ole  worn  mahogony  bar.  And  the 
way  them  G.  men  tossed  our  beloved 
bar  aboard  the  wreckin  truck  wuz 
sacriligeous. 

Then  July  rolls  merrily  in  with 
Ches  sportin  the  new  bar  with  the 
back  bar  and  its  swell  mirror.    Again 


life  was  bearable  in  the  Windy  Village. 
The  middle  of  the  month  brought  us 
a  swell  outboard  race  over  on  the 
World  Fair  grounds  and  the  gang  en- 
joyed shootin  again  out  in  the  open. 
Lippert  sported  a  new  little  blonde 
babe  on  this  one  and  then  sheepishly 
announced  to  this  wiggly  eared  dept. 
he  finally  wuz  in  love. 

Al  Wilson  Passes 

August  brought  the  newsreel  gang 
the  first  decent  fire  we  is  had  in  the 
boom-boom  town  in  years.  It  wuz  down 
in  the  stockyards,  and  them  film  burn- 
ers sure  stepped  around  gettin  some 
heart  warmin  shots  of  the  synthetic 
Nero  picnic  back  o'  the  yards. 

Then  the  end  of  August  and  the  Na- 
tional Air  Races  down  at  Cleveland. 
The  air  experts  showed  up  at  that  one, 
Eddie  Morrison,  Bob  Sable,  Caputo, 
Jack  Flannigan,  Lippert,  Jack  Barnett 
and  Floyd  Traynham.  Ole  Benny 
Silverberg  came  out  to  the  field  to 
swap  lies  with  the  gang.  And  the  as- 
signment ended  rather  sadly  as  ole  Al 
Wilson,  Hollywood  stunt  flier  and  a 
real  pal  of  them  666ers,  cracked  up 
fatally.  Okeh  Al — the  boys  aint  for- 
got you  yet  and  never  will ! 

September  —  Labor  Day  ■ —  Detroit. 
The  annual  Harmsworth  Trophy  race 
is  on.  Only  this  year  they  holds  it  at 
dawn,  and  what  a  bubbly-eyed  gang 
of  666ers  tumbled  out  of  bed  at  3  A.M. 
for  three  days  to  make  fast  pans  of 
Gar  Wood  sneakin  up  from  behind  to 
whiz  by  Kay  Don  and  keep  the  ole 
trophy  on  his  mantlepiece  back  at 
Crayhaven. 

Then  October — and  more  of  that 
June  baloney.  Political  speeches  and 
more  political  speeches  and  more. 
Trips  following  the  President  through 
the  Middle  West.  Arguin  and  fightin 
with  Secret  Service  men  for  them 
precious  Presidential  close-ups.  Six- 
sixty-sixers  poppin  up  in  this  town 
and  that  meetin  ole  pals  from  the  east 
on  the  campaign  trains. 

Then  November  with  its  frost  and 
football,  with  Saturday  mornins  spent 
hawlin  heavy  equipment  to  the  tops  of 


press  box  roofs  at  the  big  stadiums. 
Mobs  of  friends  you  never  knew  you 
had  before  botherin  you  for  passes  to 
the  games.  Notre  Dame  pushin  ahead 
beatin  one  team  after  another.  Boy, 
how  them  666ers  knew  Southern  Cal. 
would  be  a  pushover.  Lippert  sportin 
a  new  gal  down  at  the  games.  Love's 
young  dream  finally. 

Then  December  and  that  slow 
Satiddy  afternoon  we  settled  down  to 
a  radio  and  finally  got  the  dope. 
Southern  Cal.  was  smearing  our  be- 
loved Notre  Dame.  Then  the  return 
of  Norman  Alley  from  his  daring  as- 
signment with  the  Flying  Fambly.  And 
the  little  black  book  Norm  let  us  read 
that  he  carried  with  him  containin  the 
diaries  of  four  brave  guys. 

And  then  the  approach  of  Xmas — 
only  a  few  shoppin  days  left — and  the 
startlin  announcement  by  Linnert  that 
he  wuz  through  with  wimmin — for 
good.  There  aint  no  such  thing  as  love, 
says  the  Don  Juan  of  the  newsreel  in- 
dustry. 

And  so  to  bed  with  another  ole  year 
worn  down  and  survived  by  the  ole 
gang.  All  the  big  sidelights  of  it  on 
celluloid  and  canned  away  for  poster- 
ity, but  with  plenty  of  the  celluloid 
left  to  run  through  magic  boxes  in  '33. 

What  will  '33  bring?  What  big 
stories  will  bust?  What  gang  will  pop 
up  to  cover  them?  Anyways  new  faces 
— always  old  faces  poDpin  up  where 
vAn  least  expect  them.  New  lies  by  the 
gang.  Old  lies  dusted  off,  after  hours. 
Newsreelers,  always  pluggin.  Work, 
more  work. 

The  newsreel  game.  "What  a  lousy 
racket."  And  how  them  hombres  love 
that  ole  racket  of  theirs. 

SIX-SIXTY-SIX 

Drinks  on  Jack 

Have  you  heard  the  yarn  they  tell 
on  Jack  Barnett?  Jack  was  assigned 
to  go  down  to  Purdue  and  cover  the 
All  American  footballer,  Horstman. 
Jack  had  his  camera  all  set  up  on  the 
field  waitin  for  the  arrival  of  the  foot- 
ball fellow  when  he  discovered  some 
young   laborer   on   the   field    sizin    up 


January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Nineteen 


Jack's  Akeley,  lookin  through  the 
finder,  etc. 

Well,  Jack  didn't  want  any  laborer 
monkeyin  around  his  precious  Akeley, 
so  he  ups  and  gruffly  orders  away  the 
laborer.  Finally  the  Purdue  coach, 
whom  Jack  knew,  ankles  out  on  the 
field  arm  in  arm  with  the  laborer  and 
over  to  Jack. 

"Jack!"  says  the  Purdue  coach,  pre- 
sentin  the  laborer,  "I  want  you  to 
shake  hands  with  our  ail-American, 
Horstmann!" 

"And  wuz  my  face  red!"  says  Jack, 
"but  you  shoulda  seen  how  swell  that 
guy  looks  in  a  football  uniform.  How 
wuz  I  to  know  that  wuz  him  the  way 
he  wuz  dressed  up!" 


SIX-SIXTY-SIX 


What's  Doin 

I  reads  in  the  International  Photog- 
rapher where  some  fellow  has  opened 
up  a  16mm.  library  for  home  use.  Re- 
minds me  about  ole  Harry  Birch. 
Harry  started  out  with  this  same  idea 
here  in  the  middle  west  two  years  ago 
and  now  has  one  of  the  most  extensive 


libraries  in  the  middle  west  of  16mm. 
stuff  for  home  use. 

Owner  of  projectors  join  Harry's 
club,  "Associated  Film  Libraries,"  and 
have  the  free  use  of  the  library's  films, 
which  include  travelogues,  comedies, 
features  and  industrials. 

Reed  Haythorne  is  very  busy  pur- 
chasing equipment  for  the  next  expe- 
dition he  is  to  make  with  Professor 
Breasted  of  the  University  of  Chicago 
into  far  Asia. 

Verne  Blakeley  has  completed  a 
beautiful  piece  of  photography  on  a 
one-reeler  of  the  World's  Fair.  It  is 
rumored  the  bigger  theaters  of  Chi  is 
plottin  to  spot  Verne's  pix  into  com- 
ing programs  at  the  cinema  palaces. 

Floyd  Traynham  has  went  and  ad- 
opted himself  a  pet  pigeon  which  he 
found  starvin  up  at  the  Daily  Nooze 
lab.  They  is  pals  and  wherever  Floyd 
goes  in  his  car  huntin  down  news  the 
little  pigeon  goes  along  in  the  back 
seat. 

Tuned  in  on  KFI,  Los  Angeles, 
t'other  night  and  heard  the  old  Dope 


hisself  broadcast.  To  make  it  a  double 
header  the  ole  Swede  introduces 
Sammy  Greenwald.  Well,  it  wuz  swell 
to  hear  the  two  of  you,  Ray.  Also 
here's  good  luck  to  one  great  ole 
Swede,  Ray  Fernstrom,  on  his  racket 
of  glorifyin  newsreelers  via  the  ether. 
Go  ahead,  Ray,  we  is  listenin. 


SIX-SIXTY-SIX 


Newsreeler  Goes  Editor 

And  as  I  am  on  my  way  to  a  mail 
box  with  the  above  tripe  I  runs  into  a 
bozo  what  tells  me  they  got  a  new 
hardboiled  picture  editor  over  at  the 
Herald  and  Examiner,  one  of  the  big- 
gest papers  in  the  country.  This  bozo 
also  informs  me  the  hardboiled  picture 
editor  knows  his  onions. 

So  I  checks  up  on  this  tough  editor's 
name  and  I  finds  it  is  Norman  W. 
Alley,  former  newsreeler  ace.  Well, 
now,  it  jest  goes  to  prove  you  gotta 
talk  nice  to  your  buddies  allatime 
nowadays.  You  never  know  where 
these  here  newsreel  fellas  wind  up. 
Congratulations,  Norm,  and  best 
wishes  on  the  new  venture. 


Award  Japanese  Second  Prize  in 

American  Cinematographer  Contest 


SHOWING  the  prize  winning  films 
of  the  amateur  moving  picture 
contest  conducted  by  the  American 
Cinematographer,  an  exhibition  was 
held  December  6  at  Eastman's  Little 
Theatre  in  Hollywood.  Present  were 
motion  picture  writers  on  local  news- 
papers. As  those  who  responded  to 
the  invitation  exceeded  the  capacity 
of  the  16mm.  showroom  it  was  neces- 
sary to  conduct  the  exhibition  in  the 
sound  theatre  with  its  comparatively 
long  throw  and  sound  screen. 

The  handicap  imposed  by  the  long 
throw  was  due  to  the  absence  of  time 
in  which  to  secure  a  longer  cable  or 
lenses  suitable  for  the  distance.  The 
editors  of  the  magazine  estimated  the 
four  subjects  displayed  suffered  in 
diminution  of  light  or  in  photographic 
value  by  at  least  50  per  cent. 

Two  of  the  subjects  shown  were  of 
three  reels,  the  first  and  fourth 
awards,  and  the  other  two  were 
singles.  They  were  put  on  the  screen 
in  inverse  order  of  determined  merit. 

Sponsors  Handicapped 

If  it  be  the  aim  of  the  more  profes- 
sional amateurs,  or  those  who  aspire 
to  the  best  that  is  possible  in  the  mak- 
ing of  screen  entertainment,  to  blaze 
a  path  so  to  speak  that  the  makers  of 
admittedly  professional  subjects  will 
gladly  follow,  then  it  must  be  ad- 
mitted the  amateurs  still  have  a  long- 
road  to  travel.  We  are  assuming  of 
course  that  the  subjects  sent  in  to  this 
competition  are  fairly  representative 
of  the  best  that  is  being  done  in  that 
field  of  activity  in  the  United  States. 

That  to  imply  they  may  not  have  so 
qualified  is  in  no  manner  to  speak  in 
derogation  of  the  contest  results,  as  it 
was  the  first  of  its  kind  in  that  par- 
ticular publication.  Then  again  the 
number  of  better  equipped  contestants 


naturally  would  depend  on  or  be  deter- 
mined by  the  amount  of  cooperation 
extended  the  Hollywood  magazine  by 
the  great  national  organization  de- 
voted to  amateur  "movies,"  Amateur 
Cinema  League,  Inc.,  which  is  backed 
by  a  successful  and  well  established 
mouthpiece. 

It  may  be  interesting  reading  in 
connection  with  the  immediate  fore- 
going to  glance  over  the  opening  pages 
of  Movie  Makers  for  December.  The_ 
subject  is  the  year's  ten  best  amateur" 
films,  the  degree  of  merit  being  deter- 
mined by  the  staff  of  the  publication. 

Two    Hundred    Contestants 

The  Hollywood  publication  awards 
its  third  prize  to  "I'd  Be  Delighted 
To,"  a  single  reel,  produced  by  S.  W. 
Childs,  Junior,  of  New  York.  By 
reason  of  the  second  prize  being 
awarded  to  a  Japanese  the  first  named 
naturally  becomes  the  second  award 
in  the  United  States.  The  same  film 
was  submitted  to  Movie  Makers.  Not 
only  was  it  not  included  in  the  finan- 
cially unrewarded  ten  best,  but  it  is 
named  as  seventh  in  those  subjects 
given  honorable  mention. 

So  it  would  seem  the  prize  winners 
of  the  local  magazine  cannot  fairly  be 
said  to  reflect  the  advance  attained  by 
amateurs  up  to  this  point.  Movie  Mak- 
ers announced  that  nearly  a  thousand 
completed  subjects  were  submitted  for 
judging.  The  local  contest  contained 
a  little  over  two  hundred  entrants. 

Discussing  the  subjects  in  the  order 
in  which  they  were  shown  on  the 
screen,  "The  Black  Door,"  produced 
by  the  Greenbrier  Amateur  Movie 
Club  of  West  Virginia,  was  seriously 
marred  by  the  atrocious  typography 
of  its  subtitles.  Just  one  example  will 
suffice  to  cover  the  point.  That  was 
the  division  of  "command."    The  split 


was  on  the  "co,"  with  "mmand" 
turned.  This  is  not  an  isolated  case. 
Professional  producers  early  learned 
to  their  sorrow  that  titles  are  not  un- 
important. 

Japanese  Picture  a  Marvel 

The  third  award  seemed  to  this  ob- 
server the  best  of  the  American  prize- 
winners. Although  nearly  a  week  has 
elapsed  since  they  were  seen  the  im- 
pression lingers  that  "I'd  Be  De- 
lighted To"  was  superior  to  the  first 
as  well  as  the  fourth  in  the  major  fac- 
tors going  to  make  a  picture.  It  hardly 
will  be  classed  as  a  family  picture,  in- 
asmuch as  it  showed  a  night  out  of  a 
man  and  woman  through  the  medium 
of  hands  and  feet  or  arms  and  legs, 
beginning  with  the  parties  in  their 
respective  bathrooms  and  following  a 
champagne  dinner  winding  up  with  a 
disrobing  finish  and  putting  out  of  the 
light.  No  titles  are  necessary  other 
than  the  main,  which  would  seem  to  be 
self-explanatory.  It  is  all  very  cleverly 
done. 

The  second  award,  "Lullaby,"  from 
the  camera  of  Tatsuichi  Okamoto  of 
Matsuyama,  Japan,  is  a  marvel,  in 
story  or  conception,  in  composition 
and  in  photography.  Distinctly  it  is 
in  a  class  by  itself. 

The  first  award  went  to  "Tarzan, 
Jr.,"  produced  by  Ernest  W.  Page  and 
William  A.  Palmer  of  Palo  Alto,  Calif. 
It  is  a  tale  of  boys  in  a  summer  camp, 
and  undoubtedly  through  their  un- 
critical eyes  will  have  major  interest 
for  those  whose  age  is  near  that  of 
the  players. 


"You  Said  a  Mouthful" 

The  average  executive  in  a  studio  is 
no  match  for  even  the  poorest  paid 
writer  on  the  lot  so  far  as  story  tell- 
ing ability  is  concerned.  This  lack  of 
knowledge  by  the  men  who  have  the 
say  in  all  stories  and  how  they  are  to 
be  treated  accounts  for  most  of  the 
bad  pictures  and  the  low  morale  of 
the  entire  writing  element  here  in 
Hollywood. — Hollywood    Reporter. 


Twenty 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  1933 


EASTMAN 
FILMS 


BRULATOU 


WHAT'S    WHAT! 


Published  Monthly  by  J.  E.  Brulatour,  Inc.,  Distributors,  Ea 


EASTERN  CRITICS'  REPORTS 


Brulatour  Extends  New  and  Valuable  Service  to 
Hollywood  Cameramen 


THROUGH  the  cooperation  of  the  New  York  and  Chicago 
offices  of  J.  E.  Brulatour,  Inc.,  press  clippings  from  those 
two  eastern  cities'  newspapers  reviewing  important  Holly- 
wood productions  will  be  supplied  to  the  cameramen  responsible 
for  the  photography  on  these  pictures. 

It  is  rather  unfortunate  that  the  New  York  and  Chicago  critics 
sometimes    overlook    the    impor-4* 
tance  and  value  of  good  photog- 


raphy in  the  pictures  which  they 
review.  Some  of  the  critics, 
however,  have  given  very  good 
mention  to  the  Hollywood  cam- 
eramen; but  even  when  they  fail 
to  do  this,  reports  on  the  pic- 
tures and  the  reaction  of  east- 
ern audiences  are  vitally  inter- 
esting to  the  photographers. 

All  reviews  on  all  pictures 
opening  in  New  York  and  Chi- 
cago are  promptly  rushed  to 
Hollywood  by  air  mail  and  are 
distributed  by  the  Hollywood 
Brulatour  office  to  the  camera- 
men concerned. 

Through  our  publicity  depart- 
ment we  are  renewing  our  cam- 
paign with  all  metropolitan 
newspaper  critics  in  calling  to 
their  attention  the  fact  that 
photography  is  quite  as  impor- 
tant as  many  other  details  of 
the  features  to  which  they  often 
devote  considerable  valuable 
space. 

We  are  gratified  to  learn  that 
the  publicity  departments  in 
some  of  the  major  studios  also 
have  requested  the  newspaper 
critics  to  give  more  considera- 
tion to  the  photography  on  their 
productions.  Personally,  we 
would  like  nothing  more  than 
to  see  the  names  of  the  camera- 
men in  lights  on  the  marquees 
of  the  theatres  throughout  the 
country,  but  in  the  realization 
that  this  is  a  desire  which  will 
probably  not  soon  be  gratified 
we  are  very  well  repaid  for  our 
renewed  effort  on  behalf  of  the 
cameramen  if  we  generally  con- 
vince the  critics  that  the  pho- 
tography credit  is  one  which 
should  never  be   overlooked. 


Educational  Pictures 


DWIGHT  WARREN  continues  to 
turn  out  unusually  fine  photography 
for  the  Variety  comedies,  released  by 
Educational.  Warren  has  been  with 
Educational  so  long  that  E.  H.  Allen, 
general  manager,  included  the  camera- 
man in  the  general  yearly  inventory 
which   was   taken   this    week. 


Chicago  Notes 

Blakeley   Again  Proves 

His  Genius  as  Artistic 

Photographer 

VERNE  BLAKELEY  of  Chicago 
Film  Studios  has  just  completed  a 
good  will  propaganda  production  for 
the  World's  Fair  Committee.  This 
is  a  beautifully  photographed  pro- 
duction and  is  just  another  example 
of  the  splendid  work  Blakeley  is 
consistently  turning  in. 

The  picture  was  produced  for  the- 
atre showings  here  and  abroad,  and 
it  is  estimated  by  the  committee  it 
will  be  singularly  responsible  for 
bringing  many  thousands  of  people 
to  the  Fair. 

Blakeley's  patience  and  artistic 
temperament  are  completely  ex- 
emplified in  the  many  effect  shots 
he  has  got  .  .  .  and  he  contributes 
a  large  share  of  the  photographic 
success  to  the  Eastman  grayback 
negative  which  he  used  on  the  en- 
tire   picture. 

Ray    Bell    Enjoying    the 
Depression 

The  boys  at  the  Ray-Bell  Studios 
in  St.  Paul  are  grinding  'em  out 
again  as  in  the  good  ol'  days.  The 
cameras  and  sound  recorders  are 
clicking  in  good  style  and  they're 
turning  out  some  corking  good  pic- 
tures, too.  Ray-Bell  are  shooting 
probably  as  much  Multicolor  as  any 
one  in  the  country  at  present,  and 
have  recently  finished  another  color 
production    in    the    Ozarks. 


Paramount 


GILBERT  WARRENTON  is  in  charge 
of  the  photography  on  another  Para- 
mount feature.  This  time  it  is  "Good 
Company,"  under  the  direction  of  Nor- 
man McLeod.  Gil's  second  is  Fred 
Mayer   and   his  assistant   Neal    Beckner. 

VIC  MILNER  is  starting  "Song  of 
Songs,"  featuring  Marlene  Dietrich,  di- 
rected by  Rouben  Mamoulian.  Bill 
Mellor,  second,  and   Guy   Roe,  assistant. 

CHARLES  LANG  has  been  assigned 
to  the  Norman  Taurog-Maurice  Cheva- 
lier picture,  "The  Way  to  Love,"  which 
got  under  way  this  week.  Bob  "Von" 
Pittack  is  the  second  cameraman  and 
Cliff   Shirpser,   the  assistant. 

DAVE  ABEL  continues  at  Paramount 
and  is  presently  shooting  the  William 
Beaudine  production,  "Crime  of  the 
Century."  His  second  is  Ernie  Laszlo. 
and  Jimmie  King  completes  the  crew 
as   assistant. 


RKO 


NICK  MUSURACA  has  finished 
"Scarlet  River,"  a  Western  with  Tom 
Keene,  which  was  directed  by  Otto 
Brower,  and  then  stepped  in  to  pinch- 
hit  for  Eddie  Cronjager  ("flu"  victim* 
on   "Sweepings"   for  a  few  days. 

They  do  say  that  "King  Kong"  is 
nearing  completion.  Now,  EDDIE 
LINDEN  and  J.  O.  TAYLOR  soon  will 
be  able  to  show  the  boys  what's  been 
happening  behind  the  closed  doors  dur- 
ing the  past  many  months. 

"The  Great  Jasper"  is  an  unusual 
and  interesting  angle  on  the  story  of  a 
streetcar  motorman.  It  is  being  photo- 
graphed by  LEO  TOVER,  with  Richard 
Dix  as  the  star.  Joe  Biroc  is  second 
and  Willard  Barth  assistant. 

JACK  MaeKENZIE  finished  another 
Brock  comedy  over  the  week-end.  His 
seconds  were  Fred  Bentley  and  Eddie 
Pyle,  and  his  assistants  Charles  Burke 
and  Harry  Kaufman.  Another  Con- 
stance Bennett  production.  "Our  Bet- 
ters," a  story  of  the  English  aristoc- 
racy, is  under  way  with  Charlie  Rosher 
(as  usual)  at  the  camera,  and  George 
Cukor  directing.  Rosher's  second  is 
Frank  Redman  and  his  assistant  is 
Cecil    Cooney. 

EDDIE  CRONJAGER  is  completing 
"Sweepings,"  the  John  Cromwell  pro- 
duction starring  Lionel  Barrymore.  Bob 
DeGrasse  holds  the  spot  on  the  second 
camera    and    George    Diskant    assistant. 


Universal 

EDDIE  SNYDER  has  finished  in 
quick  succession  "They  Just  Had  to 
Get  Married"  and  "Destination  Un- 
known."   and    is    now    standing    by. 

JOHNNY  HICKSON  finally  got 
enough  time  between  serials  to  do  some 
more  work  on  a  feature  picture, 
"Naganna,"   which  he  finished  recently. 

JERRY  ASH  is  shooting  what  prom- 
ises to  be  a  very  novel  picture  featur- 
ing Chick  Sale  and  a  couple  of  trick 
high  school  dogs  with  a  post-graduate 
college  education.  Zion  Myers,  who 
registered  so  emphatically  with  his 
"barky"  comedies  at  M.G.M.,  is  pro- 
ducing   and    directing    the    picture. 

DAN  CLARK  has  finished  another 
Tom  Mix  Western,  'The  Rustlers' 
Round-Up,"  which  completes  a  very 
busy  year  for  Dan,  including  seven  or 
eight  with  Mix  and  a  special  assign- 
ment for  M.G.M.  With  Dan  on  the 
last  one  were  Norman  De  Vol  as  sec- 
ond, and  Eddie  Jones,  Martin  Glouner 
and    Bill    Dodds   as   assistants. 

CHARLIE  STUMAR  has  just  com- 
pleted photography  on  "Private  Jones," 
featuring  Lee  Tracy,  under  the  direc- 
tion of  Russell  Mack.  King  Gray  was 
his  second  and  John  Martin  and  George 
Trafton  assistants. 

GEORGE  ROBINSON  gets  a  tre- 
mendous thrill  every  time  he  starts  the 
camera  to  shoot  Clyde  Beatty  in  "The 
Big  Cage,"  which  Curt  Neuman  is  di- 
recting. About  fifty  lions  and  tigers  to- 
gether in  an  enormous  cage,  and  some 
of  them  not  exactly  friendly.  With 
Robinson  are  Al  Jones  and  Jake  Kull 
as  seconds  and  Paul  Hill,  Lloyd  Ward 
and   Jack    Eagan    as   assistants. 

LEN  POWERS  is  starting  another 
with  Warren  Doane.  which  will  be  di- 
rected by  George  Stevens. 


Faxon  Dean  Finishing 

At  the  Trem  Carr  Studios  Faxon 
Dean  has  just  finished  another  Bob 
Steele  production.  "Trail  of  the  Yukon," 
under  the  direction    of  J.    P.    McCarthy. 


OUR  PA1 


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^^^^c^<f    l" 


Columbia 


Joe    Walker    is    standing    by    for 
signment    on    a    production    which   * 
start   about   January   4. 

AL  SIEGLER  has  completed  the  I 
est  Buck  Jones  picture,  "Lost  Vai 
Gold."  This  one  is  directed  by  Lamb 
Hillyer:  F.  M.  Browne,  second  camel 
George  Kelley  and  Mike  Walsh, 
sistants. 

TEDDY    TETZLAFF   has   started 
Clarence    Badger    production,    "Feve 
His    second    is   Henry    Freulich    and 
assistants    are    Jack    Anderson    and 
Keller. 

BENNY  KLINE  winds  up  anotl 
Irving  Briskin  Meteor  production  stl 
ring  Tim  McCoy.  Ross  Lederman 
the  director.  Kline's  staff:  F. 
Browne,  second,  Fred  Dawson  a 
Jimmy  Goss,  assistants. 


January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-one 


t  BULLETIN 


EASTMAN 
FILMS 


b°   -XPDC-3- 


ilms,  in  Cooperation  with  The  International  Photographer 


WHO'S    WHO! 


ETTER 


7v^C: 


ascot  Serial  Finis 


Miller  has  turned  in  final 
the  Mascot  serial  which  was 
•ly  directed  by  Al  Herman  and 
irk  for  Nat  Levine,  and  which 
the  tag  of  "Whispering  Sha- 
Associated  with  Miller  on  the 
sta'.f  were  Vic  Scheurich  and 
yons,  seconds,  and  Monty  Stead- 
)e    Lykins,     William    Jolley    as 


npson  Again  for  Foy 

Thompson,  who  is  the  Number 
of  the  camera  department  at 
,n  Foy  Studios  in  Culver  City, 
another  picture  on  his  home 
lay  after  Christmas. 


M.6.M. 


NORBERT  BRODINE  has  just  fin- 
ished "Whistling  in  the  Dark."  under 
the  direction  of  Elliott  Nugent  at  the 
M.G.M.  Studios.  He  was  immediately 
called  by  another  studio  (there  being 
no  other  immediate  assignment  avail- 
able at  the  Metro  plant),  and  probably 
will  be  away  from  his  home  lot  for  at 
least  a  month.  On  the  Nugent  picture 
Brodine  was  seconded  by  Dick  Wade 
and  assisted  by  Roy  Noble  and  Charley 
Straumer. 

The  second  unit  of  "Whistling." 
under  the  direction  of  Charley  Reisner, 
is  photographed  by  Charles  Clarke,  who 
moved  to  the  Metro  plant  from  Fox 
immediately  upon  completion  of  "Hot 
Pepper"   at  the   Movietone   City   plant. 

HAL  ROSSON  is  putting^ the  finish- 
ing touches  on  "Pig  Boats,"  the 
M.G.M.  submarine  epic.  Hal  has  been 
so  busy  (and  so  have  we)  that  we 
have  not  had  time  to  interview  him  on 
his  impressions  of  Hawaii,  but  when 
we  just  casually  mentioned  the  subject 
he  coyly  closed  his  eyes  and  registered 
high  on  the  red  side.  Apparently, 
then,  everything  was  just  dandy,  and 
perhaps  Hal  still  has  fresh,  vivid 
memories  of  .  .  .  well — never  mind. 
Why  go  into  that? 

OLIVER  MARSH  continues  with 
"Turn  About,"  the  Joan  Crawford  pic- 
ture, and  as  usual  is  seconded  by  Eddie 
Fitzgerald  and  assisted  by   Kyme  Meade. 

MERRITT  GERSTAD  is  turning  in 
the  final  scenes  on  the  Brabin  produc- 
tion, "The  Lady."  Merritt  is  seconded 
by  Paul   Vogel. 

JACK  DRAPER,  who  has  knocked 
about  the  world  for  many  years  and 
turned  a  crank  in  most  corners  of  it, 
has  been  handling  the  photographic 
assignment  here  on  the  second  unit  of 
"Turn  About."  This  unit  is  directed 
by  Dick  Rosson.  Draper  is  seconded 
by  Ray  Ramsey  and  assisted  by  Cecil 
Wright  and   Glen   Strong. 


Warner   Brothers 


SOL  POLITO  is  getting  first-hand 
information  on  the  methods  of  news- 
paper photographers  who  get  their  pic- 
ture in  the  Jim  Cagney  production, 
"The  Picture  Snatcher,"  which  Lloyd 
Bacon  is  directing.  Sol's  second  is 
Mike  Joyce  and  Speed  Mitchell  is  his 
assistant. 

SID  HICKOX  continues  on  with 
"Grand  Central  Airport,"  starring 
Richard  Barthelmess  and  being  directed 
by  William  Wellman.  Tommy  Bran- 
nigan  is  the  second  man  and  the  as- 
sistant is  Wesley  Anderson.  This  being 
one  of  those  air  thrillers  we  naturally 
find  the  old  cloud  maestro  ELMER 
DYER  doing  his  stuff  at  a  high  altitude. 

JIMMY  VAN  TREES  finished  the 
George  Arliss  production  "The  King's 
Vacation"  and  then  took  one  for  him- 
self, running  away  to  his  mountain 
ranch  in  the  Sespes,  where  he  will  re- 
main until  the  end  of  the  first  week 
in  the  New  Year.  On  the  Arliss  pic- 
ture Lou  Jennings  held  the  spot  as 
second,  while  Jim  Van  Trees,  Jr.  was 
the  assistant. 

ARTHUR  TODD  finished  "The  Blue 
Moon  Murder  Case"  on  Stage  Two  and 
jumped  over  to  Stage  Four  on  "She 
Had  to  Say  Yes,"  which  is  the  initial 
directorial  assignment  (at  Warners  I  for 
George  Amy.  a  bright  young  fella  who 
was  for  many  years  associated  with 
C.  C.  Burr  and  Johnny  Hines  Produc- 
tions. Billy  Schurr  and  Lou  De  Angelis 
are   Todd's   playmates   on    this    one. 

CHICK  McGILL  took  his  new  Christ- 


EDITORIAL 


HAPPY  NEW  YEAR! 
The  Brulatour  Bulletin  starts  its  second  year. 
Its  first  year  has  been  most  gratifying  to  its  publishers  and 
(we  are  told)  its  readers.  We've  had  many  nice  compliments 
and  up  to  this  moment  no  libel  suits.  We've  made  many  new 
friends  and  no  enemies.  Mainly  (as  news)  we've  stuck  to  facts 
and  when  facts  were  disregarded  we've  frankly  labeled  our  items 
as  nice  polite  gags. 

Feature  news  items  in  every  past  issue  of  The  Bulletin  have 
dealt  with  Hollywood  cameramen  who  have  been  called  (or  sent) 
into    foreign   fields.      These    photographers    have   set   up    the   old 

camera  in  practically  every 
country  in  the  world — civilized 
and  otherwise.  Without  excep- 
tion these  men  whose  trips  we 
have  reported  have  insisted 
upon  Eastman  Supersensitive 
Panchromatic   Negative. 

The  producers  spent  hundreds 
of  thousands  of  dollars  on  these 
expeditions  and  the  cameramen 
took  no  chances.  Not  a  single 
photographic  failure  resulted. 
In  every  instance  the  judgment 
of  the  cameraman  was  con- 
firmed. That,  good  friends,  is  a 
record  of  which  to  be  proud. 

In  Hollywood  this  same  fine 
negative  clicked  through  to  the 
extent  of  many  millions  of  feet 
as  scenes  were  photographed  of 
everything  from  animated  car- 
toons to  westerns  and  the  most 
pretentious  of  the  super  fea- 
tures. 

The  cameraman  has  mastered 
Eastman  fast  film.  The  labora- 
tories have  glorified  it.  The 
stars  have  shone  more  brightly 
because  of  it,  and  hundreds  of 
exhibitors  have  been  compli- 
mented by  their  patrons  because 
of  the  beautiful  screen  quality. 
Eastman  Kodak  Company  has 
made  another  splendid  contri- 
bution to  the  screen,  and  we  are 
justly  proud  of  the  part  we 
have  been  privileged  to  play  as 
the  middlemen  between  the 
manufacturer  and  the  photog- 
rapher. 

It  has  always  been  our  aim 
to  render  to  the  photographer 
and  technician  a  cheerful  and 
helpful  service.  We  have  the 
man  power,  the  knowledge  and 
experience  plus  an  incessant  in- 
clination to  help  in  every  situa- 
tion. We  try  to  anticipate  your 
wants  and  your  needs,  but  if 
we've  unconsciously  missed  on  a 
few  points  you'll  favor  us  and 
yourself  by  telling  us  about  it. 

The  Brulatour  Bulletin  is  our 
public  mouthpiece — and  yours. 


Movietone  City 

BUD  FISHER,  executive  directly  in 
charge  of  the  Fox  camera  department, 
informs  us  that  George  Barnes  is  turn- 
ing in  his  usual  high  calibre  photog- 
raphy on  the  Lanfield  production, 
"Broadway  Bad."  Barnes  is  seconded 
by  Herbert  Van  Dyke  and  assisted  by 
Maurice  Kains  and  Ted  Wiesbart. 

BOB  PLANCK  is  photographing  an 
original  Spanish  version  of  "King  of 
the  Gypsies,"  directed  by  Dick  Strayer. 
Bill  Dietz  and  Paul  Garnett  are  sec- 
onds, and  Planck's  assistants  are  R. 
Sherman  and  F.   McDonald. 

ERNIE  PALMER  and  L.  W.  O'CON- 
NELL  have  finished  the  final  insert  in 
"Cavalcade,"  the  Fox  super-production 
which  is  scheduled  to  open  at  Grau- 
man's  Chinese  early  in  January. 
Palmer  has  tentatively  been  assigned 
to  another  production  tagged  "Pleasure 
Cruise." 

ARTIE  MILLER  has  been"  assigned 
to  Raoul  Walsh's  next  picture,  "Bad 
Boy."  Production  is  scheduled  to  start 
iny  minute. 

HAL  MOHR  has  finished  production 
m  the  Henry  King  picture,  "State 
Fair,"  and  will  see  the  New  Year  in 
"between   pictures." 

JOHN  SEITZ  is  photographing  the 
Tuttle  production.  "Dangerously  Yours." 
rlis  second  is  D.  Anderson  and  his  as- 
sistants are  Luis  Molina  and  J.  Van 
Wormer. 

L.  W.  O'CONNELL  will  probably  be 
it  the  camera  on  Jack  Dillon's  forth- 
coming Fox  production.  "The  Road  to 
Heaven." 


Roach  Studios 

Culver  City  comedy  plant  has  been 
very  busy  during  the  month  of  Decem- 
ber. Art  Lloyd,  Hap  Depew  and  Wal- 
ter Lundin  put  on  the  pressure,  how- 
ever, to  get  everything  finished  by  De- 
cember 23,  upon  which  date  the  studio 
closed.  Will  remain  dark  until  Janu- 
ary 9. 


mas  auto  and  covered  most  of  Califor- 
nia over  the  holidays,  but  is  now  back 
on  the  job  and  is  photographing  Kay 
Francis  in  "Keyhole,"  which  is  being 
directed  by  Michael  Curtiz.  Kenneth 
Green  is  the  second  and  Bill  Whitley 
assistant. 

TONY  GAUDIO,  who  has  been  tak- 
ing bows  right  and  left  on  his  photo- 
graphic achievement  in  "The  Mask  of 
Fu  Manchu"  at  M.G.M.,  is  back  again 
at  the  Warners-First  National  lot 
photographing  "Ex-Lady."  His  second 
is  Al  Greene  and  his  assistant  Johnny 
Shepek. 


Twenty-i  wo 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  1933 


'Shooting  Moonshiners  Has  Risks 


Hazard  Runs  Even  When  Cameraman  Is  Native 

of  Feud  County  in  Eastern  Kentucky  and 

Works  with  Revenuers'  Knowledge 

By  PERCY  KNIGHTON 


BREAKING  down  barrier  after 
barrier  to  gain  an  objective  at 
most  any  sacrifice  is  the  motto  of 
the  real  adventurer.  In  this  instance 
the  title  of  the  story  implies  that  the 
risk  one  has  to  take  is  the  risk  of  life 
itself — and  life  is  very  precious  to 
most  of  us. 

At  a  glance,  or  rather  at  the  men- 
tion of  old  Kentucky,  one  readily  re- 
members stories  told  of  the  feuds,  re- 
bellions and  liquor  disputes  of  that 
section  of  America.  However,  let  it 
be  fully  understood  that  Kentucky 
and  its  folks  believe  that  a  certain 
hereditary  right  exists  regarding  the 
manufacture  of  the  stuff  better  known 
as  "mountain  dew." 

Also  let  it  be  understood  the  only 
methods  and  means  the  inhabitants  of 
Kentucky  have  of  making  commerce 
and  progress  are  not  this  business  of 
moonshining.  Perhaps  the  word  prog- 
ress is  the  wrong  word  in  a  sense. 
Hence  it  might  be  said  that  Kentucky, 
with  all  due  respect  to  all  the  glorious 
families  and  their  hospitality,  has  not 
changed  a  great  deal  in  the  past 
years.  Conflicting  as  various  opinions 
may   be,   Kentucky   is   reminiscent   of 


that  great  poet  Thomas  Gray  and  of 
how  he  wrote  in  his  Elegy: 
Along  the  cool  sequestered  vale  of  life 
They  keep  the  noiseless  tenor  of  their 
way. 

It  is  very  true.  Nothing  much  in 
the  affairs  of  great  world  change 
affects  these  folk — especially  in  the 
interior  of  Kentucky. 

Perhaps  we're  a  little  ahead  of  the 
story.  For  there  are  many  thrilling 
details  in  the  mere  idea  of  trapping 
Kentucky  moonshiners. 

Who's  Who  in  Party 

First,  there  were  two  young  men 
and  a  woman  involved  in  the  Big 
Idea. 

Being  a  southerner,  allow  first  mem- 
tion  to  be  made  of  the  heroine  of  the 
drama.  Clara  F.  Borden,  a  woman 
with  insight  into  the  finer  things  of 
life,  had  confidence  in  the  principle 
of  an  idea  that  embodied  the  produc- 
tion of  motion  pictures. 

And  the  confidence  will  be  carried 
into  the  affairs  of  a  corporation  re- 
cently formed  in  Hollywood  to  blaze 
unknown  trails  in  motion  pictures. 
The  next  well  earned  compliment  may 


Photograph  of  Kent  mini  moonshiners  and  officers  after  an  arrest.     As  many 

more    authorities    are    standing    guard    behind    them.      Percy    Knighton    and 

Joe  Lykins  are  in  the  foreground. 


be  given  to  Joe  Lykins,  who  photo- 
graphed an  incident  that  has  never 
before  been  recorded  since  the  incep- 
tion of  the  motion  picture  camera.  It 
just  happens  the  photographer  was 
raised  in  the  feud  belt  of  Eastern 
Kentucky. 

Long  live  the  Borden  Pictures  Cor- 
poration ! 

After  many  weary  miles  of  travel 
over  this  great  continent  we  arrived 
close  to  our  destination — the  interior 
of  old  Kentucky. 

Here  we  found  that  people  lived 
almost  as  in  primitive  days.  As  we 
traveled  on  we  learned  children  were 
starving;  that  mothers,  prospective 
and  otherwise,  were  being  neglected 
in  almost  every  modern,  human  way. 
Accordingly,  all  tried  to  do  what  we 
could  in  our  small  way  to  alleviate 
some  situations,  but  nothing  in  the 
form  of  charity  would  be  accepted. 

Glad  Hand  Withheld 

We  argued  with  one  man.  We  said 
it  is  better  to  have  a  half  loaf  than 
no  loaf  at  all — and  he  said  that  for 
the  past  thirty  years  he  had  got  along 
very  well  before  he  ever  knew  us,  so 
why  should  he  worry  about  a  half 
loaf  or  a  whole  one  either.  He  did 
not  understand  our  viewpoint. 

Besides,  every  mountaineer  we  met 
already  had  decided  that  there  was 
no  good  purpose  in  our  presence 
there.  So  naturally  we  had  to  be  very 
careful  in  our  movements. 

Of  course,  in  some  ways  slight 
change  has  taken  place  regarding  the 
whisky  situation — as  for  instance, 
perhaps  there  are  not  as  many  moon- 
shiners operating  nowadays  as  there 
were  a  hundred  years  ago.  Naturally, 
the  government  has  endeavored  to 
destroy  as  much  liquor  traffic  as  pos- 
sible, but  personally  I  believe  the 
Kentucky  folk  who  make  their  own 
moonshine  are  similar  in  a  way  to  the 
Italians — who  must  have  their  wine. 

Wine  to  an  Italian  is  like  coffee  to 
Americans — hence  moonshine  to  the 
mountaineer.  And  there  is  no  argu- 
ment either  with  the  presses  of  Amer- 
ica or  the  federal  government  or  the 
moonshiner. 

However,  making  corn  liquor  is  not 
the  only  flourishing  occupation  of  the 
Southern  folk  and  drinking  it  is  not 
the  only  pastime. 

After  all  is  said,  there  are  many 
industries  of  the  South  that  have 
absolutely  nothing  to  do  with  the  so- 
called  illicit  manufacture  of  white 
mule.  Kentucky  is  a  beautiful  state 
and  its  people — especially  its  wom- 
en— match  the  scenery. 

After  encountering  many  interest- 
ing matters  pertaining  to  the  cus- 
toms and  habits  of  the  folk  in  the  in- 
terior of  Kentucky  we  bore  further 
and  further  into  the  hidden  folds  and 
rugged  countryside  of  the  mountain. 

Inalienable  Right 

According  to  history  moonshiners 
believe  the  manufacture  of  whisky  is 
hereditary  to  an  extent  and  they  re- 


January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-threi 


gard  such  a  law  of  abolition  as  an 
intrusion  upon  their  rights.  They  be- 
lieve it  to  be  an  invasion  upon  their 
own  American  liberty — since  crops 
are  often  scanty — and  that  distilling 
is  one  of  the  means  by  which  they 
dispose  of  their  farm  product. 

We  fully  realized  it  was  almost  an 
impossibility  to  execute  our  primary 
idea  unless  we  shadowed  some  "reve- 
nuers"  as  they  went  on  the  great 
hunt  for  a  still.  We  did  this  and  the 
officers  were  aware  of  it.  We  were 
very  careful  not  to  jeopardize  their 
intentions  or  movements  in  any  way, 
and,  by  this  method  of  stalking  and 
keeping  well  concealed  in  the  under- 
brush and  heavy  foliage  we  were  en- 
abled to  accomplish  our  purpose. 

Photographic  Troubles 

At  times,  however,  it  almost  seemed 
utterly  impossible  for  us  to  gain  a 
vantage  point  where  we  might  even 
use  a  telephoto  lens.  This  we  finally 
did  after  much  difficulty  and  patience. 
There  were  times  when  we  had  to 
climb  hills  that  were  almost  straight 
up — so  rugged  and  steep  were  they 
that  ropes  were  used  and  some  of  our 
equipment  had  to  be  dragged  after  we 
got  a  footing. 

We  made  plenty  of  noise,  and  we 
feared  discovery  by  the  moonshiner's 
lookout  man.  Had  this  gentleman 
ever  spotted  us  it  would  have  been  all 
off — both  for  us  and  the  authorities. 

We  were  far  away  when  we  spotted 
the  moonshiners  and  we  placed  our- 
selves directly  between  the  authorities 


Typical  Kentucky  family  in  the  deep  interior  and  cabin  over  two  hundred  years 

old.    Against  the  fence  in  the  background  is  seen  a  loom  said  to  be  over  two 

hundred  years  old,  a  historic  relic  of  early  days. 


and  the  distillers — a  very  dangerous 
position,  and  any  blunder  on  our  part 
or  of  the  officers  might  have  proved 
fatal,  as  we  would  have  been  an  ex- 
cellent target  for  gunfire! 


After  securing  the  picture  we  lost 
no  time  in  preparing  for  immediate 
return.  Jack  Nelson  will  handle  the 
distribution  of  the  picture,  which  has 
been  recorded  on  RCA-Photophone. 


From  'Animal Kingdom" to  Thoughts 
on  Judge  Willzerson  's  Withdrawal 


A  LITERARY  as  well  as  a  dra- 
matic gem  is  RKO's  "Animal 
Kingdom,"  with  Ann  Harding, 
Leslie  Howard  and  Myrna  Loy  in  the 
top  parts.  It  is  rather  a  long  subject, 
as  a  real  feature  should  be.  It  is  long, 
but  it  does  not  lag,  and  after  all  that 
is  the  only  test.  Easily  it  should  rate 
as  one  of  the  major  subjects  of  a  year. 
That  does  not  mean  necessarily  one 
of  the  "ten  best,"  for  after  all  what 
human  being  whether  inside  a  print- 
shop  or  outside  of  it  is  so  endowed 
with  wisdom  as  unerringly  to  select 
out  of  six  or  eight  hundred  subjects 
the  ten  that  actually  stand  out  above 
all  others  ?  For  that  matter  how 
many  persons  see  a  half  of  that  six  or 
eight  hundred  in  the  course  of  a 
year? 

Why  will  a  producer  when  a  story 
is  running  easily  and  fluently  and 
without  a  trace  of  smut  suddenly 
smack  into  a  bit  of  dirt  and  leave  it 
to  smear  the  whole  subject? 

The  more  smut  or  off-color  wise- 
cracking there  is  in  a  picture  the  less 
attention  any  one  instance  attracts. 
Of  course,  its  appearance  in  any  case 
indicates  the  belief  of  the  producer 
that  the  picture  is  weak  to  just  that 
extent,  that  it  requires  the  assumed 
boost   to    get    it    above    the    level    of 


mediocrity  over  which  it  is  conceded 
the  subject  cannot  rise. 

There's  just  one  incident  of  this 
sort  in  "Animal  Kingdom,"  and 
emerging  from  this  brilliantly  told 
story  it  most  distinctly  creates  a  false 
note.  It  will  be  interesting  to  learn 
what  Rockefeller  junior  said  when 
that  false  note  fell  on  his  ear  at  the 
opening  of  Radio  City. 

Which  suggests  that  it  may  be  in- 
teresting to  follow  what  influence 
may  be  exercised  on  picture  stories  by 
the  entrance  into  the  industry  of  the 
Rockefeller  fortune. 

It  was  the  day  before  Christmas, 
maybe  two  days  before,  when  on 
Santa  Monica  Boulevard  we  were 
hailed  by  Glenn  Kershner.  The  rain 
was  coming  down,  and  the  invitation 
to  enter  his  car  was  accepted.  An 
introduction  followed  to  Loring-  An- 
drews, musician  and  author,  who  has 
written  "Isles  of  Eden"  and  "Hori- 
zon Chasers"  and  a  third  yet  to  be 
published.  Andrews,  by  his  intro- 
ducer and  also  incidentally  by  his  new 
manager,  was  described  as  the  man 
who  went  around  the  world  on  a  gui- 
tar. It  just  happened  that  guitar  was 
in  the  car.  The  impulsive  Kershner 
dragged  his  companion  out  of  the  ma- 


chine and  with  him  a  guitar  and  an 
accordeon  and  slipped  into  the  ad- 
joining Eastman  laboratory. 

There  for  fifteen  minutes  Andrews 
entertained  with  that  guitar  so  nota- 
ble for  its  transportation  potentiali- 
ties, first  with  a  bit  of  Russian  music, 
then  with  a  Spanish  song  and  accom- 
paniment, and  then  with  a  dash  of 
wild  stuff  from  the  South  Sea  islands, 
his  companion  meanwhile  squatted  on 
the  floor  and  with  his  flattened  hands 
beating-  time  on  the  linoleum. 

It  was  in  the  islands  the  two  men 
had  first  met.  It  easily  may  be  be- 
lieved these  two  could  highly  enter- 
tain the  simple  denizens  of  the  South 
Seas.  They  will  be  able  to  do  it  just 
as  certainly  on  Broadway.  The  pros- 
pects for  the  future  of  this  new  alli- 
ance are  expanding  daily,  of  this  team 
of  grown-ups  with  the  fire  and  enthu- 
siasm of  youth. 

*     *     * 

Hardly  had  we  said  good-bye  to 
Andrews  and  Kershner  when  we  col- 
lided with  J.  Stuart  Blackton.  Con- 
gratulated on  his  remarkable  drawing 
of  Edison  printed  in  our  December 
issue  and  incidentally  on  behalf  of  the 
magazine's  readers  heartily  thanked, 
the  commodore  told  many  interesting- 
things  about  Edison,  with  whom  in 
later  years  he  became  very  friendly 
as  well  as  closely  associated  in  an 
industry  way. 

At  the  time  the  drawing  was  made 
— it  was  only  a  matter  of  three  or 
four  minutes — the  artist  sought  to 
interview  the  inventor.  He  suddenly 
discovered   the   questions    were   being 


Twenty-four 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  1933 


asked  by  the  unexpected  if  inquiring 
reporter.  Edison  never  gave  the  vis- 
itor a  chance  to  ask  questions — he 
kept  him  busy  answering  them. 

By  the  way,  the  commodore  is  pre- 
paring for  readers  of  International 
Photographer  a  sketch  of  the  first  Vit- 
agraph  studio,  second  only  in  priority 
to  the  Edison  Black  Maria,  a  photo- 
graph of  which  was  shown  in  these 
pages  last  month.  The  location  was 
the  roof  at  140  Nassau  street,  New 
York,  which  as  a  studio  later  was  suc- 
ceeded by  116  Nassau.  The  numbers 
had  interest  for  this  scribe,  as  he  at 
that  time  was  one  of  the  Press  Wheel- 
men at  120  Nassau  who  religiously 
morning  after  morning  watched  the 
sma'  hours  grow  less  sma'  what  with 
the  pasteboards  and  drinks,  etcetera. 
The  honors  in  these  pastimes  seemed 
to  fall  to  the  soft  or  non-riders  as 
distinguished  from  the  hard  riders — 
in  other  words,  for  instance,  those 
who  participated  in  century  runs  to 
Patchogue,  one  of  them  on  the  hot- 
test day  of  the  year. 
*     *     * 

Under  the  auspices  of  the  west 
coast  branch  of  the  Society  of  Motion 
Picture  Engineers  Walt  Disney  re- 
cently entertained  in  his  studio  mem- 
bers of  that  body  and  their  friends. 
The  session  opened  with  a  bit  of  rou- 
tine business  of  the  organization.  Then 
came  the  showing  of  the  first  Mickey 
Mouse  comedy  in  sound.  It  was 
"Steamboat  Willy,"  and  after  four 
years  it  still  is  plenty  funny. 

Then  came  the  reading  by  William 
E.  Garrity,  chief  technical  engineer  of 
the  studio,  of  a  paper  on  the  making 
of  filmed  cartoons.  It  was  disclosed 
that  on  the  Disney  lot  sixty  animators 
are  employed.  Three  classifications 
mark  this  division  of  studio  activity — 
artists,  animators  and  artist-anima- 
tors. 

The  distinction  is  that  the  artists 
create  the  designs  which  the  anima- 
tors follow,  and  in  some  instances  the 
artist  may  do  animating.  It  was 
pointed  out  by  the  engineer  that  in 
the  interest  of  cohesion  a  finished  art- 
ist entering  the  studio  as  an  animator 
must  submerge  his  own  style  and  fol- 
low the  lines  that  would  contribute  to 
the  uniformity  of  the  whole. 

It  was  stated  that  if  an  animator 
during  the  day  had  created  enough 
drawings  to  be  translated  into  five 
feet  of  film  he  had  done  a  good  job. 
That  would  mean  80  drawings,  pro- 
viding but  one  were  used  to  a  frame, 
as  is  not  always  the  case.  On  the 
screen  three  and  a  third  seconds 
would  be  required  to  show  them.  The 
number  of  drawings  necessary  for  a 
700-foot  Mickey  Mouse  comedy  some- 
times runs  as  high  as  15,000.  The 
camera  work  on  the  average  footage 
requires  100  hours'  time. 

After  the  conclusion  of  the  paper 
the  hundred  persons  in  attendance 
were  thrilled  by  seeing  on  the  screen 
the  latest  Disney  cartoon,  "Santa's 
Workshop."  It  is  the  last  word  in 
sound  and  color.  That  means  it  has 
been  recorded  on  RCA's  Highest 
Fidelity — and  after  hearing  it  repro- 
duced you  know  that  seeming  detail 
means  much  in  the  way  of  entertain- 
ment— and  it  has  been  photographed 


in  Technicolor's  new  three-color  sys- 
tem. 

The  picture  has  been  under  way 
since  last  August.  It  is  a  screen  treat 
the  like  of  which  picturegoers  never 
previously  have  looked  upon.  In  one 
sequence  especially  a  small  army  of 
gnomes  are  at  their  benches  in  the 
workshop.  All  of  them  move  simul- 
taneously. Synchronization  of  the 
work  of  artist  and  musician  seeming- 
ly is  perfect,  a  matter  of  large  im- 
portance in  cartoon  making,  as  En- 
gineer Garrity  had  pointed  out. 

The  outstanding  feature  of  the  en- 
tire subject  is  the  singing  by  Santa 
Claus.  The  combination  of  Santa's 
vivid  colors  of  costume  and  face  and 
the  rare  quality  of  the  rich  bass  voice 
fitted  to  the  character  create  an  im- 
pression that  will  last  a  long  time. 

The  second  late  release  exhibited 
was  "Building  a  Building,"  in  black 
and  white.  Mickey  and  Minnie  are 
shown  in  adventures  around  the  skele- 
ton beams   of  a  growing  skyscraper. 

It  closed  a  remarkable  entertainment. 

*     *     # 

Those  who  for  years  have  followed 
the  encroachments  on  human  rights 
through  the  medium  of  government 
by  injunction  will  experience  grim 
satisfaction  in  learning  Federal  Judge 
James  H.  Wilkerson  of  Chicago  has 
requested  President  Hoover  not  to  re- 
submit to  the  Senate  his  nomination 
for  promotion  to  the  Circuit  Court. 

The  President  in  reply  deeply  re- 
gretted the  decision  of  Wilkerson, 
adding  he  is  "confident  the  people  at 
large  feel  as  I  do  about  the  important 
and  devoted  service  you  have  given 
and  the  high  contribution  you  have 
made  to  the  standing  of  the  judiciary 
of  the  United  States." 

Plainly  Wilkerson  made  a  virtue  of 
necessity,  as  there  was  not  a  chance 
of  his  confirmation.  The  President 
must  have  had  his  tongue  in  his  cheek 
when  he  dictated  those  bouquets  about 
"important  and  devoted  service"  and 
"high  contribution  to  the  standing  of 
the  judiciary." 

The  pliant  judiciary  committee  of 
the  Senate  had  favorably  reported  the 
nomination,  but  the  Senate  put  it  on 
ice. 

Wilkerson's  chief  offense  against 
the  elemental  principles  of  justice  ad- 


ministration was  when  in  1922  during 
the  railroad  shopmen's  strike  he 
played  yes  man  to  that  fellow  legal 
luminary  Attorney  General  Daugher- 
ty  and  gave  life  to  the  arbitrary  in- 
junction demanded  by  the  latter. 

Even  the  so-called  conservative 
United  States  Senate  is  beginning  to 
listen  to  reason,  not  because  some  of 
its  members  enjoy  any  less  the  doing 
of  substantial  favors  for  their  impor- 
tant corporate  friends  and  mentors, 
but  they  do  enjoy  the  more  a  little 
longer  keeping  outside  the  breast- 
works of  the  lame  duck  battalion.  It 
is  only  when  by  the  people  they  finally 
are  lifted  into  that  category  that 
many  "servants  of  the  people"  really 
become  good  Senators. 

Government  by  injunction  has  been 
a  thorn  in  the  side  of  the  workers  for 
forty  years.  It  was  an  outcropping 
of  the  growing  machine  age.  It 
sought  to  control  by  chicanery,  by 
conspiracy  between  corporation  and 
corporation-owned  bench,  what  it 
could  not  control  in  the  open. 

It  aimed  to  and  actually  did,  by  the 
mandate  of  a  single  judge,  automat- 
ically denominate  a  felony  that  which 
the  laws  of  the  land  declared  to 
be  entirely  legal.  And  when  some  de- 
luded but  persistent  soul  insisted  on 
continuing  to  do  what  the  laws  of  the 
country  permitted  him  so  to  do, 
wrongly  assuming  he  had  the  "in- 
alienable right"  of  a  citizen  so  to  do, 
he  found  himself  unceremoniously 
hauled  into  court — the  court  of  the  in- 
junction judge  and  never  any  other — 
and  without  a  chance  of  trial  by  jury 
was  sent  to  jail  as  a  felon  because 
the  judge  said  he  had  violated  the 
terms  of  the  injunction,  his  injunc- 
tion— in  other  words,  his  crime  was 
contempt  of  court. 

The  President  may  have  been  right 
when  he  said  "the  people  at  large" 
would  join  him  in  recognizing  the 
"high  contribution"  Wilkerson  had 
made  "to  the  standing  of  the  judiciary 
of  the  United  States."  Yes,  and  it  is 
entirely  within  reason  that  some  of 
those  still  "at  large"  should  be  on  a 
rock  pile  expiating  in  an  infinitesimal 
degree  some  of  the  high  crimes  they 
have  committed  against  the  rights  of 
American  mankind  guaranteed  by  the 
character  of  its  liberties.  G.  B. 


®f)e  3 op*  of  Christmas 

THE  Night  Before  Christmas  after  all  is  done — the  tree  has  been 
set  up  and  all  our  heart  gifts  have  been  spread  about.  Then  do 
we  sit  back  for  a  few  moments  and  reflect.  And  turning  back 
the  Leaves  of  Times  we  wonder  which  of  all  Christmas  days  were  the 
happiest  in  our  lives. 

Was  it  when  we  ourselves  were  but  small  kiddies  and  with  anxious 
heartbeats  the  Night  Before  Christmas  we  were  sent  off  to  bed  early, 
awakening  Christmas  morn  with  gladness  and  shouts,  squatting  our- 
selves on  the  floor  in  our  nighties  with  no  thought  of  breakfast.  Or — 
Were  we  happier  when  in  our  earlier  married  life  we  repeated  the 
same  story  of  the  Night  Before  Christmas  for  our  own  first  born,  as 
our  own  parents  did  for  us.    Or — 

Are  we  happier  now  in  the  twilight  of  our  lives  repeating  the  same 
story  this  Christmas  for  our  grandchildren? 

Yes,  I  wonder  at  which  age  did  we  derive  the  most  happiness.  But 
reflecting  upon  it  all  Christmas  does  bring  joys  to  gladden  our  hearts, 
regardless  of  age,  whether  it  be  one  year  or  seventy. 

J.  JAY  CASTLE. 


Gordon   B.   Pollock   brings    back  from  Paris   with   him   this   reproduction   of   the   colonnade   of   the   Hotel 
Crillon,  a  structure  that  sheltered  so  many  American   notables  during  and  after  the  war. 


***** 


Qream  a  th  Stills 


Joe  Brown  and 
Ginger  Rogers 
on  shipboard 
Catalina  bound 
rehearse   for 
First   National's 
"You  Said  a 
Mouthful."  Photo 
by  Scotty  Welbou7-ne. 


One  of  the 

sequences   in 

R  K  O's 

'No  Other  Woman" 

which  if  memory 

serve  landed 

on    the 

cutting  raQgn 

floor.  John  Michle 

photographed   the 

still   at    one    of 

the  steel  mills 

near  Los  Angeles. 


Qream  oik  Stills 


C**"'°A. 


Ordinarily 

the   still   man 

is  accustomed 

to  exploiting 

every  one  but 

himself.   Here 

we  see 

Anthony    Ugrin 

as  he  shoots  into 

a    lamp   reflector 

on  a   Fox   set   and 

catches   a    company 

— or  all  but  one 

— unaware  of  his 

action. 


Ray  Nolan 
shows  us  a 
Fox  compaini 
in  Catalina 
working  in 
"Burnt  Offering." 


Qream  oth Stills 


<+¥L'o+ 


And  here  is  a  breath  from  Havana,  from  the  camera  of  Esselle  Parichy,  shoioing  flamingoes  doing  their 

stuff  on  an  extensive   estate. 


January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-nine 


Newsreelers 


POPE   SHEET 


By  RAY  FERNSTROM 

All  Rights  Reserved 


YOU  fellows  all  know  that  nerve 
wracking  moment,  just  as  the 
horses  are  at  the  barrier,  our 
thumbs  snapping  the  camera  button 
on  and  off;  that  same  tense  second  as 
we  wait  for  a  parachute  jumper  to 
leap,  as  we  worry  about  enough  film; 
that  same  tenseness  at  the  kickoff  at 
the  football  games — you  get  the  idea  ? 

Well,  gang,  let  me  tell  you,  there  is 
nothing  worse  than  your  first  time  "on 
the  air." 

Our  newsreel  of  the  air  went  out 
from  KFI,  Los  Angeles,  over  the  coast 
facilities  of  NBC,  Tuesday,  Dec.  6,  at 
8:15  Pacific  time.    Get  that,  8:15. 

At  8:10  my  knees  shook.  The  signal 
came  at  8:12 — '"Three  minutes."  A 
few  last  minute  orders,  that  I  was 
too  nervous  to  hear.  "Fifty-eight 
seconds." 

Wow!  I  shook  all  over — my  throat 
muscles  froze,  the  blood  went  to  my 
feet  and  cold  sweat  trickled  down  into 
my  eyes. 

Some  cheerful  cuss  had  said:  "Re- 
member, if  you  make  a  mistake,  every- 
one listening  will  hear  it,  and  no  one 
can  correct  it." 

That's  all  my  head  contained,  "Don't 
make  a  mistake." 

What  blessed  moments  while  the  an- 
nouncer broke  the  news — a  few 
precious  seconds  in  which  I  tried  to 
get  courage  from  his  poise,  ease  and 
diction. 

How  I  hated  him,  Don  Wilson,  for 
his  composure  while  I  quaked  at  his 
side. 

He  said  something  about  newsreel- 
men,  thrills,  adventure,  daring,  etc., 
blah. — What  a  daredevil  I  was — and 
there  was  I  scared  to  prostration  by  a 
single  microphone. 

A  Haze  Descends 

"And  at  this  time  I  turn  the  micro- 
phone over  to — to — Ray  Fernstrom." 

It's  a  good  thing  I  had  a  chair  to 
lean  on  or  I'd  have  fallen. 

The  rest  of  our  thirty  minutes  on 
the  air  I  can't  remember.  It's  like  one 
of  those  alcoholic  attacks  from  which 
one  emerges  as  from  a  fog,  without  a 
memory. 

The  second  broadcast  went  off  easily 
— just  as  the  coverage  of  a  news  story 
is  simple  once  the  nervous  "tape"  is 
broken. 

Listen  in,  gang — every  Tuesday  eve- 
ning. And  then  drop  KFI  a  line. 
They'll  appreciate  it. 

Last  Tuesday  (Dec.  13),  Sanford 
Greenwald  of  Los  Angeles  Paramount 
News  appeared  on  the  air,  as  guest 
speaker.  Listen  each  Tuesday  and 
we'll  try  to  please  you. 

Felbinger  and  Lippert  heard  KFI 
in  Chicago  and  like  pals  sent  us  a 
wire.  Boy!  did  it  look  good.  KFI  is 
a  50,000  watt  station,  so  you  sound 
men  ought  to  reach  out  for  it. 


You  fellows  will  be  interested  in  our 
sound  effects.  They  are  made  by  the 
past  master  of  the  art,  Charley  For- 
sythe.  The  continuity  and  direction 
are  by  a  chap  who  acts,  looks  and 
sounds  just  like  a  typical  newsreeler — 
Dave  Ballou,  and  is  that  guy  keen! 

Well,  gang,  let's  get  together — and 
sit  down  and  write  us. 

Night  Shots  with  Contax 

I  shot  some  tests  with  Du  Pont 
Superpan  negative  at  night  and  ob- 
tained some  excellent  results,  using 
the  new  Zeiss  Contax  camera. 

Now  for  this  Contax.  After  using 
it  a  week  it's  now  my  favorite. 

First:  It  loads  like  any  simple 
folding  camera.  You  see  the  film 
from  magazine  to  magazine.  There 
are  no  failures  in  loading.  It  is  fast 
to  l/1000th  of  a  second.  It  is  possi- 
ble to  reload  without  rewinding,  a 
good  wrinkle  for  all  of  us.  There  is 
a  daylight  magazine  at  each  end.  Just 
shoot  and  reload  as  fast  as  you  wish. 
Then,  too,  if  you  are  making  tests 
on  different  negatives  you  can  ex- 
tract the  two  magazines  in  the  cam- 
era and  reload  with  others  contain- 
ing other  film  without  rewinding  or 
cutting  the  negative.  The  all-metal 
focal  plane  shutter  is  another  desir- 
able factor.  It  can  be  operated  with 
one  hand,  a  good  feature  for  news- 
reel  men. 

The   Real   Newsreels 

Now  for  the  newsreels  and  reelers. 
There  seems  to  be  a  general  tendency, 
in    various    columns,    fan    magazines 


and  newspapers,  to  criticise  the  news- 
reels  of  today.  They  say  newsreels 
are  monotonous,  faked  and  nothing 
but  repetitions  year  after  year. 

Is  this  so  or  not?  Let's  look  at 
them.  Yes,  there  is  a  bit  of  repeti- 
tion, but  doesn't  news  repeat  itself? 
There  are  groups  of  annual  events 
that  are  of  course  covered  in  the 
newsreels  —  Kentucky  Derby,  World 
Series,  navy  practice,  West  Point  pa- 
rade, etc. 

They  happen  annually,  so  natur- 
ally such  events  are  covered  annu- 
ally. Granted.  Now  are  these  sub- 
jects covered  differently  each  year? 
The  answer,  you  know,  is  No.  That's 
thanks  to  sound  equipment,  as  we  all 
know. 

Newsreels  are  about  25  years  or  so 
old,  and  the  public  has  seen  such 
events  repeated  for  just  that  length 
of  time. 

There  is  talk  of  cycles  in  picture 
production,  five  or  seven  year  cycles, 
but  newsreels  turn  in  yearly  cycles. 

Faking  Is  Out 

Out  of  the  ordinary  news  spring 
from  the  mind  of  cameramen  and  con- 
tribute about  50  per  cent  of  the  novel 
material  we  see  on  the  newsreel 
screen. 

I  appreciate  the  dearth  of  new, 
novel  material,  whether  comical,  spec- 
tacular or  spot  news.  The  maga- 
zines and  newspapers  supply  the 
other  half  of  new  stuff.  As  for  fak- 
ing: Such  never  finds  its  way  into 
newsreels. 

That  is  one  accusation  I  cannot 
understand  and  will  fight  as  long  as 
there  are  newsreels. 

No  news  event,  whether  spot  or 
feature,  where  the  men  risk  their 
necks  to  get  results,  can  be  called 
faked,  and  such  cracks  be  got  away 
with. 

I  have  only  to  think  of  Charley 
Traub  and  the  auto  speed  trials  at 
Daytona  to  go  to  bat  for  the  gang. 

Every  time  I  have  read  such  cheap 
talk  in  public  prints  I  have  answered 


Shot  on  DuPont  new  superpan  with  Zeiss  Contax  camera.     The  only  daylight 
interior  comes  thi-ongh  window.    Note  detail  in  deep  shadows. 


Thirty 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  1933 


to  the  best  of  my  ability  and  will  con- 
tinue to  do  so. 

Now  for  ideas  that  may  form  novel 
news  stories. 

We  have  used  blimps  for  every 
purpose  of  news.  The  next  logical 
step  is  the  use  of  the  auto  gyro  for 
news.  Here  we  have  a  faster,  more 
agile  aircraft  than  even  the  smaller 
blimps. 

Auto  Gyro  Real  Bet 

An  auto  gyro  can  pick  a  man  off  a 
skyscraper  and  deposit  him  on  a  ship. 
It  can  make  any  of  the  old  transfer 
jobs  better  than  plane  or  blimp  and 
be  more  spectacular  than  either  on 
account  of  that  funny  vane  on  top. 

There's  a  great  act  in  the  auto  gyro, 
and  the  possibilities  have  only  been 
scratched. 

With  the  advent  of  the  new  dough- 
nut tires  on  automobiles  why  has  no 
newsreel  shown  us  a  cross-country 
race  with  these  funny  tires?  They 
can  plow  over  soft  ground  and  get 
out  of  ditches  like  tanks.  They  are 
the  funniest  things  imaginable  in  slow 
motion  when  a  car  jumps  a  hurdle.  In 
slow  motion  the  manner  in  which  they 
flatten  out  on  landing  is  a  scream. 


A  store  window  shot  with  super-pan  in  Contax 


An  award  to  a  newsreel  crew  could 
be  made,  for  example,  to  that  one  re- 
sponsible for  the  year's  outstanding 
newsreel  scoop. 

Scoops  are  what  newsreelers  are 
ready  to  give  almost  their  lives  to 
accomplish.  To  them  they  are  part  of 
the  day's  work,  but  to  newsreels  they 
are  as  life  blood. 

Newsreels  have  been  taken  too 
much  for  granted,  yet  man'-  lives 
have  been  given  to  make  them  pos- 
sible. 

How   About   Newsreelers 

After  the  inspiring  broadcast  na- 
tionally of  the  awards  by  the  Acad- 
emy of  Motion  Picture  Arts  and  Sci- 
ences,   wouldn't    it    be    great    if    that 


august  body  should  recognize  the 
newsreels? 

Perhaps  the  oldest  branch  of  the 
industry,  the  newsreels,  were  not 
mentioned,  but  I'm  sure  they  will  be 
considered  in  the  future. 

It  would  be  almost  impossible  to 
review  all  the  104  issues  a  year  from 
each  producer  of  newsreels,  in  addi- 
tion to  the  other  tasks  of  the  Acad- 
emy. 

It  would,  nevertheless  be  fair  and 
possible  to  judge  a  representative 
number  from  each  company  and 
make  an  award  to  the  company  and 
individual  employes  whose  newsreel 
has  been  rated  best  for  the  year  from 
the  standpoint  of  scoops,  photogra- 
phy, sound,  etc. 


Motion  Picture  as  Well  as  Still 

Cameramen  Interested  in  Contax 

By  JACKSON  ROSE 


CAMERAMEN  are  bound  to  be  in- 
terested in  the  new  Zeiss  Contax 
Camera  which  recently  has 
reached  this  country.  It  possesses 
advantages  that  will  appeal  not  only 
to  still  cameramen  but  to  motion  pic- 
ture photographers  as  well  by  reason 
of  its  being  fitted  with  speedy  Tessar 
lenses  similar  to  the  ones  employed 
on  their  motion  picture  cameras. 
It  may  be  used  as  part  of  standard 


equipment  for  experimental  and  test- 
ing purposes  of  new  film  emulsions, 
filters,  lighting  apparatus  or  process 
shots.  For  still  cameramen  of  course 
there  is  the  advantage  of  almost  forty 
exposures  to  be  made  from  one  load- 
ing. As  the  camera  is  practically 
noiseless  and  unlikely  to  interfere 
with  the  microphone  still  pictures  may 
be  made  during  work  on  the  set. 
For   fast   action   the   camera   has   a 


metal  focal  plane  shutter  that  oper- 
ates from  a  twenty-fifth  of  a  second 
to  a  thousandth  part.  Also  it  may  be 
set  for  time. 

The  pictorialist  will  like  it  because 
it  offers  the  possibility  of  carrying 
without  inconvenience  film  for  100  ex- 
posures as  well  as  accessories. 

Among  its  many  features  are  its 
extremely  strong  construction  and  the 
direct  coupling  of  the  range  finder 
with  the  lens  focusing  mechanism. 
The  range  finder  as  well  as  the  shut- 
ter release  are  so  designed  that  one 
finger  easily  can  operate  both. 

Double  exposures  with  the  Contax 
camera  are  impossible  because  of  an 
ingenious  coupling  of  the  shutter  with 
the  film  transport.  It  is  equipped 
with  bayonet  type  mounting  by  which 
all  lenses  can  be  attached  or  detached 
in  a  fraction  of  a  second.  The  selec- 
tion of  lenses  vary  from  30mm.  to 
135  mm.  and  from  speeds  of  F1.5  to 
F4,  and  of  course  are  of  the  quality 
that  comes  with  Zeiss  Tessars. 

Another  desirable  feature  is  the 
easy  loading  method.  To  load  the 
camera  one  has  but  to  remove  the 
back,  place  the  film  on  the  sprockets 
provided  for  it,  eliminating  all  pos- 
sibility of  error,  especially  since  it  is 
not  necessary  to  respool  the  film  that 
is  exposed.  The  exposed  film  can  be 
wound  into  another  magazine  elimi- 
nating rewinding.  This  camera  also 
has  a  depth  of  focus  finding  scale 
where  one  can  see  just  how  deep  or 
shallow  his  focus  will  be  regardless 
of  size  of  lens  used. 


Each  of  these  stills  was  from  enlargement  of  Contax  negatives  of  two  frames 
of  motion  picture  film  to  8  by  10.    Photographed  by  Mr.  Rose. 


Rex   Ingram   in    Again 

Rex  Ingram  is  returning  to  pictures 
with  Gaumont-British.  "Baroud,"  his 
first  production,  has  been  completed 
in  Morocco  and  will  be  shown  in  the 
United  States  shortly. 

In  addition  to  directing,  Ingram 
played  the  leading  role,  making  his 
first  appearance  before  the  camera 
in   several  years. 


January,  1933 


T  h 


INTERNATIONAL     PHOTOGRAPHER 


Thirty-one 


Veloy  Enlarger  Marketed  by  Leica 
Has  Many  Photographic  Advantages 


LEICA  and  all  miniature  camera 
owners  will  be  glad  to  learn  of 
an  improved  enlarger  which  is 
more  versatile  than  former  models. 
This  is  known  as  the  Valoy  enlarger 
and  may  be  equipped  with  masks  for 
single  motion  picture  frame  negatives 
(%  by  1  inch),  Leica  negatives  (1  by 
1%  inches),  and  roll  film  miniature 
camera  negatives  (llA  by  1%  inches). 

An  ingenious  device  assures  that 
the  negatives  remain  perfectly  flat 
during  the  exposure.  Yet  when  the 
film  roll  is  to  be  shifted  to  another 
picture  a  lever  is  merely  pushed  and 
the  film  is  free  to  be  pulled  through 
the  gate  in  either  direction  without 
danger  of  scratching  or  removing 
from  the  gate.  This  action  facilitates 
rapid  working  and  will  be  found  of 
great  value. 

The  condenser  acts  as  the  pressure 
plate  and  holds  the  film  firm  and  fiat 
during  exposure.  It  is  easily  re- 
moved for  cleaning. 

A  roomy  lamphouse  incloses  the 
75-watt  opal  lamp  which  is  adjust- 
able as  to  distance  from  the  con- 
denser. Large  cradles  are  mounted 
at  each  side  of  the  gate  which  serve 
to  hold  the  film  roll  while  the  enlarge- 


ments are  being  made.  The  lamp- 
house  unit  and  the  film  cradles  are 
finished   in  black  crystal  enamel. 

A  nickeled  metal  pillar  supports  the 
lamphouse  unit  over  the  generous 
baseboard.  The  electric  cord  is  car- 
ried inside  of  the  pillar,  thus  being 
concealed  and  kept  out  of  the  way. 
The  cord  runs  under  the  baseboard, 
and  hence  can  not  interfere. 

Four  different  paper-holders  are 
available  which  may  be  placed  upon 
the  baseboard. 

An  interesting  feature  of  the  Volay 
enlarger  is  that  the  various  Leica 
lenses  may  be  used  in  it.  The  Elmar 
F:3.5  lens  is  suggested  for  all-around 
use  as  longer  focus  lenses  demand  a 
greater  working  distance  from  the 
paper.  A  special  screw-mount  is  sup- 
plied   which    permits    Leica    Camera 


lenses  to  be  mounted  in  the  enlarger. 
A  magnifying  glass,  mounted  upon 
a  universal  joint  can  be  mounted  on 
the  baseboard.  It  serves  to  assist  in 
obtaining  critical  sharpness  of  the 
image  on  the  paper. 


The  Front  Cover 

THE  General  Sherman  Tree  was 
discovered  by  James  Wolverton, 
hunter  and  trapper,  August  7, 
1879,  at  which  time  he  named  the  tree 
in  honor  of  General  Sherman,  under 
whom  he  had  served  during  the  Civil 
War. 

The  dimensions  of  this  tree  are: 
Height,  280  feet;  base  circumference, 
102.8  feet;  base  diameter  32.7  feet; 
greatest  diameter  at  base,  36.5  feet; 
circumference  6  feet  above  ground,  86 
feet;  diameter  6  feet  above  ground, 
27.4  feet;  diameter  100  feet  above 
ground,  17.7  feet.  The  tree  is  said  to 
be  the  largest  and  oldest  living  thing 
in  the  world. 

At  the  right  are  the  Twins.  Photo- 
graphed by  George   Scheiber. 


CRESCENT  BROKERAGE   CORPORATION 

Gustave    A.    Blumenreiter,     President 

INSURANCE  IN  ALL  ITS  BRANCHES 

SPECIAL  SERVICE  FOR  CAMERAMEN 

Rolan   C.   Kennell,    Manager 

416    W.    8TH    ST.,    LOS    ANGELES  TRINITY    8677 


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data  and  prices. 


Thirty -two 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  19S3 


Looking  In  on  Just  a  Few  New  Ones 


Henry  Sharp 


THE  DEVIL  IS  DRIVING 

First  cameraman,  Henry  Sharp ;  operative 
cameraman.  Milton  Krasner ;  assistant. 
Irving  Glassberg ;  stills,  Elwood  Bredell  : 
sound,    Harold   Lewis. 

ACTION  aplenty  there  is  in  Para- 
mount's  "The  Devil  Is  Driving." 
It  is  a  melodrama  of  the  Harry 
Joe  Brown  idea  of  craftsmanship,  al- 
though this  time  this  ace  of  motion,  of 
movement,  is  listed  as  associate  pro- 
ducer, with  Ben 
Stoloff  doing  the 
directing.  The 
picture  is  one 
over  the  merits  of 
which  respective 
heads  of  some 
families  will  dif- 
fer sharply — the 
man  maybe  insist- 
ing the  show  is 
"just  great,"  the 
woman  that  it  is 
"shameful,"  with 
its  murders  and 
car  stealings,  its 
reckless  driving 
and  its  drinking. 

And  there  you  are  right  smack  on 
the  inside  of  one  breakfast  conversa- 
tion. But  you  see  only  one  member 
of  the  particular  tribe  has  been  sit- 
ting in  on  some  of  the  very  active 
propaganda  now  being  conducted 
against  present  day  pictures  as  a 
whole.  And  while  this  situation  is 
another  story  nevertheless  it  is  one 
the  wiser  heads  of  the  industry  must 
face  sooner  or  later,   the   sooner  the 

better. 

It  is  a  cast  of  screen  veterans  se- 
lected to  sustain  the  dialogue  written 
by  Louis  Weitzenkorn  from  the  ad- 
aptation by  P.  J.  Wolfson  and  Allen 
Rivkin  of  Frank  Dazey's  story.  Not 
all  of  the  veterans  are  listed,  either. 
Among  those  well  known  to  picture- 
goers  of  another  day  may  be  noted 
King  Baggott,  Universal's  long  time 
star  and  director,  and  Paul  Panzer, 
Pathe's  villain  of  the  pioneer  serials. 

Edmund  Lowe  as  Gabby,  automo- 
bile mechanic,  heads  the  cast,  with 
Wynne  Gibson,  favorite  of  an  under- 
world chief  played  by  Allen  Dinehart, 
bracketed  with  him. 

Then  there  are  James  Gleason  as  a 
garage  foreman,  Lois  Wilson  as  the 
foreman's  wife,  and  Dickie  Moore  as 
the  child  of  the  two.  Upon  these  three 
rests  the  portrayal  of  the  home  atmos- 
phere. Lowe  as  the  brother  of  the 
child's  mother  becomes  the  avenger  of 
his  brother-in-law's  murder. 

Lovers  of  clever  dialogue  even  when 
between  a  wisecracking  male  flirt  and 
a  keen-witted  female  of  the  world 
with  her  heart  set  on  the  unimpressed 
former  are  going  to  be  really  enter- 
tained. Much  thought  has  been  given 
to  the  talks  between  Lowe  and  Gibson 
and  with  excellent  results  for  those 
who  enjoy  a  bit  of  spice. 

There  are  no  dull  moments  in  this 
picture.  The  finish  is  of  the  smashing 
order — especially  when  a  car  rapidly 
descending  a  winding  driveway  in  a 
multiple-storeyed  garage  collides  with 
one  ascending  at  an  equal  clip.   There 


By  GEORGE  BLAISDELL 

is  a  thrill  as  we  look  into  the  well  and 
see  one  of  these  machines  drop  from 
near  the  top  to  its  smoking  ruin  at 
the  finish. 

In  fact  thrilling  automobile  col- 
lisions so  pile  one  on  the  other  an  or- 
dinarily placid  reviewer  is  moved  to 
remark  at  the  close  he  is  not  so  keen 
on  driving  home. 


HANDLE  WITH  CARE 

First  cameraman,  Arthur  Miller;  operative 
cameramen,  Robert  Planck  and  John 
Schmitz ;  assistant,  Luis  Molina  ;  stills. 
Clifton  Maupin  and  Joe  List ;  sound,  Al 
Protzman. 

WHEN  Charles  Chaplin  inter- 
fered with  some  well-laid  plans 
to  push  his  two  untried  sons  on 
to  the  screen  he  may  have  performed 
a  distinct  service  for  the  benefit  of 
picturegoers.  At  least  the  outcome  of 
the  making  of 
Fox's  "Handle 
with  Care"  makes 
that  situation 
possible.  For  one 
of  the  infants 
substituted  for 
the  younger  in- 
fant of  the  come- 
dian in  the  view 
of  many  of  the 
multitude  who  see 
the  subject  not 
only  will  "hog  the 
show"  but  most 
larcenously  retain  .    ,,        „..,, 

it  from  the  fall  of  Arthur  Miller 

the   flag   to   the    melodramatic    finish. 

When  the  feminine  side  of  this  de- 
partment reviewed  RKO's  "Little  Or- 
phan Annie"  a  couple  of  months  ago 
the  opening  sentence  suggested  that  a 
certain  young  fellow  by  name  Buster 
Phelps,  his  age  about  five  years,  had 
crashed  the  movies — and  how !  The 
chance  was  taken  of  making  mistakes 
in  declaring  after  seeing  but  a  single 
performance  he  was  the  most  irre- 
sistible youngster  seen  on  the  screen 
since  the  inception  of  sound  pictures 
— or  before. 

The  work  of  Buster  as  the  kid  in 
"Handle  with  Care"  solidifies  and 
fortifies  all  that  was  said  on  that  occa- 
sion. When  Buster  takes  the  stage 
he  holds  it  like  a  veteran  character 
player.  Not  even  the  fierce  cross-ex- 
amination of  the  police  sergeant  as  the 
picture  opens  disturbs  this  imper- 
turbable imp. 

The  dominance  of  the  child  makes  it 
a  bit  hard  for  the  popular  Jimmie 
Dunn  as  well  as  Boots  Mallory,  lead- 
ing woman.  It  is  the  first  time  this 
reviewer  has  seen  this  wholesome  ap- 
pearing young  woman,  but  her  screen 
success  would  seem  to  be  assured.  The 
two  are  excellent.  El  Brendell  as  a 
chef  turned  music  teacher  is  really 
human  and  not  only  to  be  tolerated 
but  liked;  he  is  not  as  too  often  has 
been  the  case  made  to  portray  a  silly 
arse. 

There's  a  spectacular  street  chase 
in  which  hundreds  of  children  take 
part,  and  by  means  of  trick  mirrors  a 


child's  nightmare  is  most  intelligibly 
visualized. 

Simply  because  of  the  dominance  of 
a  child  no  exhibitor  should  permit 
himself  to  be  misled  by  any  adverse 
comments  on  the  picture.  By  seeing 
it  for  himself  he  may  avoid  the  loss  of 
a  profitable  and  praiseworthy  en- 
gagement. 

David  Butler  convincingly  directs 
his  own  story,  on  which  Frank  Craven 
and  Sam  Mintz  did  the  adaptation. 

Probably  no  one  watching  this  pic- 
ture will  be  quite  so  interested  in  it 
as  Charles  Chaplin.  Inevitably  he  will 
recall  "The  Kid."  He  might  even  turn 
over  in  his  mind  the  possibilities  of 
remaking  in  sound  that  marvelously 
moving  tale  of  a  child  and  a  man. 


Charles  Rosher 


ROCK-A-BYE 

First  cameraman,  Charles  Rosher ;  operative 
cameraman,  Frank  Redman  ;  assistant. 
Cecil  Cooney  ;  stills,  Robert  Coburn  ;  sound. 
George  Ellis. 

THERE  would  seem  to  be  present 
in  RKO's  "Rockabye"  not  so 
many  elements  indicative  of 
large  popularity.  To  be  sure,  fortify- 
ing Constance  Bennett  are  among 
others  Paul  Lukas  and  Joel  McCrea. 
So  far  as  cast  be 
concerned  these 
two  weigh  heavily 
in  the  estimation 
of  any  showman. 
Then  there  is 
added  to  these 
Jobyna  Howland 
in  the  guise  of 
the  heroine's 
mother — a  cork- 
ing interpretation 
of  the  femme 
souse  no  longer 
youthful  but  nev- 
ertheless plenty 
pushful,  even 
dominating.  And 
for  a  brief  appearance  there  is  Charles 
Middleton  as  the  inquisitive  district 
attorney. 

There  is  an  infant  in  the  cast — one 
a  trifle  too  young  to  understand  quite 
what  it  is  all  about  in  spite  of  her 
many  engaging  qualities. 

The  picture  opens  slowly,  which  is 
always  quite  all  right,  but  fails  to 
gain  momentum  until  near  the  closing 
sequences.  There  is  an  absence  of  ap- 
peal or  intense  interest  throughout 
the  greater  part  of  the  story. 

The  heroine  is  shown  as  one  pos- 
sessed of  the  mother  urge — as  a  woman 
obsessed  by  the  idea  of  adopting  a 
little  girl,  the  consummation  of  which 
is  thwarted  by  too  much  attention 
from  the  press  in  a  court  case  in 
which  she  is  more  or  less  an  innocent 
bystander. 

If  the  heroine  is  blessed  with  the 
face  of  a  typical  mother  then  it  may 
be  conceded  she  is  properly  cast.  On 
the  other  hand  if  she  has  the  face  of 
a  typical  mother  then  most  assuredly 
in  a  majority  of  her  preceding  stories 
has  she  been  most  woefully  miscast. 

George  Cukor  directs  the  script  of 
Jane  Murfin,  who  made  the  adaptation 
from  the  play  by  Lucia  Brender. 


January,  1933 


The 


INTERNATIONAL  PHOTOGRAPHER 


Thirty-three 


Charles  Lang 


HE  LEARNED  ABOUT  WOMEN 

First     cameraman,     Charles     Lang ;  operative 

cameraman,      Robert      Pittack ;  assistant, 

Cli.ford     Shirpser ;     stills,     Earl  Crowley; 
sound,  Gene  Merritt. 

THERE'S  another  character  wom- 
an comes  into  her  own  in  Para- 
mount's  "He  Learned  About 
Women."  To  be  sure,  she's  been  on 
her  way  for  quite  some  time,  has  this 
Alison  Skipworth  woman,  but  this 
time  it  would 
seem  she  has 
landed  solidly. 
With  George  Raft 
in  his  first  fea- 
tured part  she  did 
a  good  piece  of 
business.  In  the 
present  instance 
she  shares  honors 
with  the  lead, 
Stuart  Erwin. 

The  subject  is 
a  comedy,  a  trifle 
extravagant  at 
times,  but  always 
mirthful,  or  near- 
ly always  any- 
way, and  when  it  isn't  it  is  straight 
melodrama.  There's  quite  a  bit  of 
the  latter  in  the  closing  sequence,  in 
which  we  find  a  throng  battling  an- 
other throng,  all  for  the  possession  of 
a  girl  and  a  hundred  thousand  cold 
cash. 

Stuart  Erwin  is  the  chief  player. 
He  is  shown  as  an  exceedingly 
wealthy  bookworm  advised  by  his 
lawyer  to  get  out  in  the  world  and 
meet  humans.  The  advice  is  accepted 
and  immediately  things  begin  to  hap- 
pen. Without  loss  of  time  the  benevo- 
lent young  man  becomes  a  prey  of 
swindlers. 

Sidney  Toler  as  the  butler-advisor 
assigned  by  the  family  lawyer  the 
better  the  bookworm  client  may  be 
guided  in  the  paths  of  sophistication 
contributes  much  to  the  fun  of  the 
show. 

Susan  Fleming  as  Joan,  the  young- 
ster who  falls  in  love  with  her  bene- 
factor and  refuses  to  see  him  swin- 
dled, grows  in  strength  from  a  rather 
slow  start. 

Lloyd  Corrigan  directs  from  a 
screen  play  by  Harlan  Thompson  and 
Ray  Harris. 


ROBBERS'  ROOST 

First  cameraman.  George  Schneiderman ;  op- 
erative cameraman,  Charles  Fetters ;  as- 
sistants, James  Gordon  and  Louis  Kunkel  ; 
stills,  Bert  Lynch  ;  sound,  Bernard 
Freerieks. 

LOVERS  of  westerns  are  going  to 
find  in  Fox's  "Robbers'  Roost" 
pretty  near  all  the  elements  that 
go  to  make  a  hundred  per  cent  presen- 
tation of  that  particular  brand  of 
screen  entertainment.  In  the  first 
place  it  is  a  Zane  Grey  story.  You- 
all  will  admit  that  is  something.  Then 
again  it  is  an  original  for  the  screen. 
And  that  means  the  tale  is  nearer  the 
final  requirements  when  it  leaves  the 
hands  of  the  author,  more  nearly  ap- 
proaching the  unified  product  of  one 
man  than  is  possible  where  it  passes 
through  the  hands  of  several. 

The  subject  has  the  tempo,  or  better 
still  the  speed,  of  the  western.  There 
is  a  convincing  cast,  and  its  members 
look    the    parts    assigned    them.     The 


direction  is  excellent,  the  Arizona 
locations  are  superb,  to  speak  with 
conservatism,  and  the  photography 
matches  both. 

There  is  a  romance  between  a  cow- 
boy possibly  apart  from  his  fellows 
and  yet  one  of  them  on  the  one  side 
and  a  girl  of  what  she  herself  might 
describe  as  position  and  family,  the 
former  discreet  if  not  human  and  the 
girl  nearly  always  human  if  hardly 
ever  discreet. 

The  background  for  the  romance  as 
for  the  tale  as  a  whole  is  a  mountain 
ranch  owned  by  an  Englishman  who 
is  not  a  rancher  and  who  among  his 
employes  including  his  foreman  un- 
wittingly harbors  a  crew  of  profes- 
sional rustlers.  The  sister  of  the 
rancher  comes  from  England  to  visit. 

George  O'Brien  is  the  top  player 
hired  by  the  foreman  shortly  before 
the  intended  departure  of  cattle  and 
crew  and  who  finally  interferes  with 
the  consummation  of  the  plans  of  the 
foreman.  Maurine  O'Sullivan  is  the 
maid  from  England  who  comes  to  visit 
her  brother. 

Louis  King  directs  from  Dudley 
Nichols'  adaptation  of  Zane  Grey's 
story.  

NO  OTHER  WOMAN 

First  cameraman,  Ed  Cronjager ;  operative 
cameraman,  Joe  Biroc  ;  assistant,  George 
Discant  ;  stills,  John  Miehle  ;  sound,  Clem 
Portman. 

YOUR  woman's  club  is  going  to 
look  askance  at  RKO's  "No 
Other  Woman,"  many  members 
perhaps  going  so  far  as  to  declare 
that  sort  of  thing  may  be  all  right  for 
those  who  like  it,  but  for  them — No, 
sir.  To  be  sure  it 
may  strain  the 
female  credulity 
to  understand 
how  a  woman  will 
condone  a  distinct 
case  of  infidelity 
one  time.  Quite 
naturally  when 
by  the  story  the 
wife  is  made 
to  condone  that 
sort  of  thing  the 
second  time,  and 
on  the  second  oc- 
casion the  hus- 
band seeks  to 
procure  a  divorce 
so  he  may  marry  the  "other  wom- 
an," it  is  understandable  why  the 
blow-up.  To  the  egotistical  male  the 
procedure  may  seem  quite  the  ordi- 
nary thing,  even  though  he  may  have 
tried  to  make  it  work  and  failed. 

Nevertheless  once  the  premises  are 
accepted  the  tale  is  strong  melodrama. 
Undoubtedly  nine  out  of  ten  men  so 
will  construe  it,  and  will  praise  it 
accordingly.  The  women  will  go  to 
see  Irene  Dunne,  and  well  they  may. 
She  adorns  her  work  with  the  real 
feminine  touch,  whether  the  character 
be  gay  or  dark. 

Charles  Bickford  is  the  mill  worker 
who  becomes  a  Pittsburg  millionaire, 
a  qualification  which  seems  to  bestow 
in  life  anyway  certain  authority  for 
riding  roughshod  over  women  as  well 
as  men.  Bickford  plays  his  part  to 
the  hilt.  Eric  Linden  has  a  role  of  a 
human  being,  and  for  once  it  is  a 
pleasure  to  see  him  so  cast.     He  plays 


Edward 
Cronjager 


it  as  naturally  as  he  does  the  dirty- 
dog  heavy  or  whatever  the  part  may 
be.  Gwili  Andre  is  the  "other  wo- 
man," and  in  spite  of  her  frigidity  and 
aloofness  nearly  gets  her  man. 

The  tale  is  from  Eugene  Walter's 
play  "Just  a  Woman,"  from  the  story 
by  Owen  Francis.  The  adaptation 
was  by  Wanda  Tuchock  and  Bernhard 
Schubert.     J.  Walter  Ruben  directed. 


Ray  Rennahan 


THE  WAX  MUSEUM 

First  cameraman,  Ray  Rennahan  ;  operative 
cameraman,  Roy  Musgrave ;  assistant, 
Sam  Brooks ;  stills,  Scottie  Welbourne ; 
sound,    E.    A.    Brown. 

STRANGE  may  it  seem  that  beauty 
and  horror  intermingle,  but  that 
is  not  an  unfair  statement  to 
make  regarding  Warners'  "The  Wax 
Museum."  The  beauty  of  the  sub- 
ject is  markedly  enhanced  by  the  use 
throughout  the 
entire  footage  of 
the  Technicolor 
process.  Partic- 
ularly does  the 
factor  of  color 
lend  itself  to  the 
heightening  of  the 
color  and  the  life- 
likeness  of  the 
wax  figures.  This 
effectiveness  i  s 
most  noticeable 
during  the  de- 
struction of  the 
figures  in  the  mu- 
seum by  fire.  The 
melting  of  the 
wax  under  the  flames  and  the  conse- 
quent distortion  and  disintegration  of 
the  lifelike  faces  make  the  crime  of 
the  incendiary  seem  all  the  greater. 

The  acting  honors  go  to  Lionel 
Atwill.  Those  who  loudly  proclaim 
the  stage  has  nothing  to  bring  to  pic- 
tures on  the  human  side  will  never 
fortify  their  absurd  arguments  by  cit- 
ing Atwill.  It  is  a  performance  that 
'stands  out  in  any  company  or  at- 
tempted comparison.  And  in  a  high- 
ly melodramatic  part  there  is  not  a 
trace  of  the  "tearing  to  tatters"  that 
so  frequently  accompanies  such  se- 
quences. 

Michael  Curtiz  directs  this  strange 
story  of  a  maniac  who  by  his  weird 
process  transforms  to  living  wax  the 
face  and  figures  of  those  he  has  se- 
lected as  victims  because  of  their  re- 
semblance to  famous  characters  in 
history.  The  worser  half  of  Dr. 
Jekyll  pales  into  insignificance  be- 
side the  fiendishness  of  Igor.  Yet  that 
phase  of  the  character  is  practically 
hidden  until  the  end  because  of  the 
outwardly  benevolent  manner  of  the 
wax  museum  head.  Curtiz's  work  is 
well   done. 

Other  players  in  this  tale  adapted 
by  Don  Mullally  and  Carl  Erickson 
from  Charles  Belden's  play  are  among 
the  principals  Fay  Wray,  Glenda 
Farrell  as  a  woman  reporter  who 
finally  does  perform  at  a  typewriter 
the  last  few  feet  of  the  story,  but 
who  most  of  the  time  is  performing 
as  a  news  hound,  and  Frank  McHugh 
as  city  editor  or  maybe  managing  edi- 
tor but  who  describes  himself  as  the 
editor.  He's  plenty  chilly,  as  it 
seems  a  screen  editor  must  be. 
Holmes  Herbert  as  the  tool  of  Igor 
also  makes  a  distinct  hit. 


Thirty-four 


T  h 


INTERNATIONAL     PHOTOGRAPHER 


January,  1933 


HARD  TO  HANDLE 

First  cameraman.  Barney  McGill ;  operative 
cameraman,  Kenneth  Green;  assistant. 
Bill  Whitley  :  stills,  John  Ellis  and  Scotty 
Welborn  ;  sound,    G.   A.    Riggs. 

THE  relation  between  title  and 
text  in  Warner  Brothers'  "Hard 
to  Handle"  is  not  exactly  clear. 
The  genesis  of  the  thing  probably  will 
be  found  in  the  assumed  box  office  ad- 
vantage of  a  striking  caption  for  the 
first  James  Cag- 
ney picture  fol- 
lowing- his  return 
to  the  fold.  The 
trade  quite  well 
understood  it  was 
the  Warner  atti- 
tude that  Cagney 
was  hard  to  han- 
dle. 

If  the  young 
man  off  the  screen 
is  as  good  a  sales- 
man as  he  is  on 
it  very  likely  the 
humor  of  the  title 
appealed  also  to 
him  and  as  the 
good  business  man  which  he  seems  to 
be  he  very  quickly  sanctioned  it. 
There  would  seem  to  be  no  question 
that  Cagney  stands  out  as  the  best 
fast  talking  screen  salesman.  There 
was  a  premonition  of  this  in  his  some- 
what brief  conversation  with  George 
Arliss  in  the  picture  in  which  the 
great  English  actor  portrayed  a  mil- 
lionaire turned  gas  station  proprietor. 

Cagney's  work  in  the  subject  stood 
out  as  one  of  the  features  of  the 
story.  It  is  doubtful,  though,  if  in  the 
present    tale    as    adapted    by    Wilson 


Barney  McGill 


REVIEWED    NEXT    MONTH 

NEXT  month's  reviews  will  in- 
clude the  Schulberg-Paramount 
"Mme.  Butterfly,"  with  a  new 
Sylvia  Sidney,  a  representative  mo- 
tion picture  skillfully  and  beautifully 
made,  demonstrating  what  may  be  ac- 
complished by  an  honest  to  goodness 
motion  picture  maker  when  he  is 
thinking  in  terms  of  one  picture 
rather  than  a  dozen  at  the  same  time; 
First  National's  "Ladies  They  Talk 
About,"  the  tale  written  by  Dorothy 
Mackeye  around  the  prison  ward,  a 
subject  described  by  Miss  Boyce  as  "a 
mighty  entertaining  play,"  and  Para- 
mount's  "No  Man  of  Her  Own,"  with 
Clark  Gable  and  Carole  Lombard,  a 
subject  that  will  rate  perhaps  better 
than  average  and  with  an  exceedingly 
happy  and  wholesome  ending. 


Mizner  and  Robert  Lord  from  Hous- 
ton Branch's  story  the  young  man's 
popularity  as  a  screen  hero  will  be 
heightened. 

The  base  of  the  tale  is  of  a  fast- 
thinking,  fast-talking  and  not  over 
scrupulous  publicity  man.  Given  the 
right  medium  there  will  be  no  ques- 
tion but  with  Warners  will  be  repaid 
financially  for  its  decision  to  reinstate 
this  young  man. 

Ruth  Donnelly  as  the  fond  mamma 
easily  carried  second  honors  even  if 
at  times  between  the  story  and  the 
director  her  character  seemed  to  be 
a  bit  overdrawn.  Mary  Brian  is  the 
daughter  for  whom  mamma  promotes 
the  best  financial  prospect.  Mervyn 
LeRov  directed. 


When  Seen  Through  Feminine  Ryes 


By  HELEN  BOYCE 


A  FAREWELL  TO  ARMS 

First  cameraman,  Charles  Lang;  operative 
cameraman,  Bob  Pittack  ;  assistant,  Clif- 
ford Shirpser ;  stills,  Sherman  Clark; 
sound,    Harold    C.    Lewis. 

A  D  APT  ED  from  Ernest  Heming- 
rA  way's  novel,  one  of  the  best  sell- 
ers of  the  year,  Paramount's  "A 
Farewell  To  Arms"  will  probably  ap- 
proach the  same  class  from  a  box  office 
standpoint.  In  a  preview  audience 
many  of  the  women,  including  the  re- 
viewer, apparently  were  experiencing 
trouble  with  their  eyes.  The  men 
seemed  to  be  contracting'  colds.  But  it 
was  well  worth  it. 

Primarily,  as  the  title  implies,  it  is 
a  war  story,  but  a  war  story  of  the 
kind  that  would  tend  to  end  wars.  It 
also  is  the  love  story  of  Catherine 
Barkley,  a  nurse,  and  Lieutenant 
Frederic  Henry  of  the  Ambulance 
Corps.  Helen  Hayes  is  the  nurse  who 
loves  Federic  more  than  duty,  and 
after  seeing  Miss  Hayes  in  this  screen- 
play there  seems  to  be  little  doubt 
about  the  good  judgment  of  the  Acad- 
emy. Gary  Cooper  is  the  gallant 
lieutenant  who  loves  Catherine  more 
than  the  war. 

Major  Rinaldi,  who  modestly  admits 
he  will  one  day  be  the  greatest  sur- 
geon in  the  world,  is   splendidly   por- 


trayed by  the  suave  Adolphe  Menjou. 
It  is  he  who  introduces  Frederic  and 
Catherine  and  then  nonchalantly 
stretches  his  official  authority  to  aid 
"Bebby"  as  he  affectionately  calls 
Frederic. 

The  most  appealing  thing  about  the 
play  is  that  the  characters  seem  to 
act  as  normal  people  would.  They 
have  the  strength  and  the  weakness  of 
ordinary  human  beings,  and  after  all 
isn't  it  people  of  this  sort  that  we  can 
best  understand  and  appreciate?  There 
are  no  glamorous  gestures  about  the 
war. 

When  Frederic  hears  that  Catherine 
is  in  trouble  and  needs  him  he  promptly 
makes  plans  to  find  her,  nor  does  he 
pretend  to  "love  duty  more."  When 
the  Major  finds  that  Frederic  needs 
protection  after  his  seeming  desertion 
he  has  no  hesitancy  in  coming  to  his 
aid,  even  to  the  point  of  embellishing 
the  story  with  a  case  of  lost  memory. 

Those  who  like  a  happy  ending  may 
be  disappointed,  but  the  exquisite 
photography  in  the  final  fadeout  will 
more  than  repay  for  the  usual  happy 
ending. 

In  the  screen  adaptation  Benjamin 
Glazer  and  Oliver  H.  P.  Garrett  have 
followed  the  book  as  closely  as  pos- 
sible.    Frank  Borzage  directed. 


UNDER  COVER  MAN 

First  cameraman,  Victor  Milner ;  operative 
cameraman.  William  Miller;  assistant, 
Guy  Roe ;  stills,  Earl  Crowley ;  sound, 
J.    A.    Goodrich. 

EVEN  though  one  is  not  a  gangster 
photoplay  addict  he'll  find  Para- 
mount's "Under  Cover  Man" 
mighty  entertaining.  A  plot  that  is 
intriguing  is  handled  by  a  skillful  cast. 
Here  we  are 
shown  that  when 
gangster  hunts 
gangster  he  does 
not  always  start 
out  with  a  ma- 
chine gun.  Some- 
times he  becomes 
an  under  cover 
man,  working 
with  the  police, 
but  without  police 
protection.  It  is 
thus  that  George 
Raft  in  the  role 
of  Nick  Darrow 
hunts  down  the 
murderer    of    his 

father.  Gentle  Nancy  Carroll  as  Lora 
Madigan,  whose  brother  also  has  been 
a  victim,  is  persuaded  to  join  Nick  in 
his  search. 

As  in  most  screen  plays  of  this  type 
it  might  diminish  your  enjoyment  to 
know  too  much  about  the  plot.  Suffice 
to  say  that  Gregory  Ratoff  convinc- 
ingly depicts  a  gangster  with  a  mean 
disposition;  Lew  Cody  equally  well 
depicts  a  pseudo  gentleman  with  a 
gangster  disposition  and  a  weakness 
for  a  fountain  pen  that  does  not  write. 
David  Landau  as  Inspector  Conklin  is 
well  worthy  of  mention. 

The  story  is  by  John  Wilstach, 
adaptation  by  Thomas  Burtis  and 
screen  play  by  Garrett  Fort  and 
Francis  Faragoh.  James  Flood  directs. 


Victor  Milner 


*% 


FRISCO  JENNY 

First  cameraman,  Sid  Hickox  ;  operative  cam- 
eraman, Wesley  Anderson ;  assistant. 
Tommy  Branigan ;  stills,  Joe  Hommel  ; 
sound,   Dave   Forrest. 

WARNER'S  "Frisco  Jenny"  is 
more  or  less  a  combination  of 
"Madame  X"  and  "The  Right 
to  Love."  If  you  liked  either  (and 
who  didn't?)  you'll  register  enthus- 
iasm over  Ruth  Chatterton  as  Jenny, 
the  daughter  of 
a  saloon  keeper 
o  n  t  h  e  Barbary 
Coast.  The  rest  of 
the  cast  will  do 
much  to  heighten 
that  enthusiasm. 
The  action  starts 
back  in  1906  with 
all  the  frills  and 
furbelows  that 
were  so  popular 
then.  Jenny  loves 
not  too  wisely 
Dan  McAllister 
(James  Murray), 
a  violin  player  in 
her  father's  sa- 
loon. The  San  Francisco  earthquake 
occurs  at  a  most  inopportune  time 
and  Dan  is  killed.  Helen  Jerome 
Eddy  is  Amah,  the  Chinese  servant 
who  befriends  Jenny  when  her  child 
is  born. 

Louis   Calhern   as    Steve   Dutton,   a 
rising  attorney  who   is  not  averse  to 


*1* 

1^1 


Sid  Hickox 


George  Folsey 


imal  Kingdom" 
Miss  Harding 
eclipses  anything 
she  has  done  he- 
fore;  it  is  her 
piece  de  resis- 
tance. This  state- 
ment in  regard 
to  many  might 
be  termed  com- 
parative ;  about 
Miss  Harding 
"It's  all  there  is." 

The  play,  written  by  Philip  Barry, 
is  worthy  of  the  talent  that  makes  the 
screen  adaptation  by  Horace  Jackson 
so  superb.  Edward  H.  Griffith  directs. 
It  will  be  recalled  that  Mr.  Griffith 
also  directed  "Holiday,"  in  which 
Miss  Harding  scored  such  a  triumph 
in  the  early  days  of  sound. 

There  are  only  ten  persons  in  the 
cast.  While  the  quantity  is  small  the 
quality  will  be  remembered.  Leslie 
Howard  is  Tom  Collier,  the  lovable, 
rather  dignified  Bohemian  who  aims 
to  run  his  own  life — and  the  Bantam 
Press. 

His  true  sense  of  values  is  for  a 
time  overshadowed  by  the  charm  of 
the  seductive  Cecelia,  whom  he  mar- 
ries. And  who  could  better  portray 
Cecelia  than  Myrna  Loy?  Daisy 
Shane  is  the  woman  who  understood. 
William  Gargan  is  Regan,  an  ex- 
pugilist  who  had  broken  his  hand  and 
now  is  serving  as  Tom's  butler,  never 
forgetting  to  serve  himself  with  the 
rest. 

The  story  rather  reverses  the  con- 
ventions, but  not  with  the  least  evi- 
dence of  bad  taste.  The  title,  which 
may  be  misleading,  is  derived  from 
the  fact  that  we  are  all  of  the  animal 
kingdom — only  some  of  us  more  so. 
It  is  handled,  with  one  or  two  excep- 


..,      ..wuua    is    uue    ivy  an,    ine    Dad 

man.  Then  there  are  owls,  queer 
noises,  sliding  panels,  concealed  pas- 
sages and  a  black-robed  ghost  to  nro- 
duce  thrills  and  chills. 

The  youngsters  will  like  this  one 
and  parents  will  welcome  it  as  a  good 
clean  Western. 


ISLAND  OF  LOST  SOULS 

First  cameraman,  Karl  Struss  ;  operative  cam- 
eramen, George  Clemens  and  Otto  Pierce: 
assistants.  Fleet  Southcott  and  Paul  Ca- 
ble; stills,  Mack  Elliott;  sound,  M.  M. 
Paggi. 

SHOULD  you  have  been  imbibing 
too  freely  and  then  sit  in  on  Par- 
amount's  "Island  of  Lost  Souls" 
you'll  probably  climb  up  on  the  wagon 
for  a  long  time  to  come.  One  won- 
ders if  the  whole  thing  is  not  the  hal- 
lucination of  a 
fevered  mind. 
Pink  elephants 
are  just  tame  lit- 
tle fireside  pets 
compared  to  the 
grotesque  things 
you  will  see  in 
this  picture.  The 
screen  play  by 
Waldemar  Young 
and  Philip  Wylie 
is  adapted  from 
a  novel  by  H.  G. 
Wells.  Mr.  Wells 
evidently  got 
started  and  for- 
got to  put  on  the 
brakes.     Erie  Kenton  directs. 

Charles  Laughton  makes  a  polite 
but  vicious  Dr.  Moreau,  who  had 
found  London  an  unsafe  place  in 
which  to  conduct  his  experiments.  He 
retires  to  the  seclusion  of  an  un- 
charted island  in  the  South  Seas  ac- 
companied by  Dr.  Montgomery,  who 
has  been  guilty  of  a  professional  in- 


Karl  Struss 


several  shorts  with  Arabian 
dialogue,  illustrating  scenes  of  Arab- 
ian life.  This  product  is  intended  for 
distribution  in  Egypt,  Turkey,  Arabia, 
Syria,  and  Palestine.  Some  of  the 
exterior  shots  were  made  in  Cairo, 
and  Egyptian  artists  were  engaged 
for  the  dialog-ue  sequences. 

The  music  is  composed  by  Egyptian 
and  Italian  composers.  One  of  the 
films  in  question  will  have  an  inter- 
national version  in  which  the  Arabian 
dialogue  will  be  replaced  by  musical 
sequences  and  a  few  sentences  in 
French.  The  synchronization  is  by 
"Fono-Roma." 


American  Films  Decrease  in 

Berlin  First  Run  Features 

Films  first  runs  in  Berlin  in  October 
totaled  22,  just  as  in  the  preceding 
month,  as  against  24  in  October,  1931. 
Of  the  22  films  first  run  16  were  Ger- 
man, 5  American  and  one  was  Aus- 
trian. The  proportion  of  American 
films  first  run  thus  showed  a  slight 
increase,  as  against  the  previous 
month,  comparative  figures  being 
5  and  2. 

Record  runs  were  enjoyed  by  two 
American  films.  One  played  for  28 
days  in  a  house  seating  1,100  and  the 
other,  already  boasting  of  a  straight 
33-day  run,  continues  to  run  in 
November. 


Paris  Taxes  Decline 

Due  partly  to  the  latest  finance  law 
of  March  31,  1932,  granting  an  enter- 
tainment tax  reduction  to  theatres, 
concerts,  music  halls,  and  circuses, 
entertainment  tax  collected  in  Paris 
in  September  amounted  to  5,890,000f, 
as  against  10,551,000f.  in  September, 
1931,  a  decline  of  4,661,000f,  or  nearly 
50  per  cent. 


FN  the  preceding  year  of  1932 
•**-  the  United  States  Govern- 
ment  allowed  us  three  patents 
on  the  double  matting  process 
used  by  us  at  the  present  time. 


<><><> 
♦ 


Williams'  Shots 


OXford  1611 


8111  Santa  Monica  Blvd. 


get   them    all   perfectly   with    the    Wonder 


66 


PALKO 


99 


Used  by  Government  and  Educational  In- 
stitution Experts  where  perfect  records 
are  required,  yet  so  simple,  so  positive, 
so  dependable,  that  a  novice  or  even  a 
youngster  can  operate  it  and  get  perfect 
pictures. 

— 3   Cameras  in   1 — 

PALKO  enables  you  to  take  full  post-card 
3A,  2/3  or  1/3  size  pictures.  ...  As  many 
as  19  exposures  on  a  6  exposure  film  and 
NO  SEPARATE  PARTS  OR  ATTACH- 
MENTS  ARE   NECESSARY. 

GROUND  GLASS  FOCUSING 
GETS    PERFECT    PICTURES 

Send  for  FREE  Catalog. 


PALKO,   INC. 

823  Washington  Blvd.,  Dept.  C. 
CHICAGO,  ILL.  U.  S.  A. 


January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-seven 


Anniversary  of  the  Stork's  Visit 


JAN   1 — Jack  Ancterscn,  Palmer  Bel- 
mont, Carl  Wester. 

2 — Edward  Tanner. 

3 — Henry    W.    Gerrard. 

4 — Harold  Wenstrom 

5 — Bill  Margulies. 

6 — Neal  Beckner,  Rolla  Flora. 

8 — Jerry  Ash. 
10 — Bert  Baldridge,  Joe  Dorris,  Jchn 

J.  Mescall. 
11 — Otto   Benninger,  Alex   Philips. 
13— Lloyd  Ward. 
15 — Rex   Curtis,    Milton    Gold,    Irving 

G.  Ries. 
16 — Karl    Freund,    E.    R.    Musgrave, 


William   C.   Marshall. 

17 — Roy  H.  Ivey,  Jack  R.  Youn": 

21— Elmer  R.  Fryer,  Robert  H.  Mack, 
R.  Glenn  Strong. 

23 — Gordon  Head,  Josiah  Roberts. 

25— Edward  J.  Cohen. 

26— William  P.   McPherson. 

27— William   Dodds,   Otto   Pierce. 

23— Richard  K.  Wade,  Joseph  J.  Wal- 
ters, Jr. 

29 — Marcel   Grand. 

30— Oliver  T.  Marsh. 

31 — Henrv  N.  Koehler  Stanley  E. 
Little,  Roy  Purdon,  William  N. 
Williams,   Ellis  F.  Thackerv. 


Introducing  the  newest  star  in  the 
Tarzan  era,  Miss  Murlen  Powers. 
Readers  of  the  Album  have  met  the 
miss  before,  but  that  was  a  long  time 
ago  and  when  she  was  more  or  less 
just  a  private  person.  Now  this 
daughter  of  Mr.  and  Mrs.  hen  Powers 
appears  as  one  of  the  cast  in  a  Charlie 
Chase  comedy.  Frank  Bjerring  ex- 
posed this  picture  early  in  December, 
at  ivhich  time  the  heroine  was  fifteen 
months  old. 


Tannura  Does   Camera   Work 

on    "Reserved   for    Ladies'''' 

WORD  comes  from  London  that 
responsibility  for  the  photog- 
raphy in  London  Film's  "Re- 
served for  Ladies,"  with  Leslie 
Howard,  rested  on  Philip  Tannura  of 
the  west  coast  International  Photog- 
raphers. This  is  the  picture  so  highly 
praised  in  all  departments  by  review- 
ers on  both  sides  of  the  water.  It 
was  shown  throughout  the  United 
States. 

Robert  Milton  is  directing  "The 
Dance  of  the  Witches"  for  London 
Film.  He  will  be  remembered  in 
Hollywood  for  his  good  work  with 
Paramount  and  other  companies. 

Alan  Dawn  is  slated  to  direct 
"Council's  Opinion"  for  the  same 
company.  Another  American  director 
recently  in  London  was  William  K. 
Howard. 

A  letter  from  a  visiting  film  man 
suggests  the  United  States  for  the 
present  at  least  need  fear  no  major 
competition  from  the  continent.  There 
is  a  scarcity  of  up-to-date  equipment. 
To  replace  this  would  mean  several 
things  to  the  producers  there,  among 
the  principal  of  which  would  be  the 
spending  of  money,  which  is  none  too 
plentiful,  and  then  again  it  would  be 
necessary  to  bring  from  the  United 
States  men  who  are  familiar  with 
the  latest  twists  in  camera  and  sound 
equipment. 


Bob  Martin  in  Africa 

Word  comes  from  England  that 
Bob  (R.K.O.)  Martin  left  that  coun- 
try in  the  middle  of  November  for  a 
three  weeks'  trip  to  Northern  Africa. 


Miss  Betty  Waterman,  one  of  the  most 
popular  Americans  in  Asia  and  the 
South  Seas  and  the  first  woman  to  fly 
from  India  to  London,  hangs  a  wreath 
on  Mr.  Kershner  at  Papeete 

His  headquarters  were  to  be  in  Fez. 
The  journey  was  preliminary  to  set- 
tling down  on  his  return  for  what 
was  described  as  a  long  spell  of  hard 
work. 


Phone  GLadstone  4151 

HOLLYWOOD 
STATE   BANK 

The  only  bank  in  the  Industrial 

District  of  Hollywood  under 

State  supervision 

Santa    Monica    Boulevard    at 
Highland  Avenue 


Thirty-eight 


The     INTERNATIONAL     PHOTOGRAPHER 


January, 1933 


o-eifiBES' 


=0«tiSf  JT&CAXS 


THE  END 
WHICH    END? 


The  above  mural  was  painted  with 
a  Graflex  by  Charles  "Chuck"  Geissler 
in  the  unpainted  part  of  the  Painted 
Desert,  Arizona;  one-third  additional 
for  location,  no  overtime  or  Sundays 
allowed. 

This  position  is  known  as  a  side 
glance.  It  is  considered  a  very  pre- 
carious position  and  can  come  under 
Paragraph  12  wherein  cameramen 
shall  not  assume  a  hazardous  position. 
The  position  could  be  corrected  by 
taking  a  few  steps  forward,  but  as 
you  can  see  in  the  photo  there  are  no 
few  steps  forward. 

In  case  you  cannot  recognize  the 
photographer  it  is  none  other  than 
Frank  B.  Good,  Techni,  Multi,  Sen- 
nett  and  other  color  expert. 


NEW  DEVELOPER 
CONTAINS  NO  BORAX 

Cracked  ice,  four  injays,  two  heap- 
ing teaspoonsfull  powdered  sugar,  one 
large  egg  (chicken),  small  glass 
cream.  Shake  until  ice  is  dissolved. 
Pour  in  glasses.  Squeeze  lemon  rind 
over  glass.  Add  a  squirt  of  seltzer. 
Stop  talking  pictures  and  serve.  This 
should  remove  all  grain,  turn  nega- 
tive to  positive,  but  cannot  guarantee 
there  will   be  no   abrasions. 


THEY  HELP 

Pev  Marley  has  just  returned  from 
Hungary  after  being  away  for  over 
a  year.  Says  Pev:  "Budapest  is  a 
great  place,  but  I  didn't  like  it  at 
first,  but  what  a  town  and  what  wom- 
en!"    I'll  bite.     What  women? 


By  OTTO  PHOCUS 

PERRY'S  PECULIAR  PREDICA- 
MENT 

Paul  P.  Perry  writes  from  China 
that  he  has  always  wanted  a  lot  of 
silk  shirts.  Now  that  he  can  buy 
them  cheaply,  they  are  not  being  worn. 


FEZ  YOU 

Bob  Martin  post  cards  from  Fez, 
Morocco  (I  always  thought  a  fez  was 
a  hat  or  something  made  with  gin 
and  seltzer).  He  writes  that  the  per- 
son in  the  middle  of  the  picture 
marked  with  an  X  is  none  other  than 
Bob  Martin.  The  party  indicated  is 
blacker  than  the  inside  of  a  chang- 
ing bag.  Bob  is  either  sunburned 
plenty  or  maybe  he  is  just  "foolin." 

RETALIATION 

Because  the  French  refused  to  pay 
their  debt  I  did  not  serve  champagne 
and  bought  no  "Christmas  Night"  for 
Christmas. 

You  Focus  on  Ground  Glass 

Even  When  Using  Roll  Film 

IT  IS  hard  to  believe  a  roll  film 
camera  would  enable  one  to  focus 

before  each  exposure  on  ground- 
glass  and  without  inserting,  attaching, 
sliding  or  removing  any  additional 
parts,  but  the  Palko  Camera  does  it 
well  and  precisely. 

Likewise  it  uses  roll  films,  postcard 
size.  Although  it  employs  3A  (3^4 
by  5%)  film,  it  is  not  necessary  to 
expose  the  whole  area  at  one  time. 
There  are  provided  three  different  size 
negatives  on  the  same  film,  3A,  two- 
thirds  and  one-third  of  postcard, 
which  are  changed  and  diversified  at 
will  with  automatic  distribution  of  the 
film  by  means  of  ingenious  and  unique 
devices  and  dependable  and  rapid 
automatic  film-winding  mechanism. 

For  the  most  effective  ground-glass 
focusing  the  camera  of  course  must  be 
used  on  a  tripod,  but  it  also  can  be 
focused  easily  without  the  tripod  for 
snapshots. 

At  infinity  and  shorter  range  dis- 
tance, without  the  use  of  ground-glass 
focusing  device,  Palko  can  be  operated 
very  rapidly,  because  of  automatic  dis- 
tribution of  the  film,  doing  away  with 
the  necessity  of  changing  the  film  for 
next  exposure  by  slow  operating  wind- 
ing key,  like  in  all  other  roll  film 
cameras. 

The  camera  is  efficient  in  operation 
and  is  economical,  because  it  does 
aw--  with  the  possibility  of  wasting 
film  by  double  exposure,  and  also  be- 
cause it  offers  the  possibility  of  mak- 
ing two  or  more  smaller  pictures  in 
the  space  of  one.  Ingenious  looking 
devices  make  the  camera  practical  and 
fool-proof  as  well  as  sturdy. 


WRONG   AGAIN 

According  to  the  papers  we  were 
promised  beer  for  Christmas.  There 
was  no  beer  at  my  place  for  Christ- 
mas. I  forgot  to  put  on  another 
batch. 


CHAPTER  ONE 

A  swell  looking  gal  went  up  to  the 
clerk  at  Schwab's  haberdashery  the 
other  day  and  said  "I  would  like  to 
see  some  Sennett  shorts."  The  clerk 
said,  "Meet  me  to-night  about  7:30 
and  T'll  take  you  to  the  Iris  movie." 
MORE   TO   COME 


TECHNOCRACY 

This  will  be  a  swell  idea  if  it  works. 
Even  if  it  don't  work  it  will  be  a  swell 
idea.  As  I  understand  it  everyone  will 
get  the  same  pay.  If  so,  I  can  see 
where  there  will  be  one  less  camera- 
man and  one  more  extra  man. 


DO  YOU  KNOW 


That  Virgil  Miller  was  assistant 
professor  of  electrical  engineering  at 
Kansas  State  Agriculture  College  and 
has  degrees  of  B.S.  and  E.E. 

That  Glenn  Kershner  is  back  from 
Tahiti. 

That  Gil  Warrenton  was  raised  on 
the  stage. 

That  George  Burnett  is  "Burney" 
Guffey. 

That  the  basket  picnic  for  next 
summer  should  be  given  some  thought. 
See  Jimmie  Palmer  if  you  have  any 
ideas.  He  is  a  glutton  for  punish- 
ment. 

That  when  Jimmie  Howe  went  to 
Europe  for  Fox  he  took  his  grip, 
George  Carpenter  with  him. 

That  Reginald  Edgar  Lyons  was 
with  Vitagraph  for  over  thirteen 
years. 

That  Rob  Wagner,  in  his  Script, 
always  gives  the  cameraman  a  break 
and  he  knows  what  he  is  writing  about 
when  it  comes  to  photography. 

That  the  recreation  rooms  have 
been  removed  to  smaller  quarters. 

That  this  might  mean  there  are  less 
men  out  of  work. 

That  this  might  mean  there  are  not 
less  men  out  of  work. 

That  Fred  Campbell's  center  name 
is  Sutherland. 

That  Ernie  Crockett  was  with  Sen- 
nett for  over  eight  years. 

That  Bob  Miller  saw  Charlie  Miller 
in  Maniller,  Philippine  Islands. 

That  I  present  Thomas  Jeffery  Gib- 
bons to  you.     Jeff,  to  me. 

That  Harry  Warner  Forbes  was 
with  Universal  in  New  York  for 
over  fifteen  years. 

That  if  you  have  any  dope  on  the 
brothers  along  these  lines  I  would 
like  to  have  it. 


January,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty -nine 


25mm. 
FINDER 


Finder  instantly   aligned   with 
camera  lens. 

Wide  angle. 
Brilliant  upright  image. 
Inclosed  focusing  screw. 

Optics  by 

Harrison  &  Harrison 

Optical  Engineers 

Fred    Hoefner 

CINEMA  MACHINE  SHOP 

5319  Santa   Monica  Blvd. 
GLadstone  0243  Los   Angeles 


"ARTREEVES" 

DEPENDABLE 
SOUND  RECORDING  EQUIPMENT 


Our  Big  Year  Is  All  Set  For 

-  1933  - 

MANY  NECESSARY  AS  WELL  AS  NOVEL  LABORATORY 

EQUIPMENTS  WILL  BE  PRESENTED  TO  THE  PRODUCERS 

OF  SOUND  PICTURES. 

Representative 
MOVIE  CAMERA  CO. 
Phone:     WYoming  4501  Bombay,    India 


j-[oirywood 

Motion  PicTure/EquipmenTCo.  |Td. 


6A  5  NORTH  MARTEL  AVE 


CABLE  ADDRESS  ARTREEVES 


HOLLYWOOD,  CALIFORNIA,    USA 


BLACK  AND  WHITE 


SOUND  AND  SILENT 


16mm*  Reduction  Prints 
from  35mm*  Negative 

To  16mm.  clients  is  extended  the  benefit  of 
the  same  laboratory  facilities  developed  in 
our  necessarily  exacting  35  mm.  department — 
both  in  craftsmanship  and  quick  service 


D. 


Pi 


'unning  rrocess  company 

932  North  La  Brea,  Hollywood  GL.  3959 


Dr.  G.  Floyd  Jackman 

DENTIST 

Member   Local   No.    6S9 

706    Hollywood   First    National   Bldg. 

Hollywood  Blvd.  at   Highland  Ave. 

GLadstone  7507  Hours:    9   to   5 

And   by   Appointment 


Alvin  Wyckoff 


Forty 


The     INTERNATIONAL     PHOTOGRAPHER 


January,  19->3 


Agfa  Ansco  Corporation  and 
Agfa  Raw  Film  Corporation 

....  Extend  to  the  Photographic  Industry  the 

assurance  of  our  utmost  cooperation  in  making 

Nineteen  Thirty-three  a  year  of 

Progress  and  Prosperity. 


CLASSIFIED 


30%     to     60%     cash     savings 

on  16  mm.  and  35  nun. 

Cameras,  Projectors 

and  Accessories 

Write        for       Bass        Bargaingram. 

Specify  size  of  apparatus  interested 

in.        For     over     22      years      Value 

Leaders  of  the  nation. 

Your   copy  is  ready.      Write  for   it. 

BASS  CAMERA  CO. 

179   W.   Madison    St.,   Chicago,   111. 


W.   A.   SICKNER 

FIRST   CAMERAMAN 

COMPLETE  AKELEY 
EQUIPMENT 

CRestview    7255  GLadstone    5083 

HEmpstead    1128 


We  WCCnt  JSmm.,  travel, 
fight,  thrill  and  curosity  films,  from 
all  parts  of  the  earth  and  unusual 
and  interesting  films  depicting  the 
life  and  habits  of  Asiatic  peoples 
as  well  as  others. 
Send  us  description  and  length  of 
subject.  Cash  will  be  remitted  for 
any  subject  accepted. 
We  have  for  sale  negative  and 
positive  short  ends,  both  Eastman 
and  Du  Pont. 

Continental  Film-Craft,  Inc. 

1611    Cosmo    Street,    Hollywood,    Calif. 


CINEX  TESTING    MACHINES 
CINEX    POLISHING    MACHINES 


Barsam  - 
Mechanica 


Tollar 
I  Works 


7239    Santa    Monica    Blvd. 
Phone    GRanite    9707         Hollywood,    California 


FOR  SALE  OR  RENT— Mitchell  and  Bell  & 
Howell  silenced  cameras,  follow  focus.  Pan 
lenses,  free  head,  corrected  new  aperture. 
Akeley,  De  Brie,  Pathe,  Universal,  Prevost, 
Willart,  De  Vry,  Eyemo,  Sept,  Leica.  Motors, 
printers,  lighting  equipment.  Also  every  va- 
riety of  16  mm.  and  still  cameras  and  projec- 
tors. Everything  photographic  bought,  sold, 
rented  and  repaired.  Send  for  our  bargain 
catalogue.  Open  8  A.M.  to  10  P.M.  Holly- 
wood Camera  Exchange.  1600  Cahuenga  Blvd. 
Phone  GLadstone  2507.  Hollywood  9431.  Cable 
address   Hocamex. 


FOR  SALE— Cooper  Hewitt  latest  type  Studio 
Mercury- Vapor  Lamp},  two  new  portable 
photographic  outfits,  two  160-6  PH  5 ;  two 
160-6  PH  3  used  less  than  a  month — less  than 
half  price.  The  Glow  Electric  Company,  15-17- 
19   East   Second   St.,   Cincinnati,    Ohio. 

SELL  YOUR  STILLS.  Get  into  print.  Stamp 
brings  you  "Sample  List  10-IP"  giving  sub- 
jects immediately  wanted  hundred  magazines, 
newspapers,  syndicates,  etc.,  also  all  phot,  - 
graphic  contests.  Authors  Shop,  Drawer  191 R, 
Baltimore,   Md. 


FOR  SALE^Sunlite  Arc  High  Intensity 

lamp  ; 

perfect    condition  ;    crated    for   shipping 

;    cost 

$2100;     celling     $250:     dosing     estate. 

Mrs. 

Clarence   E.    Runey,    Oxford   Hotel,    Cinci 

nnali, 

Ohio. 

FOR  SALE — Debrie  slow  motion  outfit  com- 
plete ;  new  condition  ;  $600  cash ;  also  four 
styles  Universals  with  tripods  bargain-,.  Mrs. 
Clarence  E.  Runey,  Oxford  Hotel,  Cincinnati. 
Ohio. 


PAYS  CASH   FOR  CAMERAS 
LENSES 

Peterson's  Camera  Exchange 

15*  SO.  BROADWAY  -  UPSTAIRS  MUTUAL  4529 


INTERS 

W-  ~     WITH   ANY  CAMERA 

rraiox  MngK#  mi  HifttOMs  m  teytim- 
F^Srom-  TtilhiiiKas  mi  many  »IW  tffrcls. 


GEORGE  H.SCHEIBE 

ORIGINATOR  OF  EFFECT  FILTERS 

1927- 


m&* 


ROY  DAVIDGE  FILM 
LABORATORIES 

An  Exclusive  "Daily" Laboratory 


670  1-67  15 


Quality   and   Service 

SANTA     MONICA 
GRanite    3108 


BOULEVARD 


WHO 


CAN  GAUGE 

ITS  TOTAL  VALUE? 

EASTMAN  Super-sensitive  Panchromatic 
Negative  has  helped  the  motion  picture  in- 
dustry to  attain  improved  working  condi- 
tions ...  lower  lighting  costs...  finer  photog- 
raphy . . .  better  prints . . .  higher  screen  quality. 

Who  can  gauge  the  total  value  of  this 
film's  contribution?  Without  the  qualities 
which  it  offered,  the  industry  would  have 
missed  some  of  the  most  important  stimuli 
it  has  ever  received. 

Further  improved  since  its  introduc- 
tion, Eastman  Super-sensitive  is"  rendering 
its  greatest  service  in  the  gray-backed  form 
in  which  it  is  now  available.  Eastman  Kodak 
Company  (J.  E.  Brulatour,  Inc.,  Distributors, 
New  York,  Chicago,  Hollywood). 

L/\b  I  /  v  \/\  In   super-sensitive 

PANCHROMATIC    NEGATIVE      gray-backed, 


Hear 


INTERNATIONAL 


*** 


FEBRUARY  •   NINETEEN   •  THIRTY-THREE 


90-eisEDs- 


In  bright  sunlight  or  deep  shadow, 
under  incandescent  or  arc  light 

JHtt 

SuperpaN 

will  give  a  better  result  than 
is  otherwise  obtainable 


"The  ($DPp^)  trade  mark  has  never  been 
placed  on  an  inferior  product" 


SMITH  &  ALLER,  LTD. 

6656  Santa  Monica  Baulevard,  Hollywood  5147 

HOLLYWOOD,   CALIFORNIA 

Pacific   Coast  Distributors  for 

Du  Pont  Film  Mfg.  Corp. 

35   West  45th   Street  New  York  City 


INTERNATIONAL 
PHOTO  GFAPHE  R 


Official  Bulletin  of  the  International 
Photographers  of  the  Motion  Pic- 
ture Industries,  Local  No.  659,  of 
the  International  Alliance  of  The- 
atrical Stage  Employes  and  Mov- 
ing Picture  Machine  Operators  of 
the  United  States  and  Canada. 


Affiliated  with 

Los  Angeles  Amusement  Federa- 
tion, California  State  Theatrical 
Federation,  California  State  Fed- 
eration of  Labor,  American  Fed- 
eration of  Labor,  and  Federated 
Voters  of  the  Los  Angeles  Amuse- 
ment Organizations. 


Vol.  5 


HOLLYWOOD,  CALIFORNIA,  FEBRUARY,  1933 


No.  1 


"Capital  is  the  fruit  of  labor,  and  could  not  exist  if  labor  had  not  first  existed. 
Labor,   therefore,  deserves  much  the  higher   consideration."  —  Abraham  Lincoln. 


C  O  N  T 

Cover 

The  Old  Motion  Picture  Ship  Indiana 
By  Elmer  Fryer 

When   Hours   Are   Reduced  to   Thirty 
Will  Film  Business  Lead — or  Lag?.   2 

By  George  B  lads  dell 
Army  Photographs  Stir   Memories....   3 

By  Esselle  Parichy 

Looking  About  on  Location  and  Set..  5 
By  Ty 

Delving  Into  Screen's  Parenthood.  ...   6 
By  Earl  Theisen 

Harburger  Resumes  His  Big  Camera..   8 

Cruising   Photographer   Visits   Bilibid 
Prison    9 

By  Nelson  C.  McEdward 
Chicago  666 — In  Focus,  in  Spots 10 


E  N  T  S 

Regardless  of  Technical  Advance  Pic- 
ture Leans  Heaviest  on  Drama 12 

By  Boris  V.  Morkovin,  Ph.D. 
Newsreelers   Dope   Sheet 17 

By  Ray  Fernstrom 
Out  of  the  Diaries  of  the  Unsung.  . .  .22 

By  Fred  Felbinger 

Through  Arrangement  with  Norman 

W.  Alley 

Photo  Taken  by  Heat  Without  Light. 24 

Looking  In  on  Just  a  Few  New  Ones. 29 

By  George  Blaisdell 
When  Seen  Through  Feminine  Eyes.. 33 

By  Helen  Boyce 
Letters  Come  From  Faraway  Points.. 35 
Family   Album    36 

Out  of  Focus " 37 

By  Charles  P.  Boyle 


Midwest  Correspondent 
Technical  Editors 


The  International  Photographer  is  published  monthly  in  Hollywood  by  Local  659,  I.  A.T.S.E. 

and  M.  P.  M.  O.  of  the  United  States  and  Canada 
Entered  as  second  class  matter  Sept.  30,  1930,  at  the  Post  Office  at  Los  Angeles,  Calif.,  under 

the  act  of  March  3,  1879 
Copyright   1932  by  Local  659,   I.  A.  T.  S.  E.   and  M.  P.  M.  0.  of  the  United  States  and  Canada 

Howard  E.  Hurd,  Publisher's  Agent 

George  Blaisdell Editor      Fred  A.  Felbinger   ■ 

Ira  Hoke       -       -       -  Associate  Editor       Lewis  W.  Physioc   \ 

Esselle  Parichy     -      -     Staff  Correspondent       Fred  Westerberg     ) 

John  Corydon  Hill,  Art  Editor 
Office  of  publication,  1605  North  Cahuenga  Avenue,  Hollywood,  California.     HEmpstead  1128 

James  J.   Finn,   1   West   47th   St.,    New  York,  Eastern  Representative. 

McGill's,    179    and    218    Elizabeth    Street,    Melbourne,    Australian    and    New    Zealand    agents. 

Subscription    Rates — United    States    and    Canada,  $3  a  year.     Single  copies,  25  cents 

The  members  of  this  Local,  together  with  those  of  our  sister  Locals,  No.  644  in  New  York,  No.  666  in  Chicago,  and 
No.  665  in  Toronto,  represent  the  entire  personnel  of  photographers  now  engaged  in  professional  production  of 
motion  pictures  in  the  United  States  and  Canada.  Thus  THE  INTERNATIONAL  PHOTOGRAPHER  becomes  the 
voice  of  the   Entire   Craft,   covering   a   field   that   reaches   from   coast  to  coast  across  North   America. 

Printed  in  the  U.  S.  A.  at  Hollywood,  California. 


Two 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


When  Hours  ^4 re  Reduced  to  Thirty 
Will  Film  Business  Lead— or  Lag? 


THE  need  of  a  shorter  work  week 
is  no  longer  a  theory.  It  is  a 
condition  which  industry  and 
government  must  meet.  We  have 
reached  the  point  where  the  machine 
must  be  utilized  for  its  greatest  social 
purpose — the  production  of  leisure — 
in  order  to  make  it  an  effective  arm 
of  industrial  progress. 

While  there  are  no  quotation  marks 
on  the  foregoing  paragraph  you  may 
put  them  there  and  credit  what  they 
inclose  to  Will  Hays.  They  were 
"uttered"  on  the  ai-rival  of  the  pro- 
ducer executive  in  Hollywood,  Janu- 
ary 15.  You  may  be  sure  they  were 
not  just  casual  remarks.  They  were 
considered,  carefully  considered,  and 
after  being  consigned  to  a  typewriter 
were  examined  with  a  microscope. 

Hays  of  course  first  of  all  is  a 
politician.  He  got  his  present  job  ten 
years  ago  because  of  that  fact,  and 
uninterruptedly  he  has  held  it  during 
the  intervening  years  because  he  con- 
tinued to  be  a  politician.  While  the 
immediate  foregoing  is  not  news  it  is 
mentioned  merely  to  emphasize  the 
fact  that  when  Hays  is  quoted  it  is 
because  he  has  had  handed  out  by  the 
duly  qualified  employe  the  carefully 
considered  language  certain  to  be 
bombproof  against  any  possible  at- 
tack by  querulous  producers. 

So  when  the  titular  head  of  the 
producers'  association  says  in  a 
formal  pronunciamiento — the  kind  all 
big  cigar  film  executives  love  to  issue 
whether  they  go  places  or  just  stay 
at  home — that  film  leaders  already 
are  making  plans  for  a  greater  era 
of  entertainment  expected  with  the 
shorter  work  week  in  American  in- 
dustry you  may  know  that  he  is  re- 
flecting and  uttering  what  previously 
has  been  said  by  these  same  big  cigar 
film  executives  across  the  table  of  the 
association's  board  of  directors. 
Many  Lean  Days 

That  the  leaders  of  the  industry 
should  so  feel  about  the  present  situa- 
tion is  mightily  interesting.  It  will 
be  even  more  so  to  those  men  and 
women  whose  lives  for  any  or  all  of 
twenty-five  or  more  years  have  been 
a  part  of  the  picture  business. 

Many  of  these  men  and  women  dur- 
ing the  last  few  years  have  fallen  on 
lean  days.  Some  there  have  been  who 
have  not.  Some  even  have  been  called 
upon  month  in  and  month  out  to  work 
many  hours  overtime.  Protests  made 
to  minor  bowwows  of  brief  but  great 
authority  against  the  unfairness  and 
sometimes  brutality  of  the  unneces- 
sary proceeding  have  met  with  scant 
attention. 

Of  course  if  the  Producers'  Asso- 
ciation members  are  banking  on  the 
industries  of  the  country  going  on  a 
thirty-hour  and  five-day  week  basis 
then  already  they  are  laying  plans 
guaranteeing  that  the  industry  of 
which    for   the   moment   they   are   the 


mouthpieces  will  be  right  in  line  with 
all  other  industries  in  this  forward 
movement. 

Surely  the  leaders  of  the  industry 
and  the  capitalists  who  employ  them 
would  not  for  a  moment,  bv  aiming 
to  continue  on  a  daily  schedule  rang- 
ing from  eight  hours  up  to  twenty  or 
more  on  occasion,  expect  to  capitalize 
the  statesmanlike  action  of  those  em- 
ployers who  institute  or  grant  thirty 
hours  and  five  days. 

If  the  nation  or  a  goodly  part  of  it 
goes  on  the  thirty  and  five  standard 
it  is  imperative  that  the  film  industry, 
always  throughout  the  nation  and  the 
world  in  the  spotlight  of  public  atten- 
tion, should  be  one  of  the  leaders  of 
the  movement. 

Come  from  Within 

Any  action  in  this  direction  should 
not  be  the  result  of  yielding  to  the 
pressure  of  a  major  force  of  any  de- 
scription. It  should  be  on  the  part  of 
the  industry's  controllers  an  act  of 
spontaneity,  coming  from  within  their 
own  circle  and  unprodded  from  with- 
out it. 

As  to  the  individual  leadership  in 
such  a  movement — that  is  another 
matter.  A  cursory  examination  of  the 
available  material  is  not  encouraging. 
It  need  indeed  be  a  bold  man  and 
more  who  in  the  face  of  prevailing 
financial  conditions  will  sit  around  the 
table  with  his  associates  and  advo- 
cate what  superficially  appears  to  be 
an  increase  in  labor  costs  of  possibly 
one-third. 

To  the  banking  fraternity  such  a 
thought  would  be  poison.  That  nar- 
rows the  field  to  film  men.  It  is 
possible  among  these  there  may  be 
one  with  sufficient  sand,  one  whose 
shoulders  are  broad  enough,  when 
convinced  of  the  wisdom  of  such  a 
move,  to  step  out  in  front  and  in  the 
face  of  the  world  say  to  his  company 
and  his  fellows  in  the  industry,  "Let's 
go!" 

There  is  one  man  in  the  group 
whose  background  stamps  him  as  very 
much  an  industrial  statesman  and 
very  little  an  industrial  politician. 

That  is  Kent. 

Certainly  the  industry  cannot  con- 
tinue its  forty,  fifty,  sixty  plus  hour 
schedule — for  the  workers — and  com- 
mand the  good-will  or  the  commerce 
of  those  dependent  on  industries  ad- 
hering to  thii'ty  hours. 

The  picture  business  must  have  the 
good-will  of  the  mass,  especially  at 
home.  Without  that  it  is  without  a 
chance  of  progressing  and  expanding 
with  its  natural  clientele. 

The  claim  will  be  made  the  in- 
dustry cannot  survive  the  increased 
labor  cost.  The  most  vociferous  will 
be  the  drones  and  the  profiteers.  The 
workers  high  as  well  as  low  know 
there  are  many  spots  in  the  studio 
budget    where    careful    and    impartial 


incision  of  a  pruning  blade  will  prac- 
tically offset  any  added  labor  cost. 

No  one  denies  and  every  one  admits 
something  must  be  done  to  change 
for  the  better  the  employment  situa- 
tion. If  the  men  at  the  head  of  gov- 
ernment— national,  state  and  munici- 
pal —  and  business  institutions  are 
wise  in  their  day  and  generation  they 
will  take  immediate  tangible  physical 
and  not  vocal  steps  toward  instituting 
a  change. 

Progress  always  is  so  much  easier 
and  much  more  smooth  when  the  ini- 
tial reformative  measures  are  insti- 
tuted from  the  top  than  from  the 
bottom.  History  is  filled  with  ex- 
amples— examples  as  hard  and  un- 
yielding as  the  stone  walls  and  steel 
bars  of  the  old  Bastille — of  what  may 
happen  when  they  are  instituted  from 
the  bottom. 

Point  not  your  conservative  finger 
in  our  direction  because  of  any  seem- 
ing grim  or  grisly  implication  to  be 
read  in  or  between  these  lines.  What 
is  being  read  is  merely  a  deduction 
from  or  reduction  of  the  significant 
report  submitted  by  the  lily  white 
and  not  ruby  red — by  the  highly 
placed  and  not  by  the  lowly  poor  we 
have  always  with  us — by  the  na- 
tionally important  members  of  Hoov- 
er's million-and-a-half-dollar  Research 
Committee  on  Social  Trends. 
Dark  Picture 

For  three  years  the  commission 
under  the  chairmanship  of  Dr.  Wesley 
C.  Mitchell  of  Columbia  has  studied 
and  worked.  Hidden  away  in  1568 
pages  are  to  be  found  many  strong 
statements.     Here  is  one  of  them: 

"Unless  there  can  be  a  more  im- 
pressive integration  of  social  skills 
and  fusing  of  social  purposes  than  is 
revealed  by  recent  trends  there  can 
be  no  assurance  that  these  alterna- 
tives, with  their  accompaniments  of 
violent  revolution,  dark  periods  of 
serious  repression  of  libertarian  and 
democratic  forms,  the  proscription 
and  loss  of  many  useful  elements  in 
the  present  productive  system,  can  be 
averted." 

All  of  which  means  in  plain  lan- 
guage something  must  be  done  about 
things  or  trouble  will  follow. 

President  William  Green  of  the 
American  Federation  of  Labor  told 
the  Senate  judiciary  committee  last 
month  that  organized  labor  is  so 
firmly  convinced  the  six-hour  and  five- 
day  schedule  is  necessary  that  the  re- 
form will  be  established  by  strikes  if 
other  methods  of  securing  it  fail. 

Incidentally  and  in  spite  of  state- 
ments we  are  over  the  depression  hill 
figures  released  by  the  American  Fed- 
eration of  Labor  indicate  the  number 
of  jobless  in  November  was  130,000 
over  the  previous  peak,  the  total  at 
that  time  being  11,590,000.  Partial  re- 
ports for  December  show  still  greater 
increases.  G.  B. 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Three 


Army  Photographs  Stir  Memories 

Parichy    Relives    Days    in    Ground    School    at 

Rochester  and  Later  Aerial  Training 

with  Camera  at  Belleville  Camp 


By  ESSELLE  PARICHY 

Staff  Correspondent  International  Photographer 


RECENTLY  I  came  across  some 
photographs  of  the  ol'  army  days, 
which  vivified  memories  of  four- 
teen years  ago,  when  I  went  off  the 
gold  standard  and  grabbed  for  myself 
a  handful  of  thirteens. 

If  my  memory  does  not  fail  me  after 
all  these  years,  my  enlistment  in  the 
Photograph  Division  of  the  United 
States  Signal  Corps  was  wrapped  up 
with  a  lot  of  ones  and  threes.  At  the 
Photo  school  I  drew  Cot  13,  in  Dormi- 
tory No.  13,  and  my  service  serial 
ended  with  13  .  .  .  what  a  break  to 
start  a  fighting  career? 

Yet  it  did  not  prove  unlucky  for 
me.  On  the  contrary,  the  spectral 
hand  of  13  rather  seemed  to  snatch 
me  out  of  danger  than  to  put  the 
double  cross  on  me. 

I  can  remember  at  least  a  half 
dozen  instances  in  my  flying  experi- 
ence when  death  passed  closely  by  me. 
One  morning  in  particular,  as  I  was 
preparing  to  fly  for  the  usual  aerial 
exposures,  the  hangar  sergeant  came 
over  to  me  to  ask  if  the  skipper  could 
take  him  up  first  to  test  the  newly  in- 
stalled motor  that  he  had  been  work- 
ing on.  A  few  moments  later  there 
was  a  crash  and  someone  else  bore  the 
fate  that  would  have  been  mine. 

The  Inevitable 

Another  time  I  was  to  get  the  first 
ship  that  came  back  to  the  field,  but 
for  some  reason  my  photographic  trip 
was  canceled  for  me  and  given  to  an- 
other. An  hour  later  the  ship  in 
which  I  was  to  have  flown  burned  in 
mid-air.  I  guess  it  is  like  the  Manchu 
wisdom — "He  who  is  marked  for  an 
accidental  death  will  meet  his  fate 
even  though  he  dwell  in  sheltered  se- 
clusion." 


A  lot  of  you  boys  may  remember 
the  photo  school  at  Rochester,  N.  Y., 
back  in  the  extravaganza  days  of 
February,  1918,  when  Mr.  Eastman 
turned  over  his  new  paper  building 
at  the  Kodak  plant  for  an  aerial  photo 
finishing  school. 

To  me  those  old  army  days  will 
long  be  remembered.  How  well  I  re- 
call those  first  day  instructions  at  this 
school,  and  he  who  followed  the  rules 
made  the  grade.  Our  first  instruc- 
tion there  was  to  forget  all  we  ever 
knew  about  photography  and  learn  all 
over  again  the  army  way. 

Fast  Enlargement 

After  three  months  of  simple  funda- 
mentals of  photography  we  were 
graduated  from  the  first  school  and 
moved  on  to.  the  various  flying  fields 
about  the  country.  I  drew  Scott  Field 
at  Belleville,  111.,  for  ground  and 
aerial  training.  Our  outfit  was  Photo 
Section  No.  30,  and  we  hung  up  some 
records  that  still  hold  good. 

Our  speed  test  of  making  an  8  by  10 
enlargement  from  a  4  by  5  panchro- 
matic plate  in  5  minutes  and  42% 
seconds  was  one  accomplishment  we 
all  were  proud  of. 

Aerial  cameras  were  new  to  all  of 
us.  The  first  aviation  still  camera 
was  the  Type  C  changer  made  for  the 
Royal  Flying  Corps  and  adopted  by 
the  United  States  Army.  It  was 
made  of  wood  and  had  its  faults,  but 
later  the  all-metal  Type  L  camera  was 
developed  by  Eastman  Kodak. 

The  general  principle  of  this  cam- 
era was  somewhat  similar  to  that  in- 
corporated in  the  Type  C  camera. 

The  Type  L  camera  magazines  car- 
ried twenty-four  4  by  5  panchromatic 
plates  in  metal  septums  that  fitted 
directly  above  the  exposure  aperture, 


Interior  of  photo  hut  workroom. 


Sergeant     Parichy     with     Eastman 

Type-L     camera     (all     metal     aerial 

camera). 

and  the  plates  fell  into  position  as 
fast  as  exposures  were  made. 

To  make  an  exposure  was  simply  to 
depress  smartly  on  a  plunger  on  the 
camera's  side  in  a  downward  move- 
ment. The  exposed  plates  were  re- 
moved from  the  aperture  by  pulling  a 
handlever  backward  that  moved  the 
exposed  plate  horizontally  into  a  re- 
ceiving magazine. 

In  the  Type  L  camera  the  changing 
of  the  exposed  plate  and  the  setting  of 
the  focal  plane  shutter  was  one  opera- 
tion, either  by  hand  or  automatically 
by  action  of  a  wind  propeller,  a  spe- 
cial attachment  that  we  did  not  often 
use. 

The  camera  seldom  jammed  and 
when  making  continuous  shots  of  our 
line  of  flight,  often  as  fast  as  one 
second  intervals,  for  a  wide  overlap 
in  stereoscopic  work,  these  cameras 
clicked  perfectly  and  came  through 
for  us. 

As  it  is  well  known,  to  the  observer 
in  an  airplane,  flying  at  great  height, 
objects  on  the  ground  appear  very 
flat.  In  warfare,  in  order  to  exam- 
ine closely  the  battery  and  trench 
positions  and  to  detect  all  manner  of 
enemy  camouflage,  it  was  necessary 
to  increase  the  relief  more  than  the 
r.aked  eye  could   see. 

To  obtain  this  increased  or  exag- 
gerated relief  we  were  taught  to  shoot 
two  exposures  in  rapid  succession 
with  aerial  cameras,  which  gave  us 
stereopticon  effect  in  the  prints  after 
proper  cutting  and  mounting. 

Prints  for  these  stereos  had  to  be 
the  same  color  in  developing  and  pref- 
erably   lighter    than    dark    in     color. 


Four 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


The  standard  size  of  a  stereo  mount 
was  3V2   by  7  inches. 

Shooting  Stereos 

The  intervals  of  these  aerial  expos- 
ures varied  according  to  the  flying- 
height,  from  IV2  seconds  at  1000  feet 
altitude  up  to  14  approximate  seconds 
between  exposures  at  10,000  feet  with 
the  ship  flying  at  60  miles  an  hour 
ground  speed. 

Cutting  the  prints  to  fit  the  stereo 
mount  necessitated  superimposing  the 
prints  in  the  proper  position  and  cut- 
ting them  through  the  same  portion 
of  each  print  which  was  practically 
the  same  picture. 

It  was  also  necessary  in  mounting 
the  prints  to  space  between  the  images 
of  the  same  object  a  separation  of 
approximately  2%  inches  or  the  dis- 
tance between  the  eyes. 

Making  mosaic  maps  of  a  given  ter- 
rain was  made  by  taking  a  series  of 
aerial  photographs  overlapping  one 
another  in  such  a  manner  that  no 
part  of  the  area  was  omitted.  To 
make  a  map  of  say  six  feet  square 
we  brought  into  play  more  than  two 
hundred  prints  for  its  completion. 

Not  So  Tough 

Life  was  not  so  tough  for  we  photo 
boys  at  Scott  Field.  We  had  chicken 
and  ice  cream  bi-weekly  at  the  mess 
hall,  free  stationery,  and  movies  every 
night  at  the  Y  Hut.  We  emoted  to 
the  "at  that  time"  darling  of  the 
screen,  Marguerite  Clarke,  and  what 
a  thriller  Olive  Tell  was  in  those  old 
pre-hectic  days. 

Our  programs  at  the  Y  ran  some- 
thing  like  this : 

Monday — Movies  featuring  Herbert 
Rawlinson  in  "Brace  Up." 

Tuesday — Five  St.  Louis  girls,  read- 
ers and  elocutionists. 

Wednesday — Dr.    Loyal    G.    Minier 


in  the  lecture  "How  Life  Begins," 
illustrated  with  movie  film  (for  men 
only). 

Thursday — Movie  featuring  Mar- 
guerite Clark  in  "Rich  Man,  Poor 
Man." 

Friday — Government  film  "Fit  to 
Fight."     (For  men  only.) 

Saturday  —  Industrial  and  travel 
movies. 

Sunday — Morning  service  at  10:30, 
the  Rev.  Mr.  Billman,  speaker.  Eve- 
ning song  service  at  8  o'clock. 

Some  very  special  general  orders 
I  followed  meticulously  aside  from  the 
photo  work  were: 

To  salute  all  chicken,  pork  chops, 
ham  and  eggs,  but  not  the  beans. 


To  watch  my  mess  plate  in  a  mili- 
tary manner. 

To  take  charge  of  all  the  spuds  and 
gravy  that  come  in  my  sight  and  smell. 

To  report  to  the  mess  sergeant  all 
bread  sliced  too  thin. 

To  repeat  all  calls  for  second  help- 
ings; to  eat  until  full  and  never  pass 
on  to  my  buddies  any  victuals  in 
range  of  my  lunchhooks. 

To  speak  to  no  one  that  asks  for 
caviar. 

To  shoot  the  onions. 

To  quit  the  table  only  when  there  is 
nothing  left  to  eat. 

To  take  hypo  instead  of  bicarbonate 
of  soda  to  fix  the  old  stomach. 

WHAT    A    LIFE! 


Kershner  and  Andrews  Entertain 

at  Union  Meeting  and  in  Church 


AT  the  January  stated  session  of 
the  west  coast  International 
Photographers  following  the 
business  meeting  the  members  were 
highly  entertained  by  Glenn  Kersh- 
ner, I.  P.,  recently  returned  from 
Tahiti  and  nearby  islands,  and  Loring 
Andrews,  with  whom  the  former  had 
become  acquainted  in  the  South  Seas. 
Both  men  brought  along  their  gui- 
tars. Loring  also  had  with  him  his 
responsive  accordion  and  his  side- 
kick evened  things  up  with  his  bass 
viol.  One  of  the  hits  of  the  evening — 
just  one — was  the  duet  in  a  particu- 
larly lively  Spanish  song  by  Andrews 
and  Member  Anthony  (Jim)  Fernan- 
dez, the  former  with  his  guitar  and 
Kershner   with   the   big  wood. 

Four  reels  of  pictures  taken  by 
Kershner  in  the  South  Seas  were  run, 
many    of    the    subjects    being    accom- 


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panied  by  Andrews  on  the  guitar  which 
had  carried  the  adventurer  around 
the  world. 

Not  long  after  the  two  men  on  a 
Sunday  evening  in  the  Culver  City 
Presbyterian  Church  were  requested 
to  take  over  the  lay  part  of  the  serv- 
ice. Kershner  spoke  from  the  pulpit 
on  "Missionaries  I  Have  Met  on  the 
Outer  Edges  of  the  World."  Follow- 
ing his  address,  which  with  other  in- 
cidents told  of  his  experiences  among 
American  Indians  in  the  year  and  a 
half  he  lived  among  them,  he  showed 
pictures  of  the  Arctic  in  color  and 
of  his  recent  trip  to  the  South  Seas. 

For  the  occasion  the  Methodist 
church  was  closed  and  its  members 
moved  over  to  the  Presbyterian  edi- 
fice. Some  of  the  other  denominations 
did  not  officially  close  their  doors,  al- 
though the  attendance  was  somewhat 
attenuated.  The  rush  for  chairs  in  the 
neighborhood  of  the  church  was  un- 
precedented, but  the  Methodist  con- 
gregation helped  out  materially  by 
drawing  on  its  own  reserve. 


Some  of  the  photo  boys  at  Scott  Field.  Left  to  right,  Block,  Werner,  Rosenthal, 
Punchy,  O'Hearn,  Barnes.    Sitting,  Pfetcher,  Assadourian,  Laube,  Doty  and 

Kerns. 


Home  Paper  Records  Honors 

Raining  on  Correspondent 

THE  following  from  the  January 
15  issue  of  The  Society  Picto- 
rial, finely  edited  and  printed 
Miami  publication,  may  bring  to 
mind  a  photograph  of  Mr.  Parichy's 
Egyptian  namesake,  with  the  very 
polite  letter  from  her  father  con- 
tained in  a  recent  issue  of  Interna- 
tional  Photographer: 

"Esselle  Parichy,  maker  of  those 
exciting  Vagabond  Travelogues  and 
staff  correspondent  for  the  Interna- 
tional Photographer,  has  the  dubious 
honor  of  a  namesake  in  Egypt.  When 
there  some  time  ago  he  and  his  guide 
became  great  friends  and,  on  parting, 
the  native  promised  to  write. 

"After  restful  months  in  Miami 
came  a  letter  written  with  much 
good  English,  that  had  been  for- 
warded all  over  these  United  States, 
inclosing  a  postcard  portrait  of  a 
little  six  months  Esselle.  And  is  he 
[sic]  cute!  And  dark!  And  Egyp- 
tian!" 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Five 


Looking  About  on 
Location  and  Set-^  ty 


PARAMOUNT  has  the  distinction 
of  having-  the  largest  camera  boom 
in  the  industry.  It  resembles, 
roughly,  a  large  steam  shovel  with  a 
long  neck.  Out  at  the  end  of  a  twen- 
ty-four-foot beam  is  a  camera  anchor, 
accompanied  by  seats  for  the  camera- 
man and  director.  This  headlike  en- 
semble on  the  "boom"  end  travels 
about  here  and  there  after  the  man- 
ner of  a  swan's  head.  It  was  first 
used  about  a  year  ago. 

Cecile  De  Mille  in  filming  "The  Sign 
of  the  Cross"  was  traveling  about  on 
this  boom  with  the  cameraman  look- 
ing for  camera  angles  when  in  rais- 
ing the  beam  to  a  nethermost  portion 
of  a  large  set  he  was  confronted  with 
a  person  called  for  the  day,  or  in 
other  words  presumably  working, 
"kinda  taking  a  nap."  The  sleeping- 
party  awoke  to  report  she  had  re- 
ceived an  early  call  from  the  studio 
so  her  voice  could  be  used  as  atmos- 
phere in  the  large  set.  After  wait- 
ing six  hours  she  was  resting. 
*      *      * 

Dr.  Boris  V.  Morkovin,  head  of  the 
motion  picture  department  of  the  Uni- 
versity    of     Southern     California,     is 


about  the  studios  with  his  classes. 
This  is  the  first  university  to  raise  the 
study  of  the  dramatization  technique 
of  various  cameramen  and  directors 
in  the  motion  picture  to  an  academic 
rating. 

In  these  classes  are  taught  the  com- 
parative values  of  lighting,  camera 
angles,  sound  and  other  devices  used 
in  creating  and  enhancing  emotional 
stimuli.  The  various  methods  of 
cameramen  and  directors  are  intelli- 
gently compared. 


Along  these  lines  of  the  motion  pic- 
ture in  the  university  is  the  initial 
move  by  President  Rufus  B.  Von 
KleinSmid  of  this  university  to  or- 
ganize the  cinematic  forces  in  this 
country  further  to  use  the  motion  pic- 
ture in  educational  lines.  This  con- 
ceptional  move  is  the  basis  of  an  or- 
ganization to  carry  on  the  work  al- 
ready started   abroad  years  ago. 

Its  organizing  is  being  furthered 
h"  the  collaboration  and  interest  of 
several  American  universities  and  of 
Mme.  Laura  Dreyfus-Barney,  who  is 
a  member  of  the  Grand  Council  of 
Education  of  the  Chamber  of  Depu- 
ties in  France,  and  also  prominent  in 


the  activities  of  the  League  of  Nations 

Institute. 

*      *      * 

Over  at  the  United  Artists  Studio 
we  find  a  reminder  of  the  literary 
masterpiece  of  Joyce  Kilmer,  "Only 
God  Can  Make  a  Tree."  Here  Nick 
Kaltenstadler  has  made  a  massive 
tree  for  the  Mary  Pickford  picture 
"Secrets." 

This  tree  instead  of  nestling  against 
earth's  sweet  breast  rests  on  rollers 
so  as  to  be  moved  about.  It  has  plas- 
ter of  paris  limbs,  covered  with  rub- 
ber and  collodion  for  bark,  and  is 
part  of  an  impressive  whole  in  one 
of  the  sets  in  this  picture  soon  to  be 
completed. 

"Morey"  Laranaga,  the  man  who  has 
enhanced  the  beauty  of  so  many  pro- 
ductions with  his  artistic  glass  paint- 
ings, deserves  credit  for  the  breath- 
taking- glass  painted  by  him  for  Willis 
O'Brien  in  a  picture  being  made  of 
prehistoric  animals  at  RKO. 

This  is  a  shot  of  an  air  view  of 
New  York  and  must  be  seen  to  be 
appreciated.  The  realism  of  this  par- 
ticular picture  will  justify  the  use  of 
glass  effects,  since  the  shot  points  out 
the  reality  of  the  locale  with  greater 
effect  than  the  actual  could  be  shot. 

A  cry  of  "Fake"  is  only  set  up  by 
an  audience  when  glass  or  other  ef- 
fect shots  are  poorly  done.  Inherent- 
ly the  public  feels  that  artistic  and 
effective  results  justify  the  use  of 
such  devices.  Such  beauty  sometimes 
cannct  be  obtained  otherwise,  and  at 
its  best  the  industry  is  a  combination 
of  all  arts,  all  of  which  must  be  em- 
ployed at  times  most  effectively  to  tell 
a  story. 


In    building   props   for   the   Mary   Pickford   picture    "Secrets"    Nick    Kaltenstadler    created    an    effect    that    brings    to 

mind  those  famous  lines  of  Joyce  Kilmer  that  "Only  God  Can  Make  a  Tree."     Right,  at  Paramount  Studio  the  twenty- 

fmtr-foot  camera  boom  elevates  director  of  "Sign   of  the  Cross"  for  a  second-story  close-up. 


Six 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


Delving  Into  Screen 's  Parenthood 

Chronological  Tale  of  Inventors  Who  Sought  to 

Create  Pictures  That  Moved,   Beginning 

with  Dumont  and  Ending  with  Edison 

By  EARL  THEISEN 

Honorary  Curator  Motion  Pictures,  Los  Angeles  Museum 


WHO,  definitely,  did  invent  the 
motion  picture?  If  this  ques- 
tion is  asked  an  American  his 
somewhat  non-commital  reply  will  be 
Thomas  A.  Edison,  while  an  English- 
man will  firmly  answer  William 
Friese-Greene  or  Louis  A.  A.  Le 
Prince. 

A  Frenchman  proudly  will  point 
out  the  work  of  Louis  and  August 
Lumiere. 

Comparing  these  claims  we  find  the 
American  more  concerned  with  re- 
sults and  the  future  and  less  con- 
cerned with  the  source,  the  past,  than 
those  across  the  water,  who  love  the- 
orizing and  retrospection.  To  the 
English  and  the  French  theory  has 
an  importance  comparative  to  achieve- 
ment. And  upon  this  basis  they  will 
give  credit. 

Such  briefly  are  the  conditions  ex- 
isting around  the  various  claims  to 
the  so-called  fatherhood  of  the  movie. 
No  one  doubts  that  Edison  perfected 
the  apparatus  that  made  the  motion 
picture    practical    and    a    commercial 


possibility,  while  other  pioneers  whose 
claims  have  been  advanced  only  de- 
serve credit  for  theorizing. 

This  theorizing  is  but  a  prelude  to 
a  lot  of  hard  work  which  was  only 
surmounted  by  Edison  and  his  helper 
on  this  problem,  William  K.  L.  Dick- 
son, whose  successes  are  to  be  judged 
from  the  fact  that  practically  all  pro- 
cedure along  these  lines  follow  in  the 
footsteps  of  these  two  men. 

Sixteen  Lenses  in  Camera 

Pictures  were  a  long  time  learning 
to  move.  During  the  past  several 
centuries  many,  many  men  spent 
their  lives  struggling  with  the  prob- 
lem. Hence  no  one  man  deserves  a 
signal  award  for  theorizing,  even 
though  the  structure  of  his  theories 
had  a  semblance  of  practicality,  un- 
less he  brought  his  ideas  to  fruitful- 
ness. 

It  is  found  upon  investigating  the 
claims  of  Louis  A.  A.  LePrince  the 
only  definite  documents  existing  to 
substantiate   his   claims   are   the   pat- 


«a!p<"&gt  ••••••• 


Edison  Projecting  Kinetoscope  first  made  about  July,  1896.  This  type  of  pro- 
jector sold  outright  for  $75  and  could  project  a  picture  for  50  feet.  Note  the 
spool-bank  which  held  15  to  40  feet  of  film  running  contintiously .  It  was 
made  under  the  Edison  and  Armat  projection  patents  and  followed  the  intro- 
duction of  the  sister  projector,  the  Edison  Vitascope,  which  ivas  made  exclu- 
sively for  renting  on  a  states  right  basis  through  Raff  &  Gammon. 


Bio  -  Phantoscope,  a  lantern  device 
which  showed  pictures  taken  in  vari- 
ous stages  of  a  complete  action  by 
photography  in  1868.  It  had  an  in- 
termittent arrangement  for  moving 
the  successive  slides  forward  and  a 
shutter  for  stopping  the  light  during 
the  change.  Friese-Greene  formed  a 
partnership  with  J.  A.  R.  Rudge  in 
1885. 

ent  specifications  of  his  British  and 
American  patents  of  1888.  The 
United  States  patent  office  eliminated 
his  claims  to  one  and  two  lenses  due 
to  the  interference  of  Dumont's  Brit- 
ish patent  No.   1457  of  1861. 

The  drawing  accompanying  his  pat- 
ent is  for  a  camera  with  sixteen 
lenses  placed  in  two  rows  of  eight 
each.  Each  of  the  lenses  in  the  first 
series  was  to  photograph  consecu- 
tively pictures  while  the  film  facing 
the  other  eight  was  being  moved  for- 
ward in  readiness  for  another  expo- 
sure. 

It  is  of  interest  to  note  that  Joseph 
Mason  later  made  a  model  of  this 
camera  from  the  patent  specifications 
for  the  Biograph  Company  to  be 
used  in  the  patent  dispute  between 
Edison  and  the  Biograph.  The  cam- 
era was  made  with  the  hope  of  using 
it  as  priority  evidence  to  break  the 
Edison  motion  picture  patents.  How- 
ever, tricks  were  resorted  to  before 
successful  pictures  could  be  made. 

It  is  known  that  pictures  taken  in  a 
multiple  lens  camera  from  two  points 
of  view  give  an  alternating  picture 
that  would  jump  back  and  forth  on 
the  screen.  Of  course  stereo  effects 
are  obtained  in  this  manner,  although 
this  was  neither  Le  Prince's  nor  Bio- 
graph's  intention  in  making  the  cam- 
era. 

Cutting    Out   the   Jiggle 

Joseph  Mason  in  making  pictures 
with  it  photographed  them  in  front 
of  a  black  curtain  to  avoid  a  back- 
ground of  relative  positions.  After 
developing  the  negative  he  cut  apart 
each  frame  for  fifty  feet  of  film  and 
tediously  lodged  each  frame  by  hand 
for  the  entire  footage  in  a  Biograph 
step   printer   to   print   a    positive   for 


February,  1933  The     INTERNATIONAL     PHOTOGRAPHER 


Seven 


the    required     courtroom    demonstra- 
tion of  the  LePrince  camera. 

The  Edison  attorneys  upon  seeing 
the  picture  cross-examined  Mason 
with  "Don't  you  know  that  if  you 
take  a  picture  with  a  camera  having 
two  or  more  lenses  you  get  a  stereo- 
scopic effect  and  your  pictures  will 
jiggle  on  the  screen?" 

"Well,  this  picture  doesn't  jiggle," 
Mason  replied,  failing  to  mention  for 
obvious  reasons  the  manipulation  in- 
volved to  make  them  steady. 

LePrince  was  granted  a  British 
patent  No.  423  on  November  16,  1888, 
on  a  one  and  multiple  lens  camera 
("receiver")  and  projector  ("deliv- 
erer"). After  this  he  made  a  sixteen- 
lens  camera,  and  later,  the  date  of 
which  is  not  known,  he  made  a  cam- 
era having  one  lens.  The  date  of 
this  last  mentioned  camera  cannot 
be  established  by  any  contemporane- 
ous documents. 

Enter  Bio-Phantascope 

The  earliest  evidence  at  hand  is  a 
statement  signed  by  Ferdinand  Mo- 
bisson,  secretary  of  the  National  Op- 
era, of  an  exhibition  at  the  Paris 
Opera  House  on  March  30,  1890. 

The  work  of  LePrince  is  signifi- 
cant, and  perhaps  had  he  not  disap- 
peared unaccountably  on  September 
26,  1890,  the  course  of  screen  his- 
tory might  have  been  somewhat  dif- 
ferent with   more  credit  to   his   work. 

William  Friese-Greene  first  started 
working  on  the  motion  picture  prob- 
lem some  time  in  1883,  beginning 
with  some  experiments  in  recording 
motion  on  glass  plates,  which  were 
to  be  shown  in  a  lantern  device  de- 
veloped by  J.  A.  R.  Rudge. 

This  lantern  or  Bio-Phantascope  as 
it  was  known  had  an  arrangement 
for  placing  individually  photographed 
pictures  on  glass  plates  around  the 
lamp  house;  and  by  turning  a  crank 
the  pictures  would  be  consecutively 
projected  to  a  screen  after  the  man- 
ner of  a   dissolving   stereopticon. 

It  had  both  a  shutter  for  interrupt- 
ing the  light  while  the  picture  was 
being  changed  and  a  Geneva  inter- 
mittent for  its  movement.  The  Bio- 
Phantascope  was  the  most  perfected 
of  the  stereopticons,  and  used  as  it 
was  to  show  about  eight  slides,  each 
a  part  of  some  action,  received  con- 
siderable attention,  although  it  was 
not  the  first  device  constructed  using 
photography  to  show  motion. 

Coleman  Sellers  has  the  distinction 
of  being  the  first  to  attempt  to  de- 
pict motion  by  photography  with  his 
experiments  of  1861.  After  the  death 
of  Rudge,  Friese-Greene  continued 
his  experiments,  and  in  1885  demon- 
strated some  pictures  taken  spirally 
upon  a  glass  plate. 

Persistence  of  Vision 

These,  however,  were  not  a  success, 
so  he  endeavored  to  photograph  on 
paper  bands  made  transparent  with 
castor  oil,  continuing  with  his  ex- 
periments as  he  could  spare  time 
from  his  photographic  business. 

On  June  21,  1889,  together  with 
Mortimer  Evans,  he  applied  for  a 
patent  which  was  accompanied  with 
conceptional  drawings  made  by  Ev- 
ans. In  the  meantime  he  made  sev- 
eral  pictures   using   either   the   paper 


bands  or  some  celluloid  he  made  him- 
self. The  success  of  these  pictures  on 
the  screen,  however,  has  not  been 
accredited. 

The  Scientific  American  Supple- 
ment, No.  746,  of  April  19,  1890,  P. 
11921,  describes  the  working  of  his 
mechanism  and  closes  with:  "Some 
years  ago  he  exhibited  a  little  optical 
lantern  which  cast  four  pictures  in 
succession  upon  the  screen,  and,  be- 
fore one  was  quite  removed,  the  next 
was   superimposed. 

"By  an  improvement  upon  that  lan- 
tern, now  in  the  course  of  manufac- 
ture, Mr.  Greene  hopes  to  be  able  to 
reproduce  upon  the  screen,  by  means 
of  photographs  taken  with  his  ma- 
chine camera,  street  scenes  full  of 
life  and  motion;  also  to  represent  a 
man  making  a  speech,  with  all  the 
changes  in  his  countenance,  and,  at 
the  same  time  to  give  speech  itself 
in  the  actual  tones  of  the  man's  voice 
by  means  of  a  loud  speaking  phono- 
graph." 

From   this   it   would   follow   his   de- 
vice  at  this  time  had  not  been   per- 
fected to  the  point  of  a  public  dem- 
onstration to  a  critical  audience. 
Edison's    Honors 

Friese-Greene  died  in  England  at 
a  dinner  in  his  honor  on  May  5,  1921. 
He  had  just  finished  a  speech  when 
he  sat  down  only  to  drop  forward  on 
the  banquet  table,  dying  of  'heart 
failure.  Even  though  he  worked  hard 
with  the  problem  of  making  pictures 
move  his  work  had  little  importance 
in  actual  screen  history.  Every  one 
regrets  to  see  a  man  die  a  failure 
after  spending  a  lifetime  in  pursuit 
of  achievement. 

To  Edison  must  be  accorded  the 
honor  of  making  pictures   in   motion, 


giving  them  to  all  in  a  practical  way. 
He  became  interested  in  the  subject 
in  1887,  assigning  W.  K.  L.  Dickson 
to  the  problem.  Their  first  experi- 
ments closely  followed  the  principle 
of  the  early  cylinder  phonograph, 
consisting  of  coating  cylindrical  rec- 
ords with  a  photographic  emulsion. 

This  line  was  discontinued  and  oth- 
ers tried,  including  pictures  taken  in 
long  strips,  on  paper  bands  and 
countless  others.  The  trend  of  the 
experiments  was  altered  after  Dick- 
son had  attended  a  lecture  late  in 
1888  at  the  New  York  Camera  Club, 
at  which  an  Eastman  demonstrator 
showed  some  samples  of  the  earlier 
Eastman  celluloid  coated  with  photo- 
graphic emulsion. 

Lumieres   Secure   Patent 

Dickson  procured  a  sample  2  to  4 
inches  square  to  show  to  Edison. 
Upon  seeing  the  sample  Edison  in 
his  charateristic  manner  told  Dick- 
son,  "That's   it,   now  work   like   hell." 

Which  is  exactly  what  Dickson  did. 
He  completed  a  rough  copy  of  the 
Kinetoscope  ready  for  demonstration 
upon  Edison's  return  from  the  Paris 
Fair  of  1889.  The  first  demonstra- 
tion was  held  on  a  Sunday,  November 
6,  1889.  The  application  for  patent 
on  this  device  was  delayed  until  Au- 
gust 24,  1891,  and  was  granted  Au- 
gust 31,  1897,  as  No.  589,168. 

Around  this  patent  number  re- 
volves a  world  of  amusement  and  ro- 
mance, giving  as  it  did  the  motion 
picture  to  the  world.  With  the  pass- 
ing of  the  next  few  years  Edison  defi 
nitely  took  the  motion  picture  to  the 
doorsteps  of  the  dramatic  artists  for 
their  teachings  of  dramaturgic  art. 

Upon  the  introduction  of  the  Edi- 
son   Kinetoscope    peepshow,    April    14, 


(■si  hot.   169" 


Ssllsra.    Pat.    31,557 


!il   Mai.    1S94 
Ca»l«.    Pat.    549,309 


V3T 


(7)  Kay,    1687. 

C aslsr. 
Pat.    SS^TSS 


t  («)  Jany.    18»fl 

Psttsniiofsr. 
Pat.    571,496 


] 


A  series  of  patent  drawings  on  some  of  the  earlier  devices  for  showing  motion. 
No.  1  is  the  Coleman  Sellers  device  of  1861,  which  was  the  first  attempt  to 
show  motion  using  photograph)/.  No.  2  is  the  first  patent  on  a  device  to  show 
motion  pictures  in  book  form,  which  was  the  underlying  principle  of  the  Bio- 
graph  Mutoscope  peepshow.  The  Casler  patents  shown  were  part  of  the  many 
patents  granted  as  a  protection  for  Biograph. 


Eight 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


1894,  all  over  the  world  inventors 
endeavored  to  make  devices  showing 
pictures  on  a  screen.  The  work  of 
the  Lumieres  enters  here  and  by  Feb. 
13,  1895,  they  had  a  French  patent 
issued  to  them  on  a  very  compact  de- 
vice that  was  a  camera,  printer,  and 
projector  combined. 

It  was  very  little  larger  than  a 
cigar  box,  and  due  to  its  compactness 
was  much  prized  by  contemporary  ex- 
perimenters.     The    Lumieres    started 


their  commercial  showing  at  the 
Grand  Cafe  in  Paris  on  December  28, 
1895. 

Others  to  project  pictures  this  year 
were  Woodville  Latham,  in  New 
York,  who  had  a  press  demonstration 
of  his  Pantopticon  on  April  26,  and 
Thomas  Armat  and  C.  F.  Jenkins  in 
Washington,  a  shop  showing  in  Au- 
gust, 1895,  of  a  beater  movement 
projector  which  was  not  successful. 
At  this  time  another  projector  with  a 


Geneva  movement  was  started  and 
finished  independently  by  Armat,  the 
rights  and  patents  of  which  later 
were  acquired  by  Edison;  and  Robert 
Paul  in  England  finished  a  projector 
in  the  fall  of  1895. 

These  are  the  men  who  deserve 
the  credit  for  crystallizing  the  age-old 
dream  of  pictures  in  motion,  giving 
to  us  the  international  institution  of 
the  motion  picture,  which  is  just  com- 
ing to  realize  its  power. 


Largest  Still  Camera  of  Its  Type 

Again  to  be  Operated  by  Harburger 


AFTER  being  out  of  circulation 
for  about  four  years  the  larg- 
est still  camera  of  its  type  again 
is  in  action.  It  has  been  restored  to 
the  arms  of  Neal  Harburger,  I.  P.,  its 
operator  since  it  was  released  by  the 
manufacturer,  the  Adams  Minex  Com- 
pany of  London. 

A  number  of  years  ago  the  late 
Fred  Thomson  sought  a  camera  espe- 
cially adapted  to  the  making  of  action 
stills — pictures  that  might  be  exposed 
while  he  was  engaged  in  producing 
westerns  without  experiencing  the  de- 
lay caused  by  posing  the  everyday 
still.  Also  he  wanted  it  to  be  8  by  10 
in  size  so  as  to  avoid  the  time  and 
expense  involved  in  enlarging  up  to 
that  area. 

Stopping  work  to  make  stills  has 
been  the  bane  of  directors  ever  since 
the  beginning  of  picture  making.  In 
the  old  days  in  many  instances  they 
insisted  on  the  fewest  possible  num- 
ber, depreciating  their  value  and  de- 
claring they  were  not  worth  a  part  of 
their  actual  cost  in  lost  company  time 
alone.  It  was  not  until  the  picture 
was  over,  the  company  disbanded  and 


the  stills  were  back  in  production 
offices  in  New  York  that  the  squawks 
really  began. 

The  film  salesmen  had  nothing  much 
to  stow  away  in  their  brief  cases  to 
show  exchangemen  and  exhibitors,  and 
the  publicity  department  had  insuffi- 
cient material  out  of  which  to  create 
pressbooks  and  8  by  10s  and  11  by  14s 
for  lobby  displays,  let  alone  stuff  for 
inquiring  magazines  seeking  exclusive 
pictures. 

Thomson  sought  to  secure  a  camera 
on  the  graflex  type  in  the  United 
States,  but  manufacturers  shied  at 
the  idea.  Too  much  experimental 
work  was  involved.  So  he  tried  the 
English  company  named  and  arrange- 
ments quickly  were  completed. 

Quite  a  bit  of  time  was  devoted  to 
getting  the  hang  of  the  new  instru- 
ment when  it  was  turned  over  to  Har- 
burger— in  fact,  it  was  three  months 
before  the  bugs  were  ironed  out.  At 
first  it  looked  as  though  a  huskier 
breed  of  stillmen  might  have  to  be 
developed,  inasmuch  as  the  instrument 
was  made  of  teakwood  and  brass  and 
weighed  34  pounds.    With  the  bellows 


extended  the  camera  measured  18 
inches  high  and  30  inches  long. 

One  of  the  initial  handicaps  was  the 
designing  of  something  to  take  the 
place  of  the  swingback  of  the  regular 
still  camera.  Swinging  lens  mounts 
were  built  with  a  regular  ball  and 
socket  joint,  the  lens  itself  being 
mounted  in  the  ball  or  movable  part 
of  the  joint,  which  most  successfully 
took  the  place  of  the  swingback.  After 
the  shutter  finally  was  adjusted  to  the 
speed  of  the  film  as  it  was  at  that 
time  it  was  found  satisfactory  pic- 
tures of  horses  in  action  and  thrill 
shots  of  all  kinds  could  be  made  with- 
out difficulty. 

Stills  on  seven  pictures  were 
made  with  the  camera  by  Harburger 
before  the  death  of  Fred  Thomson  re- 
sulted in  all  of  the  unusually  up-to- 
date  production  equipment  he  had  ac- 
cumulated being  placed  in  storage. 
Recently  the  camera  was  turned  over 
to  Harburger  with  the  understanding 
he  alone  should  use  it. 

The  cameraman  declares  that  with 
the  improvements  that  have  been  made 
in  film  during  the  last  four  years  the 
scope  of  the  camera  will  be  greatly 
widened. 


The  Pathe  -  Natan  concern,  of 
France,  has  reduced  its  capital  from 
160  million  to  136  million  francs,  or 
by  15  per  cent. 


heft,  Neal  Harburger  again  to  operate  the  S  by  10  still  camera  known  as  the  largest  of  type  and  with  which  he  ex- 
posed the  still  photographs  on  seven  Paramount  ivesterns  in  which  the  late  Fred  Thomson  was  featured.  The  instru- 
ment is  owned  by  the  Thomson  estate.    At  the  right,  just  beyond  the  jumping  horse  he  is  rehearsing  is  shown  the  man 

who  was  a  chaplain  in  the  war  and  an  actor  following  it. 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Nine 


Left,   the  Pali  at  Honolulu,   where   old  Boreas   plays   his    tricks.     Right,   the   lights  on   Shanghai's  Nanking  Road. 


Cruising  Photographer  Tells  of  a 

Visit  to  Manila 's  Bilibid  Prison 


By  NELSON  C.  McEDWARD 

With  his  own  illustrations 


THE    day    before 
Manila  it  rained 


we  landed  in 
two  inches  in 
seven  hours.  That  would  have 
been  a  sight  for  any  Californian,  or 
one  anyway  of  the  southern  end.  We 
took  ours  on  the  water,  where  it  did 
not  mean  so  much  except  that  it  inter- 
fered with  the  exposing-  of  film.  The 
countryside  was  overrun  with  vegeta- 
tion, of  a  dark  bottle  green. 

I  had  long  wanted  to  photograph 
the  inside  of  Bilibid  Prison,  but  had 
been  so  thoroughly  discouraged  re- 
garding its  possibility  I  practically 
had  given  up  the  idea.  It  just  hap- 
pened on  my  last  afternoon  at  sea 
there  had  been  an  introduction  to  an 
attache  of  the  customs  secret  service 
who  had  given  me  a  letter  of  intro- 
duction to  the  chief  of  the  prison. 

The  day  I  presented  my  letter  I  was 
just  too  late  to  catch  the  drill  of  4000 
prisoners  in  the  yard.  The  guard  at 
the  gate  so  informed  me.  When  the 
guard  got  word  to  send  me  through  he 
suggested  I  leave  my  camera  with 
him.     I  thought  it  was  all  up. 

With  the  chief,  though,  it  was  dif- 
ferent. Assigning  me  two  prisoners 
to  carry  my  equipment,  he  said  I 
might  photograph  the  entire  prison. 
I  pretty  near  did  just  that.  What  a 
prison!  Prisoners  may  be  pardoned 
for  feeling  that  following  entrance 
there  the  key  is  thrown  away. 

Five  Gates  of  Steel 

I  did  see  one  American.  He  was 
much  dejected.  I  found  the  staff  very 
courteous.  They  dragged  out  a  lot  of 
furniture  the  prisoners  had  made  and 
I  took  shots  at  it.  The  furniture  pos- 
sesses real  quality.  I  bought  a  hat 
made  out  of  the  tops  of  cocoanuts, 
and  at  the  gate  I  was  tackled  to  join 
the  Anti-Tuberculosis  Society  at  a 
cost  of  2  pesos.  All  seemed  pleased 
when  that  was  put  over. 


After  going  through  five  gates  of 
steel  it  seemed  good  to  get  out  of  Bili- 
bid Prison,  so  I  left  immediately  for 
shipside.  Legaspis  Landing  was  made 
just  before  I  passed  out  with  the  heat, 
or  so  at  least  it  appeared.  Anyway 
before  going  aboard  two  bottles  of 
beer  seemed  to  go  far  to  restore  or 
recreate  a  proper  outlook  on  life. 

Manila  is  a  great  place  to  buy  lin- 
ens, but  the  rate  of  exchange  does  not 
give  much  help,  and  a  dollar  doesn't 
last  very  long  in  purchasing  them. 

On  the  way  back  to  Hongkong  I 
made  a  few  shots  of  Manila  flyers  as 
they  sailed  over  the  ship.  In  the  eve- 
ning we  witnessd  a  most  glorious  sun- 
set.    It  was  one  to  remember. 

During  the  night  we  just  missed  a 
typhoon,  speaking  comparatively,  by 
which  meaning  by  about  fifty  miles. 
Five  thousand  would  have  been  okeh 
with  me.  It  seems  the  officers  got  a 
tip  on  its  path  just  in  time  to  steer 
out  of  or  away  from  it. 

Hongkong  brought  us  more  rain,  but 
in  Shanghai  we  actually  had  sunshine 
again.  In  the  Chinese  quarter  I  made 
some  shots  of  a  native  funeral  proces- 
sion, and  what  a  job  it  was  getting 
them  !  Chasing  through  narrow  streets 
in  a  taxi  is  no  cinch,  as  the  proces- 
sion travels  pretty  fast.  Nevertheless, 
I  managed  to  get  a  good  shot  after 
hiding  behind  a  pile  of  teakwood  and 
sneaking  up  on  them.  Of  course  the 
cumshaw  was  forthcoming,  a  dollar 
of  their  own  money. 

We  ran  out  to  Chapei  to  the  ruins, 
and  what  a  place  that  community  has 
been  knocked  into.  They  were  stilll 
pulling  down  old  walls.  The  area  is 
all  fenced  in,  but  I  managed  to  crawl 
under  the  bamboo  and  up  a  wall  and 
got  my  shots. 

At  that  time  the  district  was  still 
policed  by  Japanese  and  Chinese  sol- 
diers, so  of  course  a  little  cumshaw 


had  to  be  disbursed.  The  four-hour 
trip  there  and  to  the  Chinese  quarters 
in  a  taxi  was  75  cents  gold,  which  is 
a  lot  of  money  in  Shanghai. 
Long  Time  Afloat 
The  Neon  lights  in  Shanghai 
make  an  interesting  spectacle  at  night 
and  an  interesting  photograph  as  well, 
as  I  learned  following  a  shot  of  Nan- 
king Road.  Knowing  that  on  East- 
man superpan  the  i-eds  are  there  I 
stood  in  the  rain  for  eleven  minutes 
making   the   exposure. 

Talking  with  an  old  Chinese  on  a 
Whampoo  River  junk  he  informed  me 
that  for  twenty-two  years  he  had  not 
set  foot  on  the  Bund  in  Shanghai. 
Children  live  so  continuously  on  these 
craft  that  when  they  come  ashore  they 
get  badly  landsick  and  have  to  scuttle 
back  to  the  boat. 

Selling  pictures  at  night  on  ship- 
board presents  problems  in  mathe- 
matics. Chinese  in  payment  for  these 
proffer  either  Shanghai  or  Hongkong 
money.  This  has  to  be  figured  out 
with  each  transaction,  as  every  day 
the  exchange  rate  changes. 

-Entering  Kobe  involves  quite  a  bit 
of  detail,  especially  in  the  way  of 
physical  examination. 

There  is  more  delay  in  getting  off 
the  boat,  but  this  is  especially  true  if 
a  camera  is  taken  ashore.  There  is 
always  the  hazard  film  may  be  ex- 
posed in  a  fortified  area,  even  when 
it  is  the  aim  of  the  photographer  to 
avoid  doing  it.  It  is  not  so  difficult 
getting  into  jail  when  toting  a  camera, 
but  it  is  plenty  tough  when  the  de- 
tained one  attempts  to  get  out. 

From  Kobe  we  trailed  back  through 
the  Inland  Sea  to  Yokohama  and  into 
more  rain,  all  day  long.  Thus  the 
erstwhile  devotee  to  indoor  sports 
comprising  Haig  and  Haig  and  Pil- 
sener,  etcetera,  is  compelled  to  find 
work  for  idle  elbows  to  do. 

So  back  to  shipside  and  off  on  the 
long  hop  to  Honolulu.  We  sped  from 
14  up  to  22  knots,  arriving  eighteen 
hours  ahead  of  time  to  load  on  67,000 
cases  of  pineapples. 

Friends  in  Honolulu  drove  me  up  to 
the  Pali.  It  is  a  beautiful  sight,  but 
what  a  wind  there  was  the  day  I  was 
there.  In  making  a  shot  I  was  nearly 
blown  off  the  cliff.     I  got  the  shot. 


Ten 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  193S 


In  Focus — In  Spots! 

WELL,  boys,  meet  the  new  presi- 
dent of  *666,  Conrad  Luperti!... 
And  does  Lupe  know  anything 
about  cameramen  and  their  problems 
or  does  he  know  anything-  about 
them  ?  .  .  .  Our  new  prexy  is  the  real 
old  maestro  of  the  galloping  tintypes 
. .  .started  to  twist  a  crank  way  back 
in  1903. .  .That's  the  year  I  wuz  born 
. .  .which  makes  Lupe  sort  of  a  great 
grandaddy  to  young  squirts  like  some 
of  us  kids  which  is  busting  around, 
pushing  buttons  and  braggen  about 
the  good  old  days. 

Why  Lupe  wuz  even  shootin  em  in 
focus  before  I  could  crawl  on  the 
floor,  and  I  know  all  about  me  and  a 
couple  others  what  is  still  trying  to 
hit  every  scene  sharp...  Lupe  has 
done  everything  with  his  old  box  from 
thawing  it  out  in  the  Arctic  Circle  to 
watching  the  film  melt  in  the  scorch- 
ing heat  of  the  desert.  .  .Lupe  has 
covered  every  inch  of  Europe,  includ- 
ing Russia;  Darkest  Africa  and  the 
North  American  continent.  .  .and  then 
finally  settling  down  here  in  Chicago 
at  the  Essanay  Studios,  where  he 
shot  most  of  the  actors  which  is  now 
big   names   out   in   Hollywood. 

Best  wishes  on  the  new  high  office 
of  president  of  Local  666,  Lupe.  .  .the 
boys  is  with  you.  .  .  Luperti's  cabinet 
consists  of  Ralph  Philips,  first  vice 
president;  Verne  Blakely,  second  vice 
president;  Walter  Hotz,  financial  sec- 
retary; Martin  Barnett,  recording 
secretary;  Roger  Fenimore,  financial 
secretary;  Jack  Barnett,  sergeant  at 
arms;  Fred  Felbinger,  Bert  Kleerup 
and  Floyd  Traynham,  trustees. 


SIX-SIXTY-SIX 


Christmas  Eve  in  Moweaqua 

Christmas  was  coming  to  Mowea- 
qua, 111..  .  .Moweaqua  was  a  small 
thriving  mining  town  with  most  of 
the  men  folks  working  down  in  the 
mine...  but  Christmas  was  coming, 
so  the  men  folks  got  together  and 
figured  maybe  the  kids  ought  to  have 
a  Santa  Claus  this  year...  a  real 
Santa  Claus  with  a  red  uniform  and 
swell  white  whiskers  and  all.  So  all 
the  older  folks  got  together  and 
picked  "Big  Jim"  as  the  official  St. 
Nick...  "Big  Jim"  accepted  and 
everybody  got  set  for  a  big  Christ- 
mas celebration,  a  real  old  fashioned 
Xmas. 

The  morning  of  Christmas  Eve  Jim 
laid  out  his  St.  Nick  suit  and  then 
started  out  to  do  his  days  work  down 
below    in    the    mine   before   assuming 


By  the  Sassiety  Reporter 

As  Told  to 
FRED  A.   FELBINGER 


his  happy  role... On  the  way  to  the 
shaft  Jim  and  his  buddies  saw  many 
holly  wreaths  adorning  the  windows 
of  the  humble  mining  people;  Christ- 
mas trees  were  being  set  up. 

Jim  plodded  ahead  proudly  as  he 
thought  of  the  happy  role  he  was  to 
assume  in  the  evening... So  Jim  and 
his  buddies  went  down  into  the  shaft 
...That  afternoon  many  newsreelers 
rolled  into  Moweaqua .  .  .Jack  Barnett, 
Martin  Barnett,  Rufus  Pasquale, 
Charlie   Geis   and   Ralph   Saunders. 

The  coming  of  these  newsreelers 
was  an  ill  omen  to  the  folks  of  Mo- 
weaqua. .  .Newsreelers    aren't    in    the 


Conrad  Luperti,  President 
666  of  Chicago 


habit  of  spending  Christmas  Eve 
away  from  their  folks  back  home... 
But  duty  called  these  newsreelers  and 
duty  brought  these  newsreelers  to 
Moweaqua. 

As  they  dashed  to  the  mine  they 
saw  the  empty  homes,  many  with  the 
doors  ajar.  .  .the  holly  wreaths  in  the 
windows,  some  Xmas  trees  set  up  in 


a  humble  little  cottage,  here  and 
there,  but  the  town  proper  was  de- 
serted. 

Big  Jim  First 

So  these  newsreelers  kept  their  all 
night  vigil  at  the  mine. .  .Christmas 
Eve.  .  .and  they  thought  of  their 
loved  ones  at  home.  .  .and  their 
hearts  went  out  to  these  poor  simple 
people  of  Moweaqua.  .  .Then  came 
Christmas  Morning.  .  .and  as  the 
bells  of  the  little  Catholic  Church  in 
Moweaqua  tolled  out  an  early  Xmas 
greeting  those  newsreelers  hit  the 
cranks  on  their  cameras. 

A  sudden  burst  of  activity  at  the 
mine  shaft.  .  .Santa  Claus  was  finally 
coming  to  Moweaqua.  .  ."Big  Jim" 
was  coming  back  to  his  own  folks... 
the  folks  he  was  going-  to  cheer  with 
the  false  whiskers  and  the  red  uni- 
form. .  .but  somehow  Jim  didn't  cheer 
them   as   he  had  planned. 

Why,  they  were  all  crying  when  Jim 
came  back  from  work... The  news- 
reelers grinded  away  busily ..  .Here 
was  Big  Jim.  .  .cold  on  a  stretcher. . . 
Jim  was  the  first  of  fifty-two  bud- 
dies to  be  brought  up  in  one  of  the 
worst  mine  disasters  of  the  Illinois 
coal  fields ...  It  was  Christmas  in  the 
little  village  of  Moweaqua. 


SIX-SIXTY-SIX 


Real  Noble  Experiment 

You  hear  about  Technocracy  and 
all  sorts  of  new  doofangled  ideas  to 
save  the  nation...  or  sumpin. .  .Well, 
:n  my  roaming  around  I  runs  across 
another  idear  for  solving  a  mystery 
the  government  has  spent  millions  on 
and  got  nowheres ...  I  mean  prohibi- 
tion. 

Well,  sir,  mebbe  prohibition  is  a 
dead  issue  almost,  but  this  idear  to 
bring  about  prohibition  sounds  so 
good  to  me  that  I  figures  you  ought 
to  hear  about  it.  .  .The  guy  what  has 
the  idear  is  a  old  exbartender . .  . 
which  means  the  guy  mebbe  ought  to 
know  sumpin  about  the  curse  of  drink 
and  mebbe  how  to  cure  it. 

This  bird  tole  me  the  only  real  way 
to  cure  the  population  from  drinking 
and  bring  about  real  prohibition 
is  to  place  a  big  barrel  of  whiskey  on 
every  corner  with  a  big  tin  dipper  on 
it  so's  every  drinking  soul  of  us  kin 
drink  all  the  free  whiskey  we  kin 
carry. 

He  says  in  time  we  would  get  so 
sick  of  whiskey  that  we  would  jest 
give  it  up.  .  .and  what's  more,  re- 
member, this  guy  wasn't  wisecracking 
about  it  neither.  .  .he  meant  it. .  .Boy, 
oh  Boy!  what  a  noble  experiment  that 
would   make! 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Eleven 


He.  slides  not,  neither  does  he  spin. 
Jack  Barnett,  one  of  the  newsreel 
entries  at  the  annual  Cary  (III.)  ski 
tourney.  Barnett,  however,  did  not 
compete  on  skiis.  He  did  all  his  slid- 
ing with  the  Akeley  while  trying  to 
climb  to  the  top  of  the  slide.  The 
gallery  in  the  background  is  marvel- 
ing at  the  ivonderful  exhibition  of 
brute  strength  the  newsreeler  is  giv- 
ing, juggling  a  heavy  Akeley  with 
one  hand  simultaneously  with  balanc- 
ing a  pair  of  skiis  in  the  other;  but 
anything  for  his  admiring  public, 
says  the  reticent  Jack.  Photo  by 
Paul  Cannon. 


Paging  Mr.  Neville 

Sitting  in  my  favorite  corner  over 
at  Ches's  Place  t'other  night  I  hears 
some  bozo  shooting  off  his  mouth 
down  the  other  end  of  the  bar  as  how 
he  is  a  cameraman  from  Indian- 
apolis what's  come  up  to  Chi  jest  to 
look  up  some  of  the  boys,  and  does 
anyone  know  where  he  kin  find  this 
here  Sassiety  Reporter,  as  he  wants 
to  tell  the  yap  a  couple  of  things  be- 
cause he  ain't  ever  mentioned  his 
name  in  the  collum. 

He  talked  real  loud  like  to  every- 
body as  to  who  he  was,  said  his  name 
was  Louie  Neville,  and  was  one  of 
them  movie  camera  aces  down  Indi- 
anapolis way... jest  got  married  a 
couple  of  months  ago,  and  this  was 
the  first  real  night  out  he  had  had 
since. 

And  he  had  a  buddy  with  him  from 
the  ole  home  town  he  called  "Baldy" 
what  wuz  tellin  some  of  the  listeners 
as  to  how  Neville  has  become  domesti- 
cated enough  to   stay  at  home  of  an 


evening.  .  .wearing  lounging  pajamas 
and  cooking  supper  for  the  little 
woman  while  she  wuz  out  playing 
bridge. 

Well,  sir,  Mr.  Louie  Neville,  if  you 
reads  this,  that  dumb  red-headed 
dope  sitting  at  the  end  of  the  bar 
wuz  the  Sassiety  Reporter,  and  he  did 
so  want  to  mention  your  name,  but 
since  he  didn't  have  any  news  to 
write  about  you  he  cooked  it  up. 

It  wuz  his  idear  for  that  big  cop  to 
pinch  you  for  carrying  a  flask... you 
know,  the  big  tough  one  what  wanted 
to  give  you  the  ride  in  the  pie  wagon 
and  what  your  friends  finally  talked 
to  and  said  to  please  leave  you  go 
so's  you  could  go  home  to  the  little 
woman  in  Indianapolis?..  .Mr.  Neville, 
this  department  is  at  your  service 
anytime. 


SIX-SIXTY-SIX 


Pretty  Tough 

Charlie  Geis,  one  of  the  severer 
critics  of  this  humble  scribe,  ups  and 
tries  to  incite  yours  truly  to  profes- 
sional jealousy.  .  .Says  Geis,  "Didja 
ever  read  Ray  Fernstrom's  collum 
in  the  magazine?"  .  .  .  "No!  Why?" 
snaps  I. 

"Well,  that's  what  I  call  a  collum!" 
gurgles  the  famous  Geis.  "He  gives 
you  real  technical  dope  plus  real  in- 
formation about  the  boys!"  Gettin' 
so  like  I'll  have  to  give  in  finally  and 
read  this  stuff  the  Dopey  Editor,  Ray 
Fernstrom,  writes. 

SIX-SIXTY-SIX 

Here  arid  There 

Between  Windy  City  assignments: 
Red  Kuersten  up  and  announcing  his 
new  chicken  farm  down  at  Knox,  Ind. 
.  .  .  Red  says  poultry  farming  beats 
lugging  a  camera  around  .  .  .  also 
Red'll  ship  strictly  fresh  eggs  to  any 
point  in  the  U.S.A.,  Canada  or  Aus- 
tralia ...  no  order  too  small  to  fill. 


Charlie  David  now  shooting  sound- 
ies  on  the  Democratic  politicians  that 
got  into  office. 

Jack  Barnett  recuperating  from  an 
auto  accident  .  .  .  the  steering  gear 
broke  on  Jack's  new  little  red  fire 
wagon  .  .  .  The  secret's  out  why  Phil 
Gleason  has  his  shoes  made  to  order 
.  .  .  size  10  B  is  what  he  uses  to 
pound  the  pavements  with. 

Martin  Barnett  finally  got  to  the 
Cary  ski  meet  .  .  .  but  he  had  to  take 
the  little  heart  along  in  order  to 
make  it  .  .  .  Big  increase  in  the  popu- 
lation hereabouts  .  .  .  It's  a  gal  over 
at  the  Morrisons  ...  so  Papa  Eddie 
wuz  busy  over  the  holidays  arrang- 
ing the  christening  .  .  .  While  at  De- 
troit ole  Ralph  Biddy  burns  the  mid- 
nite  oil  addressing  pretty  colored 
cards  to  the  boys  announcing  the 
world  premiere  of  little  "Ralph  Leo." 

That  war  film  that  packed  em  in  at 
the  McVickers  theater  titled  "The  Big 
Drive"  and  which  is  now  breaking 
records  all  over  the  east  and  middle 
west  is  a  Bull  Phillips  Production 
from  the  sound  studios  of  the  Action 
Film  Company. 

Bob  Travenier  has  finished  a  two 
reel  industrial  .  .  .  and  Reed  Hay- 
thorne  is  finally  off  for  the  Orient 
and  the  hidden  spots  of  the  world 
promising  to  send  back  some  inter- 
esting tales  of  his  escapades  .  .  .  and 
so  off  to  the  post  office  with  this  tripe 
with  one  stoD  at  Ches's  Place  for  a 
snifter. 


First   Yugoslav  Film 

The  first  Yugoslav  film  was  recent- 
ly shown  at  the  Urania  theatre  in 
Belgrade.  Under  the  title  "The  Coast 
of  the  Thousand  Islands"  it  shows 
beautiful  landscapes  of  Dalmatia. 
From  the  point  of  view  of  photog- 
raphy and  sound  reproduction  the 
film  is  reported  to  be  good. 


Newsreeler  Joe  Gibson  in  the  Florida  keys.     See  Page  17. 


Twelve 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


Regardless  of  Technical  Advance 

Picture  Leans  Heaviest  on  Drama 

By  BORIS  V.  MORKOVIN,  Ph.D. 

Chairman  Motion  Picture  Department  University  of  Southern  California,  who 
will    conduct    courses    for    studio    employes    during    the    first    quarter    of    the 

new   year. 


WITH  the  invention  of  processes 
and  introduction  and  addition 
of  sound  to  cinematography 
the  American  motion  picture  industry 
reached  its  point  of  scientific  and 
technical  maturity. 

Unfor-tunately  the  scientific  and 
technical  superiority  of  the  industry 
does  not  guarantee  the  product,  per- 
fect in  its  artistry  and  in  its  visual 
appeal  to  the  public  though  it  may  be. 
The  technical  and  scientific  brilliancy 
of  the  film  without  dramatic  power  is 
like  a  beautiful  but  lifeless  body. 

The  more  various  and  complex  cine- 
matic means  of  expression  grow,  the 
more  indispensable  becomes  screen 
dramaturgy,  unifying  and  animating 
these  means.  Not  only  are  execu- 
tives, producers,  directors,  scenario 
writers  and  editors  directly  responsi- 
ble for  the  dramatic  structure  of  the 
film,  but  ambitious  cameramen  and 
art  directors  have  to  understand  their 
jobs  in  the  light  of  screen  drama- 
turgy. 

Under  pressure  of  the  growing 
criticism  of  the  public  registered  by 
the  box-office  receipts  and  the  tight- 
ening economy  of  the  studios  the  law 
of  the  survival  of  the  fittest  auto- 
matically   will    eliminate    those    who 


will  depend  in  the  dramatic  building 
of  the  picture  merely  on  trial  and 
error. 

In  the  engineering  of  an  emotional 
effect  upon  the  spectator's  mind  the 
psychological  contribution  of  every 
little  detail  has  to  be  weighed  with 
utmost  care.  Dealing  with  such  an 
elusive  and  easily  exhaustible  thing 
as  the  spectator's  attention,  which 
has  to  be  occupied  during  eighty 
minutes,  we  have  to  treat  it  with 
great  economy  and  delicacy. 

Story  and  Character 

The  subject  matter  of  the  screen 
dramaturgy  could  be  divided  into  the 
study  of  the  building  material,  that 
is,  the  study  of  single  dramatic  and 
cinematic  details  and  effects,  on  one 
hand,  and  the  building  plan  or  cumu- 
lative and  emotionally  effective  ar- 
rangement of  this  material  on  the 
other. 

For  the  convenience  of  classifica- 
tion the  building  material  could  be 
divided  again  into  the  story  and 
character  building  material.  The 
story  items  briefly  are  timeliness  or 
universally  human  appeal  of  situa- 
tions and  problems  given  by  story; 
novelty  of  their  treatment;    interest- 


Still  from  Vitagraph's  famous  single  reeler  "The  New  Stenographer"  of  the 
vintage  of  190!).  From  left  to  right  are  Flora,  Finch,  John  Troiano,  Florence 
Turner,  one  of  the  screen's  first  and  most  admired  stars;  John  Bunny,  come- 
dian who  died  in  1915  undimmed  in  his  resentment  that  the  fame  which  had 
come  to  him  on  the  screen  had.  been  denied  him,  on  the  stage;  at  the  table 
Maurice  Costello,  then  one  of  Vitagraph's  leading  players  and  the  father  of 
two  very  small  daughters  later  to  succeed  on  the  screen,  and  Ed  Phillips. 
Courtesy  Los  Angeles  Museum. 


ing  types  of  the  story,  human  touches 
and  gags,  clever  and  pointed  dialogue, 
pictorial  or  unusual  environment- 
contagious  and  powerful  personality 
and  the  strong  conviction  of  the 
author  instilled  into  the  picture;  the 
effectiveness  of  the  plot  increased  by 
the  creation  of  cinematic  atmosphere 
and  by  the  use  of  intercut  and  con- 
trasted parallel  actions  and  the  like. 
The  character  development  and 
acting  material,  studied  by  screen 
dramaturgy,  mainly  are  the  popular- 
ity of  stars  and  other  actors  and 
their  casting;  costumes  and  make-up; 
movement  of  actors  within  the  framp, 
their  general  acting  and  "little" 
movements  seen  through  the  close- 
ups,  facial  expressions,  movements  of 
different  parts  of  body,  posture  and 
gait;  mental  states  of  actors  brought 
out  and  emphasized  by  outward  ob- 
jective means;  by  situations,  reac- 
tions of  other  persons;  by  symbolism 
and  insert  of  inanimate  objects;  by 
creation  of  an  atmosphere,  with  pic- 
torial effects  of  background  and  com- 
position; by  conveying  indirect  sug- 
gestions as  to  emotional  states  of  the 
character;  by  means  of  contrasted 
light,  restless  flickering,  increase  or 
decrease  of  light  effects,  high  or  low 
angle,  moving  camera,  contrasted 
sound  effects,  their  increase  or  de- 
crease,  music,  tempo   or   cutting,  etc. 

Building  Toward  Climax 

All  these  and  many  other  devices 
should  be  used  relative  to  the  dra- 
matic value  which  is  assigned  to  them 
in  the  building  plan  of  the  picture 
and  with  a  continuous  view  to  the 
emotional  process  going  on  within  the 
mind  of  the  spectator. 

Screen  dramaturgy  in  distinction  to 
stage  dramaturgy  uses  more  atmos- 
pheric means  of  expression.  It  works 
directly  upon  the  spectator's  senses 
of  sight,  hearing  and  kinesthetic 
sense,  and  does  not  depend  as  much 
upon  the  broad  acting  and  dialogue 
as  does  the  stage. 

Each  of  the  foregoing  single  dra- 
matic and  cinematic  effects,  used  as 
story  and  character  building  mater- 
ial, is  strictly  subordinate  to  the 
whole  design  of  the  screen  drama. 
The  excellence  of  these  details  and 
single  devices  does  not  guarantee  the 
powerful  total  effect  upon  the  mind  of 
the  spectator. 

In  order  to  achieve  a  dramatic  ef- 
fect every  single  device  should  be 
used  in  the  building  up  toward  the 
climax  discriminatingly  and  cumula- 
tively. Crucial  moments  in  the 
story,  decisive  steps  of  character, 
their  mental  conflicts  and  changes, 
the  points  of  suspense  and  sub-cli- 
maxes— all  of  these  partial  steps  in 
the  building-up  process  must  be  uni- 
fied and  carried  on  with  economy  of 
proportion  toward  the  main  climax. 
This  building-up  of  the  mounting  line 
of  emotional  excitement  of  the  spec- 
tator is  the  most  important  and  most 
difficult  aspect  of  screen  dramaturgy. 
The  lack  of  knowledge  of  this  tech- 
nique cannot  be  redeemed  by  the  bril- 
liancy of  single  effects  of  camera, 
light,  sound,  background,  realistic 
details,  gags,  dialogues,  excellent 
casts,  spectacular  costumes,  etc. 


What  well  might  have  served  as  a  suggestion  for  these  modern  "stagger"  type  skyscrapers  is  Hermit  Peak 
in  Grand  Canyon,  Arizona,  as  strikingly  photographed  by  Edward  H.  Kemp  of  San  Francisco 


.^'o.. 


'°6*«r 


Qream  oth Stills 


c^"'0^ 


OcrkV 


Crystal  Crag  and 
Lake  Mamie, 
one  of  the 
Mammoth  group, 
are  shoivn 
through   the 
camera  of 
George  H.  Scheibe, 
the  one  in  all 
its  vastness 
and  the  other 
in  all  its  serenity 


View  of 

Kern  River, 

in  settings  as 

primitive   as 

were  those  of 

eighty  years 

ago  when 

pioneering 

gold  miners 

broke  virgin 

soil.     Photo 

by  Oliver 

Sigurdson 


y*2*u. 


Qream  oth^tills 


J^°A. 


boRi.-f 


Joseph  A.  Valentine, 

whose  pictures 

of  famous 

European    backgrounds 

have  adorned 

these  pages 

and  cover, 

here  shows  us 

Jasper  National 

Park,  in 

Alberta 


■!&*■ 


Here  is  a 
setting  to  give 
pause  to  a 
painter  in  oils — 
a  photograph 
exposed  by 
Charles   W.  Miller 
of  the 
Philippine 
Education 
Company,  Inc., 
of  Manila 
in  the  lake 
and  mountain 
country  near 
his  adopted 
city 


<*n*r'°„. 


Gream  oth Stills 


tfWOs. 


Ernmett  Schoenbaum  "shoots"   wild  horses,  in  Bine  Canyon,   Arizona.     Across   the   entrance   to   the   corral 
-will  be  noted  the  cameras  mounted  on  a  temporary  platform  just   high   enough   to   permit   passing   of   the 

animals  be?ieath 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Seventeen 


IT'S    NEW 


IT'S    NEW 


IT'S    NEW 


BUT  IT'S 
PROVED!!! 


AND     YOU'RE     HANDICAPPED 
WITHOUT     IT 

Put  a  Raytar  on  the  nose  of  your  camera  and  get  a  jump  on  the  whole  pro- 
fession. Here's  a  new  lens  worthy  of  the  best  efforts  of  every  cinematographer  .  .  . 
a  lens  as  superior  to  the  ordinary  run  of  lenses  as  sound  films  are  to  the  old  silents. 

Raytar  will  give  you  results  you  could  only  hope  for  before.  Its  full,  sharp  covering 
power  gets  full  value  from  every  shot.  No  fuzzy  film  edges  to  distract  the  eye  or  distress 
producers.      But    clean,    vivid    images    full    of    all    the    life    and    action    the    director    planned. 

Tests  prove  that  the  Raytar  produces  more  even  definition  over  the  entire  picture  area 
than  any  other  lens  now  on  the  market.  Raytar  is  fully  corrected  and  works  with  equal 
excellence  under  any  light  .  .  .  and  with  any  film.  A  special  B  &  L  glass  insures  the 
Raytar    against    tarnish    or    discoloration. 

GET  ALL  THE   DOPE.     THEN   GET  A    RAYTAR.     SEND  THE  COUPON. 

BAUSCH     &     LOMB     OPTICAL     COM  PA  NY 


Name 
Address 
City 


686  St.  Paul  St.,  Rochester,   N.  Y. 


State 


"Lure  of  the  Lake''9  Unusual 

Film  Supervised  by  Wyckoff 

AN  UNUSUAL  picture  is  "The 
Lure  of  the  Lake,"  a  two-reel 
subject  in  color  and  synchron- 
ized for  sound  by  RCA.  It  was  pho- 
tographed in  the  Ozarks,  in  Missouri, 
between  Kansas  City  and  St.  Louis. 
Alvin  Wyckoff,  head  of  the  west  coast 
cameramen,  supervised  and  directed 
the  picture,  the  story  for  which  was 
written  by  Samuel  Judd.  In  fact, 
readers  of  this  magazine  may  recall 
in  the  December  issue  a  story  entitled 


"Here  Is  Judd's  Tale  About  Wyckoff." 
The  picture  was  produced  by  Louis 
H.  Egan,  president  of  the  Union  Elec- 
tric Light  and  Power  Company  of  St. 
Louis,  as  Scenarist  Judd  tells  us  in 
that  story.  In  the  course  of  that  same 
tale  he  refers  to  the  apparent  harsh- 
ness of  the  director  because  of  the 
unsatisfactory  performance  of  a 
young  woman  on  a  surf  board. 

It  is  interesting  in  the  light  of  the 
sequel  to  that  incident  as  we  see  it 
on  the  screen.  The  ride  on  the  surf 
board  as  it  is  later  photographed  is 
one  of  the  features  of  the  picture — 


or  at  least  it  will  be  so  for  many. 
Under  a  brilliant  sun  and  shown 
in  all  the  glamour  of  colors  of  flesh 
and  fresh  water  this  Venuslike  crea- 
ture bounding  over  the  lake  forms  a 
picture  that  will  live  in  the  memory. 
The  subject  is  designed  for  enter- 
tainment, showing  the  attractiveness 
and  the  attractions  of  the  large  body 
of  water,  over  a  hundred  miles  in 
length  and  with  a  shore  line  of  a 
dozen  or  more  times  that  distance. 
Life  on  the  lake  as  well  as  around  it 
is  pictured,  from  the  air  and  from 
the  shore  and  water. 


Reception  to  sound  men  and  laboratory  superintendents  given  by  J.  E.  Brulatour  Inc.  and  Eastman  Kodak  Company 

under  the  sponsorship  of  Eddie  Blackburn  at   Uplifters'   Ranch  in  Santa  Monica  Canyon  on  the  evening  of  January 

31.     No  speeches,  no   business,  no  entertainment — not  much,  maybe,  but  ask  any  one  present. 


Eighteen 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


Newsreelers 


DOPE   SHEET 


By  RAY  FERNSTROM 

All  Rights  Reserved 


SCOUTING  about  Hollywood,  call- 
ing on  its  experts,  I  have  found 
a  few  valuable  pointers  that 
should  certainly  be  of  great  interest 
to  you  all. 

Wesley  Smith,  the  Du  Pont  expert, 
showed  me  some  marvelous  pictures 
shot  on  the  new  Du  Pont  Superpan 
using  a  21  filter.  This  is  of  orange 
color,  and  calls  for  a  stop  and  a  half 
more  opening,  but  makes  a  corking 
all-around  filter  for  this  negative.  Try 
it  and  give  us  a  few  stills  for  this 
column. 

Wesley  has  promised  us  good  stills 
from  his  Vancouver  trip,  soon  as  he 
comes  back.  These  should  prove  both 
of  interest  as  to  examples  in  the  use 
of  filters  and  film  and  as  scenes  from 
a  trip  to  interesting  places.  We'll  be 
waiting  for  you,  Wesley. 

You  fellows  who  have  been  using 
our  23A  for  cloud  effects  and  air 
shots  will  find  a  combination  of  this 
and  the  56  of  particular  interest  if 
you  wish  to  cut  down  on  the  contrast. 
Without  losing  all  the  advantages  of 
the  red,  the  addition  of  the  56  keeps 
a  satiny  soft  sky  without  the  old 
blackness.  When  using  this  open  up 
five  full  stops. 

This  wide  opening  brings  me  to  a 
point  I  have  been  wanting  to  tell  you. 
Here  in  the  studios  they  seldom  close 
down  as  much  as  we  do  on  news. 
Photographic  quality  is  better  with  a 
larger  opening.  If  you  can't  cut 
down  on  your  shutter  try  the  neutral 
density  filters  or  the  5N5  as  recom- 
mended   in    our    earlier    filter    chart. 


More  on  this  subject,  as  you  ask  for 
it.     So  do. 

Two  Filter  Examples 

Mentioning  the  5N5,  which  is  a 
combination  of  Aero  2  and  a  neutral 
density  filter  and  requires  three  full 
stops  more  opening,  reminds  me  of 
the  great  value  of  the  Aero  2  for  all 
around  purposes. 

Ned  Van  Buren,  Eastman  expert, 
gave  me  a  couple  of  perfectly  beauti- 
ful pictures,  as  you  will  agree.  They 
show  not  only  a  fine  example  of 
filter  use  but  are  works  of  art.  Both 
of  them  were  shot  on  Eastman  super- 
sensitive pan  with  the  Aero  2  filter. 
There's  a  filter  for  all  use,  if  you 
can't  remember  more  than  one.  You 
can  use  it  for  every  purpose  except 
interiors  and  in  very  bad  light.  If 
some  of  you  think  that  filter  isn't 
heavy  enough  for  your  clouds,  take  a 
look.  Note  the  detail  away  down  in 
the  shadows.  The  use  of  only  one 
filter,  of  course,  goes  for  you  fellows 
who  never  use  filters  but  want  to  try 
one  for  a  starter  and  do  not  wish  to 
get  mixed  up.  Allow  a  stop  and  a 
half  more  opening  than  if  you  were 
going  to  shoot  the  scene  without  a 
filter. 

Diffusion  Disks 

Often  a  newsreel  man  wants  to  add 
a  bit  more  beauty  to  a  particular 
shot  than  can  be  obtained  with  just 
the  lens  and  a  chosen  filter.  I  recom- 
mend the  use  on  such  shots  of  a  dif- 
fusion disk  together  with  the  filter. 
You  can  buy  these  almost  anywhere, 


Ned  Van  Buren  supplies  a  beautiful  example  of  Eastman  supersensitive  grini- 
back  with  aero  2  filter  and  diffusion  disk. 


and   they   are   easily  rigged   in  front 
of  the  lens. 

Look  at  the  two  gorgeous  pictures 
Van  gave  us.  One  was  shot  with  a 
disk  and  one  without,  although  both 
were  shot  with  the  Aero  2  filter.  The 
one  of  a  tree,  with  mountains  in  the 
background  and  billowy  clouds  above, 
was  taken  with  the  disk. 

Study  these  and  you'll  always  want 
to  filter  your  shots  and  strive  for  bet- 
ter photography  in  the  good  ole  news- 
reels. 

With  all  the  staffs  having  men  sta- 
tioned all  over  the  world  we  certainly 
don't  see  a  representative  coverage  of 
the  world.  How  often  does  one  see 
feature  subjects  from  Bulgaria,  Ko- 
rea, Finland,  Czechoslovakia,  Alsace 
Lorraine,  Switzerland,  or  even  Mex- 
ico and  Alaska?  It  would  seem  about 
time,  now  that  news  reels  are  on  the 
pan,  to  spread  out  and  give  the  movie 
fans  something  fresh.  Novelty  is 
news  and  everyone  likes  a  new  slant 
on  places  and  a  glance  at  new  spots 
of  the  world.  A  lot  of  us  do  our 
traveling  from  a  theater  seat  and  de- 
pend regularly  on  the  newsreels  to 
satisfy  us. 

It  is  with  the  idea,  in  some  small 
wav.  of  being  of  help  that  I  write 
this. 

Although  the  camera  and  sound 
men  of  the  newsreels  are  urged  on 
to  win  by  the  competition  within  the 
family  of  each  newsreel  and  by  the 
competition  between  newsreels  for 
scoops,  the  possibility  of  an  award 
from  the  Academy  would  certainly 
spur  the  newsreelers  on  to  the  bene- 
fit of  newsreel  quality  in  general.  Al- 
ready two  newsreelers  have  received 
Academy  awards,  but  not  for  their 
efforts  on  newsreels.  These  were  for 
the  production  "With  Byrd  at  the 
South  Pole,"  Joe  Rucker  and  Willard 
Van  Der  Veer.  I'm  sure  all  other 
newsreel  men  would  like  an  opportu- 
nity to  win  such  distinction  from  the 
industry. 

Universal  Newsreeler  Writes 
561  N.W.  9th  St., 
Miami,  Florida. 
Dear  Ray: 

Just  a  few  lines  to  let  you  know  I 
enjoyed  reading  your  Ray-vings  in  the 
Dope  Sheet. 

Well,  I  am  back  in  my  old  hunting 
grounds,  just  come  off  a  story  with 
some  of  your  old  friends,  Walter 
Hagen,  Gene  Sarazen,  Ciuci,  Perkins, 
Costello,  and  a  few  more  golfers  on  a 
fishing  trip  in  the  Gulf  Stream  off  Key 
Largo.  Carl  Larsen,  Jim  Pergola  and 
Lou  Hutt  were  in  the  party,  so  you 
may  know  a  good  time  was  had  by  alb 

Remember  the  time  we  shot  the 
1929  World's  Series  from  the  roof  of 
the  house  across  from  Shibe  Park,  in 
Philadelphia,  trying  to  cut  through 
the  smoke  and  haze  with  12-in.  lenses? 
And  now  you  are  talking  about  filters. 
That's  the  time  we  needed  filters — and 
how. 

I  will  be  down  here  for  the  rest  of 
the  Winter  covering  the  Florida 
events.  I  will  be  at  Daytona  Beach  on 
the  speed  trials,  doing  a  little  fast 
panning  or  flying  as  last  year. 

Give  my  regards  to  all  the  boys. 
Yours  to  a  cinder, 

JOE  GIBSON. 

Dec.  11,  1932. 


February,  1933 


The     INTERNATIONAL  PHOTOGRAPHER 


Nineteen 


Left,  Crew  71  Fox  Movietone  News — Allyn  P.  Alexander,  the  famous  "Newsreel"  Wong  and  Paul  Heise  on  location  in 
the  Forbidden  City  of  Peiping  just  after  making  the  first  sound  pictures  ever  made  inside.  Right,  long  shot  of  soldiers 
marching  and  singing  over  the  famed  Five  Bridges  over  the  River  of  Gold.     This  is  inside  the  Forbidden  City,  and  it 

is    the   first   time   such   a   picture    teas   exposed. 


Allyn  Alexander  Writes  from  China 
Giving  News  of  Newsreelers  There 


By  R.  F. 


THANKS,  all  you  guys,  for  the 
swell  Christmas  cards,  and  here's 
Happy  New  Year  to  you. 

Allyn  Alexander  sent  one  from 
China,  where  he's  chasing  a  Chinese 
general,  Chiang-Kai-Shek.  Al  tells 
me  the  general's  wife  is  a  graduate 
of  Vassar.  Well,  here's  the  story  (in 
part)  as  he  tells  it  in  his  letter: 

I'm  up  here  on  the  elusive  trail  of 
Gen.  Chiang-Kai-Shek.  We've  spent 
two  weeks  and  made  three  pictures. 
We  are  going  to  make  an  interview 
with  him  in  the  next  few  days  and 
then  on  down  to  Nanking  for  several 
other  subjects  I  have  in  mind.  The 
General  has  a  cold,  though,  and  he 
expects  to  be  all  right  within  the  next 
few  days.  We're  going  to  have  his 
wife  in  the  picture.  She'll  do  the 
interpreting.  She  is  a  graduate  of 
Vassar  and  talks  better  English  than 
I  do. 

Just  finished  a  picture  of  a  bunch 
of  coolies  lifting  a  huge  stone  ham- 
mer weighing  about  four  hundred 
pounds.  They  use  this  to  pound  down 
the  earth  for  a  foundation  for  a 
building.  They  stand  about  fifteen 
feet  above  the  ground  on  a  scaffold, 
and  while  working  they  sing  a  song. 

The  song  they  sang  while  we  made 
the  picture  had  to  do  with  "foreign 
devils  making  us  work  all  the  harder." 
I  didn't  know  it  at  the  time,  but  Wong 
told  me  about  it  later.  There  are  a 
few  choice  phrases  that  go  with  it. 
I'll  leave  it  to  your  imagination! 

Dick  Maedler,  Johnny  Bockhorst 
and  Jack  Dunne  passed  through 
Shanghai  several  weeks  ago  on  their 
way  down  to  Penang,  where  they  are 
to  start  production  on  "Man  Eater." 
You'll  recall  that  it  was  Dick  Maedler 
that  shot  "Congorilla."  I  don't  know 
whether   you    know    him    or    not.      Of 


course  you  know  Bocky.  Paul  and  I 
showed  them  China  in  two  days  .  .  . 
(and  how) . 

The  mail  boy  just  came  in  with  a 
note  from  Bocky  written  at  Manila. 
He  says  they  just  got  through  their 
final  checking  of  the  nine  tons  of 
equipment  and  they're  all  set  to  start 
work  when  they  reach  Penang.  Good 
luck  to  them !  Bocky's  large  bucket 
will  make  a  nice  mark  for  those 
"Man  Eaters."  I'll  bet  the  boys  turn 
out  a  great  picture. 


Kr use's  Dance  Club  Draws 

Praise  from  Civic  Leaders 

>~|-VHE  Paraval  Dance  Club  will  be 
opened  at  2905  Sunset  Boule- 
vard, at  the  intersection  of  Silver 
lake  avenue,  by  J.  Henry  Kruse,  I.  P. 
The  only  licensed  dancing  club  in  Los 
Angeles,  it  will  be  open  on  Tuesday 
and  Friday  evenings  for  dancing,  card 
playing  and  entertainment.  In  at- 
tendance will  be  Mr.  Kruse's  own  five- 
piece  orchestra.  Civic  leaders  have 
praised  the  general  plan. 

The  Paraval  is  a  straight  club  plan, 
with  dues  of  $1  a  year  and  25  cents 
entrance  fee  each  evening.  Guests  are 
admitted  only  as  guests  of  a  member, 
at  a  charge  of  35  cents,  or  may  come 
up  once  as  guest  of  the  registrar  at 
the  35  cent  fee.  No  refreshments  are 
served. 


Another  perfect  lesson   with  the  all-a 
sensitive  grayback  negative 


round  aero  2  filter  on   Eastman   super- 

but    without    the  diffusion   disk. 


Twenty 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


EASTMAN 
FILMS 


BRULATOI 


WHAT'S    WHAT! 


Published  Monthly  by  J.  E.  Brulatour,  Inc.,  Distributors,  I 


(.<. 


STATE  FAIR"  IS  FILM  TRIUMPH 


Fox   Production   Acclaimed   By    Critics — 
Studio  Technicians  Share  Honors 


come  through  with  a  result  which  will 
bring  compliments  to  many  an  exhibi- 
tor whose  patrons  will  undoubtedly  feel 
that  an  improvement  has  been  made  in 
the  sound  reproduction  equipment  of 
the   theatre. 

While  we're  distributing  bouquets  to 
the  staff  of  "State  Fair"  we  musn't 
overlook  Don  Kramer,  the  art  director. 
When  you  see  the  picture  you'll  know 
why.  "State  Fair"  is  an  eloquent  and 
convincing  argument  for  all  our  claims 
in  our  discussions  of  Eastman  Super- 
sensitive Panchromatic  Negative,  East- 
man Grayback  Background  Negative, 
Eastman  "1359"  Sound  Recording  Film 
and  good  old  reliable  Eastman  Positive, 
which  has  always  set  the  standard  for 
maximum   best   in    release   prints. 

In  fact,  after  the  judges  have  award- 
ed Ma  the  blue  ribbons  for  her  mince 
meat,  her  sweet  pickles  and  her  sour 
pickles,  and  after  Pa  pulled  the  Blue 
Silk  for  "Blue  Boy"  we're  right  up 
in  line  with  chest  protruding  for  the 
inevitable  ornamentation  of  a  Prize 
Blue  Ribbon   for  Eastman    Films. 

So  on  with  the  show — "Okay,  Holly- 
wood." 


THE  press  has  seen  "State  Fair."  Orchids  are  being-  tossed 
to  Winfield  Sheehan,  Director  Henry  King,  Will  Rogers, 
Janet  Gaynor,  Sally  Eilers,  Lew  Ayers  and  the  rest  of  the 
great  cast,  and  great  bunches  of  verbal  posies  are  being  thrown 
in  the  direction  of  the  technical  staff  who  have  so  creditably  re- 
peated their  masterful  achievements  on  "Cavalcade." 

Photographically,  "State* 
Fair"  is  a  mighty  monument  to 
the  artistic  genius  of  Hal  Mohr, 
whose  camera  work  is  conclusive 
proof  of  the  superior  qualities 
of  Eastman  Supersensitive  Neg- 
ative. The  fine  delicate  shad- 
ings, the  mood  of  simplicity, 
the  sense  of  reality  in  deft  defi- 
nition, harmonizes  perfectly 
with  this  simple  story  which  is 
as  American  as  our  very  soil 
from  which  the  story  has 
sprung. 

Mohr's  crew  included  William 
Skall  and  Irving  Rosenberg  as 
seconds  and  Bob  Surtees  and 
Milton  Gold  assistants.  Two 
cameras  were  used  on  the  pro- 
duction wherever  possible. 

The  Fox  West  Coast  Labora- 
tory staff  also  comes  up  for  a 
share  of  the  popular  applause 
for  its  intelligent  handling  of 
the  negative,  the  sound  track 
and  the  first  run  release  prints 
for  the  key  cities.  We  were 
privileged  to  see  the  twenty- 
seventh  print,  which  would  have 
been  a  credit  to  any  laboratory 
as  a  master  print. 

Joe  Valentine  and  Ed  Hammeraas 
were  sent  to  Des  Moines  (Iowa),  where 
they  photographed  the  background 
plates,  atmospheric  shots  and  the  great 
race  sequences,  and  in  this  latter  case 
we'd  like  to  step  up  and  offer  a  basket 
of  our  choicest  spring  flowers  to  the 
cutter  who  is  responsible  for  the  fast 
moving   action   and  suspense. 

Camera  angles  on  this  race  stuff  are 
most  unusual.  The  cameraman  who 
made  this  used  something  besides  his 
camera  and  film.  The  backgrounds  are 
perfectly  matched,  and  this  is  the  first 
big  feature  to  employ,  for  this  purpose, 
the  new  Eastman  Grayback  Background 
Negative. 

The  production  was  recorded  by  A.  L. 
Von  Kirbach,  under  the  general  super- 
vision of  Ed  Hansen.  Sound  Engineer 
of  Movietone  City.  There's  just  noth- 
ing adequate  for  us  to  say  about  the 
achievement  of  the  sound  department. 
Truly,  and  literally,  the  results  speak 
for  themselves,  but  we  can't  pass  along 
our  enthusiastic  path  without  pausing 
to  thank  these  good  technicians  for 
proving  to  us  just  how  far  we  have 
progressed  in  the  manufacture  of  our 
newest  film  product,  Eastman  "1359" 
Sound  Recording  Film. 

The  Fox  Recorders  have  taken  ad- 
vantage of  the  broader  characteristics 
of    this    splendid    emulsion    and    they've 


M.  G.  M. 

This  "Pig  Boats"  thing  isn't  a  gag. 
We've  had  it  in  our  last  three  or  four 
Bulletins,  but  it  still  floats,  and  HAL 
ROSSON  continues  at  the  camera  when 
he  is  not  taking  golf  lessons  at  one  of 
those   driving   courses   out   along    Pico. 

OLLLIE  MARSH  is  turning  in  an 
unusually  fine  job  on  "Turn  About," 
which  is  the  Joan  Crawford  starring 
story  in  current  production.  Eddie 
Fitzgerald  and  Kyme  Meade  continue 
on  and  on  and  on  and  on  as  his  asso- 
ciates. 

NORBERT  BRODINE,  who  bounces 
o:f  and  on  the  M.G.M.  lot  like  a  rub- 
ber ball,  at  this  moment  bounced  right 
back  there  after  a  very  short  vacation 
and  is  photographing  'Clear  All  Wires" 
under  the  direction  of  George  Hill. 
Brodine's  recent  work  stamps  him  as 
one  of  the  best  in  the  business,  and 
among  those  who  cheer  we'll  yell  the 
loudest  every  time  he  gets  a  good  break 
like    this    one. 

His  playmates  on  the  "Wires"  are 
Dick  Wade,  Harold  Marzorati,  Tom 
Dowling   and   Jess   Ivey. 

PEV  MARLEY,  who  returned  from 
Europe  about  a  month  ago,  is  back  in 
production  on  the  M.G.M.  lot,  where  he 
is  turning  in  a  slick  job  on  "Rivets" 
under  the  direction  of  Todd  Browning. 
Pev  is  seconded  by  Paul  Vogel  and 
assisted    by    Al    Scheving. 

DAN  CLARK  was  called  by  this 
studio  to  do  some  difficult  exterior 
shots  on  "Turn  About."  Dan's  work 
made  such  a  hit  that  weeks  have  gone 
by  and  Johnny  Arnold  is  holding  him 
on  the  job  where  he  draws  most  of  the 
special    assignments   in   the  tough   spots. 


Warner  Brothers 

JIMMY  VAN  TREES  is  all  a-twitter 
over  Barbara  Stanwyck  ;  travels  all  the 
way  to  Brentwood  Park  to  visit  "Ye 
Ed"  just  because  he  happens  to  live 
across  the  street  from  Barbara ;  bores 
us  to  death  telling  us  how  gudgeous 
she  is,  what  a  swell  actress,  what  a 
grand  this,  what  a  great  that,  and  cas- 
ually mentions  that  "Baby  Face"  is 
going  to  bring  new  medals  to  Al  Green, 
who    is    directing. 

And  listen,  Playmates :  when  that 
old  sphinx  Jimmy  Van  Trees  starts  to 
rave  about  a  picture  we'll  bet  plenty 
(if  you'll  take  our  notel  that  "Baby 
Face"  will  entice  plenty  of  dough  up 
to  the  box  office.  Lou  Jennings  is  the 
second  cameraman  and  Jimmy  Van 
Trees,  Jr.  (who  also  allows  that  Miss 
Stanwyck  is  a  swell  dish)  is  the 
assistant. 

TONY  GAUDIO  hopped  off  "Silk 
Express"  on  Saturday  to  take  a  nice 
vacation,  but  they  nailed  him  quick  and 
he  landed  behind  the  camera  for  "Pri- 
vate Detective,"  Bill  Powell's  starring 
vehicle,  which  is  directed  by  Michael 
Curtiz.  Associated  with  Tony  as  his 
second  is  Al  Green,  who  held  a  real 
spot  with  the  late  Bob  Kurrle  for 
about  twelve  years,  and  Johnny  Shepek 
toils   as   his   assistant. 

Incidentally,  we've  just  learned  that 
Mrs.  Green's  naughty  boy  Al  has  gone 
and  got  himself  all  married  and  con- 
sequently is  all  happied  up,  but  inso- 
much as  he  hasn't  seen  fit  to  tell  us 
about  it  personally  or  by  note  we're 
merely  going  to  wish  his  wife  all  the 
good  things  which  otherwise  we  would 
wish   both   of   them. 

DICK  TOWERS  has  a  very  interest- 
ing assignment  whereby  he  is  being 
sent  to  cover  all  of  the  Warner  Broth- 
ers Theaters,  shooting  tests  of  new  tal- 
ent for  the  forthcoming  W.  B.  special, 
"High    Life." 


McCord  Held  Up 

Not  by  highwaymen  (the  popular 
pastime  after  sundown  in  Southern 
California  just  now),  but  by  the  rains 
of  which  we  have  had  polenty  during 
the  past  two  weeks,  Ted  McCord  has 
been  held  up  on  production  of  his  cur- 
rent Schlesinger-Rogell  production, 
starring  John  Swain.  All  of  the  sets 
are  of  the  Spanish  adobe  type,  and  this 
is  right  up  McCord's  alley.  His  pho- 
tography is  unusually  fine  on  this  pro- 
duction, and  if  the  weather  man  makes 
good  and  gives  us  sunshine  for  a  few 
days,  the  picture  will  shortly  be  com- 
pleted. 


Foy  Studios  Resume 

Bryan  Foy  Studios  are  preparing  to 
go  into  production  immediately  on  an- 
other new  feature  for  Columbia  dis- 
tribution, and  in  addition  to  this  sev- 
eral comedies  were  finished  during  the 
past  few  weeks.  Bill  Thompson  has 
been  at  the  camera  on  all  recent  Foy 
productions. 


Hal  Roach  Reopens 

Hal  Roach  Studios  have  reopened 
after  being  dark  for  several  weeks, 
and  first  unit  to  start  spotted  Art 
Lloyd  behind  the  camera — and  there 
is  no  more  news  to  interest  our  readers 
here  because  they  all  know  exactly 
what    Art    does    with    a    Roach    comedy. 


Al  Gilks  Witho 


Warren  Continues 

Dwight  Warren  continues  at  the  cam- 
era at  Educational  Studios  for  the 
comedies  being  produced  under  the  sup- 
ervision  of   E.    H.    Allen 


While  Al  Gilks  is  concen  a 
the  background  also  is  si  it 
at  the  photographer's  lefte 
too,   is   the   Eastman  Si<  u 

— 

RKO 

BERT  GLENNON  has  woun  ULJ 
camera  work  on  "The  Great  >e 
under  the  direction  of  Doroth;  \i 
and  starring  Radio's  newest  e; 
bet,  Katherine  Hepburn.  Ru  I 
held  down  the  spot  of  seen 
Charley   Burke  as  assistant. 

LEO  TOVER  completed  the  ic 
Dix  picture,  "The  Great  Jasi  ." 
Biroc  (newlywed)  second  cat  "< 
and   Willard   Barth,   assistant. 

AL  GILKS,  the  old  marin.  * 
classic  silhouette  is  chosen  as  ie 
orative  feature  of  this  month  B 
tin.  has  been  spending  somijstx 
days  (and  nights)  out  on  'ie 
Pacific,  shooting  whales  (and  19 
Super-sensitive  Grayback  Par 
negative). 

He  had   enough   of   a   crew  tjla 
a   convention  at   any  minute      i 
material     for     such     purpose 
Hoke     and     Lloyd     Knechtel     v'e 
associate  firsts,   Burney   Guffey /as 
solitary   second,   and   Jimmy   Djy 
photographer    who    pulled    th>  5* 
out  of  the  silk   hat  to  snap  th  pii 
shown   here).  Bob  Brunner,  Ja   Tl 
as  and   Bill   Clothier  made  up   e 
singing   quartet   of  assistants. 

CHARLES  ROSHER  has  fined 
Constance  Bennett  picture,  "  >' 
ters,"  which  was  directed  b;  Ge 
Cukor.  Same  old  crew  with  'h: 
on  this,  which  incidentally  is  5« 
the  old  alley  on  the  standard  1 
er's  always  excellent  pho  :ra 
Frank  Redman,  second;  Cecil'"1 
assistant. 

EDDIE  CRONJAGER  has  j  i  ■ 
pleted  a  very  interesting  pictu  of 
partment  store  life,  which  ca  cd 
tag  "Sweepings."  John  Cronell 
rected.  Bob  DeGr-asse  and  Ge<  N 
kant  did   the   heavy   work  for    di< 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-one 


I  BULLETIN 


EASTMAN 
FILMS 


oo-siBEJre- 


tii'ilms,  in  Cooperation  with  The  International  Photographer 


WHO'S    WHO! 


)on  Shoots  Whale 


ihtyting  a  whale  Jim  Dcdly  in 
vnle — of  a  still.  The  harpoon 
U,  just  r'arin  to  go — and  so, 

•  (iiayback   Negative    in   his 


Universal 

G)RGE  ROBINSON  has  completed 
rh  Big  Cage."  He  can  now  forget 
1  pout  animals  and  jungles  and 
Bd  some  time  to  "Breaking  Eighty" 

E  various  golf  courses.  But  we 
usimention,  too,  that  when  he  was 
ocng  "The  Big  Cage"  he  had  Al 
n>  and  Jake  Kull  as  seconds  and 
auHill,  Jack  Eagan  and  Lloyd  Ward 

i.istants. 
|KL    FREUND    returns    to    his    old 
veil  the     camera)     for     one     picture, 
ar    who     directed     "The     Mummy," 
as^aiting   for   the    story    department 

'tip  his  next  story  into  shape,  so 
1 7  Whale  prevailed  upon  him  to 
■  his  current  picture,  "Kiss  Be- 
rt he  Mirror."  King  Gray  and  Bill 
ad,  are  associated  with  Karl. 
J/lRY  ASH  has  a  great  assignment 
ocng  "Niagara  Falls"  .  .  .  Romance 

.  meymooners,  etc.  James  Drought 
id'.oss  Hoffman,  who  are  with  Jerry 
i  t;  camera  staff,  say  they  are  going 

like  Niagara  on  all  their  honey- 
oc,  trips. 

M  POWERS  is  shooting  a  feature 
U  comedy  with  George  Sidney  and 
nabs  Murray  called  "Salt  Air." 
hil  George  Stevens  is  directing 
st'ims  formerly  was  a  cameraman 
id i  good  one,  too).  With  Powers 
e  nd  Dick  Fryer  as  second  and 
a;n  Glouner  and  Walter  Williams 
■shnts. 


Siegler  With  Meteor 

ASiegler  is  photographing  another 
in.McCoy  Western  under  the  direc- 
oi  of  Ross  Lederman  for  Irving 
I  n,  president  of  Meteor  Produc- 
er (distributed  by  Columbia).  Pic- 
■j  are  being  made  at  the  Gordon 
■     Studios. 


Paramount  Studios 

Fan  magazine  writers  have  a  lot  of 
this  and  that  and  the  other  thing  to 
say  about  some  of  our  sizzling  sisters 
of  the  screen  which,  judging  by  the 
circulation  of  the  fan  mags,  is  exactly 
what  the  girls  in  Waterloo,  Iowa,  want 
to  read.  However,  we  are  waiting  to 
see  the  inevitable  story  (by  these  same 
writers)  telling  a  breathless  world  all 
about  what  a  cameraman  does  on  a 
rainy  afternoon. 

We  are  afraid  that  the  real  story  of 
the  activity  of  a  couple  of  photogra- 
phers at  Paramount  would  not  shape 
up  into  the  kind  of  sensational  material 
that  seems  to  click  in  the  gay  journals. 

Here's  the  lowdown :  VIC  MILNEE 
and  CHARLIE  LANG  came  out  of  the 
commissary  the  other  afternoon  and  one 
of  them  started  whistling  a  little  strain 
from  the  popular  melody — "What  to 
do  about  it — let's  turn  out  the  lights 
and " 

But  the  other  bird  immediately  said, 
"Nix.  I've  got  a  better  idea.  Let's  go 
over  to  the  vaults  and  get  out  all  the 
pictures  which  we  made  for  Paramount 
during  the  past  five  or  six  years  and 
start  with  the  oldest  one  and  project 
them,  and  see  just  what's  actually 
happening  to<  our  work — whether  we're 
improving  it — whether  we've  forgotten 
any  of  our  old  tricks — whether  they're 
still   good " 

Meantime  the  other  bird  stopped 
whistling  and  the  boys  went  to  it. 
From  1  o'clock  until  far  into  the  night 
they  ran  feature  after  feature.  Both 
boys  frankly  admit  they  have  made 
very  decided  forward  strides  in  their 
work. 

As  projection  progressed  they  found 
a  marked  improvement  in  the  photo- 
graphic quality,  and  although  they  did 
not  mention  the  matter  to  us  we  were 
glad  to  hear  their  opinion  on  the  chron- 
ology of  their  work  because  naturally 
we  never  lose  sight  of  the  fact  that 
right  in  step  with  the  advanced  achieve- 
ments of  the  photographer  we  also  find 
(and  so  do  they)  a  decided  forward 
march  in  the  quality  of  Eastman  pan- 
chromatic negatives,  which  these  two 
photographers  have  used  generally 
throughout    their   productions. 

MILNER  is  all  pepped  up  with  his 
assignment  which  calls  upon  him  to 
photograph  Marlene  Dietrich  in  "Song 
of  Songs,"  which  Rouben  Mamoulian 
will  direct.  Associated  with  Vie  will 
be   (as  usual)    Bill  Mellor  and  Guy  Roe. 

LANG  has  just  started  the  Maurice 
Chevalier  picture,  "A  Bedtime  Story," 
under  the  direction  of  Norman  Taurog. 
Bob  Pittack  and  Clifford  Shirpser  con- 
tinue to  do  the  manual  labor  for 
Charles.  Incidentally,  Lang's  photog- 
raphy on  "Farewell  to  Arms"  is  bring- 
ing new  acclaim  to  this  fine  pho- 
tographer. 

GILBERT  WARRENTON  has  turned 
in  final  scenes  on  "A  Lady's  Profes- 
sion," which  was  directed  by  Norman 
McLeod.  Fred  Mayer  was  Gil's  second 
and   Neal    Beckner    his    assistant. 

HENRY  SHARP  has  just  completed 
"Hell  to  Heaven"  under  the  direction  of 
Earle  Kenton.  Immediately  upon  com- 
pletion of  his  production  Henry  bun- 
dled his  charming  mother  into  his  car 
and  headed  for  their  ranch  down  San 
Diego  way.  His  staff  associates,  Otto 
Pierce  and  Paul  Cable,  drew  other 
assignments  and  continued  the  grind. 

MILT  KRASNER,  who  was  recently 
advanced  to  the  ranks  of  first  camera- 
man, has  completed  his  first  production 
for       Charles       Rogers        (Paramount), 


NEW  SOUND  FILM  APPROVED 


Some  months  ago  we  very  quietly  introduced  a  new  sound 
recording  film,  which  since  has  been  generally  accepted  and  ap- 
proved by  many  of  our  good  friends  in  the  sound  field.  This  film 
is  identified  to  the  trade  as  Eastman  "1359"  Sound  Recording 
Film  and  won  its  initial  big  public  acclaim  with  the  premiere  of 
the  Fox  production  "Cavalcade"  at  the  Chinese  Theatre. 

— •§•     Critics  on  almost  every  one  of 
the     metropolitan    dailies     gave 


Fox 


L.  W.  O'CONNELL,  who  was  asso- 
ciated with  Ernest  Palmer  on  first 
camera  for  "Cavalcade,"  the  Fox  pic- 
ture which  is  sweeping  old  box  office 
records  right  and  left,  has  been  given 
recognition  for  his  usual  fine  work  and 
assigned  to  the  first  camera  of  Jack 
Dillon's  production,  "Road  to  Heaven," 
as  prophesied  in  these  columns  last 
month.  Conny  is  a  great  student  of 
photography  in  both  theory  and  prac- 
tice. He  really  knows  what  it's  all 
about,  and  apparently  some  of  the 
production  boys  are  just  awakening  to 
this  fact.  Conny  can  render  any  beau- 
tiful woman  more  beautiful  ;  he  can 
make  Bull  Montana  look  like  the  man 
in  the  Arrow  collar  ads,  and  his  exte- 
riors are  delightful,  poetic  concepts. 
(NOTE:  L.W.O'C:  The  Brulatour  Bul- 
letin  carries   no  paid  advertising.) 

LEE  GARMES,  winner  of  last  year's 
Academy  Award  for  outstanding  pho- 
tography, is  setting  the  camera  and 
lights  for  the  Jesse  Lasky  Fox  produc- 
tion, "Zoo  in  Budapest,"  which  is 
being  directed  by  Rowland  Lee.  We 
haven't  seen  the  rushes,  but  we  have 
Mike  Leshing's  word  for  it  that  even 
the  hyena  is  beautiful.  (We  wonder 
whether  there  is  a  Russian  wolf  hound 
in  the  zoo.)  Warren  Lynch  is  second 
cameraman  on  "Zoo"  and  "Slim" 
Cruze  is  the  assistant.  Our  reporter 
advises  that  "no  supervisors  are  al- 
lowed   in    the    zoo."      Why  ?    > 

LUCIEN  ANDRIOT  has  been  assigned 
to  "House  of  Refuge,"  the  Al  Santell 
production  which  is  scheduled  to  start 
turning  as   we  go  to   press. 

HAL  MOHR  ("State  Fair")  is  also 
assigned  to  a  production  starting  same 
date.  Picture  will  carry  the  title 
"Warrior's   Husband." 

ARTIE  MILLER,  who  has  moved 
right  in  as  a  regular  at  Movietone  City, 
is  on  the  Raoul  Walsh  production, 
"Sailors'  Luck."  Miller  has  made  an 
excellent  record  since  joining  the  Fox 
camera  staff,  and  will  undoubtedly  be 
set  in  on  some  of  that  company's  forth- 
coming important  productions.  J.  La 
Shelle  and  Joe  MacDonald  as  the  sec- 
ond cameramen :  Bill  Abbott  and 
Harry    Webb,    assistants. 

ERNIE  PALMER,  the  old  maestro 
who  covered  himself  with  glory  for  his 
splendid  work  on  "Cavalcade,"  is  in 
production  on  the  Frank  Tuttle  pic- 
ture, "Pleasure  Cruise."  Palmer  has 
been  highly  praised  by  cameramen  who 
have  seen  "Cavalcade"  since  the  open- 
ing at  the  Chinese.  Associated  with 
Ernie  on  the  Tuttle  picture  are  Don 
Anderson  as  second  and  Stanley  Little 
and    Robert   Mack    as    assistants. 


"Strictly  Personal,"  under  the  direction 
of  Dudley  Murphy.  Faxon  Dean  and 
Lloyd  Ahern  were  asociated  with  Kras- 
ner  on  the  production.  The  success  of 
Milt's  first  effort  is  emphasized  in  the 
fact  that  he  has  already  been  given  an 
assignment  by  Mr.  Rogers  for  his  sec- 
ond picture. 


special  lengthy  space  to  com- 
ment on  the  fidelity  of  sound  in 
"Cavalcade."  Other  sound  en- 
gineers and  technical  executives 
who  have  been  most  generous  in 
tossing  about  compliments  on 
the  new  film  are  Franklyn  Han- 
sen of  Paramount,  John  Liva- 
dary  at  Columbia,  Major  Levin- 
son  of  Warner's,  Tom  Moulton 
of  United  Artists,  Robert  Engler 
at  Metropolitan  and  Ed  Hensen 
of  Movietone  City,  who  have 
been  most  encouraging  in  the 
nice  things  they  have  told  us 
about  this  newest  Eastman  film 
product.  They  all  assure  us  that 
the  speed  and  emulsion  charac- 
teristics of  this  film  are  most 
helpful  in  aiding  them  to  deliver 
a  generally  better  and  more  con- 
sistent sound  reproduction  from 
the  screen. 


Columbia 

BENNY  KLINE  has  finished  the 
Clarence   Badger  picture,   "Fever." 

JOE  AUGUST  has  finished  the  Bar- 
bara Stanwyck  picture,  "Parole  Girl," 
which   Eddie  Cline  directed. 

JOE  WALKER  is  shooting  "Beneath 
the  Sea,"  which  Al  Rogell  is  directing. 
Andre  Barlatier  is  very  ably  taking 
care  of  second,  while  George  Kelley  and 
Bob  Tobey  are  the  assistants.  They 
have  several  real  live  octopuses  in  this 
picture    .    .    .    very    interesting. 

Marty  Crail,  assistant  to  Emil  Oster 
in  charge  of  the  camera  department, 
proudly  beams  and  shows  to  any  and 
all  who  call  a  photograph  of  the  new 
and  very,  very  charming,  too,  Mrs. 
Crail.      May    we    add    our   felicitations  ? 


Stout  Switches  Back 

Archie  Stout  found  time  between 
Western  features  at  Paramount  to  re- 
turn to  his  old  associates  at  Trem  Carr 
Studio  to  shoot  a  Western  with  R.  N. 
Bradbury  directing  Bob  Steele  in 
"Breed  of  the  Boeder, "  and  of  course 
he  has  Russ  Harlan  with  him  as 
assistant.  Immediately  upon  comple- 
tion of  the  Trem  Carr  picture  Archie 
returns  to  Paramount  for  another  fea- 
ture. 


Edeson  Again 

Arthur  Edeson  is  again  at  the  cam- 
era at  the  K.B.S.  studios  where  he  is 
turning  in  final  shots  on  the  Victor 
Schertsinger  production,  "Auction  in 
Souls,"  which  is  being  made  for  World 
Wide  (now  Fox  affiliated)  release.  Ar- 
thur is  scheduled  to  start  another  fea- 
ture at  this  studio  immediately  upon 
the  return  from  New  York  of  Sam 
Bischoff,  who  was  called  east  with  other 
top  studio  executives  two  weeks  ago. 


Twenty-two 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


"Our  of  the  Diaries  of 

the  Unsung!"— ty  Fred  Feibm( 


ger 


By  Arrangement  with 

NORMAN  W.  ALLEY 

Copyright  by  International  Photographer 
All  Rights  Reserved 
In  Seven  Chapters 


CHAPTER  THREE 

NORMAN  ALLEY  and  Jerry 
Altfilisch  stowed  the  sound 
camera  equipment  aboard  the 
plane  and  everything-  was  in  readiness 
for  the  hop  from  Hopedale  to  the 
Coast  of  Greenland.  The  hazardous 
adventure  of  spanning  the  great 
wastes  of  the  northern  Atlantic  was 
at  hand.  After  the  ship  gained  alti- 
tude the  crew  settled  down  in  the 
cabin  to  the  ever-monotonous  stac- 
catto  of  the  motors  as  the  ship 
winged  its  way  out  into  space.  Red- 
path  made  a  few  brief  notes  in  his 
little  diary: 

After  obtaining  fair  weather  report 
from  Gotthaab  we  set  out  across  the 
sea.  Fine  and  clear,  altitude  2000 
feet,  temperature  58  degrees.  About 
7  hours  out  run  into  fog  bank.  Bubble 
sextant  out  of  order,  so  flew  down  to 
100  feet  and  took  marine  sextant 
sight  very  poor  horizon.  Also  took 
final  drift  observation.  Sight  fairly 
OK.  Speed  105  mph.  Climbed  above 
fog.  Ran  into  it  where  upper  and 
lower  layers  met.     Tough  going. 

Norman  Alley,  too,  was  musing- 
over  in  his  mind  his  presence  on  this 
strange  adventure.  He  wrote  into  his 
record : 

This  flight  to  Greenland  isn't  going 
to  be  any  picnic,  with  the  extra  weight 
and  uncertain  weather,  and  it  seems  a 
shame  to  look  at  the  two  girls 
squeezed  in  here  without  any  percep- 
tion of  what  it's  all  about.  They  have 
been  terribly  airsick  on  the  way  from 
New  York  here,  and  I  hope  they'll  get 
acclimated  soon,  as  it's  no  fun  play- 
ing nurse  when  New  York  expects 
you  to  be  taking  movies. 

Jerry  has  been  trying  to  do  some- 
thing with  the  radio  outfit.  Claims  he 
hasn't  been  able  to  work  it  yet,  and 
that  it  might  make  a  good  anchor. 

Jerry    was    able    to    hear    Hopedale 
about   an   hour  out  and   flashed   them 
all  OK.     Two  hours  out  and  he  is  un- 
able to  receive  anyone.     Some  set! 
Fog  and  More  Fog 

We  run  into  a  light  overlay  of  fog 
about  two  hours  out  and  find  it  broken 
in  spots.  It  is  laying  very  low  to  the 
water,  so  we  keep  above.  The  water 
comes  under  us  again  at  the  two-and- 
a-half-hour  mark  and  we  cruise  along 
about  a  half  hour  in  clear  weather. 
Made  some  movies  going  in  and  com- 
ing out  of  the  fog. 


Three  hours  out  and  we're  running 
into  another  bank  of  fog.  This  time 
it  seems  much  thicker  and  extends  all 
across  the  horizon.  Pete  makes  some 
hurried  observations,  drift,  etc.,  be- 
fore we  are  forced  above.  He  is  un- 
able to  take  a  drift  reading  unless  he 
can  see  the  surface. 

Four  hours  out  and  we're  still 
climbing  to  keep  above  the  fog  strata. 
Outlook  not  so  hot,  as  we  are  now 
more  than  50  per  cent  beyond  our  fuel 
capacity  and  must  keep  going  regard- 
less of  what  weather  we  find.  Hope 
we  don't  find  fog  over  the  coast  of 
Greenland. 

Now  the  leaded  sky  is  beginning  to 
close  down  on  us.  About  ten  miles 
ahead  we  see  that  clouds  and  fog  are 
joining.  We  are  9000  feet  now,  and 
the  motors  are  cutting  out  due  to  ice 
in  the  carburetors.  We  have  at  least 
one  and  a  half  hours  of  fog-  behind  us 
and  nobody  knows  how  much  ahead. 
We  can't  climb  any  more,  so  it  looks 
like  our  blind  flying  weather  is  here. 
Joe  has  been  working  the  throttles 
back  and  forth  to  keep  the  ice  broken 
as  much  as  possible  in  the  motor. 

Here  we  go  into  the  flour  barrel! 
Nothing  visible  beyond  the  wing  tips, 
l'ust  like  a  large  bottle  of  milk  with  a 
fly  in  it! 

Suddenly,  after  less  than  two  min- 
utes of  total  blind  weather,  the  ship 
starts  doing  a  waltz,  and  I  can  feel 
myself  banging  against  the  cabin 
sides.  We  are  now  very  definitely  in 
either  a  spin  or  a  very  tight  spiral — 
and  losing  altitude  fast.  Hutch  is 
unable  to  bring  her  around. 

Well,  there  is  nothing  to  do  now 
but  wait  and  pray  that  the  fog  is  not 
laying  on  the  water  as  it  was  when 
we  started  into  it.  Down,  down  we 
go.  The  up  and  down  indicator  has 
done  a  complete  somersault! 

Again  on  Keel 

A  lot  of  good  aviators  have  gone 
out  in  such  a  situation,  but  most  of 
them  never  had  the  modern  instru- 
ments we  have  and  certainly  they 
never  went  quite  so  wholesale!  Here's 
hoping  we  come  out  of  this  stuff  with 
enough  clearance  to  get  the  ship  back 
to  her  senses.  We  need  about  1000 
feet  if  it's  a  spin  we're  in. 

We're  down  now  to  about  2000  feet 
and  the  fog-  is  getting-  thinner,  thank 
God!  Now  we're  in  the  clear  and 
have  enough  room  to  straighten  the 
big  ship  out.  Boy,  what  a  feeling!  As 
we  come  out  and  get  level  again  the 
distant  coast  of  Greenland  looms  up! 


Previous  Chapters 

IN  the  January  issue  of  Interna- 
tional Photographer  was  printed 
the  opening-  of  this  story  com- 
piled by  Fred  Felbinger  from  the 
diaries  of  four  men  who  told  first 
hand  of  their  experiences  in  the 
loss  of  the  plane  City  of  Richmond 
in  northern  waters — better  known 
to  fame  as  the  ship  of  the  Flying 
Family. 

Three  of  these  diarists  were  of 
the  plane — Norman  W.  Alley, 
cameraman,  and  Jerry  Altfilisch, 
sound  man,  both  members  of 
Chicago's  International  Photog- 
raphers, and  Peter  Redpath,  navi- 
gator. The  fourth  was  Alex  Main, 
first  mate  of  the  Lord  Talbot,  the 
rescuing  ship. 

The  introduction  tells  of  the 
start  from  New  York  with  a  com- 
plete camera  and  sound  equipment 
and  of  the  ship's  stops  at  St.  John, 
Port  Menier,  near  the  mouth  of 
the  St.  Lawrence,  and  Hopedale, 
Labrador.  The  first  mate  of  the 
Lord  Talbot  describes  the  trawler's 
departure  from  Aberdeen,  Scot- 
land, bound  east  for  Greenland. 
Among  other  interesting-  things 
the  mate  tells  of  these  hardy  fish- 
ermen slipping  along  through 
northern  waters  and  by  wireless 
laying  money  on  a  horse  back  in 
England — backing  him  to  win  and 
the  animal  running  second. 


Turning  to  Redpath's  diary  at  this 
stage  of  the  flight  we  find  the  follow- 
ing entry: 

Saw  Greenland  coast,  about  a  half 
hour  later.  Hauled  into  coast  in  order 
to  run  up  it,  as  afraid  to  rely  on 
charts  (though  charts  of  Greenland 
are  better  than  those  of  Labrador. 
However,  there  is  still  plenty  of  room 
for  improvement!)  Frederickshaab 
glacier  excellent  landmark.  Proceeded 
up  coast  without  difficulty  to  Got- 
thaab. 

Danish  government  wisely  refused 
us  permission  to  fly  over  icecap. 

And  safely  reaching  the  Coast  of 
Greenland  Alley  ended  an  important 
chapter  in  his  life  as  a  knight  of  the 
celluloid.  However,  not  realizing  at 
the  time  that  he  was  yet  to  record  a 
greater,  more  adventurous  tale  in  his 
book  of  memoirs.  ...  At  this  time  he 
made  the  following  notation  in  his 
diary: 

Well,  anyway  we're  in  Greenland 
and  needless  to  say  the  Danes  don't 
like  it  a  bit.  We  have  got  to  wait  for 
official  permission  from  Copenhagen 
before  we  can  continue.  It  has  been 
decided  definitely  that  we  will  not 
attempt  to  fly  across  the  ice  cap.  In- 
stead, we  shall  go  around  the  coast 
line  stopping  at  Juliannahaab  for  fuel 
and  then  proceed  to  Anmagsalik, 
from  where  we  hop  to  Iceland. 

The  coast  of  Greenland  is  totally 
uninhabited  excepting  for  the  three 
colonies,  Gotthaab,  Juliannahaab  and 
Anmagsalik.      A   treacherous   country 


February,  1933 


T  h 


INTERNATIONAL     PHOTOGRAPHER 


Twenty -three 


to    fly    over,    nothing    but    mountains 
and  fjords. 


CHAPTER  FOUR 

AFTER  tarrying  at  Gotthaab 
long  enough  to  make  the  neces- 
sary governmental  arrange- 
ments to  fly  over  Danish  Territory, 
the  adventurers  of  the  air  again 
"shove  off"  according  to  the  diary  of 
Redpath: 

After  four  days  at  Gotthaab  took 
off  and  proceeded  down  coast  toward 
Juliannahaab.  Flying  low  about  250 
feet  on  account  of  fog,  keeping  care- 
ful lookout  for  icebergs,  of  which 
there  are  many.  Finally  recognized 
Frederickshaab  glacier  through  the 
fog.  Flying  at  100  feet,  as  fog 
settling  on  water.  Decided  to  head 
up  a  fjord  which  was  clear  and  land. 
Plenty  broken  ice. 

Commenced  to  head  up  fjord  on  to 
ice  cap  and  give  Norman  a  chance  for 
some  pictures.  On  reaching  altitude 
of  4000  feet  could  see  to  the  south- 
ward that  fjords  were  clear  of  fog 
and  so  continued  toward  Julianna- 
haab. Passed  within  five  miles  west 
of  Ivigtul.  Had  slight  difficulty  in  find- 
ing Juliannahaab,  as  took  the  "J"  of 
name  for  position  of  settlement  in- 
stead of  "B"  as  within  the  chart. 
Spent  several  days  here  awaiting 
weather,  fog  and  low  ceiling  seem- 
ingly endless. 

Of  this  hop  Alley  wrote: 

This  leg  is  quite  uneventful  but 
good  for  movies.  Pete  does  a  good 
job  of  navigating  and  we  locate  our 
point  on  the  nose. 

11,000  Feet  Up 

And  here  at  Juliannahaab  prepara- 
tions are  made  for  another  leg  of  the 
journey,  which  at  the  time  seems  like 
an  uneventful  hop  but  which  is  to 
end  dramatically;  which  for  a  time 
looked  to  the  rest  of  the  world  as 
another  tragic  ending  along  the  road 
of  high  adventure.  Let  us  read  it 
from  the  diaries  of  Peter  Redpath  and 
Norman  Alley.  Redpath  entered  the 
following  in  his: 

Sunday  morning.  Fine  and  clear 
and  fair  weather  report  from  Ang- 
magsalik.  Took  off  at  10:30  GMT  and 
headed  for  foot  of  fjord.  Had  to 
circle  for  altitude  to  clear  mountains. 
Up  11,000  feet.  Temperature  15  de- 
grees and  level  with  several  mountain 
peaks  which  are  shown  on  the  chart 
to  be  only  half  our  altitude.  Crossed 
ice  cap  a  few  miles  south  of  Ludenows 
fjord — a  magnificent  spectacle  from 
the  air,  but  terrible  in  event  of  forced 
landing. 

Came  down  to  4000  feet  and  pro- 
ceeded up  coast  making  109  mph. 
Fine  and  clear.  1:40  GMT  off  C.  Set 
course  68  degrees  mag.  Strong  head 
breeze,  speed  about  85  mph.  Thick 
weather  in  distance.  2:30  GMT 
hauled  in  a  point.  Trying  to  skirt 
blizzard  closing  in. 

And  turning  to  Alley's  diary  we 
discover  the  following: 

We  shove  off  for  Anmagsalik  500 
miles  north  up  the  coast — weather 
good  at  takeoff,   but  we  have  to   go 


high  to  clear  the  peaks  at  the  lower 
tip  of  Greenland,  11,000  feet  at  one 
point.  Swell  pictures.  Uneventful 
flight  until  about  an  hour  out  of  An- 
magsalik we  run  into  a  bank  of  thick 
fog. 

Go  above  for  a  spell  and  note  that 
it  is  general  in  the  line  of  our  flight, 
therefore  rather  than  risk  another 
spin  into  nowhere  we  go  below  the 
bank  and  continue.  It  starts  to  come 
down  rather  suddenly  and  we  are 
forced  down  to  about  100  foot  altitude 
to  stay  out  of  it. 

Forced  Landing  Looms 

The  water  under  us  is  full  of  broken 
ice  cakes  and  now  the  larger  bergs 
are  causing  concern.  It  starts  to 
snow  rather  heavily  and  Pete  hauls 
the  ship  around  a  bit  to  try  and  skirt 
the  dirty  stuff.  However,  we  are  now 
flying  almost  on  the  water  and  dodg- 
ing all  around  to  keep  from  crashing 
into  a  berg.     They  are  brutes  for  size. 

All  we  can  see  of  them  is  the  bulky 
part  under  the  fog,  but  they  must  be 
several  hundred  feet  high.  It's  too 
tight  now  to  turn  around,  and  only  a 
question  of  minutes  before  we  will 
have  to  attempt  a  forced  landing. 

Almost  impossible  to  see  ahead  of 
us  and  we  will  take  plenty  of  chance 
of  hitting  one  of  these  ice  cakes  by 
landing.  However,  here  we  go.  Joe 
pulls  the  throttles  back  and  we're 
down  almost  on  the  water.  Just  as 
we  were  to  hit  Joe  pushed  the  gas 
ahead  and  we  continue  on  a  few  hun- 
dred yards  more.  The  water  is  ex- 
tremely rough  and  he  is  choosing  a 
bit  of  lee  behind  a  huge  berg  where 
it  might  be  quieter.  We  land,  jump- 
ing from  one  swell  to  another  and 
luckily  nothing  seems  to  have  been 
punctured. 

We  are  about  one  and  a  half  miles 


off  shore  with  plenty  of  ice  in  be- 
tween. Pete  looks  the  situation  over, 
and  after  determining  our  approxi- 
mate position,  gives  Jerry  a  message 
to  send.  Jerry  gets  through  to  the 
radio  station  at  Anmagsalik  and  they 
relay  the  S  O  S  to  the  only  ship  in 
the  region  with  a  wireless  aboard — 
the  Lord  Talbot. 

Immediately  afterward  our  radio 
goes  out  due  to  water  coming  in.  The 
sea  is  breaking  well  over  our  top 
wing  by  now.  We  are  taxiing  around 
in  between  hundreds  of  big  icebergs 
for  an  hour  and  a  half  when  one  of 
the  wing  pontoons  is  punctured.  This 
means  beaching  the  plane  imme- 
diately. 

However,  the  off  shore  wind  is  so 
strong  it  is  a  difficult  job  to  get  the 
ship  turned  around  and  shoreward 
even  with  full  rudder  and  one  motor 
pushing. 

We  Tie  to  Rock 

Finally  Hutch  yells  to  me  to  climb 
out  on  the  left  wing  and  act  as  a  sort 
of  human  anchor,  which  I  do,  and  the 
ship  comes  around  toward  shore.  I 
get  drenched  through  trying  to  hold 
on  against  the  sea  and  wind  as  we 
taxy  inshore.  We  reach  a  point  a  few 
yards  from  a  precipitous  rock  forma- 
tion. The  motors  are  out.  The  ship 
begins  to  turn  out  again  and  I  jump 
off  the  tail  section  into  the  water  with 
the  rope. 

It  is  a  wet  task  getting  to  the  rock 
with  the  rope  and  a  strenuous  one 
trying  to  secure  the  rope  on  to  any- 
thing after  getting  there.  A  few 
moments  later  Pete  jumps  ashore  and 
we  both  are  able  to  tie  the  rope 
around  a  ragged  rock  end. 

By  this  time  the  left  wing  is  going 
down  and  the  next  few  minutes  are 
used    to    get    Mrs.    H.    and    the    girls 


• 


"The  ship  stayed  afloat  for  about  twelve  minutes." — Norman  Alley. 

Photo  Courtesy  London  Daily  Sketch. 


Twenty-four 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


ashore,  which  we  accomplish  without 
them  getting  drenched. 

The  ship  stayed  afloat  for  about  12 
minutes,  during  which  time  we  got 
off  all  food,  fuel  and  clothing  possible, 
together  with  such  movie  films  as 
were  handy.  The  crew  foi'aged  about 
and  located  a  split  rock  about  a  quar- 
ter mile  from  the  spot.  We  came 
ashore  and  to  that  place  we  hiked  the 
salvaged  goods. 

Janet  Lee  showed  a  marvelous 
amount  of  stamina  and  courage  for  a 
girl  her  age.  She  was  right  along 
doing  everything  her  small  frame 
would  allow  in  trying  to  help  get 
necessities  done.  Katherine  came 
down  with  a  hard  cold  and  Mrs.  H. 
nursed  her  through  the  next  twenty- 
four  hours. 

We  salvaged  the  rug  from  the  ship 
and  used  it  for  a  flooring.  Nothing 
but    stars    were    overhead    the    first 


night,  and  it  was  cold,  about  20  de- 
grees above,  although  during  the  day 
it  was  higher,  about  28.  The  tar- 
paulin covering  used  to  cover  one  of 
the  motors  was  salvaged,  and  al- 
though circular  in  shape  and  only  wet 
canvas  served  to  keep  some  of  the 
cold  blast  off  the  family  as  they  laid 
down.  Some  pieces  of  Eskimo  fur 
which  I  had  bought  at  different  points 
came  in  handy  in  covering  the  girls. 

Jerry  Does  the  Trick 

During  the  morning  Pete  and  Joe 
went  down  to  the  wreck  and  man- 
aged to  cut  off  the  fabric  from  the 
top  wing  panel  of  the  plane  which 
was  still  showing  above  water.  With 
this  they  covered  the  crevice  we  used 
for  a  camp  and  kept  out  more  of  the 
weather. 

And  here  on  this  bleak  island  in 
nowhere  Jerry  Altfilisch,  a  sound  en- 


gineer in  the  newsreel  game,  makes  a 
brief,  concise  entry  in  a  simple  log  he 
is  keeping  on  his  part  in  this  drama: 

I  sent  out  first  SOS  from  KHNKP 
at  about  12:30  and  was  answered  by 
OZL  of  Anmagsalik.  Sure  was  glad 
to  hear  him  come  back.  He  calls  out 
for  help  and  gets  in  touch  with  GCYP, 
the  Lord  Talbot,  and  finds  him  only 
two  hours  from  our  spot.  I  at  once 
give  OZL  the  position  of  our  ship, 
which  Pete  Redpath  gave  me.  GCYP 
could  not  hear  me,  so  all  communica- 
tion was  through  OZL.  Batteries  go 
down  and  I  can't  send  any  more. 

Just  a  few  brief  words  to  the 
reader,  but  an  unassuming,  modest 
record  of  a  heroic,  noble  task  well 
done — a  task  responsible  for  the 
rescue  of  eight  unfortunate  souls. 

(To   Be    Continued) 


May  Be  Near  Light  Without  Heat, 
As  Philosophers  Long  Have  Sought; 
Photo  Take?t  by  Heat  Without  Light 


SOMETHING  new  under  the  sun 
photographically  speaking,  even 
though  the  sun  was  shut  out  from 
the  room  in  which  the  picture  was 
taken,  has  been  uncovered  by  the  re- 
search laboratory  of  the  Eastman 
Kodak  Company.  After  an  hour's  ex- 
posure the  right-hand  picture  in  the 
adjoining  layout  was  completed  by  the 
employment  of  heat  but  absolutely 
minus  light. 

An  electric  current  was  thrown 
into  the  irons,  which  as  is  well  known 
do  not  glow  under  such  ch'cumstances. 

"Somehow  this  stunt  suggests  a 
way  out  of  his  predicament  for  the 
legendary    'blind  man    in   a   darkroom 


looking  for  a  black  hat  that  isn't 
there,'  "  wi'ites  an  Eastman  man  from 
Rochester.  "In  a  totally  dark  room 
the  bust  was  set  up  in  front  of  the 
camera,  faced  by  two  electric  irons, 
as  shown  in  the  first  of  the  two  accom- 
panying illustrations.  After  an  hour's 
illumination  the  other  photograph  re- 
sulted. 

"Last  year  when  we  took  a  group 
picture  in  the  dark  in  one  second  the 
room  was  actually  flooded  with  infra- 
red rays  from  a  battery  of  sixteen 
1000-watt  lights  covered  by  a  filter 
that  permitted  only  the  invisible  infra- 
red rays  to  pass. 

"In  the  case  of  the  present  photo- 


graph there  was  no  such  source  of 
infra-red  rays;  but,  as  you  know, 
infra-red  rays  are  associated  with 
heat.  Therefore,  when  the  heat  was 
turned  on,  infra-red  was  radiated,  and 
an  emulsion  produced  by  the  Kodak 
Research  Laboratories  to  be  very  sen- 
sitive to  the  infra-red  was  able  to 
record  the  rays. 

"The  practical  usefulness  of  the 
new  infra-red  sensitive  photographic 
materials  at  present  is  principally  in 
the  field  of  astronomy.  The  annual 
report  (1931-2)  of  the  Mount  Wilson 
Observatory  remarked  that  the  Kodak 
Research  Laboratories'  efforts  in  pro- 
ducing greater  sensitivity  to  the  infra- 
red portions  of  the  spectrum  'have 
made  possible  researches  previously 
quite  impractical.' 

"One  rather  spectacular  accom- 
plishment of  the  new  infra-red-sensi- 
tive materials  is  the  discovery  of  a 
new  spectrum  band  showing  with  rea- 
sonable certainty  the  presence  of  car- 
bon dioxide  on  Venus  and  thus  sug- 
gesting the  possibility  of  life  there." 


At  left  are  two  unheated  flatirons  and  an  ordinarily  illuminated  statue.     At  right  is  the  same  combination  with  the 
sole  illumination  that  proceeding  from  the  electrically  heated  irons,  which  as  is  known  do  not  glow  under  the  current. 


Qream  oth  Stills 


W\  J.  Faw  Rossem,  from  near  Dana  Point,  not  fa  r  from  San  Diego,  off  the  Southern  California  Coast, 
catches  a  gull  in  flight  before  the  approaching  storm 


.*«*r'c>,. 


'Oqrs^ 


Qream  oth  Stills 


cf^S^ 


bow*" 


Eddie  Cronenweth 
has  caught 
a  picture  of 
Gwili  Andre  in 
"Secrets  of  the 
French    Police" 
at  RKO  studio, 
as  Director 
Sutherland 
with  her 
discusses   the 
coming  shot 


Here  is  a 

picture  from 

faraway  Manila — 

a  trailer  for 

first  Filipino 

sound  picture, 

made  with 

Art  Reeves 

equipment. 

Behind  camera  is 

Robert  Miller, 

guest  in  whose 

honor  company 

of  Robert  Musser 

(seated)  has  held 

a  fiesta 


Just  a  flash 

from  Paramount' s 

delightful 

"Tonight  Is  Ours." 

Mack  Elliott 

is  the  man 

who  is  paid 

for  taking 

pictures 

like  this 


Bert  Longworth 
at  First  National 
is  responsible 
for  this 
striking 
camera  study 
of  Sheila  Terry. 
The  big  camera 
will  not 
include   that 
protruding 
mike  in  its 
field 


cfW'OL.. 


(5  ream  oth Stills 


.SAT-fa 


Like  lower  Broadway  in  New  York  at  3  o'clock  in  the  morning,  so  here  just  preceding  the  hum  of  produc- 
tion we  see  a  set  for  George  Arliss'  First  National's  "The  King's  Vacation" — and  as  photographed  by  Bert 

Longworth 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-nine 


Looking  In  on  Just  a  Few  New  Ones 


Karl  Str, 


TONIGHT  IS  OURS 

First  cameraman,  Karl  Struss  ;  operative  cam- 
eraman, George  Clemens  ;  assistants.  Fleet 
Southcott,  Daniel  Fapp  and  George  Bourne; 
stills,  Mack  Elliott ;  sound,  M.  M.  Paggi  ; 
film   editor,   Ann    Boucens. 

YOU    who    are    susceptible    to   the 
charm  of  a  beautifully  told  love 
story — or  the  charm  of  a  woman 
so    beautiful    in    mental    as    well    as 
physical  attributes  she  makes  absurd 
a  most  generally  accepted  axiom — you 
remember,  the  one 
about   the   dumb- 
bell— stick    a    pin 
in     "Tonight     Is 
Ours,"   just   com- 
pleted   by    Para- 
mount. 

Here  is  a  love 
story  that  hits 
the  peak.  More 
than  that  it  is  a 
"rave"  from  prac- 
tically all  view- 
points —  story, 
staging,  direction, 
photography,  act- 
ing. 

Professional 
cameramen  and  maybe  many  who  are 
not  even  qualified  amateurs  in  the 
handling  of  film  will  envy  Karl  Struss 
his  opportunities  when  he  lighted  the 
features  of  Claudette  Colbert — envy 
even  as  they  admire  the  results  he 
secured.  The  picture  provides  Miss 
Colbert  with  a  part  that  any  actress 
might  envy,  too — containing  many 
heavy  as  well  as  light  moments.  It  is 
an  unusual  combination  of  the  gay 
and  the  grave — and  the  player  goes 
to  it  with  a  zest  that  is  most  apparent. 
Plainly  she  thoroughly  enjoys  her  role. 
Fredric  March  has  the  opposite 
part,  and  likewise  goes  to  it.  By  the 
way,  why  does  this  finished  player 
hang  on  to  this  ham  spelling  of  a 
perfectly  good  name?  It  might  have 
been  one  thing  when  he  was  fighting 
for  his  place  in  the  theatrical  sun, 
but  it  is  worse  than  petty  now.  It  is 
cheap. 

One  of  the  chief  distinctions  attach- 
ing to  this  screen  play  by  Edwin  Jus- 
tus Mayer  from  Noel  Coward's  "The 
Queen  Was  in  the  Parlor"  is  that  it 
carries  illusion  in  spite  of  the  handi- 
cap  of   a  mythical   kingdom. 

Paul  Cavanaugh  as  the  prince  with 
a  "heart's  desire"  of  his  own  slated 
to  marry  a  queen  with  a  like  incum- 
brance makes  a  likable  character. 
Arthur  Byron  as  the  representative 
of  the  monarchy  also  well  fills  a  prin- 
cipal  part.      Stuart    Walker   directs. 


LUCKY   DEVILS 

First  cameraman,  J.  Roy  Hunt  ;  operative 
cameraman,  Russell  Metty  ;  assistant, 
Willard  Barth ;  stills,  Alex  Kahle ;  sound, 
Earl  A.  Wolcott ;  film  editor,  Jack  Kitchin. 

WHEN  a  stunt  man  writes  a 
story  and  then  has  a  part  in 
the  translation  of  that  story 
to  the  screen  certainly  the  resulting 
picture  should  possess  a  goodly  meas- 
ure of  authenticity.  RKO's  "Lucky 
Devils"  does  that.  Bob  Rose's  tale 
of  the   stunt  man,   with   collaborative 


By  GEORGE  BLAISDELL 

effort  by  Casey  Robinson  and  the 
writing  of  the  screen  play  by  Agnes 
Christine  Johnson  and  Ben  Markson, 
is  a  convincing  portrayal  of  the  life 
of  the  man  who  dares  and  does  at  the 
risk  of  his  own  neck  the  spectacular 
things  devised  to  enhance  the  reputa- 
tion and  box  office  value  of  the 
featured  player  who  must  be  pro- 
tected from  risks. 

There  was  a  time  when  players  and 
directors  by  their  studios  were  for- 
bidden to  leave  the  ground  in  a  plane. 
Today  quite  a  number  of  these  same 
persons  operate  their  own  machines. 

The  picture  has  more  than  authen- 
ticity. It  has  genuine  thrills  and  con- 
siderable drama.  Naturally  the  spec- 
tacle and  the  melodrama  are  in  quan- 
tity as  well  as  quality  raised  above 
the  average  production.  The  picture 
easily  and  naturally  upsets  the  gen- 
erally accepted  rule  that  illusion  fades 
when  you  delve  into  the  medium  in 
which  the  story  is  being  portrayed. 
Here  we  always  are  making  pictures, 
but  nevertheless  the  production  grips 
all  the  way. 

Bill  Boyd  has  the  lead,  with  Dor- 
othy Wilson  playing  opposite.  A  good 
sized  cast  help  them  out.  Ralph  Ince 
directs. 


THE  BILLION  DOLLAR  SCANDAL 

First  cameraman,  Charles  Stumar ;  operative 
cameramen.  Milt  Krasner  and  Faxon  Dean  ■ 
assistants,  Lloyd  Ahern  and  Al  Smalley  ■ 
stills,  Elwood  Bredell  ;  sound,  P.  G.  Wis- 
dom ;   film   editor,   Joe   Kane. 

THERE'S  a  real  story — a  screen 
story — behind  Paramount's  "The 
Billion  Dollar  Scandal"  as  it  has 
been    directed    by    Harry    Joe    Brown. 
It  is  an  original  by  Gene  Towne  and 
Graham  Baker,  with  dialogue  by  Wil- 
lard    Mack     and 
Beatrice      Ban- 
yard.  The  tale  is 
starkly    melodra- 
matic.   Its    inter- 
est centers  around 
Fingers,       played 
by    Robert    Arm- 
strong,   introduc- 
ed   as    a    convict 
trusty  just  before 
his   parole.    It   is 
a  character  of  a 
mugg,  a  singular 
combination   of 
plain  crookedness 
and   rugged    hon- 
esty.     There      is 
little    love    interest    in    the    life    of 
Fingers,  the  only  approach  to  it  be- 
ing an  understanding  with  Anna,  con- 
vincingly played  by  Olga   Baclanova. 
There  is  an  unusual  screen  cast  in 
this  story  of  high  finance  and  public 
gouging,  with  James   Gleason,  Irving 
Pichel,  Frank  Morgan,  Berton  Church- 
ill,    Sidney     Toler,     Walter     Walker, 
Hale       Hamilton,      Edmund      Breese, 
Frank    Albertson    and    Warren    Hay- 
mer  among  the  list. 

The  subject  is  splendidly  staged.  It 


Charles  Stumai 


is  well  worth  going  a  distance  to  see 
— at  least,  for  those  who  are  more 
strong  on  a  straight  screen  yarn, 
gripping  as  well  as  entertaining, 
than  they  are  for  what  the  ten-year- 
old  boys  describe  as  "just  mush." 

SHE  DONE  HIM  WRONG 

First     cameraman,     Charles     Lang;     operative 
cameraman.    Bob    Pittack ;    assistant.    Clif- 
ford     Shirpser;     stills.      Elwood      Bredell  ; 
Film    editor, 


sound,    Harry    M.    Lindgren. 
AI    Hall. 


Charles  Lang 


LIKE  a  shadow  out  of  the  past 
comes  this  grim  reminder  in 
Paramount's  "She  Done  Him 
Wrong"  of  McGurk's  Suicide  Hall  in 
New  York's  lower  Bowery.  Unnamed 
though  that  once  notorious  saloon  may 
be  in  the  screen 
drama  that  feat- 
ures Mae  West 
there  hardly  can 
be  any  doubt  as 
to  the  identity  of 
the  resort  which 
serves  as  the 
background  for 
the  entire  story 
— if  we  accept  a 
single  sequence 
in  which  Lady 
Lou  transforms  a 
casual  visit  to 
Sing  Sing  into 
what  takes  on 
the  aspect  of  old 
home  week.  Visiting  rules  seemingly 
are  suspended  for  the  occasion,  and 
as  Lady  Lou  majestically  swings 
down  the  cell  corridor  salutations  and 
greetings  spontaneously  are  passed  to 
her  from  all  the  guests  whose  faces 
are  jammed  against  their  respective 
bars. 

The  period  of  this  picturesque  por- 
trayal of  the  old  Bowery  is  the  more 
or  less  famed  "gay  nineties."  The 
atmosphere  of  that  day  and  locale  has 
been  most  intriguingly  captured  by 
Paramount's  art  department  and 
brought  to  life  by  Director  Lowell 
Sherman. 

To  be  sure  the  resort  itself  has  lost 
nothing  in  picturesqueness  in  the  re- 
vivification, if  a  measureable  degree 
of  trust  may  be  placed  in  a  more  or 
less  hazy  recollection  of  its  interior. 
There  is  no  memory  of  galleries  and 
stairways  of  the  western  dance  hall 
type  which  in  the  drama  lend  so  vivid- 
ly to  the  color  of  the  background. 

But  returning  to  thin  air  the  ghosts 
of  forty  years  ago  and  coming  down 
to  earth,  Mae  West  is  a  most  enter- 
taining woman.  Certainly  that  is  true 
in  what  seems  to  be  her  chosen  field 
of  activity,  the  portrayal  of  a  clever 
woman  and  a  human  and  a  humane 
one  who  by  her  cleverness  is  gradu- 
ated from  pavement  to  palace.  By 
the  way,  "Pavement  to  Palace"  is 
offered  as  a  title  for  her  next  picture 
— and  after  seeing  her  first  one,  her 
first  featured  one,  we  may  be  sure 
there  will  be  others. 

Harvey  Thew  and  John  Bright  have 
written  a  good  story,  one  affording  the 
lively    heroine    abundant   opportunity 


Thirty 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


for  slipping  over  her  quips  and  wise- 
cracks. Sherman  has  had  the  ad- 
vantage of  a  skilled  cast — Cary  Grant, 
Noah  Beery,  David  Landau,  Owen 
Moore,  Rafaela  Ottiano,  Gilbert  Rol- 
and, Dewey  Robinson,  Rochelle  Hud- 
son, Tammany  Young — as  the  famed 
Chuck  Connors,  in  his  day  the  "ma- 
yor of  Chinatown,"  and  maybe  he 
wasn't;  Tom  Kennedy  and  Louise 
Beavers. 

Just  a  word  as  to  the  saloon  sing- 
ing. A  soloist  does  his  stuff  and  then 
a  chorus  of  waiters  bear  down  with 
him.  The  subject  is  necessarily  an 
old  timer,  and  what  they  all  do  to  the 
job  in  hand  proves  one  of  the  hits  of 
the    show. 

The  subject  is  not  one  for  a  church 
on  a  Sunday  or  any  other  evening,  but 
for  those  beyond  the  age  of  child- 
hood who  may  be  interested  in  a  cross- 
section  of  urban  life  it  will  make  a 
mighty  entertaining  hour  and  a  quar- 
ter. And  to  those  adult  males  who 
as  yet  have  not  looked  upon  the  glam- 
orous Mae  either  in  the  flesh  or  in 
the  shadow — well,  it  may  be  said  that 
experience  surely  is  something. 


Breese,  Helen  Jerome  Eddy  and  Irving 
Pichel. 

Marion  Gering  directs.  Use  is  made 
of  the  music  in  Puccini's  opera.  In- 
cidental music  is  by  W.  Franke  Harl- 
ing. 


MADAME  BUTTERFLY 

First  cameraman,  David  Abel ;  operative  cam- 
eraman. Ernest  Laszlo ;  assistant.  James 
Kin?;  stills,  William  E.  Thomas;  sound, 
Harry  M.  Lindgren  ;  film  editor,  Jane 
Loring. 

AS  was  remarked  in  the  Decem- 
ber issue  of  this  magazine  there 
is  a  new  Sylvia  Sidney  in  Schul- 
berg-Paramount's    "Madame    Butter- 
fly."    It  is  far  and  away  the  best  of 
the    various    screen    adaptations    and 
presentations     of 
this    combination 
of   John    Luther 
Long's   story   and 
David     Belasco's 
play.    The  screen 
play    in    this    in- 

f  stance    is    by    Jo- 

sephine Lovett 
and  Joseph  Mon- 
cure  March.  It 
will  possess 
h»gh  entertain- 
ment qualities  for 
that  large  num- 
ber of  picture  fol- 
lowers whose  per- 
spective still  is 
undimmed  by  reason  of  refraining 
from  satiation — who  see  never  more 
than  two  pictures  or  possibly  one  pic- 
ture each  week. 

Miss  Sidney  has  adapted  herself  to 
the  part,  done  so  in  unusual  degree. 
She  establishes  the  illusion  of  the  Jap- 
anese maid  and  throughout  the  course 
of  the  story  maintains  it.  In  this 
effort  she  is  materially  aided  by  the 
backgrounds,  the  atmosphere,  both 
near  and  remote.  They  do  much  to 
enhance  credibility.  For  this  of  course 
the  boquets  must  go  to  the  art  de- 
partment in  conjunction  with  Michio 
Ito,  technical  adviser. 

Cary  Grant  is  the  lieutenant  who, 
according  to  Japanese  rites,  marries 
the  native  girl.  He  will  be  liked  for 
his  work.  Charles  Ruggles  is  the  fel- 
low-officer of  the  bridegroom,  and  does 
much  to  lighten  the  necessarily  heavy 
tale.  Three  other  principals  whose 
contribution   stands  out   are   Edmund 


Dave  Abel 


HELLO,  EVERYBODY 

First  cameraman,  Gilbert  Warrenton  ;  opera- 
tive cameraman.  J.  Harry  Hallenberger ; 
assistant,  Arthur  Lane ;  stills,  Earl  Crow- 
ley ;  sound,  J.  A.  Goodrich ;  film  editor ; 
James  Smith. 

THERE'S    a    lot    more    in    Para- 
mount's  "Hello,  Everybody"  than 
merely     a     radio     crooner     even 
though    she    is    big    enough    for    two 
crooners.     Kate    Smith    is    something 
more  than  just  an  addle  pated  whiner. 
The   foregoing  is 
for  those  who  are 
preprejudiced  and 
know  the  lady  not 
by    either    sound 
or  sight. 

The  big  girl  is 
an  artist,  none 
the  less  so  simply 
because  he  who 
may  think  so  is  a 
bit  hazy  just  how 
to  explain  his  be- 
lief that  such  is 
the  fact.  Funda- 
mentally, never- 
theless, she  has  a 
pleasing     person- 


Gilbert 
Warrenton 


ality.  She  has  poise,  dramatic  ability, 
the  indefinable  quality  of  sensing  be- 
yond any  power  of  a  director  to  in- 
struct just  the  indicated  thing  to  do 
in  a  given  situation. 

There  may  be  those  looking  upon  the 
figure  or  hearing  the  voice  of  the 
singer  for  the  first  time  who  will  feel 
too  much  footage  is  given  to  her  songs. 
That  hardly  will  be  the  case  with  her 
legion  of  admirers. 

Paramount  has  put  behind  Miss 
Smith  a  good  rural  story  and  sur- 
rounded her  with  a  cast  of  competent 
players.  No  attempt  is  made  to  show 
the  heroine  motivated  by  or  possessing 
any  other  than  filial  love — to  mother 
and  family.  The  love  interest  is  car- 
ried by  Randolph  Scott  and  Sally 
Blane,  the  latter  in  the  role  of  a  sis- 
ter of  the  heroine. 

There  are  other  well-known  players 
— Charley  Grapewin  and  Fern  Em- 
mett,    Julia    Swayne    Gordon,    Frank 


Motion  Picture  Society  of 

India  Is  Formed  in   Bombay 

THE  Motion  Picture  Society  of 
India  has  been  formed  in  Bom- 
bay with  a  view  to  promote 
a  larger  interest  in  the  entire  tech- 
nique of  motion  pictures,  both  silent 
and  sound.  This  industry  as  yet  has 
not  received  any  great  attention  in 
India. 

The  society  aims  to  remedy  the 
present  disorganized  condition  of  the 
film  business  in  that  country.  The 
forming  of  the  new  body  met  with 
good  response  from  those  engaged  in 
the  trade  in  India.  On  the  executive 
committee  are  K.  H.  Vakil,  K.  S. 
Hirlekar,  secretary,  and  M.  B.  Billi- 
moria.  The  offices  of  the  society  are 
in  the  Taraporevala  Building,  Queens 
Road,  Bombay. 


Darien,  Wade  Boteler,  Frank  Mc- 
Glynn  and  Edwards  Davis.  The  lat- 
ter sustained  the  part  of  the  orator 
of  the  water  power  company's  big 
radio  smash.  What  he  did  with  the 
role  is  just  what  might  be  expected  of 
the  man  who  is  the  greatest  English 
speaking  orator  in  or  around  the  mo- 
tion picture  business — or  who  has  been 
in  or  around  it  since  it  was  a  business, 
including  Gus  Thomas.  And  that's 
saying  something. 

William  A.  Seiter  directed  from  an 
adaptation  by  Dorothy  Yost  and  Law- 
rence Hazard  of  a  story  by  Fannie 
Hurst. 


COMRADESHIP 

STRANGE  picture  is  this  directed 
by  G.  W.  Pabst  from  Ernst 
Vajda's  adaptation  of  Karl  Ot- 
ten's  story.  "Comradeship"  is  a  tale 
of  the  Franco-German  border,  with 
dialogue  more  or  less  evenly  divided 
between  French  and  German.  It  is 
not  a  tale  of  racial  or  national 
hatreds.  To  the  contrary  it  is  one  of 
national  cooperation,  of  assistance  by 
the  Germans  to  the  French  when  fel- 
low-miners have  become  victims  of 
deadly  gas. 

The  word  propaganda  has  been  em- 
ployed in  describing  the  story,  but 
after  seeing  the  picture  the  word 
seems  tawdry  and  cheap.  It  is  a  hu- 
man story,  a  heroic  one.  Its  theme 
approaches  in  magnitude  that  well- 
known  one  beginning  "Greater  love 
hath  no  man."  Conceivably  the  pro- 
duction, made  on  a  really  notable 
scale  and  with  rare  skill  and  con- 
summate directing  judgment,  will  ac- 
complish more  toward  allaying  the 
ancient  feud  between  the  two  nations 
than  all  the  mere  word  of  mouth 
that  may  be  uttered  by  countless  and 
oftentimes  insincere  pacifistic  propa- 
gandists. 

Packed  with  Human  Interest 

It  is  not  a  love  story  in  the  ordi- 
nary sense — in  the  sense  of  the  love 
of  a  man  for  a  maid,  or  what  prob- 
ably is  the  stronger,  the  reverse. 
When  word  comes  to  German  miners 
just  finishing  their  shift  that  their 
French  confreres  in  the  same  mine, 
but  on  the  other  side  of  the  border, 
are  endangered  by  fire  and  gas,  they 
volunteer  to  go  to  their  assistance — 
do  that  in  spite  of  the  fact  that  the 
day  before  the  application  of  Ger- 
man miners  for  employment  on  the 
French  side  has  been  brusquely  turned 
down. 

Every  reel  is  packed  with  human 
interest — made  intelligible  to  addi- 
tional millions  by  the  employment  of 
running  titles  in  English.  There's 
a  German  miner  and  his  wife,  three 
German  miners,  a  French  miner  and 
his  friend  and  the  latter's  sister,  and 
an  old  French  miner  and  his  grand- 
son. And  behind  all  these  are  hun- 
dreds of  neighbors  on  both  sides  of 
the  border,  police  and  miners  and  the 
members  of  families. 

Possibly  half  of  the  footage  is  de- 
voted to  the  vast,  ramifying  galleries 
of  the  great  mine.  One  of  the  spec- 
tacular phases  of  the  picture  rests  in 
the  series  of  gas  explosions.  The  rip- 
ping and  tearing  sound  of  these  re- 
verberate through  the  workings,  with 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-one 


the  following  crashing-  of  the  timbered 
roofs.  Rescuers  work  in  water  nearly 
to  their  necks. 

Dramatically  one  of  the  more  pow- 
erful of  the  sequences  is  that  wherein 
the  grandfather  surreptitiously  en- 
ters the  mine  following  the  disaster 
searching  for  the  boy  who  that  day 
has  entered  the  mine  for  the  first 
time.     And  that's  just  one. 

The  picture  will  have  added  inter- 
est for  Americans  in  that  the  scena- 
rist was  for  a  long  time  in  American 
studios  and  brought  to  his  story  all 
he  had  acquired  of  American  tech- 
nique. F.  A.  Wagner  is  credited  with 
the  photography,  which  in  the  Eng- 
lish versions  of  course  is  dimmed  in 
brilliance  by  reason  of  the  superim- 
posed titles.  The  subject  was  shown 
for  two  weeks  at  the  Hollywood  Film- 
arte. 


NO  MAN  OF  HER  OWN 

Kirst  cameraman.  Leo  Tovar ;  operative  cam- 
eraman, Fred  Mayer;  assistant,  Neal  Beck- 
ner ;  stills,  Earl  Crowley;  sound.  Earl  S. 
Hayman  ;   film    editor.    Otho    Lovering. 

CLARK  GABLE  moved  over  from 
his  home  lot  to  do  a  bit  of  the 
unheroic  for  Paramount.  That 
is,  most  of  his  part  was  in  the  cate- 
gory named.  The  finish,  though,  was 
different.  It  was  more  or  less  whole- 
some, and  in  the  main  will  be  quite 
satisfying  to  those  feminine  follow- 
ers who  insist  their  screen  idols  must 
be  in  the  parts  allotted  them  like 
Caesar's  wife. 


Gable's  role  is  that  of  a  big  time 
gambler,  one  whose  only  use  for 
women  or  whose  regard  for  them  is 
measured  by  the  amount  of  assistance 
they  may  give  him  in  his  card  swin- 
dling operations. 

Carole  Lombard  is  the  western 
small  town  girl  who  falls  under  the 
spell  of  the  insinuatingly  pushful 
Lothario  from  the  east.  It  just  hap- 
pens Connie  Randall  is  in  that  mood 
not  unknown  to  lonesome  as  well  as 
impulsive  humans  when  advances 
from  the  opposite  sex  stand  about 
ninety-nine  chances  in  a  hundred  of 
being  accepted.  So  it  is  in  the  in- 
stance under  review. 

It  is  a  whirlwind  courtship,  really 
entertaining  in  the  course  of  its  work- 
ingout.  So,  too,  there  is  much  in  the 
way  of  entertainment  in  the  early 
married  life.  There  is  drama,  too,  as 
the  associates  of  the  gambler  unsuc- 
cessfully endeavor  to  capitalize  the 
attractiveness  of  the  bride  and  the 
bride  digs  into  the  situation  in  her 
successful  endeavor  to  discover  what 
it  is  all  about,  to  learn  the  source  of 
the  enormous  meal  ticket. 

Dorothy  Mackail  is  shown  as  one 
of  the  accessories  of  the  gambler. 
Others  among  the  principals  are 
Grant  Mitchell,  George  Barbier,  Eliz- 
abeth Patterson,  J.  Farrell  MacDon- 
ald  and  Frank  McGlynn. 

Wesley  Ruggles  directs  from  Maur- 
ine  Watkins  and  Milton  H.  Gropper's 
adaptation  of  the  story  by  Edmund 
Goulding  and  Benjamin  Glazer. 


TERROR  TRAIL 

First  cameraman,  Dan  Clark  ;  operative  cam- 
eraman, Norman  Devol  ;  assistants,  Lloyd 
Ward,  Ed  Jones  and  John  Eagan  ;  stills. 
Ray  Jones  and  Harry  Osborne :  sound, 
Gilbert    Kurland  ;    film    editor,    Phil    Cahn. 

POSSIBLY  in  one  of  the  last  pic- 
tures Tom  Mix  will  make  is  Uni- 
versal's    "Terror    Trail,"    a    good 
western    adapted    by    Jack    Cunning- 
ham from  Grant  Taylor's  story.    The 
suggestion  that  it  is  one  of  the  last 
of  Mix's  pictures 
is  not  uttered  on 
authority.      It     is 
known,     however, 
the     player     is 
planning     an 
^^*  ^_  around-t he-world 

tour  that  will  re- 
quire a  year.  It 
is  not  denied  this 
idol  of  the  Amer- 
ican boy  also  is 
the  possessor  of 
a  goodly  fortune, 
and  that  without 
any  particular 
effort  or  long 
search  for  the 
employment  he  can  make  a  most 
profitable  connection  with  a  circus 
when  he  chooses.  So  it  would  seem 
to  be  against  the  probabilities  he  will 
return  to  the  screen. 

There  is  a  good  cast,  among  the 
members  of  which  are  Raymond  Hat- 
ton,  Naomi  Judge  and  Francis  Mc- 
Donald.    The  backgrounds  have  been 


Dan    Clark 


THE  MOTOR-DRIVEN 


BELL  &  HOWELL 

1849    Larchmont    Ave.,    Chicago;    11    West    42nd    St.,    New    York; 

716     North     LaRrea     Ave.,     Hollywood;     320     Regent     St.,     London 

(R  &  H  Ltd.)   Est.  1907 

•♦« — 


Eyemo 


wins  its  spurs 

The  new  35  mm  Eyemo  hand  camera 
with  motor  drive  and  200  or  400  foot 
magazine  has  now  been  tested  in  every 
part  of  the  world,  under  all  photographic 
conditions.  It  has  won  its  niche  in  cine- 
matography's gallery  of  ace-high,  de- 
pendable equipment.  Its  motor,  giving 
constant  sound  speed  of  24  frames  a  sec- 
ond, can  be  attached  or  removed  in  a 
moment.  Comes  in  both  12-volt  and  110- 
volt  models. 

The  camera  itself,  with  its  7  film 
speeds,  three-lens  turret,  variable  view- 
finder,  built  in  spring  and  hand-crank 
drives,  and  its  complement  of  Cooke 
lenses,  is  the  most  useful  camera  in  the 
specialist's  equipment. 

Camera  alone,  $450,  tax  paid — Motor 
and  Magazine  extra.  Prices  on  applica- 
tion. 


»*■ 


Thirty-two 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


happily  selected  and  add  materially  to 
the  pictorial  quality. 

Armand  Schaefer  directs  a  fast 
moving  story,  one  that  will  lift  the 
average  western  fan  out  of  himself 
and  at  times  on  to  the  edge  of  his 
seat. 


as  the  broken  industrialist  who  turns 
steerage  benefactor  stands  out. 
Lothar    Mendes    has    directed    this 


Schulberg  production,  which  is  an 
adaptation  by  Gene  Markey  of  Gina 
Kaus'  novel. 


Victor  Milner 


LUXURY  LINER 

First  cameraman,  Victor  Milner ;  operative 
cameraman.  William  Mel  lor :  assistant, 
Guy  Roe;  stills,  William  E.  Thomas: 
sound;  M.  M.  Paggi ;  film  editor.  Ed 
Warren. 

MARRED    at    the    conclusion    by 
the    unaccountable    yielding    of 
curtain     honors     to     a     player 
whose    part    or    performance    means 
nothing  to  the  very  absorbing   story 
being  unfolded,  and  even   in   spite   of 
that     inexplicable 
example    of    dra- 
matic   ineptitude, 
Par  amount's 
"Luxury    Liner" 
is   at  times  grip- 
ping  and   always 
highly    entertain- 
ing— with  the  ex- 
ception   of    those 
moments     when 
Alice    White    in 
her    part    of    the 
sap    is    on    the 
screen. 

The  tale  is  in 
restricted  locale. 
Where  "Grand 
Hotel"  was  laid  in  a  hotel  and  no- 
where else  so  it  is  with  the  newcomer. 
Never  do  we  leave  this  west-bound 
Atlantic  ship.  The  atmosphere  of 
shipboard  is  established  and  main- 
tained in  unusual  degree. 

The  centre  of  the  story  is  a  ship's 
doctor  and  a  nurse.  Playing  the  latter 
is  Zita  Johann,  with  George  Brent  in 
the  part  of  the  doctor  who  obtains 
the  assignment  in  order  to  break  up 
an  elopement  planned  by  his  wife  and 
her  wealthy  boy  friend.  The  first 
named  gets  a  real  opportunity  to 
show  her  quality  as  an  actress.  She 
has  remarkable  appeal  as  well  as  and 
partly  because  of  unusual  restraint. 
This  latter  quality  is  enhanced  by  a 
wistfulness  that  spells  mystery  and 
is  most  intriguing  to  the  spectator. 
Brent  gives  an  excellent  performance. 
The  mental  picture  of  the  nurse  and 
the  doctor  will  live  in  the  memory  of 
the  picturegoer  for  an  unusually  long 
time. 

Vivienne  Osborn  is  the  wife  of  the 
doctor  who  blows  up  and  walks  out, 
while  Frank  Morgan  is  the  philander- 
ing capitalist  who  seeks  to  capitalize 
the  domestic  jam.     C.   Aubrey   Smith 


When  Seen  Through  Feminine  Eyes 


By  HELEN  BOYCE 


STATE  FAIR 


Hal  Mohr 


First  cameraman,  Hal  Mohr;  operative  cam- 
eramen, William  Skall  and  Irving  Rosen- 
berg ;  assistants,  Milton  Gold  and  Robert 
Surtees ;  stills,  Clifton  Maupin  ;  sound, 
A.  L.  Von  Kirbach ;  film  editor,  Robert 
Bischoff. 

THOSE   who  read   Philip   Stong's 
popular  novel  "State  Fair"  will 
probably  shrug,   as   did  this   re- 
viewer, at  the  question  of  transform- 
ing  it   into   an   interesting   photoplay. 
But — when    you    see    this    almost    all 
star  cast  breathe 
life      into      these 
characters     you'll 
agree    that    it    is 
one    of    the    most 
delightfully 
human     things 
you  have  seen  in 
many   a   day. 

It's  a  story  of 
the  soil  and  an 
honest-to-good- 
ness  American 
family  the  mem- 
bers of  which 
live  close  to  it; 
their  ambitions, 
their  weaknesses 
and  their  loves.  Will  Rogers  as  Abel 
Frake  has  never  had  a  part  that  fitted 
him  so  well.  He  has  so  completely 
submerged  himself  that  you  entirely 
forget  Will  Rogers  and  simply  suffer 
with  Abel  Frake  when  Blue  Boy,  his 
pampered  highbrow  Berkshire  hog, 
goes  temperamental  and  "lays  down" 
on  him  the  day  of  the  fair. 

You  are  equally  pleased  when  this 
beau  brummel  hog  arises  to  the  oc- 
casion and  carries  off  the  blue  ribbon. 
You  will  chuckle  as  Abel  slyly  pours 
his  idea  of  flavor  into  Melissa's  prize 
winning  mincemeat  and  you  will  think 
Louise  Dresser  as  Melissa  Frake  a 
real  person. 

Janet  Gaynor  is  Margy,  the  daugh- 
ter just  pining  to  "burst  forth  and 
raise  hell"  according  to  her  own 
statement.  Norman  Foster  is  Wayne, 
the  son,  a  likable  small  town  lad. 
Then  there  is  Sally  Eilers  as  the 
trapeze  artist  who  takes  him  in  tow 
at  the  fair.  Frank  Craven  is  the  pes- 
simistic storekeeper. 


The  philosophy  smacks  somewhat 
of  Voltaire;  how  we  set  our  hearts  on 
something  as  the  thing  we  want  most, 
which  upon  accomplishment  merely 
becomes  an  incident  like  the  passing 
fair. 

However,  Margy  doesn't  seem  to 
accept  the  philosophy  and  one  is  glad 
she  decides  not  to  be  too  sensible  as 
she  races  out  into  the  rain  to  meet 
her  destiny  in  the  person  of  Pat  Gil- 
bert. The  role  of  this  young  news- 
paper man  who  has  lived  hard  and 
fast  is  enacted  by  Lew  Ayres.  Henry 
King  directs  from  the  screen  play  by 
Paul  Green  and  Sonya  Levien. 


BLONDIE  JOHNSON 

First  cameraman,  Tony  Gaudio ;  operative 
cameraman.  Al  Green;  stills,  Mac  Julian; 
sound,  David  Forrest  and  Oliver  Garret- 
son  ;   film   editor,   George   Marks. 

WHEN   Earl  Baldwin  wrote  the 
screen  play  "Blondie  Johnson" 
it    was    undoubtedly    with    the 
thought  in  mind  that  with  bootlegging 
on  the  wane  the  gangster  is  now  turn- 
ing    his     hand     at     cashing     in     on 
^^^^^^^^^^      legitimate      busi- 
ness.       However, 
it   is   inexplicable 
why  the  glamour 
of   a   parasite   so 
^Mp    '  pedicular      as     a 

Hk^M  gangster      should 

be    so    delusively 
magnified.  It  must 
|^  "•  \.f£.       be    admitted    thai 

M  XT  ^  the   plot    is   fasci- 

nating; a  fact  to 
be  regretted  when 
one   contemplates 
^EhSBm      the     conclusions 

_,  _      ,.  youngsters      may 

Tony  Gaudio  draw  from  it 

Joan  Blondell 
is  the  jobless  girl  who  becomes 
the  noted  "gangstress"  when  her 
mother  dies  for  lack  of  food  and 
proper  care.  Chester  Morris  is  Curly, 
her  pal.  Allen  Jenkins  as  Louis  pro- 
vides not  a  little  humor  when  a  weep- 
ing wife  he  has  never  seen  throws 
her  arms  around  him  in  court  as  part 
of  the  plan  to  "spring"  him.  A 
racket  recently  worked  locally  ap- 
pears  with    the    prop    as    a    diamond 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-three 


bracelet  instead  of  the  expensive  car. 
In  fact  it's  full  of  rackets  except  for 
one  clinch  on  which  the  curtain  might 
be  called  down  for  ten  seconds  or  so. 
The  reviewer  has  seen  no  gangster 
picture  portrayed  by  a  more  capable 
cast  nor  under  better  direction  than 
Ray  Enright  has  bestowed  upon  this 
Warner  Brothers'  production.  They 
all  richly  deserved  a  vehicle  more 
worthy  of  their  mental  faculties  and 
histrionic  ability. 


Sid  Hicox 


GRAND  SLAM 

First  cameraman,  Sid  Hicox  ;  operative  cam- 
eraman. Thomas  Branigan  ;  assistant. 
Wesley  Anderson  ;  stills,  George  Baxter  and 
Homer  Van  Pelt ;  sound,  Robert  Lee ;  film 
editor,   Jack    Killifer. 

WHETHER  you  play  bridge  ac- 
cording to   Culbertson,   Simms, 
Vanderbilt  or  Work  you'll  find 
they're  all  "hooey"  when  you  see  Paul 
Lukas  play  the   Stanislowsky   system 
in   Warner    Brothers'    "Grand    Slam." 
Bridge    fans    will 
like     it     even 
though  they  know 
it   jest   ain't   pos- 
sible     and      non- 
bridge    players 
will    be    able    em- 
phatically to  voice 
the       proper      "I 
told  you  so"  when 
Paul    Lukas    as 
Stanislowsky  con- 
temptuously 
proves   that  it   is 
child's  play  and  a 
game  for  morons. 
He  is  a  waiter 
in  a  Russian  res- 
taurant and  his  spare  time  is  spent  in 
trying    to    write    a    book.     However, 
Marcia,  the  check  room  girl,  decides 
he  will  make  a  good  husband.     Lor- 
etta    Young    is   the   charming   Marcia 
who    marries    him    and    then    in    true 
wifely     manner     inveigles     him     into 
bridge. 

Helen  Vinson  is  the  enticing  Lola 
who  commands  him  to  leave  off  wait- 
ing one  evening  and  fill  in  at  her 
party.  He  starts  the  ball  rolling  by 
bidding  a  grand  slam  in  spades.  Only 
a  bridge  player  can  understand  the 
emotions  of  the  other  players.  Frank 
McHugh  is  the  ghost  writer  who  hears 
about  it,  and  overnight  the  waiter 
becomes  the  exponent  of  the  great 
Stanislowsky  system — guaranteed  to 
insure  an  amicable  game  with  any 
husband  and  wife. 

Fame,  fortune  and  fun  follow — 
until  Marcia  darling  fails  to  play  the 
right  card.  However,  it  all  works 
out  in  a  most  satisfactory  manner. 

The  screen  play  by  David  Boehm 
and  Erwin  Gelsey  was  based  on  the 
novel  by  B.  Russell  Herts.  William 
Dieterle  directed. 


SECOND  HAND  WIFE 

First  cameraman,  Charles  Clarke;  operative 
cameraman,  Joe  McDonald  ;  assistants,  H. 
C.  Smith  and  Robert  Mack  ;  stills,  Ray 
Nolan  ;  sound,  A.  L.  Von  Kirbach  ;  film 
editor,    Alex    Troffey. 

NEITHER  the  title  nor  the  story 
were  changed  in   Fox's  presen- 
tation of  "Second  Hand  Wife." 
Here  is  a  case  where  Hamilton   Mc- 
Fadden  deserves  dual  honors  for  the 


writing-  of  the  screen  adaptation  and 
the  direction  of 
the  original  story 
by  Kathleen  Nor- 
ris.  The  screen 
play  is  as  enter- 
taining as  the 
book,  which  is 
saying  a  great 
deal. 

The  story  is 
triangular  in  con- 
struction with  a 
decidedly  novel 
twist.  Sandra 
Trumbull  is  the 
stenographer  in 
love  with  her 
boss,  Carter  Cav- 
endish. These  two  characters  don't 
lose  a  thing-  in  the  able  hands  of  Sally 
Eilers  and  Ralph  Bellamy,  nor  is 
Helen  Vinson  less  convincing  in  her 
role  of  the  beautiful  and  selfish  Mrs. 
Cavendish. 

Little  Karol  Kay  as  Patsy,  the 
daughter  of  the  estranged  couple,  is 
an  extraordinary  violinist  and  a 
capable  little  actress.  Sandra  gets 
her  man  only  to  give  him  up  when  she 
finds  the  welfare  of  Patsy  is  threat- 
ened through  the  selfishness  of  her 
mother. 

However,  don't  go  away,  folks;  in 
just  a  few  more  feet  of  film  she  gets 
him  back  and  everyone,  except  possibly 


Mrs.  Cavendish  the  first,  is  happy  in 
the   fadeout. 


Charles  CCiurkei 


THE  PAST  OF  MARY  HOLMES 

First  cameraman,  Charles  Rosher ;  operative 
cameraman.  Frank  Redman  ;  assistant, 
Cecil  Cooney ;  stills,  John  Miehle:  sound, 
Hugh  McDowell  ;  film  editor,  Charles  Kim- 
ball. 

WHILE  the  title  is  "The  Past  of 
Mary    Holmes"   the   only  thing 
that's  known  about  that  past  is 
that  she  used  to  be  an   opera   singer 
who  lost  her  voice  when  her  illegiti- 
mate son  was  born.     It  is  really  the 
screen    version 
written  by  Marion 
Dix    and    Edward 
H.     Doherty    of 
Rex  Beach's  "The 
Goose      Woman," 
which    is    a    more 
appropriate    title. 
Unless  one  has 
a     weakness     for 
unkempt    appear- 
ance    and     filthy 
surroundings 
Mary's  present  is 
far  from  interest- 
ing.   Helen    Mac- 
K  e  1 1  a  r    is    the 
once  famous  sing- 
er   who    now    lives    in    these    squalid 
surroundings  with  her  geese  and  pigs. 
Eric  Linden  as  Geoffrey  Holmes,  the 
son,  gives   a  convincing  performance. 


Charles  Rosher 


7 


Interchangeable 
Lenses 


LEICAS    Built-in 
Short   Base   Range-Finder 

coupled  with  lens  for  auto- 
matic focusing.  No  guess- 
work. Fast  and  accurate 
focus  obtained  even  with 
the  speediest  subjects. 

Focal    Plane    Shutter 

with   speeds   of    1 /20th   to 

l/50()th    second;     moves 

horizontal!}     instead    of 

vertically,        catching 

action  pictures  with- 

ut       distortion. 

Standard     cloth 

const  ruction, 

u  n  a  fleeted 

climate 


including    wide-angle,    telephoto, 
and     others     make     the     LEICA     7 
cameras    in    ONE.      Screw    type    lens 
mount     for     greater     accuracy.       Over 
200  Leica  accessories  to  choose   from.      36 
pictures  from  a  single  roll  of  film;  enlarge- 
ments  up   to   12   x   18   inches   and   more. 

Stream  Lined  Beauty.  LEICA  is  compact,  Him,  wit! 
no  square  corners,  or  protruding  knobs.  Fit 
into  the  pocket;  a  delight  to  the  hand  and  eye. 
Loading  if  easy.  Only  the  bottom  opens.  Only 
one  locking  key  to  turn.  Camera  mechanism  is  never 
expo.ed   to   dust   or   blowing   sand. 

The  exclusive  features  which  have  made  the  Leica 
famous  are  fully  protected  by  patents  and  can  not 
be   incorporated    in   other  cameras. 

Price  with  50  m/m  ELMAR  f3.5  lens,  )592.50.  for 
five  years  every  Leica  purchaser  has  been  protected 
by    a    2-year    guarantee    certificate. 

Write  for  Free  Illustrate!  Booklet — "Why  LEICA?" 
giving  lull  information  and  many  pictures;  also 
"Leica  Photography",  monthly  bulletin  of  informa- 
tion  for  Leica   users. 

E.  LEITZ,  INC.         Dept.  216 

60  E.   10th  St.,  New  York  N.  Y. 


Thirty-four 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


The  reviewer  did  not  see  Louise 
Dresser  in  the  same  story  made  some 
time  ago,  but  understands  she  domi- 
nated the  picture,  which  was  built 
around  her.  This  is  not  the  case  in 
the  RKO  release,  as  Miss  MacKellar 
does  not  display  the  spark  that  would 
make  the  Goose  Woman  the  really  in- 
teresting character  she  should  have 
been.  Even  her  tears  are  unconvinc- 
ing. 

Jean  Arthur  is  young  Holmes' 
fiancee  and  handles  the  part  well. 
Skeets  Gallagher  is  at  home  as  the 
"wisecracking"  reporter.  Harlan 
Thompson  and  Slavko  Vorkapich 
directed. 


LADIES  THEY  TALK  ABOUT 

First  cameraman,  John  Seitz ;  operative  cam- 
eraman, Harry  Davis  assistant,  Vernon 
Larson  ;  still,  Homer  Van  Pelt ;  sound, 
C.  S.  Althouse.  Film  editor,  William  T. 
Phalen. 

DOROTHY  MACKEYE  and  Carl- 
ton Miles  have  written  a  mighty 
entertaining    plav     in     "Ladies 
They  Talk  About."     Despite  the  fact 
that  the  locale  is  largely  the  women's 
ward  at  San   Quentin  the  philosophy 
is    happy    and 
there     are     many 
chuckles.      Brown 
Holmes,  Wm.  Mc- 
Grath    and    S  i  d- 
ney     Suther- 
land   wrote   the 
screen    adapta- 
tion;   Henry 
Bretherton     and 
William      Keight- 
ley  directed.     It's 
a    Warner    First 
National. 

Barbara  Stan- 
wyck makes  a 
very  realistic 
Nan,  the  daugh- 
ter of  a  narrow-minded  small  town 
minister.  However,  Nan  becomes  so 
broad-minded  she  has  to  be  sent  to 
prison  to  narrow  her  scope.  Preston 
S.  Foster  as  the  evangelist,  radio  and 
otherwise,  who  tries  to  reform  her, 
gives  a  good  performance  and  the 
character  is  well  drawn.  And  speak- 
ing of  characters,  Maude  Eburne 
should  not  be  forgotten.  She  portrays 
Aunt  Maggie  who  used  to  run  a 
"beauty  parlor" — the  kind  that  earned 
her  a  ten  year  lease  on  the  rocking 
chair  at  San  Quentin,  but  did  not 
cause  her  to  lose  her  sense  of  humor. 
Then  there  is  Cecil  Cunningham  as 
Mrs.  Arlington,  who  experiences  trou- 
ble with  the  servant  problem  even  in 
prison.  She  finds  she  must  pay  her 
laundry  bill  here  to  get  her  draw-ahs 
back.  Lillian  Rath,  who  pals  up  with 
Nan,  is  most  likable.  In  fact  the  en- 
tire cast  is  excellent  and  those  who 
like  the  happy  ending  will  not  be  dis- 
appointed. 


John  Seit; 


NAGANA 

First  cameraman,  George  Robinson  ;  opera- 
tive cameraman,  Richard  Fryer;  assistant, 
Paul  Hill  ;  stills,  Adolph  Schafer ;  sound, 
Gilbert  Kurland ;  film  editor,  Robert 
Carlisle. 

SHOULD   you  have   any  idea   that 
"Nagana"     is     the     name     of    an 
Egyptian   vamp  you'll  find  you're 
all   wrong,   but   Lester   Cohen's   story 


George   Robinson 


is  so  vivid  and  so  colorful  that  you'll 
never  miss  the  vamp.  Nor  did  the 
screen  play  lose 
anything  in  the 
shaping  by  Dale 
Van  Every  and 
Don   Ryan. 

The  average 
picturegoer  may 
be  unfamiliar 
with  the  cast  in 
this  Universal 
production,  but 
that  fact  need 
not  prove  disap- 
pointing,  for 
here  is  a  case 
where  each  mem- 
ber entirely  fits 
the  role.  Ernst  L.Frank  directs. 

The  translation  of  Nagana  is 
sleeping  sickness.  The  locale  is  Af- 
rica. Dr.  Walter  Radnor  and  Dr. 
Kabayochi,  against  great  odds,  are 
fighting  this  dread  disease.  Melvyn 
Douglas  gives  a  most  excellent  por- 
trayal of  Dr.  Walter  Radnor  and  the 
dramatic  ability  of  M.  Morita  as  Dr. 
Kabayochi  reminds  us  strongly  of 
that  of  his  famous  countryman,  Ses- 
sue  Hayakawa.  The  Countess  San- 
dra, who  follows  Dr.  Radnor  to  Af- 
rica, is  Tala  Birell.  Everett  Brown 
is  Nogu,  son  of  the  native  king.  This 
big  black  is  an  actor  and  speaks  un- 
usually good  English. 

There  are  native  witch  dances,  wild 
jungle  scenes  and  plenty  of  wild  ani- 
mals. It  is  possible  that  members  of 
the  S.P.C.A.  may  object  to  some  of 
the  animal  scenes,  as  they  are  a  bit 
strenuous. 

Men  undoubtedly  will  like  this  pic- 
ture. The  feminine  fans  who  don't 
demand  society  dramas,  but  like  a 
really  stirring  screen  play  also  will 
register  enthusiasm,  and  it  contains 
no  elements  that  would  be  undesira- 
ble for  the  younger  fans. 


THE  VARMLANDERS 
By  Fred  Westerberg 

THE  Swedish  film  Varmlanders 
(pronounced  Vairmlanders), 
shown  recently  in  the  Filmarte, 
in  Hollywood,  is  the  latest  talking 
picture  version  of  an  old  familiar 
stage  play  long  cherished  by  the 
Swedes.  It  is  a  tale  of  Swedish  life  as 
it  was  lived  a  hundred  years  or  so 
ago  and  is  similar  in  its  sentimental 
appeal  to  those  sturdy  favorites  "Old 
Heidelberg"  and  "Uncle  Tom's  Cabin." 

The  story  is  a  simple  one.  A  land- 
owner faced  with  the  prospect  of 
having  to  give  up  a  large  part  of  his 
estate  due  to  hard  times  seeks  to 
arrange  a  profitable  marriage  be- 
tween his  son  Erik  and  the  daughter 
of  a  rich  neighbor.  Erik,  however, 
loves  Anna,  a  poor  crofter's  daugh- 
ter, which  causes  no  end  of  trouble 
for  everybody  concerned. 

The  lovers  fortunately  are  not  torn 
apart  forever  and  ever  as  in  "Old 
Heidelberg,"  so  a  good  deal  of  wear 
and  tear  on  the  tearducts  is  happily 
averted. 

The  charm  of  "The  Varmlanders" 
is  due  in  great  measure  to  the  glamor 
of  its  background;  the  benign  ef- 
fulgence,  for    example,    of    a  sacred 


hymn  as  it  wells  up  in  the  age-old 
parish  church;  the  whirling  rhythm  of 
a  midsummer  dance  in  the  fields; 
lusty  student  songs,  gay  lover's  bal- 
lads and  silver  birches  swaying  in  the 
wind. 

The  cinematography  by  Ake  (pro- 
nounced Oak-eh)  Dohlquist  and  Mar- 
tin Bodin  is  sparkling  in  its  tonal 
quality  and  in  its  decorativeness.  At 
times  the  arrangement  and  juxtaposi- 
tion of  areas  of  light  and  shade  afford 
positive  esthetic  pleasure. 

In  some  of  the  musical  sequences, 
however,  there  is  a  lack  of  variety 
and  effectiveness  in  the  cinemato- 
graphic approach.  At  these  times 
the  camera  contributes  nothing  to  the 
symphony.     It  merely  records. 

Taken  as  a  whole  the  performance 
is  marked  by  an  evident  sincerity  of 
purpose,  to  portray  a  mode  of  ex- 
istence which  in  spite  of  its  rigors 
contained  elements  of  rare  beauty 
and  grace.  The  picture  succeeds  not 
because  of  the  plot  but  in  spite  of  it. 


Contest  for  Leica  Awards 

Will  Close  on  February  20 

THE  first  annual  Leica  photo- 
graphic salon  will  close  Febru- 
ary 20  or  to  contesting  prints 
forwarded  under  postmark  up  to  and 
including  that  date.  The  company 
offers  a  total  of  $725  in  Leica  mer- 
chandise certificates,  to  be  redeemed 
by  the  winning  Leica  camera  owner 
for  equipment  of  his  own  choice.  The 
prizes  from  first  to  fifth  range  in 
value  from  $250  to  $50,  with  ten  addi- 
tional of  $10  each.  Subjects  intended 
for  competition  should  be  forwarded 
to  Committee  on  Entries  Leica  Photo- 
graphic Salon-Lugene,  Inc.,  600  Madi- 
son Avenue,  New  York. 

Successful  prints  are  to  be  ex- 
hibited at  headquarters  of  camera 
clubs.  Contestants  may  be  residents 
of  the  United  States,  Canada  or 
Mexico.  The  entry  should  include  the 
model  and  serial  number  of  the  Leica 
used.  The  prints  must  be  enlarge- 
ments from  six  to  twelve  inches  in 
length,  and  a  contact  print  must  ac- 
company each  Leica  enlargement. 
Contestants  are  not  limited  in  num- 
ber, except  by  a  request  they  "be 
reasonable."  Winning  photographs  be- 
come the  property  of  Lugene  Inc.,  and 
the  latter  reserves  the  right  to  call 
for  the  negative  for  publication  pur- 
poses. For  return  of  prints  unsuc- 
cessful prints  postage  must  be  in- 
cluded. 

The  awards  judges  are  Willard  D. 
Morgan  of  E.  Leitz  Inc.,  Dr.  M.  Agha 
and  Margaret  Bourke-White. 


New  Combination  Printer 

A  new  combination  printer  is  an- 
nounced by  E.  Leitz,  Inc.,  New  York. 
It  is  unique  in  that  it  will  accommo- 
date all  miniature  camera  sizes  of 
negatives.  The  printer  comes  as  a 
complete  unit,  incorporating  its  own 
illumination,  which  is  controlled  by 
means  of  an  adjustable  rheostat, 
spring-button  light  control,  fixed  ruby 
light  for  viewing  the  position  of  the 
negative  in  relation  to  the  sensitive 
material,  and  various   other  features. 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-five 


Letters  Come  from  Faraway  Points 


Roy  Clark  in  Arctic  Circle  Tells  of  Perils  on  Land 

and  Ice  as  Paul  Perry  Reaches  Ceylon 

After  Interesting-  Voyage 


TWO  letters  from  faraway  points 
came  to  Charles  Outafocus  Boyle 
during  January.  They  were 
from  fellow-International  Photogra- 
phers. One  was  from  the  northwestern 
point  of  Alaska,  well  within  the  Arc- 
tic Circle.  It  was  written  December 
7  by  Roy  Clark,  on  location  with 
MGM's  "Eskimo." 

The  other  is  from  Paul  Perry, 
mailed  in  Colombo  November  27  just 
after  he  had  landed  from  the  steam- 
ship Ginyo  Maru  with  Guy  Wilky, 
brother  Photographer,  both  engaged 
in  a  motion  picture  expedition.  But 
here  are  the  letters: 

By  ROY  CLARK 

Well,  here  I  am  knee  deep  in  snow 
and  ice  in  the  Arctic.  What  price 
glory!  It's  -cold  as  hell  up  here,  old 
boy,  so  you  should  be  and  I  guess  are 
pretty  proud  of  Hollywood. 

We  have  about  a  month  and  a  half 
yet  to  go,  which  means  we  should  be 
back  early  in  February.  It  has  been 
hard  as  the  devil,  but  nevertheless 
very  interesting  also.  The  director, 
W.  S.  Van  Dyke,  is  a  prince,  one  of 
the  finest  and  fairest  fellows  with 
whom  it  has  ever  been  my  luck  to 
work.  And  he  knows  his  business 
backward. 

As  to  thrills  I  have  had  my  share 
so  far.  I  am  not  even  asking  or  hop- 
ing for  any  more.  One  of  these  oc- 
casions was  when  in  a  skinboat  I  was 
trying  to  photograph  a  flock  of  walrus 
some  of  the  herd  were  doing  their 
individual  utmost  to  get  into  the 
beat. 


Another  time  I  was  photographing 
a  reindeer  herd  stampeding  into  the 
camera.  No  fooling,  they  did  just 
what  the  script  called  for,  only  they 
came  up  to  within  three  feet  of  the 
camera  before  splitting.  For  all  of 
eight  minutes  I  was  kneedeep  in  rein- 
deer. That  was  once  I  was  too  fright- 
ened to  stop  cranking.  I  had  no 
motor.  All  I  could  do  was  crank  and 
hope  for  the  best. 

We  will  have  been  away  from 
Hollywood    for    nine    or    ten    months, 


Guy  Wilky 


Roy  Clark 

and  between  you  and  me  that  is  a 
long  time  to  be  away  from  home  in 
any  country — and  none  the  shorter 
by  reason  of  being  in  Alaska.  From 
what  we  have  seen  here  and  also 
heard  from  the  studio  "Eskimo" 
should  be  nothing  less  than  a  box 
office   sensation. 

By  PAUL  PERRY 

We  will  arrive  in  Colombo  this 
evening  after  a  hell  of  a  storm  pre- 
vailing all  the  way  from  Singapore, 
where  we  left  a  week  ago  today.  We 
are  two  days  late  on  the  schedule  of 
this  ship,  which  will  make  us  six  days 
behind  the  itinerary  as  planned  be- 
fore leaving  Los  Angeles. 

When  we  were  in  Kobe  it  was  rain- 
ing so  hard  the  captain  would  not 
unload  because  he  was  afraid  of  dam- 
aging the  cargo.  He  waited  until  the 
next  day,  which  made  us  one  day  late 
on  our  connection  in  Hongkong,  with 
the  result  we  missed  the  ship  we  were 
scheduled  to  take. 

When  we  got  into  Yokohama  we 
secured  a  car  and  drove  to  Tokio,  but 
we  had  so  little  time  we  did  not  see 


much.  Back  in  Yokohama  we  took  in 
the  town  for  a  few  hours.  Everything 
here  surely  is  cheap. 

There  are  4%  yen  to  a  dollar  and 
100  sen  to  a  yen.  This  is  merely  pre- 
liminary to  remarking  to  all  you  home 
brewers  that  beer  is  20  sen  a  bottle, 
which  is  equivalent  to  a  shade  over  4 
cents.  You  figure  it  out  if  you  don't 
like  the  price. 

Chesterfields  are  about  9  cents  a 
package  and  cocktails  about  12J/2 
cents.  In  Kobe  we  bought  some  John- 
ny Walker  at  88  cents  a  bottle.  Gor- 
don gin  is  66  cents.  I  bought  two 
silk  shirts,  not  heavy  material  but 
pretty  good,  for  44  cents  each.  The 
heavy  ones   are  $1.12. 

Who  won  the  Senatorial  race  in 
California  and  what  was  the  outcome 
of  the  vote  on  the  Wright  act?  Will 
you  also  send  we  the  scores  of  all 
U.  S.  C.  games?  I  have  become  quite 
an  expert  at  pingpong.  It's  really  a 
pretty  fast  game  after  you  play  a 
while.  The  first  mate  of  the  ship  is 
champion  of  Japan,  and  boy,  is  he 
good?     He  even  beats  me! 

When  we  got  to  Shanghai  we  were 
in  time  for  the  derby.  All  the  banks 
and  stores  were  closed.  We  could  not 
miss  that,  and  were  not  disappointed. 
It  surely  was  great.  There  is  a  fine 
club.  There  are  three  tracks,  one 
within  the  other,  and  many  buildings. 
The  animals  are  small,  between  our 
race  horses  and  large  ponies.  Twenty 
to  forty  are  entered  in  a  race,  and  it 
makes  a  real  sight. 

That  evening  Guy  and  I  for  two 
hours  rode  all  over  town  in  a  couple 
of  jinrikishas.  The  boys  asked  us  in 
Mex  the  equivalent  of  10  cents  Amer- 
ican gold.  When  I  gave  the  boy  a 
dollar  Mex  or  50  cents  USA  he  bowed 
to  me  for  a  hundred  yards. 

We  send  our  best,  with  a  merry 
Christmas  and  a  happy  new  year.  By 
the    way,    we    make    better    beer    at 


Paul  Perry 


Thirty-six 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  193J 


home  than  you  can  get  over  here. 
That  ought  to  mean  something,  to 
you. 

By   GUY   WILKY 

Somewhere  in   Ceylon, 

December  13,  1932. 

Editor  International  Photographer: 

Well,  the  first  International  got 
here  today,  and  it  surely  was  good  to 
get  all  the  news.  It  is  one  of  the  fin- 
est issues  (November)  that  I've  ever 
seen.     Anyway,  it  appeals  to  me  that 


way,  having  been  away  from  Holly- 
wood all  this  time.  I  was  mighty 
sorry  to  hear  of  Bob  Kurrle's  pass- 
ing, though. 

Paul  and  I  are  having  a  grand  ex- 
perience. I  am  shooting  lots  of  pic- 
tures, but  we  have  no  way  of  finish- 
ing them  as  yet,  no  enlarger  to  han- 
dle Leicas.  But  anyway  I  will  have 
lots  of  material  for  pictures  when  I 
get  back  to  Hollywood.  Give  my  best 
wishes  to  the  gang  and  the  best  of 
good  luck  to  you. 


Pacific  Coast  orchestras  and  soloists, 
and  electrical  transcriptions  for 
broadcasting  purposes. 


Anniversary  of  the  Stork's  Visit 


FEB.    2— W.    Wallace    Kelley,    Bert 
Longworth,  John   McBurnie,  J. 
Fred  Westerberg. 
3 — Carl  Meister. 
4— Charles  W.  Riley. 
5 — Frank  B.  Heisler,  A.  E.  Williams 
7 — Cecil  Love. 
8 — Milton     M.     Moore,     Arthur     E. 

Pierson. 
9 — Robert  De  Grasse,  Albert  DeSart 
10 — Leonard  M.  Poole. 
11 — Ross   G.   Fisher,   Harry   A.   Gant 

Harry  Neumann. 
12 — Joseph  Biroc,  Lloyd  Combs,  Peter 

I.  Denie,  Arthur  Todd. 
14— Harold  W.  Graham. 
15 — Al  Myers. 
16— Frank      Buchholz,      Howard      C. 

Gibbs,  Sol  Halprin. 
17— T.  F.  Jackson,  Donald  B.  Keyes, 
Milton     Krassner,      Edwin      L. 
Pyle. 
18 — Bert  Eason. 
20— Harvey     A.     Gould,     Donald     E. 

Sargent. 
21— William  H.  Clothier. 
22 — George     Diskant,     George     Lyng, 
George  Richter. 


23 — James  N.  Giridlian,  Fleet  South- 

cott. 
24 — Matthew  J.  Klucznik. 
25— William    E.    Fildew,    Joseph    R. 

Johnson,  J.  Z.  List. 
2G— William  Wheeler. 
27 — Harry  Flenner,  Homer  Van  Pelt. 
28— William  C.  King. 


Porter  Named   by  RCA-Victor 
As  Head  of  W  est  Coast  Plant 

THE  appointment  is  announced 
of  G.  Harold  Porter  as  vice- 
president  in  charge  of  RCA- 
Victor's  east  coast  activities,  with 
offices  at  Hollywood.  He  formerly 
was  vice-president  in  charge  of  the 
Pacific  Coast  activities  of  Radio  Cor- 
poration of  America. 

Porter's  new  duties  will  include 
supervision  of  RCA-Victor's  opera- 
tions in  connection  with  Photophone 
sound-on-film  recording  and  projec- 
tion equipment,  sound-on-disc  record- 
ing for  motion  pictures,  production  of 
Victor  records  of  song  hits  from  mo- 
tion    pictures     and     of     outstanding 


Howard  E.  Hurd  Junior 


Charles  Hind 


That  blithe  International  Photographer  Paul  Ivano  has  caught  the  two  sons 

of  Howard  E.  Hurd,  business  representative,  of  the  cameramen,  in  a-  gay  mood 

— or  maybe  the  hilarity  of  the  moment  is  but  a  reflection  of  the  spirit  of  the 

indent  Leicagrapher  facing  them. 


Leica  Issues  Bulletin 

Beginning  with  December  of  last 
year  E.  Leitz,  Inc.,  of  New  York  will 
issue  monthly  a  bulletin  entitled 
Leica  Photography.  The  first  issue 
is  of  eight  8%  by  11-inch  pages  and 
is  profusely  illustrated.  The  con- 
tents are  devoteed  to  matters  that 
will  interest  users  of  the  camera. 


'•:';■:.'-!. 

• 

wftk 

<^k2i 

^mifSLs    £ 

\     1 

;'-'Sj'*\~  B 

k 

■  mSk    Mm 

-,^W*:7^F f^ 

....  ■«  "•  *v  *-\,  v     .-  S' 

,  j  g  ■ 

Since  the  first  of  these  two  pictures 
was  taken  its  very  young  subject 
has  trebled  her  age.  Josephine  Fran- 
cis Harris,  daughter  of  Mr.  and  Mrs. 
Joe  Harris,  instead  of  four  months 
old  is  now  one  full  year.  It  may  not 
be  amiss  to  reprint  at  this  time  the 
caption  which  accompanied  the  first 
picture  in  the  issue  of  last  June: 
"Joe  Harris  sends  us  this  photo  of 
four-vnonth-old  Josephine  and  her 
mother.  Plainly  the  little  one  is  more 
or  less  puzzled.  She  is  deeply  im- 
pressed by  the  realization  that  as  she 
appears  to  the  camiera  so  will  she 
appear  to  the  eyes  of  all  her  candid 
friends — and  incidentally  to  herself — 
all  through  her  life  as  they  and  she 
scan  the  Family  Album.  It  is  a  fact 
these  larger  affairs  of  infancy  at  the 

moment  really  are   serious." 
The  serious  phase  has  passed,  as  you 
will  note,   and  the   lower  photograph 
taken  by  her  father  will  serve  so  to 
convince  her  candid  friends  when  later 

they  scan  the  Family  Album. 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-seven 


m iocws 


o-sHJEtts- 


New  Camera  Crane 


This  little  gem  was   reduced  from  an   enlargement,  made   by  Jackson  Rose, 

the   man  responsible    for   these   screwy   pictures.      Clouds    were    separated    by 

permission  of  the  filter  owner. 


This  dynamic  device  will  soon  be 
on  the  market  to  be  used  for  follow 
shots.  Up  and  down,  in  and  out  and 
all  around,  it  can  be  used  on  location 
as  well  as  in  the  studio,  as  long  as 
the  wheels  hold  out.  Only  fourteen 
men  are  needed  to  operate  the  crane. 
Photographic  staff  not  included. 

So  many  unusual  shots  are  re- 
quired nowadays  to  take  up  the  time 
that  this  crane  will  meet  with  instant 
success.  As  you  will  notice  a  board 
fence  has  been  built  around  it  to  keep 
parts  from  falling  on  the  ground. 
This  alone  saves  time  in  case  any- 
thing drops,  as  it  does  not  fall  all  the 
way  down. 

When  not  in  use  as  a  camera  crane 
it  can  be  used  for  wire  gags  and  by 
turning  upside  down  can  be  used  to 
make  shots  of  the  ceiling. 

There  are  no  patents  on  this  and 
you  can  build  one  in  your  own  back 
yard,  if  you  have  one. 


That  Ray  Flinsky  answers  to  R. 
Aloysius  ? 

That  Joe  Dubray  was  with  Pathe, 
in  France,  for  eight  years  ? 

That  Farciot  Edouart  was  in 
charge  of  the  photographic  unit  of 
the  seventy-eighth  Division,  Signal 
Corps? 

That  Perry  Evans  was  with  Than- 
houser  in  1910  and  was  one  of  the 
first  air  mail  pilots  on  the  coast? 

That  Charlie  Lang's  father  was 
head  negative  developer  for  Para- 
mount for  years — Also  at  Real- Art? 


DO  YOU   KNOW 

That  Faxon  Dean  was  stationed  at 
Fort  Logan,  Colo.,  at  the  beginning 
of  the  war?     Does  he  know  Denver? 

That  Nick  Barrows  was  in  charge 
of  the  Lab  on  Lasky's  first  produc- 
tion, "The  Squaw  Man"? 


30%,     to    60%     cash     savings 

on  16  mm.  and  35  mm. 

Cameras,  Projectors 

and  Accessories 

Write       for       Bass        Bargaingram. 

Specify  size  of  apparatus  interested 

in.        For     over      22      years     Value 

Leaders  of   the  nation. 

Your  copy  is  ready.      Write  for  it. 

BASS  CAMERA  CO. 

179   W.   Madison   St.,   Chicago,   111. 


That  Sam  Landers  was  with  D.  W. 
Griffith  for  eight  years  ? 

That  Roy  Musgrave's  first  name 
is   Ervin  ? 

That  Mack  Stengler  has  a  complete 
Mitchell  outfit  in  Al  shape  for  rent? 

That  I  get  nothing  for  the  above? 

That  William  Fraker's  middle 
moniker   is   Ashman? 

That  Paul  Ivano's  last  name  has 
thirteen  letters  in  it.  You  ask  him 
what  it  is.     I  can't  even  spell  it. 

That  Rob  Wagner's  Script  printed 
an  article  of  mine  recently  along  with 
Jim  Tully,  Rupert  Hughes  and  some 
other  good  writers  ? 

That  I  haven't  seen  Lucien  "Push- 
em-up"  Andriot  for  a  long  time? 

That  this  is  the  end  of  this  depart- 
ment for  this  issue  ? 


TIME  MARCHES  ON 

HOLLYWOOD,  Cal.,  1928.  Studio 
announces  it  has  invented  a  "mike" 
that  will   permit  the   director  to   talk 


In  all  the 
WORLD 
No  Other 
CAMERA 
Like   This 


Because    it    is    the    only    Quick-Acting,    Auto- 
matic     Winding.       Ground      Glass      Focusing 
Camera   using  Standard   Roll  Film.     Good   for 
all  purposes. 


No  Double  Exposures  with  "PAL  KO"! 
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every   time ! 

3  Cameras  in  One!  "PAL  KO"  enables  you 
to  take  full  postcard  3A,  or  2/$  or  Vi  this 
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Thirty-eight 


T  h 


INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


to  the  actors  while  scene  is  being 
shot.     TIME  MARCHES  ON. 

HOLLYWOOD,  Cal.,  1929.  Manu- 
facturers announce  they  have  new 
camera  that  can  be  used  without  any 
covering  around  it.  TIME  MARCHES 
ON. 

GRIFFITH  PARK  every  now  and 
then.  Assistant  Director  orders  en- 
tire company  to  meet  him  in  Griffith 
Park.  This  park  covers  many  square 
miles  and  has  a  dozen  or  more  en- 
trances to  it.  Company  scattered  all 
over  park.     TIME  MARCHES  ON. 

LOS  ANGELES,  Cal.  Assistant 
cameraman  pawns  watch  on  Main 
street.     TIME  passes  ON. 

HOLLYWOOD,  Cal.,  1932.  Camera- 
men take  10  per  cent  cut  in  wages 
for  one  year.     TIME  MARCHES  ON. 


Why   He   Advertises 

Alvin  Wyckoff  runs  a  box  ad  in 
every  issue  of  this  magazine,  with 
just  his  name  in  it.  Yes  ?  He  pays 
for  it,  but  this  is  the  story.  When  he 
was  presented  with  his  life  member- 
ship he  said  that  he  would  continue 
to  pay  his  dues.  The  only  way  he 
could  figure  out  how  to  do  it  was  to 
run  the  ad.     That's  the  story. 


Irish  Joke 

Whalen — The    Doctor    said    I    was 
anemic. 

Kirkpatrick— What  kind  of  a  Mick  ? 


Knowledge  Pays 

An  assistant  was  told  that  he  should 


25  TO  150  MM 

RANGE  WITH  ONE 

FINDER 


Inslantly  aligned  with  camera  lens  on 
any   standard  camera  or  blimp. 

Always  using  your  original  mattes 
as  the  image  is  centered  to  the  matte 
instead  of  cutting  or  adjusting  the 
matte  to  the  center  of  the  image. 

Brilliant   upright   image. 

Inclosed   focusing  screw. 

Optics  by 

Harrison  &  Harrison 

Optical  Engineers 

Fred    Hoefner 

CINEMA  MACHINE  SHOP 

5319  Santa  Monica  Blvd. 
GLadstone  0243  Los   Angeles 


learn  about  optics  and  factors  per- 
taining to  the  various  filters  and  that 
books  on  both  were  available  at  the 
library.  He  came  back  with  a  book 
about  Oliver  Optic  and  one  about 
make-up  by  Factor. 


Two  Kinds 

Some  one  wanted  to  know  what  a 
wandering  cameraman  was.  He  had 
heard  about  one  over  the  radio. 

I  would  say  he  was  a  cameraman 
that  went  to  some  foreign  country 
and  while  wandering  around  he  was 
"wandering"  if  he  would  get  paid 
when  he  got  home! — If  he  got  home. 


CHAPTER  TWO 

After  the  clerk  had  taken  the  swell 
looking  gal  to  the  theater  to  see  some 
Sennett  Shorts  she  turned  to  him  and 
said: 

"I  guess  you  didn't  understand  me. 
I  wanted  to  see  some  shorts,  you 
know — shorts. 

"The  evening  is  not  over,"  replied 
the  clerk,  and  they  walked  down  the 
street  arm  in  hands. 

No  more  to  come. 


Pink  Elephants? 

Paul  Perry  writes  from  Ceylon  that 
he  has  seen  better  and  funnier  ani- 
mals in  Hollywood  than  he  has  over 
there,  so  far.  That  he  has  to  wear 
rubber  boots  on  account  of  the  leeches 
being  so  bad.  When  they  bother  me 
I  go  out  the  back  door. 


No  Nook  in  the  North 

Roy  Clark  writes  from  so  far  North 
that  they  have  no  name  for  it.  At 
least  there  was  no  address  in  his 
letter.  See  picture  in  this  issue  show- 
ing what  to  expect  from  the  well 
dressed  Eskimo  in  the  future. 


Safety  First 

Elmer  Dyer  was  waiting  for  a  ship 
to  be  serviced  before  taking  off  to 
shoot  some  air  shots.  One  of  the 
aviators  pulled  the  safety  ring  off  his 
parachute  and  a  lot  of  'old  rags  fell 
out.  It  was  a  dummy  chute  that  had 
been  mixed  up  with  the  practical 
ones. 

Yes!  Elmer  has  his  own,  very  per- 
sonal chute  now  and  this  is  another 
reason  for  the  "Flights   Extra." 


RESOLVED,  THAT 

I  have  the  best  Cameraman; 
I  have  the  best  Still  man; 
I  have  the  best  assistants; 
I  have  the  best  electricians; 
I  have  the  best  grips; 
I  have  the  best  property  men; 
I  am  not  mad  at  anyone,  and  I  hope 
no  one  is  mad  at  me. 


Leitz  Issues  TSew  Model  of 

Reelo  Tank  for  Leica  Users 

ANEW  model  of  the  Reelo  Tank 
is  announced  by  E.  Leitz,  Inc., 
New   York.     The  former  model 
was   constructed   of  monel   metal   and 
the  reel  of  bakelite.     The  new  model 
is  exactly  the  same  as  the  older,  ex- 


cept that  the  tank  is  now  made  en- 
tirely from  bakelite,  as  is  also  the 
reel.  The  Reelo  has  been  a  favorite 
of  Leica  owners  and  motion  picture 
workers  for  short  test  strips.  Now 
two  tanks  are  available,  the  Reelo  and 
the  Correx. 

A  tiny  accessory  which  will  be  of 
interest  to  a  great  many  Leica  camera 
owners  is  the  new  self-timer.  It  con- 
sists of  a  rather  thin  metal  tube  which 
is  screwed  on  to  the  shutter-release 
button. 

There  are  often  times  when  the 
Leica  camera  can  be  used  at  waist- 
level  to  good  advantage.  A  reflecting 
view  finder  is  offered  which  permits 
this.  It  is  merely  slipped  into  the 
grooved  holder  on  top  of  the  camera. 
By  looking  down  into  the  finder  the 
exact  area  covered  by  the  lens  can  be 
seen  at  a  glance.  This  finder  can  also 
be  used  as  an  angle  view  finder. 


Phone  GLadstone  4151 

HOLLYWOOD 
STATE  BANK 

The  only  bank  in  the  Industrial 

District  of  Hollywood  under 

State   supervision 

Santa    Monica    Boulevard   at 
Highland  Avenue 


February,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-nine 


International  Photogrpher  May  Be 
Secured  at  These  Magazine  Stands 


UNITED  STATES 

ARIZONA 

Jerome — P.   O.  Cigar  Store. 

Phoenix— Rich  Cigar  Store,    127  North   First. 

CALIFORNIA 
Culver  City — Herline   Studios,   3834   Main. 
Hollywood — 

Beachwood,   2695    North    Beachwood   Ave. 

Bell    &    Howell,    716    North    La    Brea   Ave. 

Donaldson    Drug    Co..    6936    Hollywood    Blvd. 

Educational    Project-O    Film    Co.,    317    North 
Fairfax    Ave. 

El   Adobe   Market,    5207    Hollywood    Blvd. 

Foster    &    Williams,    6284    Hollywood    Blvd. 

Frog   Pond.   6213   Yucca   Ave. 

Gailing,   5482   Santa   Monica   Blvd. 

C.   C.    Gentry,   6667    Hollywood   Blvd. 

Guaranty    Bldg.     News     Stand,     6331    Hol'.y- 
wood   Blvd. 

F.  B.    Heller,    6363    Hollywood    Blvd. 
Hollywood     Camera     Exchange,     1600     North 

Cahuenga   Ave. 
Hollywood    Film    Enterprises,      6606      Sunset 

Blvd. 
Kaplan,    6550    Hollywood    Blvd. 
Lehnkering      Pharmacy,     Sunset     Blvd.      and 

Western    Ave. 

B.  Levine,   5905   Franklin   Ave. 

G.  H.    McMahon,    1243    North    Vine. 

W.    L.    Martindale,   9495    Santa   Monica    Blvd. 

Guy   Newhard,    6305   Sunset   Blvd. 

Peter's    Hollywood    Drug    Store,    5661    Holly- 
wood   Blvd. 

J.    Phister.    1602   North   Cahuenga   Ave. 

Plaza   Hotel,    1637    North    Vine. 

Ries   Bros.,    Inc.,    1540    North    Cahuenga   Ave. 

RKO   Barber   Shop,   Melrose  Ave.   and   Wind- 
sor. 

J.   Samuels,   1640  North   Vine. 

Savoy   Drug,  Sunset  Blvd.   and  Bronson   Ave. 

A.    Schlein,   6423    Hollywood    Blvd. 

Harry  Stewart,  Highland  Ave.  and  Hollywood 
Blvd. 

Sunset  Camera   Shop,  6305   Sunset  Blvd. 

Tayan,    Sunset    Blvd.   and   Western   Ave. 

Universal    News,    6700    Hollywood    Blvd. 

White    Gift    Shop,    5520    Santa    Monica    Blvd. 

Wilcox    Drug    Co.,    1557    North   Wilcox    Ave. 

Jess    Willard,    1339    North    Vine. 

Woods    Gift    Shop,    5530    Hollywood    Blvd. 
Huntington    Park — Huntington     Park     Camera 

Co.,  6508  Pacific  Blvd. 
Long    Beach — 

Jutson's,   146  Pine  Ave. 

Mac's  News  Stand,   33   South    Pine  Ave. 

Winstead   Bros.,    Inc.,   244   Pine   Ave. 
Los   Angeles — 

Ambassador    Drug    Co.,    3400    Wilshire    Blvd. 

Arrow    Drug    Co.,    4th    and    Hill. 

Barber,    668   South    Alvarado. 

Biltmore   Hotel    News    Stand,    5th    and    Olive. 

Biltmore  Sweet  Shop,  5th  and  Grand  Ave. 

Broadway    Arcade,    Broadway,    between    5th 
and   6th. 

Broadway    Dept.    Store,    4th    and    Broadway. 

Brown   Drug   Co.,   3413   Hoover  Ave. 

Bullock's,    6th    and    Hill. 

Burke,  Union  Stage  Depot,   202   East  5th. 

California    News,    315    West    5th. 

Carrol,    18001/,    West    7th. 

Clover  Printing   Co.,   4021/.   South   Hill. 

Crescent  News,  218  West  8th. 

Eastman    Kodak    Company,    643    South    Hill. 

J.    Goldman,    2600    South    Vermont    Ave. 

Grand   Central   Market,    1328   Fourth. 

Homer    No.    2,    Wilshire    Blvd.    and    Canyon 
Ave. 

Kompar.   3875   Wilshire  Blvd. 

A.    B.    Marcus,    2019    West    7th. 

R.    R.    Martindale,    5318    Wilshire    Blvd. 

May  Company,   8th  and  Hill. 

Natick   Book   Store,    104  West   1st. 

Pacific    Electric    Station,    6th    and   Main. 

Penny    Market,     Pico    Blvd.    and    Robertson 
Ave. 

C.  V.   Plenkharp.   339   South   Hill. 

J.    W.    Robinson   Co.,   7th   and   Grand   Ave. 
Schwabacher-Frey   Stationery   Co.,   736  South 

Broadway. 
Sixth   Street   Novelty   Shop,   823   West  6th. 
Smith    News    Stand,    617    South    Hill. 
Stertz  Model   Food,   420    North    Beverly    Blvd. 


C.    C.    Thomson,    145    West    11th. 
United    News    Co.,    433    South    Hill. 
Weisman     Pharmacy,     5901     South     Vermont 

Ave. 
Westlake    Book    Shop,    2016    West   7th. 
T.    B.   White,   663   North    Western   Avenue. 
Wi'ke    News    Stand,    Chamber    of    Commerce 

Bldg.,    1145    South    Broadway. 
Wilkes.   122  East  7th. 
Ocean    Park — Spencer,    P.    E.    Station. 
Pasadena 

Pease,   49  East  Colorado   Blvd. 
Brown    Shop,    190    East    Colorado    Blvd. 
McCord  Cigar  Store,  400  East  Colorado  Blvd. 
Wabash  Drug  Co.,  2500  Wabash  Ave. 
R.    E.    Smith.    1400   Sunset   Ave. 
San    Diegu- -Eastman    Kodak    Stores,    Inc.,    419 

Broadway. 
San   Francisco — 

Cine  Shop.    145    Kearney. 
Hirsch   &   Kaye,   239   Grant  Ave. 
San   Francisco   Camera   Exchange,    88    Third. 
Schwabacher-Frey  Stationery  Co.,  735  Market 
Sherman,  Clay  &  Co.,   Kearney  and  Sutter. 
San     Jose — Hutchings     News     Co.,     438     Santa 

Clara. 
Santa    Ana — Santa    Ana   News    Agency. 
Santa    Catalina — Winole's    News    Stand,    Alina 

Island,   Avalon. 
Santa   Monica— W.    W.    Martindale,    1319    West 
3rd. 

COLORADO 
Denver — Eastman  Kodak  Stores,  Inc.,  626  16th. 

CONNECTICUT 
New   Haven — 

Eugene    F.    Clark    Book    Shop,    343   Elm. 
Harvey   &   Lewis   Co.,   849   Chapel. 
FLORIDA 
Miami — Miami     Photo     Supply    Co.,    31     South- 
east  1st. 

IDAHO 
Boise — Ballou  Latimer  Co. 
Pocatello— Cook    Drug  Co. 

ILLINOIS 
Chicago — 

Associated   Film    Libraries,    190   No.    State. 
Bass    Camera    Co.,    179    West    Madison. 
Post  Office  News   Co.,   37   West   Monroe. 
Royal   Radio    Co.,    661    North    Michigan    Ave. 
Rockford — Johnson    Photo    Shop,    316    E.    State. 


IOWA 

Iowa  City— Rexall  &   Kodak  Store,  124  College. 

MAINE 
Portland — Bicknell   Photo  Service. 
MASSACHUSETTS 
Boston — 

Dadmun  Co.,  39  Washington. 
Eastman   Kodak  Stores,  Inc.,  38   Bromfie'.d. 
Pinkham,    Smith    &    Co.,    15    Bromfield. 
Cambridge—  EMF      Electric      Supply      Co.,      430 

Massachusetts   Ave. 
Lynn — J.   H.   Gouch,   490    Washington. 

MICHIGAN 
Detroit — 

Crowley,    Milner   &    Co. 

Detroit   Camera   Shop.    325    State. 


W^    WCint    35mm.,    travel, 
fight,  thrill   and   curosity  films,  from 

all    parts   of  the   earth   and    unusual 

and    interesting    films    depicting   the 

life    and    habits    of    Asiatic    peoples 

as   well    as   others. 

Send    us    description    and    length    of 

subject.     Cash   will   be   remitted   for 

any   subject   accepted. 

We    have    for    sale    negative    and 

positive   short    ends,    both    Eastman 

and  Du  Pont. 

Continental  Film-Craft,  Inc. 

1611     Cosmo    Street,    Hollywood,    Calif. 


CINEX   TESTING    MACHINES 
CINEX    POLISHING    MACHINES 

Barsam  -  Tollar 
Mechanical  Works 

7239    Santa    Monica    Blvd. 
.Fhone    GRanite    9707  Hollywood,    California 


AGFA  RAW  FILM  CORPORATION 

6368  SANTA  MONICA  BOULEVARD  HOLLYWOOD,  CALIFORNIA 

FACTORIES:     BINGHAMTON,    NEW  YORK,    U.S.A. 


Forty 


The     INTERNATIONAL     PHOTOGRAPHER 


February,  1933 


Landis 

526-A 


MINNESOTA 

Minneapolis — A.   J.   Gospeter,    1006  Nicollet. 

MISSOURI 
Kansas   City — 

Eastman   Kodak  Stores,  Inc.,  916  Grand  Ave. 
Plaza  Camera  Company,   4707  Central. 
St.    Louis — Eastman    Kodak    Stores,    Inc.,    1009 
Olive. 

MONTANA 
Billings— Midland    Drug    Co.,    27th    and    1st. 

NEBRASKA 
Omaha — 

Eastman   Kodak  Stores,  Inc..  419  South    16th. 
J.    G.    Kretschmer    &    Co.,    1617   Harney. 
NEW    JERSEY 
Plainfield — Mortimer's,    317    Park   Ave. 
Union    City — Heraco    Exchange.    Inc.,    611    Ber- 

genline   Ave. 
Vineland—  Rohins    Photo    Service,    615 

Ave. 
West     New     York — Rembrandt     Studio, 
Bergenline   Ave. 

NEW  YORK 
Brooklyn — 

Abe   Cohen's    Camera    Exchange,    120    Fulton 

St. 
George  J.  McFadden,   Inc.,  202  Flatbush   Ave. 
Buffalo— Buffalo   Photo    Material    Co.,    37    Niag- 
ara. 
New   York   City — 

Herbert  &   Huesgen,   18  East  42d. 
Luna    Camera   Exchange,    302    West    34th. 
New    York    Camera   Exchange,    109    Fulton. 
M.    Rabinowitz    &    Sons,    Inc.,    1373    6th. 
Times    Building    News    Co.,    42d    and    Broad- 
way. 
Willoughby's,     100-14    West    32d. 

OHIO 

Akron — Dutt   Drug   Co. 
Cincinnati — Fountain    News    Co.,    426 
Youngstown- -Eastman    Kodak    Stores, 
Wick  Ave. 

OREGON 
Portland — Eastman     Kodak     Stores, 
Washington. 

PENNSYLVANIA 
Erie— Kelly  Studios,  1026  Peach. 
Philadelphia 

Klein    &    Goodman,    18    South    10th. 
Williams,    Brown    &    Earle,    918    Chestnut. 
Pittsburgh-Eastman    Kodak    Stores,    Inc.,    600 

Wood. 
Scranton — Scranton   Home  Movies   Library,   316 
North    Washington. 

TENNESSEE 
Jackson — Southern     Pictures     Corp. 
Knoxville — Snap    Shop.    415    West    Church    Ave. 

TEXAS 
Fort  Worth— Camera   Shop,  Inc.,   113  West  6th. 
San   Antonio — Fox  Company,  209  Alamo   Plaza. 

WASHINGTON 
Pasco — New    Pasco    Drug    Co. 

WEST  VIRGINIA 
Charleston — S.  Spencer  Moore  Co.,  118  Capitol. 

WISCONSIN 
Bloomer — Detloff's  Pharmacy. 
Madison — Photoart    House,    413    State. 


Walnut. 
Inc.,    7 


Inc.,     345 


FOREIGN 
AUSTRALIA 

Melbourne — McGill's    New    Agency,    179    Eliza- 
beth   St. 

BRITISH  WEST  INDIES 

Jamaica — Kingston — De  Marcaio  &   Co.,   Ltd. 
Trinidad,   Port  of  Spain.   Louis  Tucker  Picture 
Productions,    23    Sackville    St. 

CANADA 

Winnipeg — Eastman     Kodak    Stores,    287    Por- 
tage Ave. 

ENGLAND 

London,      WC-2 — Gorinfrer's      American      News 
Agency,    90    Green    St.,   Leicester   Square. 

EGYPT 

Alexandria — Kodak       Societe       Anonyme,       23 
Cherif   Pasha   St. 

HAITI 

Port-Au-Prince  —  Camil'.e     Thomas,     734     Rue 
Capois. 

MARTINIQUE 

Fort      de      France — Andre     Velicitat,      29      Rue 
Schovelcher. 

PORTO  RICO 

San    Juan — Zeiss    Stores,     Inc.,     Ceferino     Se- 
gundo. 

SWEDEN 

Stockholm — Nordiska       Kompaniet,       Bokavdel- 
minger. 


CLASSIFIED 


ISew  Monotone  Filter 

George  H.  Scheibe,  orginator  of  ef- 
fect filters,  has  a  new  monotone  filter 
for  Superpan  film.  It  is  a  two  in  one 
filter — made  in  two  densities — half  for 
visualizing  color  values  (black  and 
white)  and  half  for  lighting  values, 
suited  for  any  light,  artificial  or  day- 
light. 


Dr.  G.  Floyd  Jackman 

DENTIST 

Member  Local  No.    659 

706    Hollywood   First    National    Bldg. 

Hollywood  Blvd.   at   Highland  Ave. 

GLadstone   7507  Hours:    9   to    5 

And    by   Appointment 


FOR  SALE  OR  RENT— Mitchell  and  Bell  & 
Howell  silenced  cameras,  follow  focus.  Pan 
lenses,  free  head,  corrected  new  aperture. 
Akeley,  De  Brie,  Pathe,  Universal,  Prevost, 
Willart,  De  Vry,  Eyemo,  Sept,  Leica.  Motors, 
printers,  lighting  equipment.  Also  every  va- 
riety of  16  mm.  and  still  cameras  and  projec- 
tors. Everything  photographic  bought,  sold, 
rented  and  repaired.  Send  for  our  bargain 
catalogue.  Open  8  A.M.  to  10  P.M.  Holly- 
wood Camera  Exchange,  1600  Cahuenga  Blvd. 
Phone  GLadstone  2507.  Hollywood  9431.  Cable 
address   Hocamex. 

SELL  YOUR  STILLS.  Get  into  print.  Stamp 
brings  you  "Sample  List  10-IP"  giving  sub- 
jects immediately  wanted  hundred  magazines, 
newspapers,  syndicates,  etc.,  also  all  photo- 
graphic contests.  Authors  Shop,  Drawer  1916, 
Baltimore.   Md. 


W.  A.   SICKNER 

FIRST   CAMERAMAN 

COMPLETE  AKELEY 
EQUIPMENT 

CRestview    7255  GLadstone    5083 

HEmpstead    1128 


Alvin  Wyckoff 


ROY  DAVIDGE  FILM 
LABORATORIES 

An  Exclusive  "Daily" Laboratory 


6701-6715 


Quality    and    Service 

SANTA     MONICA 
GR  unite    3108 


BOU  LEVA  R  D 


HERE  ARE 
3  LANDMARKS 

1  .  •  •  The  first  motion  picture  film 
. . .  invented  by  Eastman 

2  •  •  •  The  first  panchromatic  motion 
picture  film . . .  invented  by  Eastman 

3  •  •  •  The  first  super-speed  panchro- 
matic motion  picture  film . . .  invented 
by  Eastman 


All  three  of  these  inventions  were  vital  fac- 
/  \  tors  in  the  progress  of  the  motion  picture 
art.  The  latest  of  them,  Eastman  Super-sensi- 
tive Panchromatic  Negative,  has  virtually 
revolutionized  motion  picture  procedure,  and 
plays  a  stellar  role  in  the  finest  productions 
of  the  day. 

EASTMAN  KODAK  COMPANY 

J.  E.  BRULATOUR,  INC.,  DISTRIBUTORS 

NEW  YORK  CHICAGO  HOLLYWOOD 


WE  now  offer  an  adaptor  for 
the  MITCHELL  ERECT 
IMAGE  VIEW  FINDER  which 
will  change  the  standard  finder  to 
a  25  mm  finder. 

This  25mm  adaptor  can  be  fitted  to 
your  present  finder  and  the  mount- 
ing is  so  arranged  that  the  adaptor 
can  be  quickly  removed,  when  the 
wide  angle  is  not  desired,  and  the 
finder  used  in  its  standard  form. 


t 


Mitchell  Camera  Corporation 

665    N.    Robertson    Boulevard 
West    Hollywood,    Calif. 
Cable    Address    "MITCAMCO"  Phone   OXford    1051 


INTERNATIONAL 
PHOTOGRAPHER 

MOTION   PICTURE    ARTS   AND    CRAFTS 
-  HOLLYWOOD 


FRED  ARCHER 


uaptu 


■MSliN 


In  bright  sunlight  or  deep  shadow, 
under  incandescent  or  arc  light 


will  give  a  better  result  than 
is  otherwise  obtainable 


"The  QLLEflBP  trade  mark  has  never  been 
placed  on  an  inferior  product" 


SMITH  &  ALLER,  LTD. 

6656  Santa  Monica  Baulevard,  Hollywood  5147 

HOLLYWOOD,   CALIFORNIA 

Pacific  Coast  Distributors  for 

Dn  Pont  Film  Mfg.  Corp. 

35   West  45th   Street  New  York  City 


INTERNATIONAL 
PHOTOGRAPHER 


HOLLYWOOD 


Vol.  5 


HOLLYWOOD,  CALIFORNIA,  MARCH,  1933 


No.  2 


Howard  E.  Hurd,  Publisher's  Agent 

Silas  Edgar  Snyder,  Editor 

Ira  Hoke,  Associate  Editor 

Edward  T.  Estabrook,  Business  Manager 

Lewis  W.  Physioc,  Fred  Westerberg,  Technical  Editors 

John  Corydon  Hill,  Art  Editor 


THE  HISTORY  OF  MOTION  CARTOONS 2 

By  Earl  Theisen 

OUT  OF  THE  DIARIES  OF  THE   UNSUNG 6 

By  Fred  Felbinger 

NEW  CAMERA  MARVEL  UNVEILED 8 

By  Edward  T.  Estabrook 

FROM   THE    CARIBBEAN 10 

By  Paul  Ivano 

PARICHY  VISITS  THE  SHRINE  OF  COLUMBUS 12 

By  Esselle  Pa  rich  y 

LOST   IN   THE   AIR 18 

By  Reed  M.  Haythorne 

NEWSREELERS'   DOPE    SHEET 29 

By  Ray  Fernstrom 

LOOKING  ABOUT  ON  LOCATION  AND  SET 32 

By  Ty 

OUT  OF   FOCUS 40 

By   Charles  P.   Boyle 


Official  Bulletin  of  the  Interna- 
tional Photographers  of  the 
Motion  Picture  Industries,  Local 
No.  659,  of  the  International 
Alliance  of  Theatrical  Stage 
Employes  and  Moving  Picture 
Machine  Operators  of  the 
United    States    and    Canada. 


Affiliated  with 
Los  Angeles  Amusement  Feder- 
ation. California  State  Theatri- 
cal Federation,  California  State 
Federation  of  Labor.  American 
Federation  of  Labor,  and  Fed- 
erated Voters  of  the  Los  Angeles 
Amusement     Organizations. 


"Capital  is  the  fruit  of  labor,  and  could  not  exist  if  labor  had  not  first 

existed.     Labor,  therefore,  deserves   much   the   higher  consideration." 

— Abraham  Lincoln. 

The    International    Photographer    is    published    monthly    in    Hollywood    by    Local    659. 
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Attention 
Cinematographers 

•  •  Commencing  with  April  The  In- 
ternational Photographer  will  begin 
the  publication  of  a  series  of 

TABLES  IN  CINEMATOGRAPHY 

By 
Fred   Westerberg 

These  tables  will  prove  invaluable  to 
both  professional  and  amateur  cine- 
matographers as  they  cover  a  wide 
range  of  practice.  They  have  been 
worked  out  by  Mr.  Westerberg  in 
practical  operation  and  will  be  so  ar- 
ranged in  the  magazine  that  they  can 
be  clipped  out  and  bound  into  a  con- 
venient pocket  size  ring  book.  A  few 
of  the  titles  will  give  a  clear  idea  of 
the  scope  and  practical  usefulness  of 
the  work:  "Filter  Factors,"  "Depth 
of  Field,"  "Filter  Transmission 
Graphs,"  "Sensitometry  Tables,  Show- 
ing Overall  Gamma  Obtained  by  Vari- 
ous Combinations  of  Positive  and 
Negative  Gammas,"  "Make  Up," 
"Projection,"  "Illumination," 
"Weights  and   Measures,"  ets. 


AROUND  THE  WORLD 

with 
Herford    Tynes    Cowling 

•  O  Beginning  with  its  April  edition 
The  International  Photographer  will 
publish  a  series  of  lectures-in-pictures 
by  Mr.  Cowling  from  his  own  pen  and 
camera — all  new  and  original.  The 
picture-lectures  will  run  at  least  ten 
months.  Mr.  Cowling  is  an  artist  of 
international  fame  and  this  feature 
will  put  forth  his  best  work.  Begin- 
ning with  April  the  titles  of  the  pic- 
ture-lectures will  be  "To  the  Roof  of 
the  World  in  Tibet,"  "Filming  a  Tiger 
Shoot  in  India,"  "Some  Tribes  of 
Central  Africa,"  "An  Indian  Dur- 
bar," "At  the  Court  of  the  King  of 
Bunyoro,"  "Around  the  Orient,"  "East 
of  Suez,"  "Filming  Formosan  Head 
Hunters,"  "In  Siamese  Society," 
"Fighting  with  China." 


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IIIIIMIIMIIInilllllMIIIIIIIIIIIIMIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIII 


Ttvo 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


The    History    of    Cartoons 

Along  the  Devious  Pathway  of  Motion  Picture  Cartoons 
From     'The  Artist's  Dream ^    1913,    to 

"Mickey  Mouse"  Today 


By  EARL  THEISEN 

Honorary  Curator  Motion  Pictures,  Los  Angeles  Museum 


The  history  of  animated 
cartoons  as  a  practical 
form  of  amusement  dates 
from  the  announcement  of 
the  first  J.  R.  Bray  car- 
toon, "The  Artists  Dream", 
released  by  Pathe  on  June 
12,  1913.  Some  say  this 
cartoon  was  called  "The 
Dachshund",  because  the 
central  character  was  a 
German  dachshund.  Wal- 
lace Glendenin  remembers 
seeing  this  picture  at 
Clune's  Theatre  in  1913; 
while  not  remembering  the 
exact  title,  he  recalls 
the  picture  left  him  and 
the  audience  near  a  hys- 
terical mood  from  laugh- 
ter. This,  while  not  the 
first  of  the  animated  car- 
toons, is  the  forerunner  of  the  cartoon  vogue  and  from  it 
dates  the  cartoon  technique  as  it  is  today.  This  cartoon 
is  the  first  whose  sole  purpose  was  comedy. 

Before  photography  was  available  for  motion  picture 
work,  it  will  be  recalled  various  men  had  tried  to  draw 
pictures  in  motion  by  drawing  in  cartoon  form  the  neces- 
sary successive  pictures,  after  which  they  were  shown 
intermittentliy  to  the  eye  in  small  toy-like  devices.  Joseph 
A.  F.  Plateau,  who  made  a  device  which  had  two  discs 
that  revolved  on  the  same  shaft  was  the  first  to  employ  a 
series  of  hand  drawn  pictures.  The  pictures  were  drawn 
around  the  outer  edge  of  a  rear  disc  while  the  front  disc 
had  a  series  of  slits  in  its  outer  rim.  It  was  first  made 
in  1831,  and  was  known  as  the  "Phenakistoscope." 

Probably,  the  most  successful  of  these  pre-photography 
devices  was  the  "Daedaleum"  or  "Wheel  of  the  Devil", 
invented  by  William  George  Horner,  in  England,  in  1834. 
It  was  a  drum  with  narrow  slots  around  its  top  rim.  The 
pictures  were  drawn  on  strips  of  paper  about  two  and 
a  half  feet  long.  The  favorite  subject  was  the  devil,  who, 
upon  peering  through  the  slits  of  the  revolving  drum, 
could  be  seen  frantically  waving  his  trident.  This  drum 
device  was  later  re-invented  and  patented  by  Desvignes  in 
France,  in  1860,  when  it  came  to  be  known  as  the  "Wheel 
of  Life."  It  was  first  made  in  the  United  States  by 
William  Lincoln,  in  1867,  to  remain  a  popular  toy  for 
many  years.  Its  popularity  is  attested  by  the  fact  that 
one  of  these  fragile  and  cumbersome  toys  has  been  known 
to  cross  the  plains  in  a  covered  wagon. 

The  first  cartoon  drawn  for  motion  picture  film,  accord- 


ing to  present  records,  was  made  by  J.  Stuart  Blackton 
for  Vitagraph,  in  1906.  It  was  copyrighted  and  released 
at  this  time  as  "Humorous  Phases  of  Funny  Faces."  It 
consisted  of  cartoon  bits  having  very  little  plot,  such  as 
a  man  rolling  his  eyes,  blowing  smoke  at  his  girl,  or  a  Jew 
and  his  nose,  a  dog  jumping  over  a  hoop,  and  it  ended  by 
showing  Blackton  doing  a  chalk-talk  type  of  drawing  in 
which  apparently  the  drawing  starts  as  one  thing  and 
ends  up  another. 

The  next  man  to  enter  the  cartoon  field  was  Winsor 
McCay,  who  is  with  the  New  York  American  today.  He 
made  a  series  of  cartoons,  the  first  being  completed  early 
in  January,  1911.  It  was  known  as  "Little  Nemo,"  and 
was  photographed  in  one  reel  length  by  Walter  Arthur, 
directed  by  J.  Stuart  Blackton  and  was  billed  by  Vita- 
graph  as  "Winsor  McCay  Makes  His  Cartoons  Move." 
It  contained  over  4000  separate  drawings,  each  complete 
with  a  background.  It  was  considered  a  mammoth  under- 
taking at  that  time  even  though  cartoons  today  have  as 
many  as  15,000  drawings  for  only  six  minutes  screen  time. 
His  second  picture  "How  a  Mosquito  Operates"  was  made 
in  December,  1911  in  600  feet  and  was  sold  to  Carl 
Laemmle.  The  third  was  "Gertie,  a  Trained  Dinosaur" 
which  sold  to  William  Fox.  They  were  all  used  as  a 
vaudeville  act  by  McCay,  who  toured  with  them  and  ex- 
plained  their   technique.      They   were   considered   a   clever 


"Col.  Heeza  Liar,"  the  most  popular  of  the  early  cartoons. 

The  person  in  this  picture  is  Walt  Lantz,  who  draws  the 

Universal  "Oswald." 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Three 


photographic  trick.  McCay  continued  making  them  until 
the  process  was  patented  by  Bray  in  August,  1913. 

Bray,  during  the  period  of  1913-16  was  granted  several 
patents  on  motion  picture  cartoon  making  covering  such 
claims  as  methods  of  registering  each  cartoon  while  being- 
photographed  so  as  to  be  held  in  correct  position  in  rela- 
tion to  one  another.  Method  of  opaquing  the  cartoon  fig- 
ure on  celluloid  so  the  background  wouldn't  show  through. 
Prior  to  this  cartoons  had  each  been  made  complete  with 
their  own  background,  whereas  Bray  started  using  char- 
acters painted  on  celluloid  photographed  consecutively  over 
the  same  background,  thus  having  to  draw  only  one  back- 
ground for  all  the  action  transpiring  over  that  scene.  He 
also  introduced  the  "stationary"  drawing  which  comprises 
the  use  of  separate  celluloids  when  a  part  of  the  cartoon 
figure  is  still  while  part  is  moving.  Just  one  drawing  is 
made  for  the  still  part  and  only  the  moving  part  is  drawn 
in  action,  thus  saving  extra  drawing. 

J.  R.  Bray  and  Earl  Hurd  combined  their  patents  and 
formed  the  Bray-Hurd  Process  Company  early  in  1917. 

Another  Bray  cartoon  was  "Col.  Heeza  Liar,"  who  was 
the  Mickey  Mouse  of  his  day.  This  cartoon  was  by  far  the 
most  popular  of  the  early  cartoons.  The  first  one  of  the 
series,  "Col.  Heeza  Liar  in  Africa"  was  released  by  Pathe 
on  December  13,  1913.  Walter  Lantz,  who  draws  "Oswald, 
the  Lucky  Rabbit"  for  Universal  today,  drew  this  series 
in  its  later  years. 

Another  to  make  cartoons  during  the  earlier  days  was 
Sidney  Smith  who  made  "Old  Doc  Yak"  for  the  Selig 
Polyscope  Company.     The  first  was  released  July  8,  1913. 

The  big  four  in  cartoon  making  during  1915,  besides 
Bray,  were  Earl  Hurd  who  made  the  "Bobby  Bump" 
series;  Wallace  Carlson  making  "Dreamy  Dubb",  also 
later  "Canimated  News"  which  was  an  out  of  the  inkwell 
combination,  and  Paul  Terry  with  his  "Farmer  Al  Falfa." 

The  next  company  to  improve  cartoon  technique  was  the 
International  Feature  Syndicate.  This  company  greatly 
improved  cartoon  making  by  perfectly  synchronizing  the 
action  of  the  characters.  For  example,  the  earlier  car- 
toon character  would  either  walk  too  fast  or  not  fast 
enough  for  their  speed.  This  made  them  appear  to  be 
walking  fast  while  only  moving  slow  or  vice  versa  giving 
the  appearance  of  their  feet  sliding  on  the  ground.  An- 
other characteristic  was  the  "Bubble"  type  of  title.  This 
was  a  title  that  is  similar  to  the  press  cartoons  where  the 
title  appears  in  a  balloon  with  a  line  leading  to  the  char- 
acter. When  the  title  would  appear  on  the  screen  the 
character  would  turn  its  head  and  "yap"  or  rapidly  open 
and  close  its  mouth  to  represent  talking,  which  of  course 
greatly  interfered  with  the  story  continuity,  just  as  an 
explanation  in  the  middle  of  a  joke  is  detracting. 

The  International  discontinued  this  for  the  conventional 
screen  title  of  the  silent  days.  This  company  also  was 
the  most  prolific  of  the  early  cartoon  makers,  achieving 
their  greatest  popularity  during  1917-18.  Their  cartoons 
listed  at  this  time  such  characters  as  "Jerry  on  the  Job," 
"Katzenjammer  Kids",  "Bringing  Up  Father",  "Happy 
"Hooligan",  "Krazy  Kat",  and  probably  the  best  of  their 
release  was  "Silk  Hat  Harry." 


Recording   Walt  Disney   Cartoon,   showing  the  sound  re- 
cording stage  in  full  swing,  with  many  devices  for  making 
artificial  sound 


Other  notable  cartoons  at  this  time  was  "Mutt  and  Jeff" 
made  by  Bud  Fisher  and  released  by  both  Bud  Fisher 
Films  Corporation  and  the  Fox  Film  Corporation.  A  Kay 
Company  releasing  a  Terry  Cartoon  Burlesque.  Sterling- 
Pictures  releasing  the  "Zipny"  character. 

Max  Fleischer  was  the  first  to  make  the  out-of-the- 
inkwell  type  of  cartoon  starting  sometime  in  1917.  This 
is  a  combination  of  a  photographed  picture  to  which  is 
added  a  cartoon  character  by  means  of  photographing  a 
series  of  opaque  characters  on  celluloid  over  the  previously 
photographed  conventional  motion  picture. 

The  first  serious  attempt  at  a  dramatic  cartoon  was 
made  by  McCay  sometime  shortly  after  the  World  War 
when  he  made  "The  Sinking  of  the  Lusitania." 

Skipping  lightly  over  the  years  to  the  first  of  the  sound 
era,  we  find  Walt  Disney  busily  engaged  making  his  first 
Micky  Mouse.  The  first  cartoon  to  be  made  in  sound  was 
the  Micky  Mouse  picture,  "Steamboat  Willie"  first  shown 
on  September  19,  1928  at  the  Colony  Theatre  in  New 
York.  There  had  been  one  earlier  Micky  Mouse,  "Plane 
Crazy"  although  it  was  released  later  with  sound.  From 
the  first  Micky  Mouse  was  an  instantaneous  hit,  his  pop- 
ularity increasing  with  the  years  to  where,  now,  he  is 
far  beyond  the  challenge  of  the  screens'  greatest  character. 
He  is  the  first  screen  character  to  command  the  attention 
of  the  so-called  intelligentsia,  who  have  always  regarded 
the  motion  picture  as  an  upstart  ar-t.  Now,  this  class  of 
people  go  to  see  pictures  for  the  cartoons.  Disney  had  his 
introduction  in  cartoon  making  in  St.  Louis  when  he  made 
a  series  of  "Laugh-O-Grams"  in  1921.  In  October,  1923, 
he  and  his  brother  came  to  Hollywood  and  started  the 
"Alice  Cartoons"  which  were  a  combination  of  real  life 
characters  and  cartoons.  (Continued  on  Page  U) 


The  "Zoetrope"  or  "Wheel  of  Life,"  perfected  by  Desvignes   in  France,  in   1860.     This  device  showed  hand-drawn  pic- 
tures and  its  favorite  subject  was  the  trotting  horse. 

The  1'henakisttoscope,  as  combined  with  the  magic  lantern  in  the  181,0's. 

The  Zoetrope  of  William  Lincoln.     This  is  the  perfected  type  of  device  originally  made  by  William  George  Horner,  in 
England  in  183U;  at  which   time  it  was  known  as  the  Daedalcum,  or  Wheel  of  the  Devil.     Patented  by  Lincoln  in  the 

U.    S.  in  1867,  April  23  as  patent  No.  64,117. 

A   cycle  of  drawings,  showing  a  dog  in   motion,  used  in   the  Phennakistoscope  invented  by  Jos.  A.  F.  Flateau  in  1831. 


Four 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


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Ow   f/ie  Ze/i  is  seen  main  title  first  cartoon  on   motion  picture  film,  by  Blackton.     Beats  a  1906  copyright.    Continuing 
upper  row,  funny  frames  and  in  center  Blackton  doing  a  chalk  talk — final  scene  in  cartoon. 

At  right  of  second  row  is  the  "Artist's  Dream,"  first  Bray  cartoon,  which  made  German  Daschund  famous,  and  from 
which    cartoon    history   dates.      As   depicted    below,   Mr.   Bray    appears   in    cartoon. 

In   third  row  observe  Pathe  cartoon   made  about  1911,  when   they   were   running   cartoon   pieces   at    end   of   ncwsreels. 

Note  Pathe   edge  stencil. 


The  Bouncing  Ball,  first 
method  of  synchroniza- 
tion. This  ball  bounced  up 
and  down  on  the  screen, 
so  musicians  could  syn- 
chronize the  sound  to 
picture. 

His  first  Silly  Sym- 
phony, "The  Skeleton 
Dance"  was  released  at 
the  Carthay  Circle,  in  Los 
Angeles,  in  July,  1929.  It 
was  later  shown  at  the 
Roxy  in  New  York  where 
it  was  rebooked  for  the 
second  show,  which  gave 
it  the  distinction  of  being 
the  first  picture  so  booked 
at  this  theatre.  It  is  of 
interest  to  note  that  this 
picture  was  completed  in 
January,  1929,  and  a  book- 
ing at  any  theatre  could 
not  be  found  until  it  was 
shown  at  the  Carthay 
Circle.     Now  it  is  a  task  to  make  them  fast  enough. 

Disney's  first  method  of  synchronizing  was  by  the 
bouncing  ball  method  which  was  a  little  ball  that  bounced 
in  time  to  the  music  to  guide  the  musicians  who  watched 
the  picture  on  the  screen  during  synchronization.  This 
ball  was  along  the  edge  of  the  film  which  was  later 
replaced  with  the  sound  track  for  releasing.  He  next 
used   a  waving  line,   and   then   finally   adopted   the   aural 


method  which  is  by  ear  phones.  The  ear  phone  method 
is  still  in  use.     Disney  controls  the  sound  cartoon  patents. 

The  next  improvement  in  cartoon  technique  was  the 
addition  of  color.  The  Silly  Symphony  "Flowers  and 
Trees"  first  shown  at  Grauman's  Chinese,  July  15,  1932, 
and  was  the  first  colored  cartoon.  It  employed  the  Technicol- 
or Cartoon  process,  which  is  a  three  color  imbibed  process, 
which  gives  a  combination  of  all  spectral  colors.  From 
today's  standards  it  doesn't  seem  that  cartoon  making,  or, 
in  fact  any  screen  picture  could  go  beyond  the  beauty  and 
entertainment  entering  into  one  of  the  cartoons. 

Other  current  cartoon  characters  are  Oswald  and 
Pootch-The-Pup    made    by    Walter    Lantz    for    Universal. 


Here    we  have   a,  lap-dissolve,  in   which   a    cartoon  is  dis- 
solved to  a   picture   made   by  Gaumont  about  1912.     Note 
Patents  Company  "License"  stencil  on  the  edge. 


March,  19-13 


The     INTERNATIONAL     PHOTOGRAPHER 


Five 


At  upper  left  we  have  the  "Alice  Cartoons,"  made  by  Disney  in  Hollywood  in  1923.  Combination  of  cartoon  and  real  life. 
Center  top,  main  title  of  a  "Laugh-O-Grani,"  first  series  by   Walt  Disney  in  1921. 

At  right,  "Steamboat  Willie,"  first  Mickey  Mouse,  released  with  sound,  November,  1928. 

Left  of  third  row  shows  Disney's  Silly  Symphony,  "Playful  Pan."     In  center  we  have  two  frames  of  Mickey  Mouse, 
"Blue   Rhythm,"  with  soiind  track,  made  in  1931.    And  at  right  is  to  be  seen  one  of  the  early  "Osivalds"  series  that 

is    made    now    for    Universal    by    Walt    Lantz. 


Krazy  Kat  and  Scrappy  made  by  the  Mintz  Studio.  Looney 
Tunes    and    Merrie    Melodies   made   by    Leon    Schlesinger; 


A  Packer  Cartoon  of  1910 


Flip — The  Frog  by  U.  B.  Iwerks  on  M.  G.  M.  release. 
Aesop's  Fables  and  Tom  and  Jerry  by  Van  Buren  Cor- 
poration. Betty  Boop  by  Max  Fleischer.  Bosko  by  Har- 
man-Ising  released  as  a  Looney  Tune,  Magazine  of  the 
Screen  by  Bray  and  Terry  Tunes  by  Paul  Terry. 

It  is  of  interest  to  compare  the  attitude  of  the  present 
day  cartoons,  considered  as  they  are  the  acme  of  enter- 
tainment, to  that  of  1912-13  when  they  were  apologetically 
released  and  were  always  coupled  with  real  life  characters 
to  give  a  reason  for  their  existence.  For  example,  "The 
Artists  Dream"  had  as  an  introduction  an  artist  who  fell 
asleep  and  his  drawing  came  to  life.  The  McCay  intro- 
duction took  the  form  of  a  bet  that  he  could  not  draw 
motion.  Pathe  ran  some  cartoons  at  the  end  of  their  news 
reels  in  an  experimental  way  which  were  nothing  more 
than  terse,  trite  bits  of  action  during  1911-12. 

Today,  if  cartoons  were  to  be  eliminated  from  the  thea- 
tre program  they  would  be  missed  like  the  passing  of 
a  friend. 

Appreciation  is  extended  to  Wallace  Clendenin  for  in- 
formation furnished  in  the  preparation  of  this  article. 

Photos    courtesy    Leo   A.    Young 


OLIVER  TWIST 

First  cameraman,  Roy  Hunt ;  operative  cam- 
eraman, John  F.  Jenkins ;  assistant,  Guy 
Newhard  ;  stills,  Joe  Walters  ;  sound. 
John  A.  Stransky,  Jr.  ;  film  editor,  Carl 
Pearson. 

COULD  Dickens  with  his  remark- 
able ability  to  pen  real  charac- 
ters have  looked  in  on  this 
Monogram  preview  of  "Oliver  Twist" 
undoubtedly  he  would  have  agreed 
neither  the  story  nor  the  characters 
lost  anything  in  the  transference  to 
celluloid. 


Roy  Hunt  achieved  a  masterpiece 
of  photography  in  this  picture  and 
took  full  advantage  of  all  the  many 
opportunities    offered   by   the   story. 


DANGEROUSLY    YOURS 

First  cameraman,  John  Seitz  ;  operative  cam- 
eraman, Arthur  ArlinR  ;  assistants,  Harry 
Dawe  and  Russell  Hoover;  stills,  Joe 
List;  sound.  Albert  W.  Protzman  ;  film 
editor.    Harold    D.    Schuster. 


L 


IGHT  entertainment  with  a  few 
humorous  situations  is  Fox's 
"Dangerously    Yours."      Warner 


Baxter  is  the  light  fingered  Andrew 
Burke.  Just  when  the  villain  gets  the 
.iew-ells  and  thinks  he  has  the  girl — 
Curses,  she  turns  out  to  be  a  detec- 
tive. Is  he  foiled?  You  won't  so  when 
you  see  Miriam  Miriam  Jordan,  the 
erstwhile  detective,  going  around  his 
yacht  with  the  latest  idea  in  slave 
bracelets — a  nice  portable  anchor 
chained  to  har  enkle.  Frank  Tuttle 
directs.  The  cinematography  is  in 
consonance  with  the  best  perform- 
ances of  Mr.  Seitz. 


Six 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


"Out  of  the  Diaries  of  the  Unsung!" 

by  Fred  Felbinger 


By  Arrangement  with 
NORMAN  W.  ALLEY 

Copyright   by  International  Photographer 

All  Rights  Reserved 

(Concluded) 


Aboard  the  Lord  Talbot — after  rescue,  right  to  left,  Peter 
Red  path,  Joseph  Ruff,  Norman  Alley,  Jerry  Altfilisch. 


Previous  Chapters 

IN  the  January  issue  of  International  Photographer 
was  printed  the  opening  of  this  story  compiled  by 
Fred  Felbinger  from  the  diaries  of  four  men  who 
told  first  hand  of  their  experiences  in  the  loss  of  the 
plane  City  of  Richmond  in  northern  waters — better 
known  to  fame  as  the  ship  of  the  Flying  Family. 

Three  of  these  diarists  were  of  the  plane — Norman 
W.  Alley,  cameraman,  and  Jerry  Altfilisch,  sound  man, 
both  members  of  Chicago's  International  Photog- 
raphers, and  Peter  Redpath,  navigator.  The  fourth 
was  Alex  Main,  first  mate  of  the  Lord  Talbot,  the  res- 
cuing ship. 

The  introduction  tells  of  the  start  from  New  York 
with  a  complete  camera  and  sound  equipment  and  of  the 
ship's  stops  at  St.  John,  Port  Menier,  near  the  mouth 
of  the  St.  Lawrence,  and  Hopedale,  Labrador.  The  first 
mate  of  the  Lord  Talbot  describes  the  trawler's  de- 
parture from  Aberdeen,  Scotland,  bound  east  for  Green- 
land. Among  other  interesting  things  the  mate  tells  of 
these  hardy  fishermen  slipping  along  through  northern 
waters  and  by  wireless  laying  money  on  a  horse  back 
in  England — backing  him  to  win  and  the  animal  run- 
ning second. 

After  battling  heavy  fog  and  ice  they  reach  Anmag- 
salik  in  Greenland  whence  they  proceed  to  Iceland. 
Fog  forces  them  down  one  and  a  half  miles  from  shore 
with  plenty  of  ice  between.  Their  S  0  S  is  picked  up 
by  the  Lord  Talbot  (the  only  ship  in  the  region  with  a 
wireless  aboard)  just  before  their  radio  goes  out.  Then 
the  motors  die.  Finally  after  heroic  efforts  they  get 
the  passengers  ashore.  During  the  12  minutes  the 
ship  remains  afloat  they  salvage  all  they  can,  includ- 
ing some  wet  canvas  to  ward  off  the  icy  blast.  Here 
on  this  bleak  island  in  nowhere  they  spend  the  night. 


Chapter  Five 

THE  Lord  Talbot  is  under  orders  of  "full  steam 
ahead".  Ice  flows  batter  agin'  the  bow  of  the  hull 
of  the  sturdy  fishing  trawler.  The  Lord  Talbot,  you 
see,  is  on  a  mission  of  mercy  .  .  .  somewhere  out  in  that 
bleak  Arctic  nothing, — eight  lives  are  hanging  on  a  thread 
.  .  .  eight  pitiful  souls  engulfed  in  a  vast  Arctic  void  .  .  . 
an  S-O-S  established  these  eight  souls  in  the  routine  of 
the  Lord  Talbot  and  her  crew  ...  a  quiet,  peaceful  fishing 
routine  now  turned  to  emergency  action  ...  so  the  bow 
of  the  Lord  Talbot  creaks  and  groans  .  .  .  not  in  despair 
.  .  .  but  she  creaks  and  groans  sort  of  victoriously  in  her 
contact  with  the  threatening,  ever  threatening  ice  flows 
.  .  .  her  Captain  spares  no  effort  in  this  dash  of  mercy  .  .  . 
as  we  will  see  in  that  simple  narrative  of  Alex  Main,  first 
mate  of  the  Lord  Talbot  as  he  makes  notes  in  his  little 
black  book  that  he  started  just  out  of  Aberdeen  .  .  .  the 
first  mate  is  writing,  unknown  to  himself,  a  simple  tale  of 
heroism  ...  of  heroism  of  men  who  go  to  the  sea  in  ships: 
"Sunday,  Sept.  11th — A  rather  sad  S.  O.  S.  has  just  been 
received  by  our  Sparks,  now  3:30  P.  M.  The  Flying  Fam- 
ily, consisting  of  Mr.  and  Mrs.  Hutchinson,  Katherine, 
aged  8  and  Janet  Lee,  aged  6  years  along  with  a  crew 
whose  names  read  as  follows:  Peter  H.  Redpath,  Naviga- 
tor, Norman  W.  Alley,  Cinema,  Joseph  F.  Ruff,  Mechanic, 
Jerry  Altfilisch,  Radio  Operator,  that  their  flying  boat  has 
been  forced  down  in  L65,  28N  Long,  38  L5W.  We  have 
about  25  miles  NW  by  N  Mag.  to  go  from  where  we  are 
lying,  so  we  set  off  at  full  speed,  all  hands  are  now  on  the 
lookout,  we  have  just  about  run  our  distance  when  one 
of  the  crew  sees  a  black  object  right  ahead  so  our  chief 
engineer  gives  her  every  inch  that  she  can  possibly  do. 
I  receive  orders  from  the  Captain  to  have  the  small  boat 
ready  for  launch- 
ing which  we  do 
in  about  5  min- 
utes. 

"However,  when 
we  arrive  at  this 
black  object,  we 
find  it  a  piece  of 
black  ice.  How- 
ever, we  still  keep 
on  our  course  and 
arrive  at  the  posi- 
tion given  in  less 
than  2  hours  and 
a  quarter  from 
the  time  of  set- 
ting off.  We  are 
passing  a  lot  of 
large  icebergs 
and  grawlers.  All 
hands  are  keyed 
up  to  the  mark 
staring  at  noth- 
ing but  ice  and 
vast  stretch  of 
water  with  more 
ice.  The  cold  is 
very  severe  but 
we  hardy  race  of 
line  fishermen  do 
not  let  that 
trouble  us  when 
life  is  at  stake. 
Our  minds  have 
but  one  thought, 
the  poor  mother 
and  her  two  chil- 
dren. 

"8  P.  M.-We 
have  our  tea 
brought  to  the 
wheelhouse  but 
nobody    seems   to 


"The   Captain  sends   me   aloft   to  the 

crow's  nest  to  work  the  searchlight." 

Alex  Main,  first  mate,  in  the  crow's 

nest  of  the  Lord  Talbot. 


March,  19.33 


The     INTERNATIONAL     PHOTOGRAPHER 


Seven 


be  hungry.  Darkness  is  beginning  to  fall  so  I  get  orders 
from  the  captain  to  have  our  searchlight  in  order. 

"10  P.  M. — We  send  up  our  first  rocket  which  travels 
about  100  yards  into  the  air  leaving  a  red  trail  behind  it 
then  it  explodes  with  a  bang  like  the  shot  of  a  gun  and 
breaks  into  a  group  of  stars  which  seems  to  linger  into 
the  air  during  their  descent.  The  searchlight  is  now  going 
and  we  are  cruising  around  from  his  given  position,  but 
still  no  sign  of  him. 

"11  P.  M. — We  send  up  another  rocket  as  described 
above,  all  hands  are  now  on  the  alert,  in  case  he  answers 
our  rocket.  It  is  now  pitch  black  and  very  fearsome  dodg- 
ing in  and  out  amongst  those  titanic  bergs. 

"Monday  12th.  12  A.  M. — We  send  up  our  last  rocket 
and  look  patiently  for  a  reply  but  still  no  sign  of  the  poor 
8  souls  who  might  be  drowned  or  even  sitting,  waiting  on 
death.  What    must    be    that   Flying    Family's    thought 

with  all  that  is  dear  and  loved  to  them,  looking  into  one 
another's  faces  ?  Our  ship's  crew  seem  to  be  feeling  the 
suspense,  no  jokes  are  going  around,  no  hearty  laugh  like 
what  we  are  in  the  way  of  having.  We  all  have  but  one 
thought,  to  see  a  light  or  flare,  something  that  will  relieve 
the  suspense. 

"Monday  12th.  2  A.  M. — We  are  still  steaming  around 
the  flying  ship's  given  position.  Our  Captain  is  showing 
a  wonderful  example  to  his  crew,  with  such  sayings  as, 
keep  a  sharp  lookout,  we  will  find  them  alright.  He  is 
to  my  mind  using  exceedingly  good  judgment  in  the  way 
he  is  setting  the  different  courses  from  the  given  position. 
"3  A.  M. — We  now  stop  the  ship  and  receive  orders  from 
the  captain  to  put  out  all  lights  on  deck,  the  reason  being 
that  any  light  showing  on  deck  throws  a  reflection,  so  that 
the  crew  can  see  much  better  all  around.  After  laying  for 
half  an  hour  the  captain  gives  me  orders  to  start  the 
searchlight,  and  we  steam  at  full  speed,  for  half  an  hour. 
Still  no  sign  of  the  Flying  Family.  We  are  now  wonder- 
ing if  their  ship  is  still  afloat.  Our  Captain  relieves  us 
all  by  saying  they  will  be  floating  all  night,  they  may  have 
given  us  their  wrong  position.  His  remarks  seem  to 
lighten  our  spirits.  We  are  now  all  on  tenterhooks  till 
daylight  comes.  The  cold  is  now  very  severe  but  every 
man  of  us  does  not  let  a  trifle  like  that  worry  him.  It  is  a 
marvelous  sight  to  see  those  hardy  fishermen  as  far  up  the 
ship's  rigging  as  they  can  possibly  get.  We  are  all  re- 
ceiving words  of  encouragement  from  the  captain.  He  is 
a  born  teacher  of  men.  The  crew  would  go  through  fire 
and  water  for  him.  Four  members  of  our  crew  including 
myself,  have  sailed  with  him  for  the  last  6  years,  so  we 
know  the  captain  to  be  what  he  is. 

"7  A.  M. — Daylight  is  now  beginning  to  come  in — we  are 
still  cruising  around  but  no  signs  of  the  Flying  Family. 
You  can  hear  such  remarks  from  different  members  of  the 
crew  such  like  as,  May  God  pray  that  they  are  still  afloat, 
and  May  they  all  be  spared  from  a  watery  grave.  Day- 
light is  now  in  so  our  captain  sets  a  course  nigh  in  shore. 

His  idea  is  very 
good.  He  thinks 
that  the  airship 
might  have  taxied 
inshore  after  she 
landed. 

"10  A.  M.-We 
are  now  about  3 
miles  off  shore 
and  start  steam- 
ing back  along 
the  coast  towards 
Cape  Dan,  the 
idea  being  to  try 
and  locate  the 
plane  or  the  Mo- 
tor Launch,  Stella 
Polaris,  belong- 
ing to  the  Arctic 
Airways  who  left 
Angmalisch  at 
dawn.  Today  we 
are  all  keeping  a 
sharp  lookout. 

"12  noon— We 
are  now  abreast 
of  Semilk  Fiord 
but  still  no  sign 
of  either  parties. 


"Too  much  credit  cannot  be  accorded 
the  seamanship  of  the  entire  crew,  in 
coming  through  the  dangerous  ice- 
pack  to   effect   our  rescue."   Norman 

Alley. 

The  Flying  Family   boards  the  Lord 

Talbot  safely 

Photos    courtesy    of    the    London    Daily    Sketch. 


CREW  OF  THE  LORD   TALBOT 

Captain    Tom    Watson,    seated   center,    First    Mate,    Alex 

Main    to    the    Captain's    im.mediate    right    (Left    of    the 

picture) 

Our  captain  now  decides  to  steam  full  speed  to  Cape  Dan 
where  the  Aberdeen  Line  Boat  Mount  Arch  is  working 
lines.  We  arrive  at  the  Mount  Arch  about  3  P.  M.  We 
also  find  another  Aberdeen  Line  Boat  there,  the  Star  of 
Victory,  belonging  to  the  same  company  as  our  ship.  We 
get  in  touch  with  both  ships,  and  our  captain  tells  them 
of  the  mishap  that  has  befallen  the  Flying  Family.  Both 
those  ships  agree  to  join  in  the  search,  so  our  captain 
gives  them  the  following  orders,  The  Star  of  Victory  will 
steam  20  miles  SWGS.  Lord  Talbot  will  steam  14  miles 
SWGS.  The  Mount  Arch  will  steam  6  miles  SWGS.  You 
will  see  by  the  above  course  and  distance  we  are  all  in  one 
straight  line.  When  each  ship  had  run  her  distance,  our 
Captain  gave  them  a  signal  by  our  steam  whistle  to  alter 
course  to  NWGW  and  run  42  miles.  You  will  see  by  this 
that  we  are  the  center  ship.  The  reason  for  that  is  we 
are  the  only  ship  with  wireless  so  that  we  could  °'ive  them 
any  detail  by  Morse  Code  of  the  missing  airship.  The 
strain  is  beginning  to  tell  on  our  eyes  not  being  in  the  way 
of  having  such  a  long  lookout  for  that  which  is  not  there 
and  is  there.  It  is  a  sight  to  see  these  three  ships  running 
neck  and  neck.  If  anything,  we  are  a  little  ahead.  Still 
no  sign  of  anyhing.  We  have  received  a  message  by  wire- 
less that  an  airplane  is  on  its  road  to  help  in  the  search. 
Dusk  is  beginning  to  fall  so  we  are  making  ready  for  an- 
other 'all  night  sitting!'  " 

Chapter  Six 

Eight  anxious  adventurers  forced  down  on  an  uncharted 
island,  in  a  bleak  Arctic  void.  .  .  .  Eight  humans  divorced 
from  Civilization  and  now  on  the  threshold  of  almost  cer- 
tain eternity  in  oblivion  ...  an  oblivion  of  the  missing  .  .  . 
what  goes  on  in  the  minds  of  men  at  a  time  like  this  ?  .  .  . 
Peter  Redpath,  one  of  eight  nearing  oblivion,  writes: 

"Made  rough  camp  at  best  vantage  site  up  on  rock  and 
kept  regular  lookout — crews  soaked  and  freezing — ra- 
tioned oil  and  grease  full  also  food — very  poor  outlook — 
however,  made  best  of  a  bad  situation — no  sleep  and  very 
cold." 

Norman  Alley  writes: 

"We  walked  to  the  other  side  of  the  mountain  and 
learned  then  that  we  were  on  an  island!  In  addition  we 
knew  finally  that  we  were  several  miles  from  our  given 
radio  position.  We  had  a  meeting  that  P.  M.  and  decided 
to  try  and  rig  up  a  pontoon  boat  of  some  sort  from  the 
gas  tanks  if  we  could  salvage  them.  Our  only  chance 
seemed  to  depend  on  our  being  able  to  fish  and  build  up  a 
reserve  food  and  fuel  supply.  Impossible  almost  but  at 
least  a  definite  plan  to  occupy  our  minds." 

Turning  back  the  pages  in  Redpath 's  diary,  we  continue: 

"Next  day  (Monday)  Alley,  Ruff  and  self,  explored 
island  to  no  avail.  Altfilisch  trying  to  rig  emergency 
wireless.  At  meeting  in  P.  M.  decided  to  try  and  salvage 
parts  and  gas  tanks  of  plane  to  try  and  make  boat, — if 
possible,  to  make  stone  house,  catch  fish  for  fuel  and  sur- 
vive what  in  our  hearts  we  knew  to  be  impossible." 

Jerry  Altfilisch,  notes  a  few  more  humble  lines  of 
heroism: 

(Continued  on  Page  2U) 


Eight 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


New  Camera  Marvel  Unveiled 


Bell  &  Howell  Latest  Model  Professional  Is  On 

Exhibition  After  Three  Years  Research 

and  a  Cost  of  Over  $300,000 

By  EDWARD  T.  ESTABROOK 

Inter-national  Photographer 


THE  long  anticipated  new  silent 
Bell  &  Howell  camera  is  in  Holly- 
wood. Mr.  J.  H.  McNabb,  President 
and  Mr.  Albert  S.  Howell,  Vice  Presi- 
dent and  Chief  Engineer  of  the  Bell  & 
Howell  Company,  arrived  here  last 
week  with  the  camera,  which  is  the 
result  of  three  years  of  the  most  in- 
tensive research  and  experimental 
work  and  based  upon  their  twenty- 
five  years  of  cinematographic  experi- 
ence in  the  building  of  precision 
motion  picture  machinery. 

This  new  silent  camera  was  de- 
signed by  and  constructed  under  the 
direct  supervision  of  Mr.  Albert  S. 
Howell  and  it  is  safe  to  say  he  be- 
lieves he  has  constructed  a  camera 
that  will  solve  all  the  difficulties  now 
encountered  in  the  use  of  the  present 
cumbersome  and  unwieldly  blimps. 
The  cost  of  development  runs  well 
over  $300,000. 

Preceding  the  development  of  this 
camera  the  Bell  &  Howell  Company 
experimented  with  several  other 
models  of  the  silent  camera  which 
were  subsequently  discarded  as  un- 
satisfactory and  not  up  to  the  stand- 
ard of  perfection  that  was  the  goal  of 
Mr.  Howell's  visualization  of  what 
would  be  the  perfect  motion  picture 
camera  for  present  day  use. 

In  addition  to  constructing  a  silent 
motion  picture  camera  it  was  the  aim 
of  the  engineer  to  make  a  camera  that 
would  be  so  designed  as  to  combine 
the  elements  for  which  every  camera- 
man dreams.  Mr.  Howell  claims  this 
camera  is  more  than  the  answer  to 
the  cameraman's  prayer  in  that  it 
will  be  possible  to  do  even  more  with 
it  than  a  camera  was  usually  called 
upon  to  do  in  the  course  of  a  produc- 
tion. 

The  camera  itself  is  extremely  com- 
pact. It  weighs  a  little  over  one  hun- 
dred pounds  and  is  so  constructed  that 
there  is  no  metallic  contact  between 
the  outside  housing  and  inside 
mechanism.  The  bottom  of  the  camera 
has  been  soundproofed  and  constructed 
in  such  a  manner  as  to  eliminate  the 
transmission  of  sound  through  the 
tripod.  It  can  be  mounted  on  any  of 
the  existing  tripods  or  camera  mounts. 

The  camera  is  operated  by  a  speci- 
ally designed  and  built  in  48  cycle,  3 
phase  synchronous  motor  which  is  an 
integral  part  of  the  camera.  All  pos- 
sible gears  have  been  eliminated  to  a 
minimum  and  the  ones  that  are  used 
are  worm  type  packed  in  special 
grease  which  eliminates  all  gear  noise. 

One  of  the  principal  features  of  the 
camera  that  will  appeal  to  the  camera- 
man   and    director    is    the    newly    de- 


signed finder,  the  optical  system  of 
which  is  synchronized  with  the 
photographing  lens.  The  camera  is 
focused  by  means  of  a  knob  on  the 
right  hand  side  of  the  camera,  which 
in  turn  automatically  focuses  the 
finder  lens  and  centers  the  image  on 
the  finder. 


6 


This  photograph  of  the  new  B.  &  H. 
camera  shows  the  box  mounted  upon 
the  B.  &  H.  perambulator  and  does 
not  do  the  camera  justice,  but  being 
the  only  shot  available,  is  submitted 
herewith  until  a  complete  layout  of 
views  can  be  presented. 

The  focus  scale  on  the  indicator  in 
the  rear  of  the  camera  is  the  same  for 
all  lenses,  the  difference  being  auto- 
matically compensated  for  by  a  spec- 
ial device  on  the  lens  mount.  Only 
one  lens  at  a  time  is  used,  each  lens 
being  mounted  in  a  standard  size 
mount  which  is  easily  and  quickly 
placed  in  the  camera  and  locked  by  a 
quick  acting  device. 

It  is  possible  to  use  all  focal  length 
lenses  from  a  24  mm.  to  the  longest 
focal  length  desired  and  by  means  of 
an  ingenious  device  each  lens  is  syn- 
chronized to  the  focus  indicator,  which 
is  in  the  rear  of  the  camera,  by  a  turn 
of  the  michrometer  mounted  on  the 
top  of  the  finder  which  automatically 
adjusts  the  movement  of  the  lenses  for 
focusing  to  the  indicator. 

The  finder  focus  being  always  the 
same  as  the  camera  focus  it  is  even 
possible  to  focus  the  camera  on  the 
finder  and  it  permits  the  cameraman 
always  to  check  his  assistant  and  pre- 
vent any  error  in  following  focus.  The 
follow  focus  indicator  at  the  rear  of 
the  camera  is  illuminated. 

The  finder  is  considerably  larger 
than   the   conventional    finder   now   in 


use,  which  permits  a  much  larger  field 
of  view,  and  although  heavier  and 
more  rigid  in  construction  it  is  very 
easy  to  operate.  The  image  in  the 
finder  is  upright.  The  finder  is  so 
operated  as  to  automatically  compen- 
sate for  parallax  between  the  finder 
and  the  camera.  In  order  to  make 
the  entire  optical  system  absolutely 
accurate  to  within  .001  inch  it  is 
necessary  that  the  lenses  used  be 
fitted  and  calibrated  to  each  individual 
camera  because  of  the  fact  that  there 
is  a  variation  of  a  fraction  of  a  mm. 
between  lenses. 

On  the  side  of  the  finder  is  a  record 
of  the  exact  focal  length  of  each  lens 
with  the  corresponding  michrometer 
reading  opposite,  making  it  possible 
for  the  cameraman  instantly,  by  a 
slight  turn  of  the  michrometer,  to 
place  each  lens  field  in  correct  syn- 
chronization with  the  finder  and  in- 
dicator. 

Another  improvement  is  the  dia- 
phragm on  the  finder  lens.  The  model 
camera  is  equipped  with  Cooke  Speed 
Panchro  lenses  in  the  following  focal 
lengths:  26.62;  32.38;  40.41;  50.43; 
77.03;   102.29;   108.90. 

Another  revolutionary  change  is  the 
method  of  focusing  which  is  accom- 
plished by  a  device  that  moves  the 
film  and  the  film  gate,  the  lens  itself 
being  stationary.  Focusing  through 
the  aperture  is  done  through  an  eye- 
piece on  the  right  hand  side  of  the 
rear  of  the  camera  and  through  an 
optical  system  which  is  operated  by 
a  lever  on  the  right  hand  side  of  the 
camera  and  which  moves  the  film  gate 
back  from  the  lens,  permitting  a  prism 
to  drop  into  its  place  at  the  exact  focal 
plane. 

By  means  of  this  same  device  it  is 
possible  for  the  cameraman  to  focus 
through  the  camera  with  the  film  run- 
ning at  full  speed  and  by  a  shift  of 
the  aforesaid  lever  the  prism  is  moved 
out  of  place  and  the  film  gate  auto- 
matically moved  to  its  photographing 
position.  This  enables  the  camera- 
man to  see  the  picture  up  to  the  very 
last  instant  before  actually  photog- 
raphing. 

Differing  from  previous  models  this 
new  camera  does  not  need  to  be 
shifted  over,  the  camera  lens  being 
stationary  at  all  times  and  the  camera 
mounted  in  a  perfectly  balanced  posi- 
tion on  the  tripod  head. 

The  shutter  has  an  opening  of  180 
degrees,  an  increase  of  10  degrees 
over  former  models  and,  although 
there  is  no  automatic  dissolve  in  the 
camera,  it  is  possible  to  adjust  the 
opening  of  the  shutter  to  any  size  in 
lens  stop  values.  This  is  operated 
from  the  back  of  the  camera. 

The  principle  of  registration  in  the 
camera  movement  is  basically  the 
same  as  in  the  previous  B.  &  H. 
models;  for  instance  the  registration 
is  assured  by  the  use  of  fixed  pins, 
thereby  making  for  steadiness  of  the 
picture  and  permitting  all  kinds  of 
process  and  trick  shots  without  vibra- 
tion. 

An     important     improvement     has 


March,  19  S3 


The     INTERNATIONAL     PHOTOGRAPHER 


Nine 


been  made  in  fastening  the  film  move- 
ment in  the  camera,  it  being  possible 
to  remove  or  replace  it  by  a  slight 
pressure  on  a  conveniently  placed  re- 
lease. When  the  movement  is  re- 
moved it  can  be  fully  opened  for 
cleaning  purposes,  making  it  possible 
to  quickly  inspect  and  clean  the  fixed 
pins  and  aperture. 

The  bearings  used  in  the  camera 
movement  are  self  adjusting  to  in- 
sure continued  quietness  and  perfect 
performance.  It  is  also  constructed  to 
eliminate  to  a  minimum  the  possibil- 
ity of  scratches  and  abrasions.  The 
film  is  moved  by  a  feeding-  finger  or 
pin,  the  cam  action  permitting  the 
film  to  start  slowly,  accelerate  and 
then  stop  slowly  which  is  an  impor- 
tant factor  in  preventing  any  dam- 
age to  sprocket  holes. 

Mr.  Howell  told  the  writer  that  in 
tests  a  single  piece  of  film  was  run 
through  the  camera  many  hundreds  of 
times  without  damage  to  the  sprocket 
holes.  The  film  loops  are  quite  small, 
which  helps  eliminate  practically  all 
the  noise  from  film  slap.  The  film  is 
fed  into  and  out  of  the  movement  on 
two  separate  sprockets.  If  buckling 
of  the  film  should  occur  there  is  a 
special  release  that  automatically 
stops  the  camera.  This  release  is  so 
built  that  it  cannot  be  disengaged 
accidentally  and  because  of  this 
feature  the  cameraman  need  not 
worry  whether  his  clutch  is  engaged 
or  not. 

The  tension  of  the  magazine  belt  is 


automatically  governed  by  an  equal- 
izer which  is  an  integral  part  of  the 
camera  and  which  is  adjustable  to 
compensate  for  any  stretching  of  the 
special  fabric  belt.  This  adjustment 
is  reached  through  the  inside  of  the 
camera. 

The  camera  is  started  by  turning  a 
switch  which  is  placed  on  the  right 
hand  side  of  the  camera  and  quickly 
stopped  by  pressing  a  button  at  the 
same  point.  The  camera  is  ball  bear- 
ing throughout  and  the  lubrication 
system  is  efficient  and  extremely 
simple.  All  types  of  Bell  &  Howell 
magazines  are  interchangeable.  Mr. 
A.  S.  Howell  claims  this  camera  will 
operate  with  any  type  of  recording 
system. 

Tests  have  already  been  conducted 
at  the  M-G-M  studio  in  co-operation 
with  the  sub-committee  on  silent 
cameras  of  the  Research  Council  of 
the  Academy,  carrying  comparison 
with  some  of  the  heavy,  cumbersome 
blimps  now  in  use,  in  order  to  deter- 
mine the  camera  noise  level.  The  re- 
sult proved  that  this  camera  is  well 
within  the  tolerable  limits  of  per- 
missable  noise  over  and  above  the  set 
noise  level. 


John  Silver  in  Manila 

Word  from  John  Silver,  I.  P.,  to 
Jackson  Rose  tells  of  the  former's 
safe  arrival  in  Manila  early  in  the 
winter.  The  traveler  for  a  long  time 
was    with    the    Columbia    Studio. 


Silent  Camera  Bulletin 

The  Silent  Camera  Subcommittee 
of  the  Academy  Research  Council 
met  Monday  evening,  February  27,  at 
Metro  -  Goldwyn  -  Mayer  Studios  to 
make  sound  and  photographic  tests  of 
a  new  camera  which  was  recently 
brought  to  Hollywood  from  the  Chi- 
cago plant  of  the  Bell  and  Howell 
Camera  Co. 

This  is  in  line  with  one  of  the  prin- 
cipal functions  of  the  Research  Coun- 
cil to  test  new  equipment  for  the  in- 
dustry under  actual  production  con- 
ditions and  with   studio  equipment. 

Details  of  the  tests  were  arranged 
by  the  Subcommittee  at  a  luncheon 
meeting  Saturday  noon,  February  25, 
at  the  Academy  office,  with  J.  H.  Mc- 
Nabb,  President,  and  A.  S.  Howell, 
Chief  Engineer,  of  the  Bell  and 
Howell  Company,  who  brought  the 
new  camera  from  Chicago,  sitting  in. 

The  Silent  Camera  Subcommittee 
of  the  Research  Council  which  has 
been  working  since  last  August  to  co- 
ordinate studio  efforts  toward  the  de- 
velopment of  a  silent  camera  which 
can  be  used  on  the  set  without  the 
cumbersome  blimp  to  shield  camera 
noise  from  the  microphone,  consists 
of  Virgil  Miller,  Chairman,  John 
Arnold,  John  W.  Boyle,  John  L.  Cass, 
Wm.  Eglinton,  Lorin  D.  Grignon,  Bert 
Glennon,  Kenneth  Lambert,  Grover 
Laube,  K.  F.  Morgan,  Wm.  F.  Ru- 
dolph, John  Seitz,  Theodore  Soder- 
berg,  Al  Tandreau  and  A.  G.  Wise. 


The  New  EYEMO  joins  the 

Indispensables 


BELL  &  HOWELL 


Bell 
New 
London 


&  Howell   Co.,   1849  Larchmont  Ave.,  Chicago;    11 
York;    716    North    La    Brea    Ave.,    Hollywood; 
B  &  H  Co.,  Ltd.)   Est.  1907. 


West  42nd  St., 
320    Regent    St., 


The  new  35  mm.  Eyemo  Hand  Camera,  with  its 
motor  drive  and  400-foot  magazine,  has  added 
countless  situations  to  the  realm  of  "possibilities." 
Its  portability,  flexibility,  and  all-round  satisfactory 
photographic  results  put  it  in  the  front  rank  of  in- 
dispensable professional  movie  mechanisms.  Its 
motor,  giving  constant  sound  speed  of  twenty-four 
frames  a  second,  can  be  attached  or  removed  in  a 
moment.  Comes  in  both  12-volt  and  110-volt  mod- 
els. With  its  7  film  speeds,  three  lens  turret,  vari- 
able viewfinder,  built-in  spring  and  hand  crank 
drive,  and  its  complement  of  Cooke  lenses,  the 
Eyemo  is  the  most  useful  camera  in  the  specialist's 
equipment.  Camera  alone,  $450,  tax  paid.  Motor 
and  magazine  extra.     Prices  on  application. 

Cooke  Speed  Panchro  Lenses 

Bell  &  Howell  Cooke  F  2  Speed  Panchro  Lenses  were  de- 
signed especially  to  give  highest  quality  results  with 
today's  lighting  and  films.  Their  new  plan  of  chromatic 
error  correction  gives  sharp  pictures.  For  instance,  the  3 
F  2  lens,  wide  open,  has  a  maximum  variation  of  chroma- 
tic focus,  for  all  lights  used  in  the  studio,  of  only  .001". 
Remarkably  corrected,  too,  for  all  other  aberration  besides 
the  chromatic,  and  extremely  suitable  in  daylight.  Eleven 
focal  lengths,  from  24  mm.  to  4J4".  Cooke  F  2.5  Panchro 
lenses  come  in  seven  focal  lengths,  from  3  5  mm.  to  6-Mi  . 
Write   for  data   and    prices. 


Ten 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  19.13 


From  the 


CARIBBEAN 


By  PAUL IVANO 

International  Photographer 


WELL,  here  I  am  in  Florida,  with 
time  on  my  hands.  In  the  late 
fall  the  place  is  void  of  all  ex- 
citement. It  looks  like  a  Hollywood 
studio   during  depression   times. 

I  am  waiting  for  flying:  orders  from 
Director  Josef  von  Sternberg,  whom 
I  will  join  by  plane  in  Havana,  to 
shoot  the  exteriors  of  his  forthcoming 
picture  for  Paramount,  and  now,  in 
order  to  enjoy  the  climate,  I  am  stop- 
ping at  the  Pancoast,  the  only  hotel 
open  on  the  beach. 

The  whole  place  looks  like  a  motion 
picture  set.  Men  are  taking  off  hurri- 
cane shutters,  unbuckling  the  chains 
and  turnbuckles  that  hold  the  bath- 
house together  and  the  wires  protect- 
ing- their  cocoanut  trees  between  hur- 
ricane seasons. 

So,  being:  still  an  amateur,  I  decide 
to  make  a  few  tests  on  a  dozen  plates 
out  of  the  seventy-five  dozen  I  am 
carrying  for  the  expedition.  (East- 
man Superpan). 

I  ask  my  assistant  to  load  a  dozen, 
but  he  answers  he  does  not  know  how. 
Then  remembering  I  have  along  my 
good  old  reliable  Leica  Model  "C" 
with  three  lenses,  I  g-o  gunning  for 
clouds,  palm  trees,  beaches,  airplanes 
and  maybe  models.  But,  as  Parichy 
explained  later,  models  were  still 
modeling  on  Fifth  Ave.  or  the  Riviera. 
So  I  had  to  be  satisfied  with  birds  of 
another  feather. 

As  much  as  I  hate  to  do  so,  I  have 
to  speak  about  Parichy  again  and 
again  and  again,  (I  am  not  quoting 
any  directors,)  as  a  stay  in  Florida 
without  putting  up  with  that  famous 
emigrant  from  California  would  be 
completely  incomplete. 

After  shooting  my  first  reel  of  Leica 
I  realized  that  my  developing  tanks 
were  all  in  the  luggage  room  of  the 
Panamerican  Airways.  So  I  went 
shopping  for  a  darkroom.  Found  a 
perfect  one  in  the  Tropical  Camera 
Shop.  And,  just  as  the  name  implies, 
it  has  a  really  tropical  dark  room — 
Frigidair,  circulating  developer,  dust- 
proof  rooms  and,,  outside  of  our  mam- 
moth labs,  the  only  place  of  its  kind 
I  have  ever  seen  during  my  numerous 
travels. 

After  mixing  my  own  formula  and 
developing  the  first  reel  I  came  to  the 
conclusion  that  I  was  right,  and  that 
Dupont  Superpan  was  really  a  super- 
pan.  (And  did  I  get  details  in  the 
green  shadows.  But  since  when  are 
shadows  green,  if  you  know  what  I 
mean). 

So,  confident  in  my  exposure  and 
my  outfit,  I  started  on  my  shooting 
expedition  and  at  the  Miami  Photo- 
shop I  ran  into  our  International 
Photographer  Magazine  or  rather  visa 
versa.    There  the  kind  owner  informed 


me  that  our  staff  correspondent,  E. 
Parichy  was  in  town  and  did  I  know 
him?  Of  course  I  did  not,  but  having 
seen  his  fish  pictures  in  one  of  our  old 
magazines  and  being  very  curious  as 
far  as  said  fishes  are  concerned,  I  de- 
cided to  call  him  up.  His  name  is  in 
the  book.  In  Miami  one  does  not  have 
to  hide  as  in  Hollywood.  So  against 
the  wishes  of  my  man  Friday,  (I 
would  not  say  good)  who  insisted  that 
expedition  men  were  not  in  his  class, 
(and  I  do  not  think  they  are)  I  called 
the  Aquarium,  I  mean  Parichy's  home. 
And  that  is  how  I  met  Parichy.  We 
were  both  born  in  May,,  so  breaking- 
all  the  rules  of  the  Zodiac  we  got 
along  immediately. 

Then  Parichy  insisted  that  we  go 
and  see  the  famous  alligators  in  the 
Seminole  Indian  Reservation.  This 
was  also  in  a  state  of  dolling  up.  The 
alligators  were  asleep,  the  women 
were  cutting  up  beautiful  pieces  of 
material  into  small  pieces  and  then 
sewing:  them  up  again  into  native 
dresses  of  a  hundred  colors.  There 
were  no  men.  They  had  all  gone  into 
the  Everglades  in  their  long  canoes 
to  hunt  alligators  and  snakes,  for  the 
purpose  of  furnishing  the  alligator 
farm  and  the  world  market  with  more 
belts,  bags  and  baggage.  That  was  a 
perfect  day. 

Miami  beach  itself  is  an  island, 
made  bigger  and  reinforced  against 
erosion  by  steel  pilings,  stuck  all 
around  its  shores.  One  reaches  there 
via  the  Venetian  Way,  built  over  Bis- 
cay Bay,  over  the  Coral  reef  and  over 
little  islands.  Before  this  highway 
was  built  and  Miami  Beach  was  known 
to  the  whole  world,  it  belonged  to  the 
grandfather  of  one  of  the  biggest 
hotel  owners   of  the   present. 

This  man  had  a  farm  there  and  in 
order  that  he  might  market  his  prod- 
uct easier  in  Miami,  he  dug  a  canal 
to  transport  his  vegetables.  The  farm 
is  gone,  the  vegetables  are  gone,  the 
island  is  covered  with  hotels  and  mil- 
lionaires' estates,  but  the  canal  is  still 
there  and  the  vegetables  transported 
on  the  speedboats  are  of  another  kind. 

Gar  Wood  has  a  home  with  the 
canal  (called  Indian  Creek)  right  in 
the  backyard,  but  everyone  knows 
what  Gar  Wood's  business  is. 

Eastern  people  living  in  Florida  go 
to  Miami  Beach  in  wintertime  not 
only  to  enjoy  the  climate,  but  to  be 
seen.  They  rent  houses  for  terrific 
rentals.  I  don't  know  why,  because 
they  never  stay  there. 

If  they  want  to  swim,  they  do  not 
do  it  in  their  private  swimming  pools, 
because  newsreel  men  are  not  there. 
They  go  to  Miami  Beach  and  use  the 
cabana.  I  mention  this  because  the 
cabana  is  a  thing  we  should  have  in 


Cocoanut  palms  guyed  with  wires  to 
withsta nd  hit rricanes. 


California.  Imagine  a  Spanish  build- 
ing, mostly  U  shaped,  two  stories 
high.  It  is  divided  into  forty  single 
apartments  usually  a  living  room  with 
a  seaside  door  the  entire  width  of  the 
room  like  a  garage  and  mostly  fur- 
nished with  wicker  and  rubberized 
cushions.  Then  there  is  a  little  dress- 
ing room  where  one  changes  into  a 
bathing  suit  and  lastly  a  shower  bath 
with  a  rear  entrance.  People  leave 
their  palatial  estates  in  the  morning, 
and  spend  most  of  the  day  swimming 
and  sunning  themselves  and  for  that 
privilege  they  pay  $250  a  month  rent 
for  one  cabana. 

And  then  Parichy  introduced  us  to 
many  interesting  people.  One  of  them 
is  Peterson,  the  Sherlock  Holmes  of 
Miami.  You  have  seen  his  picture  in 
the  November  issue,  sent  to  you  by 
our  staff  correspondent,  and  please, 
Mr.  Editor,  give  credit  where  credit 
is  due;  those  pictures  were  shot  with 
my  Leica  camera  by  a  1905  Richard 
automatic  timer,  negative  developed 
by  Tropical  Camera  Shop,  enlarge- 
ments by  Parichy. 

While  we  were  on  the  fourteenth 
floor  of  the  City  Hall  (I  mean  jail), 
Peterson  showed  us  around,  cells  and 
all.  But  like  the  proverbial  postman 
on  his  vacation,  I  looked  at  his  photo- 
graphic department  of  criminal  identi- 
fication and  otherwise.  There  on  a 
table  four  times  as  big  as  yours  I  saw 
a  conglomeration  of  cameras  that 
would  put  Bond  Street  and  the  Cam- 
era Exchange  in  Hollywood  to  shame. 

Everything  from  a  16x24  to  a 
21/4x31/4  was  included,  not  counting 
aerial  cameras,  as  Peterson  shoots 
even  the  place  of  the  crime  from  the 
air.  To  my  disgust  all  that  valuable 
equipment  was  covered  with  two 
inches  of  dust  and  Peterson,  antici- 
pating, and  also  because  he  is  a  good 
detective,  said: 

"All  of  these  are  obsolete.  I  shoot 
all  my  pictures  with  a  one  by  one 
and  a  half.  I  have  owned  it  for  five 
years  and  it  is  a  Model  'A'  Leica.  It 
needs    a    valve    grind,    a    paint    job,    a 


March,  19SS 


The     INTERNATIONAL     PHOTOGRAPHER 


Eleven 


chromium  job  and  a  complete  over- 
haul, but  how  do  you  expect  it  to  look 
new,  I  carry  it  always  in  the  same 
pocket." 

And  out  of  said  pocket  he  produced 
a  bottle  of  lamp  black,  a  camel's  hair 
brush,  a  six  inch  magnifier,  a  tape 
measure,  a  compass,  a  stop  watch,  a 
thermometer  and  last  but  not  least 
the  Leica  that  identifies  all  criminals 
caught  in  Peterson's  net. 

And  so  on  the  9th  of  October,  as 
our  Pan-American  Sikorsky  Amphib- 
ian took  off  for  Havana,  Parichy  and 
I  were  shooting'  each  other  with 
Leicas. 

The  great  grandson  of  Admiral 
Dewey  at  the  controls  of  the  plane, 
Carl  Dewey;  Red,  his  co-pilot;  Adams, 
the  radio  operator,  my  assisant  and 
myself  took  off  at  eleven.  Parichy 
followed  our  take-off  with  a  speed 
boat  and  shot  more  Leicas.  After 
taking  altitude  we  headed  towards 
Havana.  Miami  disappeared  and  we 
followed  the  Keys.  It  is  a  magnifi- 
cent sight.  The  water  was  so  trans- 
parent it  seemed  that  one  was  looking 
down  onto  the  prairie. 

Thousands  of  little  islands  con- 
nected with  coral  reef  are  strung 
along  the  coast  like  a  gigantic  neck- 
lace. I  took  pictures  through  the 
window,  but  as  the  photographic  visi- 
bility was  poor,  on  account  of  the  salt 
on  the  outside  glass,  I  opened  the  rear 
hatch  and  started  shooting.  Remem- 
bering Elmer  Dyer's  stories  of  that 
terrible  slip  stream  current  and  the 
blast  of  the  propellers  (war  planes 
were  not  so  fast  as  the  ones  of  today), 
I  expected  to  be  blown  out  any  min- 
ute, but  the  only  thing  that  was  blown 
off  (Mr.  Wyckoff  please  take  notice) 
was  my  beret  and  I  saw  it  tailspin, 
barrel  roll,  loop  and  spiral  into  the 
Carribbean. 

But  then  Havana  was  not  very  far 
away.  Havana  meant  Spain,  Spain 
meant  Basque  country,  Basque  coun- 
try is  the  land  of  berets,  so  I  was 
only  for  a  short  time  in  danger  of 
catching  a  cold.  I  knew  a  beret  could 
be  bought  in  Havana.     I  was  saved. 

This,  mv  dear  editor,  concludes  the 
first  installment,  if  not  of  my  working 
experiences,  of  the  personal  highlights 
that  brighten  those  dark  shadows  of 
the  West  Indies. 


S.M.P.E.   Meeting  at  Paramount 

The  West  Coast  Chapter  of  the 
S.M.P.E.  held  a  meeting  at  the  Para- 
mount Studios  on  the  23rd  of  Feb- 
ruary which  was  largely  attended  by 
the  engineers  and  their  guests.  The 
meeting  was  made  particularly  inter- 
esting due  to  the  showing  of  the  latest 
films  made  by  specialists  in  the  medi- 
cal profession.  These  films  are  sig- 
nificant in  that  they  show  a  distinct 
trend  toward  the  use  of  films  in 
teaching  and  particularly  in  medicine. 
It  is  of  interest  to  note  that  these 
films  were  supervised  by  the  doctors 
themselves,  which  makes  them  practi- 
cal instructional  films.  Much  could 
be  said  upon  their  technical  perfection 
that  compared  favorably  with  the  best 
in  photography. 

They  were  mostly  synchronized  to 
sound.  The  first  film  shown  was  a 
Technicolor  picture  made  by  the 
Welshay  Company,  under  the  direction 
of  Dr.  Maurice  Kahn,  of  an  appendix 
operation  with  all  its  details,  and  fol- 
lowed by  another  Magnacolor  picture 
of  an  operation  for  the  removal  of  a 
malignant  tumor. 

The  films  of  Dr.  Howard  L.  Upde- 
graff  showing  several  plastic  surgery 
operations  were  one  of  the  highlights 
of  the  evening.  Dr.  Updegraff  showed 
by  films  a  series  of  operations  cover- 
ing fourteen  months  on  a  young  girl's 
face  in  which  he  practically  remade 
the  entire  face  after  it  had  been  terri- 
bly disfigured  in  an  auto  accident.  In 
this  film  he  remade  the  eyelids,  made 
a  new  nose,  remolded  the  ears  which 
had  grown  to  the  head,  planted  hair 
from  the  head  for  eyebrows  and  re- 
placed the  skin  of  the  face  with  other 
skin  taken  from  various  parts  of  the 
body. 

Other  films  were  those  on  bladder 
operations  made  by  Dr.  Elmer  Belt; 
Dr.  Losier  dealing  with  dental  surg- 
ery, and  Caesarian  operation  films 
made  by  Dr.  John  C.  Irwin  completed 
the  program. 

Each  of  the  films  was  discussed  by 
the  doctors  who  had  made  them.  The 
meeting  was  presided  over  by  Emery 
Huse    and    Dr.    Donald    McKenzie. 


The  Old  Home  Haunts 

By  F.  Colburn  Clarke 

There's  a  sound  that  rings  in  my  ears 
today, 
That  echoes  in  vague  refrain, 
The     ripple     of    water    o'er    smooth- 
washed  clay, 
Where  the  walleyed  pike  and  the  black 

bass  play, 
That  makes  me  yearn,  in  a  quiet  way, 
For  my  old  flyrod  again. 

Back  to  the  old  home  haunts  again, 
Back  where  the  clear  lake  lies; 
Back  through  the  woods 
Where  the  blackbird   broods, 
Back  to  my  rod  and  flies. 

I'm  longing  to  paddle  the  boat  today, 
Through    water-logged    grass    and 

reeds; 
Where   the   muskrat   swims,   and    the 

cattails  sway; 
Where  the  air  is  cool,,  and  the  mist  is 

gray; 
Where  ripples  dance  in  the  same  old 

way, 
Under  the  tangled  weeds. 

Back  on  the  old  oak  log  again, 
Back  by  the  crystal  brook; 
Back  to  the  bait, 
And  the  silent  wait, 
Back  to  my  line  and  hook. 

I   wish   I   could  wade   by  the  water's 
edge, 
Where  the  fallen  leaves  drift  by 

Just    to    see,    in    the    shadow    of    the 
ledge, 

How  dark   forms   glide,   like   a   wood- 
man's wedge, 

Through     driftwood     piles     and     the 
coarse  marsh  sedge, 
And  to  hear  the  bittern  cry. 

Back  where  the  tadpoles  shift  and 
sink, 
-  Back   where  the   bullfrogs   sob; 
Back  just  to  float 
In  the   leaky  boat, 
Back  to  my  dripping  bob. 

Oh,  it's  just  like  this  on  each  misty 
day, 
It's  always  the  same  old  pain 
That  struggles  and  pulls  in  the  same 

old  way 
To  carry  me  oft'  for  a  little  stay 
By  the  water's  edge,  in  sticky  clay, 
To  fish  in  the  falling  rain. 

Back  to  my  long  black  rubber  boots, 

Back  to  my  old  patched  coat; 

Back  to  my  rod 

And  the  breath  of  God — 

Home — and  my  leaky  boat. 


To  Florida's  New  Hollywood 

Max  Stengler  departed  for  St. 
Petersberg,  Florida,  on  February  21, 
to  shoot  features  and  shorts  for  Ken- 
nedy Pictures.  He  will  be  absent  in- 
definitely. 


Raymond   Cardwell   is   no  longer  a 
The  gorgeous  Coral  Gables  swimming  pool,  u'hich  is  really  a  big  lake  of  fresh       member    of    Local 
filtered  water,  Venetian  in  character.  Photographers. 


659,    International 


Twelve 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


Parichy  Fisits  Columbus'  Shrine 


By  ESSELLE  PARICHY 

Our  Staff  Correspondent  Follows  the  Trail  of  the 

Freebooters  and  Conquistadores  of 

the  Spanish  Main 


jN  the  island  of  Haiti,  in  the  West  Indies, 
the  city  of  Santo  Domingo  is  the 
slumbering-  capital  of  the  Dominican 
Republic.  It  was  no  doubt  the  ver- 
dured  jungle  beauty  of  this  jewel  of 
the  Antilles  that  created  in  the  mind 
cf  Christopher  Columbus  the  dream 
illusion  that  here  was  the  location  of 
the  bibled  Paradise  of  Adam  and  Eve. 
Where  Santo  Domingo  stands  today 
Columbus,  in  1492,  established  a  New 
World  capital  for  Spain  which  he 
called  "Nueva  Isabella."  The  history 
of  this  capital  is  colored  with  carnal 
strife  and  turmoil  of  early  coloniza- 
tion. 

Her  rambling  ruins  and  bastions 
overflow  with  memories  of  great  ex- 
plorers. For  a  time  all  history  cen- 
tered around  this  capital  of  the  New 

World,  and  it  was  from  here  that  Cortez,  Balboa,  Pizarro  and  Valasquez  set 

forth  in  quest  of  other  "El  Dorados." 

Here  in  this  new  capital  of  the  Western  Hemisphere  was  spawned  an  infant 

civilization  made  up  of  bold  Cavaliery 


The  Old  Bells  of  Santo  Domingo 
Cathedral 


and  raw  Freebootery.  In  these  tur- 
bulent years,  when  all  the  New  World 
was  at  the  threshold  of  an  incandes- 
cent decay,  these  pilfering  pirates 
cruised  the  trade  lanes  of  the  Carib- 
bean to  corral  the  golden  hordes  of 
Spanish  galleons  homing  for  Spain. 
Ply  Humble  Trades 

After  a  time  peace  descended  upon 
Santo  Domingo  when  pirate  and  cav- 
alier became  brethren  of  the  soil,  gar- 
nering, in  place  of  contraband,  the 
riches  of  mother  earth  here  in  this 
tropical  paradise.  Cutlass  and  demi- 
cannon  were  replaced  by  plowshares 
and  the  harvest  brought  years  of 
peace  and  plenty. 

Women  prayed  at  mass  before  ves- 
tal flames  of  thanksgiving,  and  once 
again  ships  sailed,  unmolested,  the 
windward  passage  of  the  Spanish 
Main. 

Today,  under  the  lazy  Caribbean 
sun,  her  peaceful  people  ply  their 
humble  trades  while  Life  moves  at 
snail's  pace  in  the  lethargy  of  lan- 
guorous days  and  mellow  nights, 
fanned  by  the  soft  zephrys  from  out 
the  equatorial  sea,  but  the  gentle 
trade  winds  that  are  born  in  these 
tropical  latitudes  often  grow  to  gigan- 
tic proportions  bringing  the  evil 
forces  and  fury  of  hurricanes  leaving 
in  their  wakes  destruction  and  shape- 
less scars  of  nature's  devastation. 
Productive  Farms 

I  was  in  Santo  Domingo  shortly 
after  the  1930  hurricane  and  the  city 
reminded  me  of  the  ruins  of  war.  But 
life  must  go  on,  and  these  Dominicans, 
despite  their  past  misery,  seemed 
happy  struggling  through  their  daily 


problems  of  existence.  Inborn  cheer- 
fulness ruled  the  smiling  visages  of 
these  undaunted  blacks,  whose  homes 
and  meagre  shelters  had  been  so 
rudely  demolished  by  the  elements. 

The  rural  countrvside  and  mountain 
slopes  of  this  island  republic  abound 
with  small  but  productive  farms  and 
world  depression  means  little  to  these 
simple-minded  folk  who  rely  on  the 
oldest  law  of  Nature  .  .  .  live  by  the 
soil.  Market  places  groan  with  rich 
fruits  and  succulent  greens  brought 
into  town  by  the  natives. 

Here  at  the  market  places  is  where 
news  and  gossip  are  hatched  from  all 
over  the  countryside  ...  as  a  matter 
of  fact  it  is  the  only  source  of  news 
and  information  that  these  humble 
blacks  can  comprehend  ...  it  is  "mar- 
ket news"  as  it  were  and  if  one  could 
but  understand  Dominican  patois  one 
could  listen  in  on  many  an  interesting 
tale  of  folk-lore  and  present  day  life 
of  birth,  death  and  taxes. 

Ancient  Bells 

The  cathedral  of  Santo  Domingo 
holds  the  most  holy  of  shrines  in  the 
Western  World.  Within  its  bleak  and 
unadorned  walls  the  pulse  of  all  Santo 
Domingo  beats  at  this  sanctified  spot, 
wherein  rests  the  mortal  remains  of 
Christopher  Columbus. 

The  bells  in  the  cathedral  tower  are 
hoary  with  age  and  have  tolled  out  the 
destinies  of  these  island  people  over 
centuries  with  melodious  intonations 
echoing  the  faith  of  the  Motherland 
from   whence  they  came. 

My  shadow  spread  before  me  as  I 
entered  the  cathedral  from  out  the 
brilliant  sunlight  and   paused   in  rev- 


erence to  the  splendor  that  greeted 
mv  eye.  I  stood  awestruck  before 
this  ecclesiastical  shrine,  this  master- 
piece of  bronze  and  marble  that  man 
has  conceived  to  commemorate  the 
indomitable  courage  of  the  immortal 
mariner.  Even  though  today  there 
may  still  exist  a  doubt  at  to  the  actu- 
ality of  Christopher  Columbus'  resting 
nlace,  this  assuredly  is  the  spot  where 
he  was  once  buried  and  the  Domini- 
cans firmly  believe  still  is. 

Historians  are  of  the  opinion  that 
after  the  death  of  Columbus  in  Spain 
in  1506  his  bones  were  brought  to 
Santo  Domingo  in  1536  along  with 
those   of   his   son,   Diego   Columbus. 

In  1796,  excavators  bringing  forth 
the  bones  of  Diego,  did  not  know  of 
the  presence  of  two  tombs  in  the 
cathedral  which  led  to  the  belief  that 
these  remains  were  those  of  Christo- 
pher Columbus,  and  they  were  sent  to 
Havana  and  later  to  Seville  for  en- 
tombment. 

Safe    From    Prying    Hands 

In  1877  it  was  found  that  the  true 
remains  of  the  illustrious  discoverer 
still  rested  under  the  cathedral  at 
Santa  Domingo,  so  at  a  cost  of  $40,000 
this  shrine  was  built  to  hold  this  sur- 
prising discovery,  and  you  will  be 
informed  by  the  Dominicans  that  be- 
yond a  shadow  of  a  doubt  here  is  the 
authentic  resting  place  of  the  great 
sailor  from  Genoa. 

Facaded  by  guarding  lions,  the  mol- 
dering  bones  are  encased  in  a  bronze 
casket  diased  with  glory  and  now  safe 
forever  from  the  prying  hands  of  man. 

The    sun    filtered    through    jeweled 
(Concluded  on  Page  18) 


Majestic  bronze  lions  guard  the  por- 
tals    of     Columbus'     Shrine     at     the 
entrance    to    the    Cathedral    of   Santo 
Domingo. 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirteen 


In  this  exquisite  sketch  may  be  seen  the  fine  Italian  hand  of  Lewis  W.  Physioc,  technical  editor  of  the 
International  Photographer.     The  beautiful  balance  and    richness    of    detail    is    characteristic    of    this    artist. 


Fourteen 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


Here   we   have   the 
Universal  people  going 
after  a  court  room  scene 
with  everything  they 
have  in  the  way  of 
cameras,  big  and  little 
lights,  and  a  mike  on  the 
end  of  a  forty-foot  boom. 
Mickey  Marigold  caught 
the  picture. 


The  camera  crane — 

carrying  also  the  director, 

newest  and  most 

startling   innovation,   is 

here  seen  in  full  action. 

Shot  for  the  Fox 

organization  by 

Anthony  Ugriu. 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Fifteen 


At  right  is  a  clutter  of 

gigantic  cameras,  mikes 

and  what  have  you,  all 

that  we  may  get  a  sweet 

little  love  scene  in  a  cozy 

corner.     Shot   by 

Alexander  Kahle. 


Perhaps    they   are  not 
making  movies  just  now, 
and  Will  is  entertaining 
the  neighborhood  kids 
between  acts.    However, 
Cliff  Maupin  was  there  or 
thereabouts  with  his  little 
camera  and  you  may  be 
sure  there  was  a  lot  of 
other  apparatus  just  out 
of  sight. 


Sixteen 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


We  always  think  of  Elmer  Dyer  as  sailing  around  in  a  plane  or  a   blimp  or  something,  or  trying  to  beat  a 
parachute   to   a  safe   landing.     But  sometimes   he  hold  \  still  lona  enough  to  spy  things  nearer  to  earth  and 

gets  all  their  beauty  into  his  box. 


March,   1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Seventeen 


HEIR 

TO  40  YEARS  OF 
FILM  EXPERIENCE 


»  »  » 


EASTMAN  Super-sensitive  "Pan" 
Negative  offers  you  all  of  the  notable 
high  quality  and  uniformity  of  other 
famous  Eastman  films.  In  addition  it 
possesses  a  group  of  qualities  that  have 
practically  revolutionized  motion  pic- 
ture procedure.  Today  in  its  gray-backed 
form  it  is  the  industry's  most  ver- 
satile negative  medium  ...  a  worthy 
heir  to  forty  years  of  film  experience. 


EASTMAN  KODAK  COMPANY 

J.  E.  BRULATOUR,  INC.,  DISTRIBUTORS 

NEW  YORK  CHICAGO  HOLLYWOOD 


Eighteen 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  19.1 3 


(Continued  from  Page  12) 
windows  in  radiant  benediction  above 
the  shrine,  while  the  hushed  prayers 
of  the  devout  mingled  with  the  vast- 
ness  of  the  cathedral  silence. 

Depicting  the  various  phases  in  the 
discovery  of  the  New  World  are  four 
bronze  tablets  directly  above  the 
bronze  crypt,  and  as  I  gazed  at  them 
my  mind  seemed  to  be  suspended  be- 
tween phantasy  and  reality  animating 
the  scenes  of  Columbus  landing  and 
blessing  the  virgin  shores  where  now 
stands  this  magnificent  shrine. 

In  the  square  fronting  the  cathedral 
stands  the  bronze  statue  of  the  in- 
trepid explorer  with  arm  raised  in 
courageous  gesture  .  .  .  the  same  ges- 
ture that  kept  alive  in  his  crew  the 
hope  and  faith  to  go  onward,  onward 
to  the  new  world  of  his  dreams. 

It  is  the  hour  of  parting,  and  as  the 
sexton  tolls  the  bells  I  take  one  last 
look  at  this  cathedral  with  all  its  old- 
world  charm  and  bid  "Adios"  to  Santo 
Domingo  .  .  .  until  we  meet  again. 

"Hasta  La  Vista." 


The  phantasy   of  Columbus  landing  and  blessing   the  spot   where  now  stands 

this  magnificent  shrine 


LOST   IN   THE   AIR 


But  the  News-Reeler  Makes  Happy  Landing-  Only 
Ten  Seconds  from  a  Crack  Up- 
Just  for  the  Public 

By  REED  N.  HAYTHORNE 

International  Photographer,  Chicago 


ON  the  memorable  day  when  Col. 
Charles  A.  Lindbergh  was  to 
land  in  Mexico  City  after  his 
non-stop  flight  from  Washington, 
Rudy  Kileman,  an  airplane  pilot,  and 
myself,  a  newsreel  cameraman,  took 
off  from  Kelly  Field  in  San  Antonio, 
Texas.  Our  final  destination  was  un- 
known to  us,  but  our  first  stop  was  to 
be  the  little  town  of  Laredo,  Texas, 
situated  on  the  Mexican  border,  and 
there  we  were  to  receive  further  or- 
ders from  my  company. 

After  taking  off  from  the  muddy 
runway  we  headed  southwest.  I  had 
a  queer  feeling  something  might  hap- 
pen, so  I  borrowed  two  parachutes 
from  Capt.  Odas  Moon,  then  of  Kelly 
Field,  and  more  recently  known  as 
one  of  the  pilots  of  the  refueling  ship 
for  the  Question  Mark  endurance 
flight. 

I  was  employed  by  one  of  the  large 
newsreel  companies  and  it  was  my 
duty  on  this  flight  personally  to  pick 
up  the  film  of  Col.  Lindberg's  landing 
in  Mexico  City.  The  film  was  to  be 
transported  to  the  border  by  plane 
and  I  was  to  take  it  from  there  to 
Fort  Worth.  In  turn  it  was  to  be  re- 
layed by  still  another  ship  to  further 
points  north  and  east. 

Neither  of  us  thought  when  we  took 
off  in  the  pouring  rain  that  the  jour- 
ney would  prove  so  hazardous.  News- 
reel    cameramen    are    optimists    and 


fatalists,  or  they  would  not  follow  this 
occupation  of  danger  and  daring.  The 
trip  to  Laredo  was  just  an  ordinary 
trip  and  uneventful  outside  of  the  mo- 
tor hood  coming  loose,  when  I  had  to 
crawl  slowly  out  and  fasten  it  down 
with  a  piece  of  wire.  We  landed  in 
Laredo  late  in  the  afternoon. 

Follow  the  River 

With  night  came  a  wire  from  my 
company  telling  me  the  film  was  to  be 
transported  as  far  as  Brownsville  and 
that  I  was  to  go  there  and  pick  it  up 
from  the  pilot  of  the  Mexican  ship 
and  that  he  was  to  land  in  Mata- 
moras  just  across  the  border  from 
Brownsville. 

Early  the  following  morning  we 
were  in  the  air  on  our  way  to  Browns- 
ville. It  was  foggy  and  several  times 
we  found  ourselves  over  the  border 
on  the  Mexican  side.  We  were  not 
following  a  compass  course,  but  just 
the  course  of  the  Rio  Grande  River, 
which  was  visible  only  at  intervals 
through  holes  that  appeared  in  the 
fog.  We  landed  in  Brownsville  near 
noon. 

There  I  found  my  strongest  com- 
petitor also  with  his  plane.  He  had 
already  crossed  the  border  and  was 
awaiting  the  arrival  of  the  Mexican 
plane  that  was  to  carry  the  films  thus 
far  for  his  company.  I  could  see  at 
once  this  was  going  to  be  a  race  as 


to  which  one  would  get  his  film  first 
to  the  home  office  in  New  York,  there- 
by "scooping"  the  other  in  getting  it 
on  the  screen  first.  It  was  a  case  of 
pitting  wits,  and  my  ship  was  inferior 
to  his. 

Upon  arriving  at  the  landing  field 
in  Matamoras  I  found  my  competi- 
tor with  a  reception  committee  await- 
ing the  arrival  of  the  Mexican  ship. 
To  disrupt  matters  a  bit  my  competi- 
tor advised  me  that  his  company  had 
purchased  the  exclusive  rights  to  the 
ship  to  carry  the  film  for  his  company 
only.  He  added  that  they  had  put 
over  a  fast  one  on  me  in  doing  so. 
Feeling  very  downhearted  after  hear- 
ing this  information  I  just  waited  to 
see  the  outcome. 

Twelve  o'clock  came  and  everyone 
was  getting  a  little  uneasy. 

Twelve  forty-five — we  all  jumped 
as  we  heard  the  faint  drone  of  a  mo- 
tor. 

Daily    Deed 

At  1  o'clock  sharp  the  Mexican  ship 
was  seen  to  circle  the  field  and  land. 
It  taxied  up  to  us  and  my  competitor 
asked  if  I  would  shoot  a  little  film  of 
him  as  he  received  the  valuable  packet 
which  contained  the  picture  of  Col. 
Lindberg's  landing  in  Mexico  City. 
This  I  did  out  of  pure  sportsmanship. 

After  performing  this  kindly  deed 
I  sat  down  on  the  running  board  of  a 
nearby  automobile  in  a  very  disap- 
pointed mood.  After  all  persons  had 
left  the  field  and  I  was  sitting  there 
thinking  of  the  severe  call-down  I  was 
to  get  from  my  company  the  pilot  of 
the  Mexican  ship  approached  me  and 
casually  asked  my  name.  I  answered 
and  you  can  imagine  my  feelings 
when  he  advised  that  he  had  a  pack- 
age for  me. 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Nineteen 


Upon  sight  of  the  package  I  seemed 
to  get  new  life,  as  this  was  the  one 
thing  for  which  I  was  there  and  by 
the  shape  and  size  I  was  assured  that 
this  was  IT. 

I  didn't  even  stop  to  thank  the  pilot 
nor  ask  him  how  it  happened  that  he 
came  in  possession  of  the  film.  The 
only  thing  I  had  in  and  on  my  mind 
was  to  get  to  my  ship  as  soon  as  pos- 
sible and  get  on  my  way  toward  Fort 
Worth. 

Rudy  already  had  started  the  mo- 
tor and  upon  sight  of  me  was  in  the 
cockpit  and  ready  to  go.  A  very  lit- 
tle conversation  passed  between  us, 
but  I  learned  my  competitor  had 
taken  off  fifteen  minutes  previous.  It 
took  us  only  a  fraction  of  a  minute 
to  get  into  the  air  and  on  our  famous 
journey  and  race. 

The  wind  was  coming  out  of  the 
north  at  a  considerable  clip,  and  this 
of  course  cut  down  our  speed.  Our 
first  stop  was  at  San  Antonio,  land- 
ing at  Winburn  Field,  where  we  left 
orders  that  the  ship  be  fully  serviced, 
and  then  went  to  get  some  supper. 

While  we  were  eating  the  wind 
gained  in  velocity  until  it  became  lit- 
tle less  than  a  raging  gale.  It  took 
me  until  6:45  to  make  a  decision  that 
we  should  continue  our  flight.  When 
Rudy  was  informed  of  this  I  thought 
it  was  going  to  take  the  entire  police 
force  to  make  him  even  consider  it. 

Chill  Inside  and  Out 

After  he  consented  we  lost  no  time 
in  getting  to  the  field  and  taking  off 
on  the  last  part  of  our  journey  to  Fort 
Worth.  It  had  suddenly  become  very 
cold  and  Rudy  had  added  to  his  cloth- 
ing for  warmth.  The  sun  had  long 
since  gone  down  and  it  was  7  o'clock 
exactly  when  we  were  in  the  air  and 
over  the  city  of  San  Antonio  with  all 
of  its  lights  already  on. 

The  people  were  just  beginning  to 
enjoy  the  shows  and  dances  for  the 
evening  and  here  we  were  a  long  dis- 
tance in  the  air,  the  cold  and  dark- 
ness, far  from  enjoying  ourselves.  As 
for  myself  I  had  borrowed  a  quilt  to 
keep  warm.  I  was  dressed  in  a  flan- 
nel shirt,  a  suede  jacket,  a  sheepskin 
lined  coat,  my  parachute  over  this  and 
then  wrapped  in  the  heavy  quilt,  but 
with  the  propeller  blast  and  my  nerves 
on  end  I  was  far  from  being  warm. 

Climbing  to  an  altitude  which  I 
judge  was  near  the  six-thousand-foot 
mark  Rudy  motioned  that  he  would 
like  to  speak  to  me.  After  this  short 
conversation  I  understood  why  it  was 
that  he  was  not  very  anxious  to  fly 
after  dark.  His  instruments  were  not 
illuminated  and  he  would  have  to  fly 
entirely  by  sight  with  fuel  enough  for 
only  five  hours. 

It  was  approximately  three  hundred 
miles  distant  to  Fort  Worth,  and  with 
a  forty-mile-an-hour  head  wind  the 
maximum  95-mile  speed  of  the  ship 
in  favorable  conditions  made  the 
flight  a  precarious  one.  All  of  this 
went  through  my  mind  and  the  trip 
became  a  miserable  attempt  at  sui- 
cide. I  thanked  Captain  Odas  Moon 
for  the  loan  of  the  parachutes;  at 
least  they  were  a  little  consolation. 

Rudy  informed  me  he  was  flying 
with  plenty  of  altitude  so  the  chutes 
would  have  ample  time  to  work  if  we 
had  to  jump.   This  was  indeed  a  pleas- 


ant thought.  We  were  in  the  air  for 
several  hours  and  I  was  no  less  than 
one  degree  from  freezing  when  that 
same  side  of  the  hood  again  came 
loose  and  started  flapping  as  before. 

Fight  to  Keep  Warm 

This  time  I  unwound  myself  from 
my  quilt  and  started  on  my  perilous 
way  to  the  front  of  the  motor.  Upon 
reaching  there  I  found  there  was  no 
more  wire  with  which  to  fasten  it 
down.  Of  course  this  was  a  most  en- 
joyable predicament,  and  after  a  con- 
sultation with  Rudy  I  decided  to  make 
the  best  of  it  by  sitting  with  my  back 
resting  against  the  V-shaped  strutts 
and  placing  one  foot  on  either  side  of 
the  hood  in  order  to  keep  it  from  flap- 
ping to  pieces,  possibly  severing  itself 
from  the  ship,  blowing  back  and  in- 
juring some  vital  part  of  the  controls 
of  the  tail  section. 

It  wasn't  long  before  this  grew  old 
and  I  was  almost  numb  from  the  cold, 
so  I  made  my  way  slowly  back  to  the 
cockpit.  When  it  was  reached  it  was 
as  welcome  as  an  oasis  in  the  desert. 
This  time  I  was  a  little  more  uneasy, 
so  did  not  sit  as  a  person  ordinarily 
would,  but  wrapped  in  my  quilt  I 
squatted  in  the  seat  with  my  feet  un- 
der me  just  as  a  monkey  would. 

I  sat  there  nearly  crazed  from  the 
terrible,  monotonous,  deafening  drone 
of  the  motor,  watching  the  hood  flap 
up  and  down,  ducking  my  head  for 
fear  the  hood  would  at  any  minute 
come  flying  back  and  possibly  hit  me, 


or  with  its  force  cut  out  some  of  the 
controls   of  the   ship. 

If  this  happened  it  would  mean  only 
one  alternative — jump!  All  of  these 
thoughts  that  were  congested  in  my 
head  made  the  trip  most  pleasant.  My 
thoughts  turned  to  those  below  and 
looking  down  I  saw  lights  of  many 
towns.  Then  I  meditated  on  the  en- 
joyment and  contentment  that  reigned 
there;  how  lucky  those  people  were. 

I  ducked  my  head  again  as  the  hood 
made  a  tremendous  noise  in  its  flap- 
ping. I  was  sure  that  this  time  it 
would  succeed  in  coming  loose;  my 
hand  went  to  the  ring  of  the  rip  cord, 
I  was  rigid  waiting  for  the  crucial 
moment  when  I  would  get  the  chance 
to  pull  that  little  ring  and  end  all  the 
agony. 

The  film — I  should  do  something 
with  it  in  order  not  to  lose  it.  I  un- 
buttoned my  sheepskin  coat,  placed  it 
inside,  strapping  it  to  me  by  means 
of  my  belt.  Having  done  this  I  felt 
a  little  better.  The  flapping  ceased 
for  a  short  interval. 

All  Towns  Look  Alike 

Looking  back  at  Rudy  I  could  see 
he  wished  to  say  something.  Upon 
leaning  back  to  listen  he  merely  asked 
me  the  time.  I  replied  that  we  had 
been  in  the  air  four  hours  and  fifteen 
minutes.  No  answer  from  Rudy. 
Glancing  down  toward  the  ground  I 
found,  much  to  my  surprise,  that  I 
could  count  the  lights  of  twenty-one 
towns. 

(Continued  on  Page  22) 


yjJHO 
UJfinT  A  GOOD 
R6VeRSIBL€  FILITl 
■FOR  THEIR, 
16  mm.  CflmeRfl 


Less  COST 

uje  weserrr 


incLuome 
wcessinG 


100  FT. 


Fine  GRriiri  m 
cine  Fii_m 


50  ft. 


A  fine  grain  amateur  film  with  ample  speed,  good  latitude, 
and  splendid  contrast.     Processed  in  our  own  plant  with 

one  day  service. 

//  Your  Dealer  Cannot  Supply — Write  Us 

Pellex  Film  Company 


6058  SUNSET  BLVD. 


HOLLYWOOD,  CALIFORNIA 


Twenty 


The     INTERNATIONAL     PHOTOGRAPHER 


March,   19-13 


EASTMAN 
FILMS 


B  RU L  ATOl 


WHAT'S    WHAT! 


Published  Monthly  by  J.  E.  Brulatour,  Inc.,  Distributors,  I 


DEPRESSION    IN    A   FADE-OUT 


Camerman  Sets  New  Record — Photographs  Four 
Features  in  Shortest  Month 


ANEW  all-time  record,  we  believe,  is  set-up  by  Ernie  Miller, 
chief  cameraman  for  Fanchon  Royer  Productions,  who, 
during  the  month  of  February,  completed  three  feature 
productions  of  six  and  seven  reels  for  Fanchon  Royer  Produc- 
tions, and  got  well  under  way  on  his  fourth,  a  serial  for  Nat 
Levine,  "The  Three  Musketeers." 

Pictures  completed  for  his* 
producers  contract  are  "Her  Re- 
Sale  Value,"  "Velvet  Vultures" 
and  a  Spanish  production  fea- 
turing Jose  Crespo,  "The  Sec- 
rets of  Monte  Carlo."  On 
"Musketeers"  Miller  had  com- 
pleted episodes  sufficient  in  fi- 
nal cut  footage  to  credit  him 
with  another  full  length  fea- 
ture completed  within  the 
month,  and  the  shortest  month 
of  the  year  at  that. 

All  the  foregoing  is  in  itself 
quite  interesting,  but  it  is  real- 
ly very  important,  especially  to 
the  producers,  who  realize  and 
appreciate  the  value  and  sav- 
ing of  a  cameraman,  who  turns 
out  his  work  with  snap  and 
precision  without  sacrificing  ex- 
cellent  quality. 

Miller  was  seconded  in  most 
of  this  achievement  by  Reggie 
Lyons,  and  assisted  by  Joe  Lyke 
and  Monty  Steadman.  This  is 
a  great  crew,  and  with  the  ac- 
complishment of  this  record  you 
can  quite  appreciate  the  highly 
complimentary  remarks  which 
were  made  to  us  by  the  official 
heads  of  the  production  com- 
panies for  whom  the  pictures 
were  made. 


M.G.M. 


HAL  ROSSON  is  photographing 
"Man  of  the  Nile",  starring  Ramon 
Novarro  and  directed  hy  Sam  Wood. 
Rosson  is  seconded  by  Les  White  and 
assisted   by   H.    Parkins. 

"Hell  Below"  ("Pig  Boats"),  recent- 
ly completed  by  Rosson  is  now  on  the 
release  schedule  at  the  laboratories, 
and  promises  to  bring  new  honors  to 
this    cameraman. 

OLLIE  MARSH  finished  production 
on  "Turn  About"  with  Joan  Crawford, 
and  immediately  entered  into  "Service", 
Clarence  Brown's  new  production  for 
M.G.M.  Marsh  is  seconded  by  Eddie 
Fitzgerald  and  assisted  by  Kyme  Meade. 

NORBERT  BRODINE  started  pro- 
duction of  "Made  on  Broadway"  under 
the  direction  of  Harry  J.  Beaumont. 
Second  is  Reggie  Lanning,  J.  Ivey, 
assistant. 

PEV  MARLEY  has  finished  the  Todd 
Browning  production,  "Rivets"  and  is 
taking  a  short  vacation  until  his  next 
assignment   is   made. 

CLYDE  DE  VINNA  in  his  last  note 
to  us  says  they  are  about  to  resume 
production    activities    as    the    long    Arc- 


tic night  is  drawing  to  a  close.  De 
Vinna  writes  some  very  interesting 
letters,  but  we  can't  understand  why 
he  neglects  to  tell  us  how  he  spent  the 
long  nights  in  Alaska.  Maybe  its  none 
of  our  business,  but  anyway  we  can't 
imagine  any  guy  (even  DeVinna)  sit- 
ting up  all  night  with  a  shortwave 
radio  set  ( when  the  nights  are  six 
months   long!. 

CHARLE  CLARKE  continues  to  leap 
about  on  special  tough  assignments  for 
the  M.G.M.  productions.  Meantime, 
according  to  the  big  chiefs  at  the 
Culver  City  plant,  Charley  is  turning 
in    some    swell    material. 

LEN  SMITH  returned  from  a  spe- 
cial assignment  in  San  Francisco  just 
in  time  to  drive  to  Caliente  for  the 
motion  picture  tournament  (reported 
elsewhere    in    these    pages). 


RKO 

EDDIE  CRONJAGER  is  the  head 
man  of  the  camera  crew  on  the  Wheel- 
er and  Woolsey  picture,  "In  the  Red." 
That  title  seems  to  apply  to  all  of  us 
these  days  .  .  .  Helping  Eddie  are 
Harry  Wild  and  Bob  de  Grasse,  as  sec- 
onds, and  Charley  Burke  and  George 
Diskant,   assistants. 

JACK  MACKENZIE,  the  crafty  Scot, 
upholds  the  traditions  of  his  national- 
ity— when  there  are  no  feature  pictures 
available  here  he  grabs  a  couple  of 
comedies  and  draws  first  cameraman's 
salary,  while  at  the  same  time  gets  a 
lot  of  laughs,  doing  one  of  the  "Head- 
liner"  series.  Eddie  Pyle  and  Frank 
Redman  as  seconds,  and  Charley  Burke 
and  Harold  Wellman,  assistants.  On 
the  Harry  Sweet  comedy.  "Shakespeare 
with  Tin  Ears",  he  had  Eddie  Pyle  and 
Eddie  Henderson  as  seconds,  and  again 
Charley  Burke  and  Harold  Wellman, 
assistants. 

ROY  HUNT  shot  the  first  few  E'y 
Culbertson  bridge  series  and  got  the 
real  lowdown  from  the  master  himself. 
Now  Mrs.  Roy  Hunt  is  busy  out  at 
Canoga  Park  ;  all  the  ladies  are  invit- 
ing her  to  their  bridge  parties  hoping 
to  get  some  inside  "info."  The  second 
cameraman  with  Rov  was  Joe  Biroc, 
and  Jimmy  Daily  took  good  care  of  the 
assisting. 

CHARLES  ROSHER  has  been  as- 
signed to  photograph  the  forthcoming 
Irene  Dunn  picture  scheduled  to  go 
into  production   at  any  day  now. 

NICK  MUSURACA  finished  his  West- 
ern picture  with  Tom  Keene,  "Son  of 
the  Border",  and  then  he  shot  the 
Culbertson  No.  3.  Nick's  crew  con- 
sisted of  Hai-rv  Wild  at  the  camera 
and  Willard  Barth  and  Dick  Davol, 
assistants. 

VERNE  WALKER,  in  charge  of  the 
transparencies  and  special  effects  de- 
partments, returned  from  Wrightwood, 
where  he  and  J.  O.  Taylor  were  shoot- 
ing backgrounds  for  John  Cromwell's 
forthcoming    feature    for    RKO    release. 


PICTURE     GOLF 
TOURNAMENT 


Caliente  Attracts  Hundreds — 

Many  Cameramen  Enter 

Contest 


The  last  week-end  in  February 
brought  the  annual  Divot  Diggers 
Golf  Tournament  to  Agua  Caliente. 
Several  hundred  disciples  of  the  Tee 
and  Fairways  journeyed  south  to 
participate  in  the  big  party.  We 
were  among  those  present,  but  will 
dismiss  a  report  of  our  own  per- 
formance by  candidly  admitting 
failure  in  our  attempt  to  bribe  the 
official    score-keeper. 

Time  and  space  prohibits  a  listing 
of  the  names  from  the  camera  craft 
whom  we  met  on  the  fairways  (and 
at  other  more  interesting  places! 
at  this  popular  resort,  which  is  be- 
ing brought  back  to  deserved  pop- 
ularity   by    Mr.    Joseph    M.    Schenck. 

Thinking  out  loud,  we  form  a 
mental  picture  of  Len  Smith  stand- 
ing beside  us  at  a  roulette  table 
the  night  before  the  tournament 
opened,  and  as  Len  watched  the 
little  white  ball  on  every  spin  of 
the  wheel,  he  casually  turned  to  us 
and  remarked,  "It  goes  down  every 
time — it    never    misses    the    cup." 

Evidently  Len  carried  this  thought 
with  him  when  he  played  his  game 
the  following  day,  because  after 
starting  Number  1  with  a  seven, 
Number  1  with  a  six  and  Number 
3  with  a  seven,  he  finally  came 
through  at  the  18th  with  a  medal 
score  so  very  low  in  the  eighties 
that  it  was  necessary  to  rush  us 
across  the  patio  at  the  clubhouse 
for  an  immediate  stimulant.  And 
just  as  we  were  hoisting  our  glasses 
of  iced  tea.  there  drifted  to  us 
from  a  group  at  a  near-by  table 
in  post  mortem  discussion,  "It 
goes  down  every  time — it  never 
misses       the       cup."  Whereupon, 

(thinking  of  our  own  game)  we  im- 
mediately   choked    to    death. 


Paramount 


Lackey    At    Metropolitan 

William  Lackey  Productions  ( Mono- 
gram I  have  taken  space  at  the  Metro- 
politan Studios,  where  they  are  pro- 
ducing "False  Front".  GILBERT  WAR- 
RENTON,  who  has  completed  his  third 
consecutive  production  for  Paramount, 
temporarily  leaves  the  latter  plant  to 
take  over  the  cameras  for  Mr.  Lackey 
on    this    Monogram    feature. 


Educational   Studios 

DWIGHT  WARREN,  who  has  been 
the  chief  cameraman  for  Educational 
for  many  years,  turned  out  several 
comedies  at  the  Educational  plant  dur- 
ing the  past  month,  and  is  scheduled 
to  continue  his  fast  program  through 
March    and    April. 


Foy  Resumes 

Bryan  Foy  Studios  in  Culver  City 
have  been  rather  slow  during  the  past 
month,  confining  their  production  ac- 
tivities to  turning  out  a  couple  of 
shorts.  However,  they  go  into  March 
starting  another  feature  production  for 
Columbia  release,  and  have  handed  the 
photographic  assignment  to  JOE  VAL- 
ENTINE. 


ERNIE     HALLER     is     photog!  j 
Peggy   Joyce   in    "International  i 
which     Eddie     Sutherland     is    di 
Haller's  staff  is  Guy  Newhardt  a  I 
Bennett,    seconds;    Eli    Frederic  a 
Tommy    Morris,    assistants. 

DAVE  ABEL  has  finished  "P 
and  is  looking  up  boat  and  train 
ules  for  a  well-earned  vacatio 
Ernie  Lazlo  and  Jimmy  Kir 
crew,  are  standing  by  for  a  ca 
Virg   Miller  or   Mel   Stamper. 

VIC  MILNER  is  photographin 
lene  Dietrich  in  "Song  of  I 
which  Mamoulian  is  directing 
second  cameramen  are  Bill  Mel! 
Frank  Titus,  while  the  assistai 
Guy    Roe   and   Bob    Rhea. 

CHARLE  LANG  is  shootir 
Maurice  Chevalier  picture,  "A  I 
Story",  Norman  Taurog  is  the  d 
Lang's  crew  are  Bob  Pittack  ar 
Pierce,  seconds,  and  Cliff  Shirps 
Paul   Cable,   assistants. 

ARCHIE  STOUT  is  under  the 
er :  he  had  only  a  couple  of  < 
go  to  finish  the  picture.  "Unc 
Tonto  Rim",  when  the  "flu" 
him  plenty.  Big  BEN  REY1 
was  called  in  to  finish  the  pictui 
kept  up  the  high  standard  i 
Archie.  Russ  Harlan  and  Boh 
were  assisting  Archie,  and  Be 
Buddy  Williams  as  second,  and 
rop    Worth,    assistant. 

The  Charles  Rogers  unit  hi 
pictures  in  production  here,  M 
KRASNER  on  his  second  featur 
first  cameraman,  shooting  "B 
lows",  with  Harry  Joe  Brown 
megaphone.  Harry  Hallenber: 
very  ably  operating  the  earner 
Irving  Glassberg  and  Leo  Hugh 
doing    the    assisting. 

HENRY  SHARP  draws  a  sw 
signment  this  month  .  .  .  the  s 
all  about  Beer,  so  naturally  the 
to  go  to  a  real  brewery  to  sho 
thentic  scenes.  Henry  had  no 
getting  the  acceptance  of  1 
Mayer  as  second  and  Lloyd  Ahe' 
Johnny  Eckert  as  assistants. 
Murphy    is    directing    the   picture 

ARTHUR  MARTINELLI  is 
graphing  the  Halperin  Brothei 
ture,  "Supernatural",  which 
Paramount  release.  Victor  H 
is  directing.  Jocky  Feindell  an 
Eslick  are  the  second  came 
while  Eddie  Adams  and  Al  i 
are   the  assistants. 

FARCIOT  EDOUART,  in  cha 
the  transparencies  department,  a 
associates,  Dewey  Wrigley, 
Griggs.  Al  Meyers  and  Harold  W 
have  been  doing  some  excellent 
ground  work  on  "King  of  the  Ji 
"A  Bedtime  Story",  "Intern;' 
House",  and  now  are  laying  pla' 
the  most  intricate  work  they  hav 
been  called  upon  to  do,  which  \ 
in  the  forthcoming  production. 
Eagle  and  the  Hawk",  obvious 
air    epic. 

GORDON  JENNINGS,  in  cha 
the  miniature  department  here.  I 
turned  from  Mexico,  w*here  he  a 
brother,  Dev.  were  photogr; 
scenes  for  some  special  sequenced 
Paramount  feature.  Dev,  by  thij 
has  been  here  in  this  departme 
about  eight  or  nine  months  doin; 
nicely. 

We  bet  you   didn't  know  that  . 
Moore,    that    alert    young    fella 
Paramount     camera     department.1 
the       California      State      Champi 
several   years    ago — ukelele  playei 


; 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-one 


BULLETIN 


EASTMAN 
FILMS 


so  rnflyra- 


ijns,  in  Cooperation  with  The  International  Photographer 


WHO'S    WHO! 


Columbia 

i^KLINE  has  returned  from 
una.  location  where  scenes 
iffior  "Sahara",  story  of  the 
, (.hich  is  directed  by  Irvine 
:i|  Associated  with  Kline  in 
ime  very  unusual  and  artis- 
j'ere  F.  M.  Brown,  second, 
dJDawson     and     Jack     Russell 

IlKER  has  finished  "Be- 
;  eas".  Joe  was  called  upon 
kjof  those  next  to  impossible 
lis  aquatic  feature  and,   good 

ihat  he  is,  came  through 
ecrand  underwater  stuff.  Of 
elad  to  have  some  assistance, 
I    ably     rendered     by     Andre 

|  second,   and   George    Kelley 

bbey,    assistants. 
riTETZLAFF     finished      "The 

liar",  which  George  Seitz 
sfl  started  right  off  on  an- 
te which  Ross  Lederman  is 
i  Soldiers  of  the  Storm."  On 
tile  Liar"  Teddy  had  F.  M. 
aj  Anderson  and  Jack  Russell 
Barkers,  and  on  "Soldiers  of 
nt  we  saw  Henry  Freulich 
u  artistic  ability  while  oper- 
I  amera  ;  and  Jack  Anderson 
BfValsh  taking  good  care  of 
tfe  end  of  the  camera  staff. 
BUST  has  just  completed  a 
Siing   picture,    "Circus    Queen 

iich  Roy  Neil  directed.  Op- 
h  camera  was  Vic  Scheurich 
i.^nd  Marcel  Grand  and  Al 
silthe  assistants. 
ELER  is  on  his  third  assign- 
on  quick  succession,  "Grass 
nth  Lambert  Hillyer  as  di- 
AHre  Barlatier,  second  cam- 
ffiby  Tobey  and   Don  Brigham 

instants. 

■rcr-First   National 
1    Studios 

>MTO  did  such  a  fine  job 
Big  the  big  musical  special 
Hid  Street"  that  the  studio 
il1  him  right  back  on  another 
"i>ld  Diggers  of  1933,"  which 
I;  Roy  is  directing.  Mike 
Siond   cameraman    and    Speed 

instant. 

j  icGILL  is  in  bad  company 
shooting    Jimmy    Cagney    in 

Jjhool",  which  Archie  Mayo 
ni[  The  second  cameraman  is 
Giene  and  the  assistant,  Wm. 

j  i  AN  TREES  just  finished 
iȣhatterton  picture.  "Lilly 
Th  Bill  Wellman  directing, 
■w  was  Lou  Jennings  at 
n  Jimmy   Van   Trees.    Jr.,   as- 

AUDIO  is  smiling  these 
a  an  assignment  to  his  lik- 
"arrow  Corners",  starring 
ittnks,  Jr.,  with  Alf  Green 
I  Al  Green  is  the  second 
anand  he  is  not  related  to 
tc  Carl  Guthrie  is  the  as- 
Ty  already  has  his  next  as- 
>d  that,  too,  is  a  "photo- 
Ul  i",   George    Arliss    in    "Vol- 

J.  TODD  now  terms  himself 
ti  cameraman,  having  photo- 
Ji  E,  Brown  in  a  baseball 
leow  is  photographing  Bobby 
oc  lg  golf.  Frank  Kesson  is 
id  ameraman,  Vernon  Larson 
ta 

ICOX  is  waiting  for  his  next 
nto  get  under  way.  a  Kay 
P  ure     which     Lloyd     Bacon 


Prison    Photographer 

Learns  About  Eastman 

Supersensitive 

CHICAGO,  March  4.-  Jack  Bar- 
nett,  roving  cameraman  for  Chica- 
go Daily  News  Universal  News 
Reel,  tells  an  interesting  bit  of 
news  that  occurred  while  on  an 
assignment   in   Atlanta.   Georgia. 

Barnett.  while  in  the  South  on 
several  assignments,  received  a  dash 
from  Charlie  Ford  to  cover  a  prison 
break.  Jack  chartered  an  airplane 
—  flew  over  the  prison — secured  se\- 
eral  air  views  of  the  fugitives  at- 
tempting  escape  through   the   woods 

landed  the  plane  on  the  state 
highway  paralleling  the  prison  wall 
— set  up  his  camera  and  photo- 
graphed the  juncture  at  which  the 
break    occurred. 

A  complete  story — a  scoop — and 
what  a  break  for  me.  mused  Jack. 
But  he  had  made  one  mistake — one 
leg  of  his  tripod  had  been  placed 
on  prison  property — and  the  guards 
ushered  him  into  the  prison  with 
his  complete  camera  equipment  .  .  . 
claiming  confiscation  of  the  photo- 
graphed  negative. 

Instructed  to  develop  a  test  strip 
of  the  exposed  negative  in  the 
presence  of  the  prison  photographer, 
Jack  finally  succeeded  in  convincing 
him  (by  showing  him  the  Super 
Pan  label  on  an  Eastman  carton) 
the  film  had  to  be  handled  in  total 
darkness.  While  the  inmate  pho- 
tographer was  developing  the  test — 
in  total  darkness — Barnett  succeed- 
ed in  transferring  the  exposed  and 
unexposed  negatives.  Given  an  un- 
conditional release,  he  sauntered 
out  of  the  prison  gates  to  his  wait- 
ing plane,  still  in  possession  of  his 
exposed  negative ;  leaving  the  pris- 
on photographer  the  possessor  of 
several  hundred  feet  of  unexposed 
stock. 


will  direct.  Miss  Francis  requested  Sid 
as  her  cameraman  on  this  one.  Asso- 
ciated with  him  are  Tommy  Branigan 
and    Wesley    Anderson. 

MILTON  COHEN,  in  charge  of  the 
camera  department,  says  it's  another 
Mr.  and  Mrs.  Milton  Cohen  whom  a 
local  movie  columist  referred  to  re- 
garding  a   blessed   event. 

FRED  JACKMAN,  in  charge  of  the 
Special  Effects  and  Projection  Back- 
ground Department,  has  been  at  Cata- 
lina  Isthmus  shooting  backgrounds  for 
several  Warner  Brothers  pictures.  With 
him  were  Bun  Haskins  and  Fred  Jack- 
man,  Jr.  While  on  Stage  Five  at 
Warner's  Burbank  Studio  REX  WIM- 
PY, HANS  KOENEKAMP,  Willard 
Van  Enger.  Russ  Collings  and  Ted 
Landon  carry  on  during  Jackman's  ab- 
sence. 

Hal    Roach    Studios 

The  Hal  Roach  plant  has  been  going 
at  full  capacity  during  the  month  of 
February  on  "Fra  Diavolo",  the  comic 
opera  featuring  Laurel  &  Hardy — (we 
can  imagine  it  being  comic,  but  by  no 
stretch  of  the  imagination  can  we — 
well,  never  mind  I.  However,  Dennis 
King  has  the  major  vocal  roll  in  the 
production,  and  certainly  we  would  not 
presume  to  take  anything  away  from 
Mr.  King  because  we've  always  been 
an  appreciative  audience  for  him.  Two 
units  have  been  working  on  this  pro- 
duction, ART  LLO'YD  at  the  cameras  on 
Unit  No.  1,  and  HAP  DEPEW  pho- 
tographing   No.    2.      Depew    is    at    this 


EDW.  SMALL  STARTS  AT  U.  A. 


"Waterfront"  Photographic  Achievement  for  Ray  June 
Unusual  Atmospheric  Shots  Are  Sensational 


Fox  Studios 


LOUIS  O'CONNELL  has  completed 
work  on  the  McFadden  production, 
"Trick  for  Trick",  and  is  standing  by 
for    the    next   assignment. 

LEE  GARMES  has  completed  the 
first  Jesse  Lasky  production  for  Fox 
release,  "Zoo  in  Budapesth".  Garmes 
has  been  assigned  to  the  Lilian  Har- 
vey picture  which  is  to  be  directed  by 
Jack  Blystone,  and  is  scheduled  to 
start   any    minute. 

JOHN  SEITZ  is  in  production  on 
"Adorable",  with  Janet  Gaynor  under 
the  direction  of  William  Dieterle.  Seitz 
is  seconded  by  Joe  McDonald  and  as- 
sisted  by    L.    Molino   and   E.    Collins. 

GEORGE  SCHNEIDERMAN  is  work- 
ing with  Director  Jack  Ford  on  "Pil- 
grimage". Schneiderman  is  seconded 
by  Curt  Fetters  and  assisted  by  J. 
Gordon  and   L.    Kunkel. 

Movietone  City  plant  has  two  orig- 
inal Spanish  stories  in  work.  "Roman- 
tic Widow",  directed  by  Lou  King,  is 
being  photographed  by  BOB  PLANCK. 
Planck  is  seconded  by  A.  Arling  and 
assisted  by  J.  Farley  and  H.  C.  Smith. 
"Forbidden  Melody"  is  directed  by 
Strayer  and  photographed  by  HARRY 
JACKSON,  who  is  seconded  by  J. 
Greenhalgh   and   assisted   by    R.    Hoover. 

HAL  MOHR  is  winding  up  photog- 
raphy on  the  second  Lasky  production. 
"Warrior's  Husband"  with  Elissa  Lan- 
di.  This  is  a  travesty  which  promises 
thousands  of  laughs,  and  if  that  prom- 
ise is  made  good,  the  answer  at  the 
box  office  is  simple.  Mohr  is  as  usual 
seconded  by  Bill  Skall  and  Irving  Ros- 
enberg, and  assisted  by  B.  Mantino 
and    R.    Surtees. 

ERNIE  PALMER  has  been  assigned 
to  the  next  David  Butler  picture  .  .  . 
starting   date   not   definitely   set. 

ARTIE  MILLER  has  completed  the 
picture  with  Raoul  Walsh,  and  is  at 
present  working  on  additional  scenes 
for  Von  Stroheim's  "Walking  Down 
Broadway". 


EDWARD    SMALL,   who    has   written   some    important    pages 
in   the   history   of   motion  picture    production,    has    launched 
his    initial    picture    "I    Cover    the    Waterfront"    for    United 
Artists.      Months    of   preparation    were    given    to    the    story    and 
many  weeks   to  the  selection  of  cast  and   technical   staff.      Mr. 
Small's  program  for  United   Artists   is  both  important  and   am- 

•frbitious.  "Waterfront"  was  on 
of  the  best  sellers  of  1932  and 
was  written  by  a  reporter  on 
one  of  the  San  Diego,  Califor- 
nia, papers.  Immediately  fol- 
lowing- completion  of  this  pro- 
duction Mr.  Small  is  preparing 
to   start   "Shanghai   Gesture." 

The  story  of  "Waterfront" 
has  for  its  locale  the  immediate 
vicinity  of  San  Diego,  as  the 
name  implies,  along  the  water- 
front. Its  atmospheric  demands 
call  for  everything  any  camera- 
man could  possibly  have  in  his 
bag  of  tricks,  and  Ray  June  has 
come  through  delightfully.  We 
have  been  privileged  to  sit  in 
with  this  cameraman  during  the 
projection  of  many  of  his  dail- 
ies, and  right  at  this  point  we'd 
like  to  pause  just  long  enough 
to  hand  a  bouquet  of  compli- 
ments to  the  technical  staff  at 
the  Consolidated  Laboratories, 
where  the  processing  is  being 
done  for  Mr.  June  and  United 
Artists.  June  has  brought  the 
picture  to  the  film  and  the  Con- 
solidated boys  have  brought  it 
to  the  screen,  faithfully  and 
with  charming  simplicity.  June's 
photographic  recordings  are 
worthy  of  the  nicest  things  that 
we  or  anyone  else  can  say  about 
them.  They  deserve  special 
praise  and  we  are  sincerely  glad 
to  add  ours  for  whatever  they 
may  be  worth.  His  work  shows 
much  thought  and  care,  which 
is  reflected  in  every  single 
scene,  and  it  is  quite  evident 
that  he  has  tried  to  make  every 
shot  the  outstanding  photo- 
graphic incident  or  feature  of 
his    production. 

Associated  with  June  is  Stew- 
art Thompson  operating  the 
camera,  with  Hal  Carney  and 
Ellis   Carter  assisting. 

HARRY  PERRY  was  as- 
signed to  a  second  unit  for  some 
special  work,  and  turned  in  re- 
sults harmonizing  pleasantly 
with  the  general  key  attained 
by  June.  Associated  with  Perry 
on  the  second  unit  was  Jimmy 
Hackett. 


on    one    of    the    Pitts- 


minute    working 
Todd   comedies. 

WALTER  LUNDIN  is  busy  taking 
care  of  the  photography  on  one  of  the 
Taxicab  Boys  comedies  and  will  doubt- 
less draw  a  new  assignment  immediate- 
ly  this    one   is    completed. 

LEN  POWERS,  who  has  been  work- 
ing with  Warren  Doane  at  Universal 
for  the  past  few  months,  has  returned 
to  the  Roach  lot,  where  he  photo- 
graphed a  Charley  Chase  comedy  un- 
der the  direction   of  Carl   Harbough. 

CHARLIE  LEVIN  (the  old  maestro 
of  the  laboratory)  has  stood  up  nicely 
under  the  unusual  rush,  and  screen  re- 
sults have  been  perfectly  grand.  Of 
course,  it  is  scarcely  necessary  to  say 
that  when  you  consider  the  camera- 
men who  are  responsible  for  the  work 
— always  with  Eastman  Supersensitive 
Panchromatic  Negative. 


Twenty-two 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


NEW  DOLLY 

Left — Phil  Goldstone's  Low  Dolly,  built  for  Majestic  Pictures.      Cameraman,    Ira    Morgan;    Assistant,    Harry    Marsh. 
Right — Dolly  in  position  for  low  angle    shots.     Photographed  by  Art  Marion. 


LOST  IN  THE  AIR 

(Continued  from  Page  19) 

This  was  puzzling-  and  I  asked  the 
pilot  if  he  could  distinguish  the  towns 
by  the  lights,  thereby  telling  where 
we  were.  Looking  down,  and  without 
much  enthusiasm,  he  advised  they  all 
looked  alike  to  him  and  that  he  didn't 
know  which  was  which.  That  meant 
only  one  thing;  we  were  lost  in  the 
air! 

We  did  not  have  any  equipment 
with  which  to  make  a  forced  night 
landing,  such  as  flares,  wing  lights 
and  other  emergency  landing  lights. 
Fuel  getting  low,  hood  flapping,  lost 
in  the  air;  it  was  all  just  like  a  show 
to  me. 

Soon  it  would  be  over  and  we  would 
pass  out  just  like  the  others  after  the 
climax  had  taken  place.  But  so  far 
the  climax  was  undecided,  and  the 
only  thing  to  do  was  wait  and  see  it 
through. 

After  flying  in  silence  for  a  short 
distance  Rudy  again  wanted  to  speak 
to  me.  This  time  he  nearly  capped 
the  climax  and  brought  the  show  to 
an  end,  as  all  he  said  was  that  he 
couldn't  jump  until  I  did. 

A  great  force  almost  compelled  me 
to  stand  up  in  the  cockpit,  dive  over 
the  edge  and  pull  the  rip  cord,  leaving 
the  rest  to  luck,  as  there  was  no  way 
of  telling  where  we  would  land  if  we 
jumped — in  tree  top,  house  top,  tele- 
phone wires  or  some  other  object  that 
might  possibly  cause  instant  death. 

It  was  agreed  that  if  we  jumped  we 
were  to  go  to  the  Western  Union  of- 
fice in  the  next  town;  if  Rudy  arrived 
first  he  was  to  wait  twenty  minutes 
and  if  I  didn't  show  up  to  get  a  car 
and  comb  the  country  for  me.  In  the 
event  that  I  arrived  first  I  was  to 
notify  the  townspeople  of  the  disaster 
and  have  them  go  and  find  Rudy;  I  to 
continue  on  my  way  to  Fort  Worth 
with  the  film  by  the  quickest  route. 

Worse  Than   Nightmare 

After  this  consultation  my  nerves 
became  a  little  shaky  and  it  was  with 
all  the  courage  I  could  muster  that  I 
managed  to  stay  with  the  ship.     Rudy 


again  asked  me  the  time.  I  informed 
him  that  we  had  been  in  the  air  four 
hours  and  forty  minutes.  No  answer 
came  from  him.  A  little  silence  from 
both  of  us,  more  noise  from  the  flap- 
ping of  the  hood,  more  ducking,  and 
every  time  I  ducked  I  uttered  a 
prayer. 

Upon  another  questioning  from 
Rudy  I  informed  him  the  time  was 
four  hours  and  forty-five  minutes. 
This  time  I  could  scarcely  hear  the 
exclamation  of  "Oh,  God!"  from  him. 
The  whole  trip  now  was  assuming  the 
aspect  of  being  worse  than  any  night- 
mare I'd  ever  had. 

Two  people  up  above  the  earth  with 
their  lives  hanging  by  a  mere  string, 
that  string  about  to  cut  loose  and  end 
the  story  of  two  lives  that  were  try- 
ing to  serve  the  public  by  giving  them 
the  world's  news  in  pictures  almost 
at  the  time  it  happens. 

Five  minutes  later  when  informing 
my  plucky  pilot  that  the  time  was 
four  hours  and  fifty  minutes,  a  small 
light  beacon  far  in  the  distance 
flashed  by  my  eyes.  Rudy  had  seen 
it  almost  at  the  same  moment  and  this 
time  he  changed  his  exclamation  by 
drawling  out 

"J-E-S-U-S  C-H-R-I-S-T!" 

After  straining  my  eyes  the  lights 
of  Dallas  and  Fort  Worth  could  just 
be  seen  shimmering  in  the  distance 
too  far  to  calculate.  The  beacon 
flashed  by  again,  and  it  certainly  was 
a  sight  for  sore  eyes,  taut  nerves  that 
were  about  to  pop  and  two  men  that 
were  going  through  a  living  hell  in 
order  that  they  might  serve  their 
public. 

The  lights  were  fairly  visible  a  few 
moments  later.  I  looked  at  my  watch 
and  we  had  been  in  the  air  four  hours 
and  fifty-six  minutes. 

Five  Hours  Are  Up 

Dallas  looked  as  though  it  might  be 
a  little  nearer  than  Fort  Worth  and 
in  going  there  we  would  not  have  to 
fly  over  the  city  to  get  to  the  field,  as 
we  would  have  to  do  if  we  tried  to 
make  it  to  Fort  Worth,  thereby  pos- 
sibly eliminating  a  catastrophy  which 
would  mean  certain  death  to  us  and 


probably  others  if  the  fuel  gave  out 
directly  over  the  business  section. 

I  informed  my  pilot  that  the  most 
plausible  thing  to  do  was  to  try  and 
make  it  to  Dallas  rather  than  chance 
it  to  Fort  Worth  and,  anyway,  if  we 
crashed  it  would  bring  the  film  nearer 
to  a  city.  He  asked  how  he  could  de- 
termine the  landing  field  at  Dallas 
and  I  answered  that  it  could  be 
sighted  by  a  large  red  light  which 
was  placed  on  a  tower. 

It  was  now  exactly  12  o'clock,  which 
made  five  hours  we  had  been  in  the 
air,  and  that  was  the  limit  of  our  fuel. 
Dallas  was  still  a  short  distance  ahead 
and  a  faint  red  light  was  scarcely  dis- 
cernible slightly  to  the  left  of  the  city. 

Rudy  realizing  the  value  of  saving 
fuel  as  much  as  possible,  put  the 
ship's  nose  slightly  earthward  and 
directly  at  the  red  light  which  glared 
with  intensity. 

My  nerves  were  losing  their  hold 
and  I  was  getting  frantic  as  now  the 
the  race  with  my  film  competitor  had 
ceased  and  it  had  become  a  race  with 
Death — that  greatest  competitor  of  all 
— Death,  which  wins  every  race  in 
which  he  enters  and  sometimes  wins 
before  many  laps  have  been  com- 
pleted. 

The  time  was  twelve  ten;  we  were 
fast  losing  altitude  and  the  red  light 
was  drawing  nearer.  At  the  altitude 
at  which  we  were  now  flying  a  para- 
chute was  useless  so  throwing  off  the 
quilt  and  unbuckling  my  parachute 
and  laying  it  on  the  floor  of  the  plane 
I  was  ready  for  the  inevitable  climax 
of  this  story. 

It  seemed  as  though  by  this  time  it 
had  gone  just  to  the  crucial  point 
where  I  didn't  really  care  and  was  not 
worrynig.  It  seemed  I  was  to  pass 
out  of  the  show  as  others  had  done 
and  also  that  this  was  the  last  race  in 
which  I  would  participate. 

The  red  light  was  now  very  close; 
we  were  about  to  see  the  race  ended 
with  ourselves  as  victors.  If  we  could 
only  make  it.  I  prayed  as  I  never 
prayed  before.  Would  the  gas  hold 
out? 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-three 


(Continued  from  Page  19) 

The  light  seemed  to  have  a  peculiar 
glow.  Within  a  few  hundred  feet  of 
it  and  our  journey's  end  I  suddenly 
grew  frantic  again  as  I  noticed  it  was 
no  more  than  a  fusee  on  a  railroad 
track. 

Just  for  the  Public 

My  next  thought  was  to  jump. 
There  was  a  possibility  that  if  I 
jumped  the  film  would  at  least  be  safe 
as  the  fall  would  only  be  some  sev- 
enty feet.  We  were  soon  to  see  the 
finish  of  the  show.  Upon  seeing  that 
red  light  was  only  a  fusee  I  immedi- 
ately stood  up  in  the  cockpit  and  mo- 
tioned Rudy  to  zoom  upward  that  we 
might  not  hit  any  obstruction  that 
might  be  in  our  course.  He  did  this 
at  the  moment  I  motioned. 

The  ship  was  now  following  a  dizzy 
path  and  I  could  realize  by  its  move- 
ments that  my  able  pilot  was  fast  los- 
ing his  senses;  his  nerves  were  almost 
at  the  breaking  point.  The  plane  was 
tossing  now  as  a  feather  in  a  storm 
and  with  it  was  myself  and  the  pilot 
that  were  nothing  more  than  human 
bodies  beyond  all  power  of  reasoning 
from  the  exhaustion  of  our  race  and 
journey  "just  for  the  public." 

It  was  about  this  time  my  eyes 
rested  upon  something  that  resembled 
a  field.  Pointing  it  out  to  Rudy  I 
asked  him  to  try  to  make  a  landing. 
We  were  slowly  descending  and  within 
twenty-five  feet  of  it  and  Rudy 
started  to  throttle  the  motor  to  pre- 
pare for  landing  when  suddenly  my 
eyes  caught  a  glimpse  of  something 
that  did  not  look  too  inviting.  After 
straining  my  eyes  a  little  more  I  sud- 
denly became  aware,  much  to  my  sur- 
prise, that  it  was  only  water. 

Realizing  this  I  stood  up  suddenly 
in  the  cockpit  and  motioned  Rudy  to 
zoom  once  more  into  the  air,  which 
he  did  without  hesitation.  The  motor 
puffed  and  spit  back  once.  Were  we 
at  last  to  see  the  end  without  gaining 
our  destination? 

The  motor  spit  two  or  three  con- 
secutive times  and  I  was  sure  we  were 
going  to   crash. 

Wait  for  Crash 

I  remembered  what  my  pilot  had 
said  about  not  jumping  until  I  did.  so 
now  I  was  determined  to  stay  with 
the  ship.  With  this  thought  I  again 
looked  down  and  saw  several  large 
buildings  we  were  passing  just  to  our 
left.  These  could  not  be  mistaken.  It 
took  no  time  for  me  to  inform  Rudy 
these  were  hangars  and  that  we  were 
now  over  the  field. 

The  plane  now  was  past  the  field, 
the  motor  cut  once  more,  twice,  picked 
up  again  and  then  again  it  cut  out 
and  just  as  we  were  banking  around 
for  a  landing  it  cut  out  and  stopped 
dead  still.  With  a  dead  stick  my  pilot 
banked  still  further  around.  Our 
speed  was  gone  and  the  field  was  a 
short  distance  away,  too  far  for  glid- 
ing in  to  it.  He  started  to  pancake 
down.  I  could  not  look  down.  With 
my  head  inside  the  cockpit  I  sat  there 
and  waited  for  what  might  happen. 

It  hit — a  terrific  blow  and  didn't 
seem  to  roll  a  foot.  My  head  hit  my 
knees,  which  were  rigid  under  my 
chin  and  the  blow  stunned  me  for  the 
moment.  It  was  over,  and  I  was  glad 
of  it. 


I  raised  my  head  slowly  and  peered 
over  the  side  of  the  cockpit  to  find 
that  we  really  had  landed.  With  the 
realization  of  this  I  jumped  out  and 
as  I  landed  on  the  ground  a  number  of 
huge  lights  flashed  on  and  glared  into 
my  eyes.  I  had  run  some  hundred 
feet  when  the  thought  of  Rudy  being 
back  there  in  the  ship  came  to  me. 

Returning  to  the  ship  I  looked  into 
the  cockpit,  but  couldn't  see  Rudy. 
There  was  no  answer  when  I  called 
the  first  time,  but  the  second  time 
there  was  a  faint  answer  from  some- 
where near  the  tail  section.  Back 
there  I  found  Rudy  flat  on  his  back. 
He  asked  me  to  please  go  away  and 
let  him  enjoy  a  few  moments  with 
good  old  mother  earth. 

We  delivered  the  film  and  with  it 
the  responsibility  that  it  be  carried 
further  northward  by  someone  else, 
"Just  for  the  Public." 


Union  Projectionists 

Jack  Hare,  Publicity  Manager  of 
the  Filmarte  Theatre,  sends  in  notice 
that  the  following  theatres  are  now 
employing  union  projectionists:  Fil- 
marte, Carmel,  Stadium,  El  Portal, 
Paramount  (Hollywood),  Vista,  Bev- 
erly and  Apollo. 


A  Pioneer  Goes  On 

In  October,  1911,  David  Horsley 
with  his  brother  William  came  from 
New  Jersey  to  Hollywood  to  establish 
a  motion  picture  studio.  At  this  time 
Brother  David  was  head  of  the  Nestor 
Company,  an  up  and  coming  organiza- 
tion, already  a  producer  of  headliners 
in  the  east. 

Accompanying  the  Horsleys  was  Al 
Christie,  Tom  Ricketts  and  Milton 
Fahrney.  They  had  to  work  quickly, 
for  there  was  only  $2,500  between 
them,  so  they  came  direct  to  Holly- 
wood from  the  train  and,  without 
further  delay,  leased  the  old  Blondeau 
tavern  and  barn.  This  stood  at  the 
corner  of  Gower  and  Sunset. 

The  new  company  got  right  down 
to  work,  the  first  picture  made  being 
"The  Law  of  the  Range,"  directed  by 
Fahrney. 

In  May,  1912,  Universal  took  over 
the  Nestor  studio  and  David  Horsley 
opened  a  studio  on  Main  Street,  where 
he  achieved  his  greatest  successes. 

He  was  one  of  the  true  pioneers  of 
the  motion  picture  industry,  a  maker 
of  cinema  history  and  a  man  of  vision 
who,  even  in  the  dawn  of  motion  pic- 
ture evolution,  saw  the  greatness  to 
come. 

The  International  Photographers 
extend  to  the  deceased's  family  their 
profoundest  sympathy  and  condol- 
ences. 


Will 


lams 


Shots 


Q^rll 


NNOUNCING 

that  our  laboratory  capacity  has 

been  increased  400  per  cent  to 

adequately  meet  the  demands 

for  our  new  patented 

DOUBLE  MATTING 
PROCESS 


8111  Santa  Monica  Blvd. 


OX  16 1 1 


Twenty-four 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


To  the  unknown  maker  of  this  cave  drawing  goes  the  honor  of  being  the  first 
person  known  to  concern  himself  with  the  problem  of  making  pictures  move. 
This  drawing  is  in  a  cave  at  Altmira  in  Spain,  and  ivas  made  some  25,000  years 
ago  by  a  Cro-Magnon  of  the  Later  Paleolitithic  Period.  The  photo  is  ours 
through  the  courtesy  of  Will  Dai/  of  London,  and  may  be  seen  in  the  Motion 
I'n  I  mi  ( 'ollection  of  the  Los  Angeles  Museum  brought  together  by  Earl  Theisen 


(Continued  from  Page  7) 

"Out  of  the  transmitter  I  finally 
made  a  receiver  on  the  2nd  day,  and 
could  hear  GCYP— I  knew  the  Lord 
Talbot  was  close  by  his  signal 
strength.  That  night  I  am  on  watch 
and  see  the  ship's  light  at  7:20." 

And  Peter  Redpath  experiences  the 
emotions  of  a  lifetime  in  the  follow- 
ing words: 

"That  evening  Jerry  Altfilisch 
sighted  a  light  whereupon  everybody 
ran  for  something  to  burn  in  order  to 
attract  attention.  Much  negative  was 
lit  and  oil  flares  were  made — I  ran  up 
on  hill  and  set  off  our  last  remaining 
red  flare  which  was  sighted  by  the 
Lord  Talbot.  We  gambled  our  all 
away  just  on  the  chance  they  had 
seen  us — and  won.     Thank  God." 

Captain  Watson,  standing  on  the 
bridge  of  the  Lord  Talbot,  displays 
real  intestinal  fortitude  by  not  heed- 
ing a  wireless  message  the  owners  of 
the  Lord  Talbot  have  sent  him,  advis- 
ing him  that  he  has  done  everything 
humanly  possible  in  his  search  for  the 
eight  unfortunates  forced  down  on 
their  attempted  span  of  the  Atlantic. 
.  .  .  Captain  Watson  has  been  advised 
by  his  superiors  that  he  has  not  an 
adequate  coal  supply  to  continue  his 
search,  but  Captain  Watson  for  once 
refuses  to  heed  orders.  .  .  .  Captain 
Watson  is  a  man!  ...  a  leader  of  men! 
.  .  .  thus  Alex  Main,  first  mate  of 
the  Lord  Talbot  continues  to  scrib- 
ble in  his  little  black  book: 

"10  P.  M. — One  of  our  firemen,  John 
Falconer,  who  has  been  in  the  wheel- 


house  with  us  sees  a  light  on  our  Star- 
board bow.  The  Captain  being  in  the 
chart  room  making  out  courses  for 
sends  me  aloft  to  the  crows  nest  to 
work  the  searchlight.  I  just  get  nice- 
ly placed  in  the  crow's  nest,  get  the 
searchlight  underway,  when  I  see  a 
red  flare,  it  is  also  seen  from  the 
bridge.  The  captain  sends  word  to 
the  chief  to  open  out  the  throttle.  We 
bore  through  an  ice  field  about  8  miles 
broad  and  50  miles  long.  After  get- 
ting inside  the  ice  field,  we  proceed  to 
about  200  yards  from  the  shore, 
launch  small  boat  and  proceed  to 
scene  of  wreck.  Find  landing  is  too 
difficult  to  land.  It  is  great  to  hear 
those  poor  8  souls  shout  to  us." 

And  now,  Peter  Redpath  opens  his 
little  diary  and  pens  the  last  chapter 
in  his  book  of  memoirs — an  ending  of 
hifb   adventure  ...  a  happy  ending: 

"The  Lord  Talbot,  playing  their 
searchlight  on  the  short,  put  off  then- 
boat  in  charge  of  the  mate,  Alex 
Main,  and  came  toward  the  cove  in 
which  our  ship  lay  and  which  offered 
the  best  shelter,  but  which  was  full 
of  huge  bergs  and  a  dangerous  place 
to  be. 

"Alley  and  self  were  on  the  rocks 
awaiting  news.  Luckily  for  everyone 
we  spoke  the  same  language  and  ad- 
vised them  to  delay  landing  until  the 
our  night  work.  He  rushes  on  deck 
on  hearing  a  light  on  our  Starboard 
Bow,  rings  her  down  full  speed.  We 
now  all  see  this  light.  The  Captain 
next  morning  due  to  the  heavy  swell 
running — having  previously  answered 


in  the  affirmative  their  question  as  to 
our  health.  After  a  few  welcome 
words  were  exchanged,  Alex  threw  us 
a  tin  of  cigarettes,  which  unfortunate- 
ly fell  in  the  water,  and  put  back  to 
the  ship  until  morning.  We  spent  a 
cold  and  restless  night  but  much  hap- 
pier in  our  minds  than  the  previous 
night.  Next  morning  off  the  blast  of 
the  whistle  we  commence  to  carry  our 
stuff  down  to  the  cove,  to  be  met  by 
the  mate  and  crew  who  helped  us  in 
every  way  possible.  There  were  none 
happier  than  the  eight  cold  and  weary 
persons  who  clambered  aboard  the 
Lord  Talbot  Tuesday  on  Sept.  13th,  to 
be  greeted  by  Captain  Thomas  Wat- 
son." 

Aboard  the  Lord  Talbot,  Norman 
Alley,  newsreel  ace  of  another  day 
now  past,  but  still  an  ace,  writes  finis 
to  his  diary  .  .  .  Norman  Alley  .  .  . 
Knight  of  the  Celluloid  .  .  .  Norman 
Alley  .  .  .  newsreel  cameraman  .  .  . 
adventurer  by  calling.  .  .  .  Just  an- 
other newsreel  cameraman  .  .  .  just  a 
newsreel  cameraman  completing  an 
assignment  ...  an  assignment  well 
done  ...  no  matter  how  dangerous  .  .  . 
no  matter  how  exacting  .  .  .  always 
grinding  away  behind  that  magic  box 
entrusted  to  him  .  .  .  like  any  other 
newsreel  cameraman  ...  no  glory  .  .  . 
just  plodding  ahead  .  .  .  batting  away 
on  a  long  roll  of  celluloid  .  .  .  record- 
ing, ever  recording  on  that  strip  of 
celluloid  .  .  .  just  like  any  other  news- 
reeler  .  .  .  never  squawking  ...  an  un- 
seen army  of  adventurers  .  .  .  Men  .  .  . 
real  men  .  .  .  those  newsreelers  .  .  . 
Norman  Alley  .  .  .  Knight  of  the 
Celluloid  writes  finis  to  a  diary  of 
adventure  ...  to  one  adventure  .  .  . 
but  ready  for  another.  .  .  .  Look  at  the 
last  page  of  the  simple  tale  of  a  man: 

"We  are  fortunate  indeed  that  such 
perseverance  was  shown  by  Capt. 
Watson  in  continuing  his  search  even 
after  having  been  directed  to  resume 
fishing  by  his  employers.  Too  much 
credit  cannot  be  accorded  the  seaman- 
ship of  the  entire  crew  in  coming 
through  the  dangerous  ice  pack  to  ef- 
fect our  rescue." 

Our  tale  is  ended!  ...  to  us  it  seems 
like  the  unmasking  of  a  handful  of 
men  ...  it  seems  like  a  tale  of  men 
playing  with  adventure  .  .  .  like  we 
used  to  read  about  back  in  the  good 
old  days  of  boyhood  .  .  .  we  have  met 
these  men,  many,  many  times  in  story 
books  .  .  .  here  are  a  few  who  have 
stepped  out  .  .  .  who  are  real  .  .  .  who 
live  among  us  .  .  .  and  two  of  them 
are  newsreelers  .  .  .  Norman  Alley 
and  Jerry  Altfilisch  .  .  .  Newsreelers 
.  .  .  mind  you  .  .  .  men  we  know  exist 
.  .  .  but  about  whom  we  know  so 
little.  THE  END 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-five 


Architecture  of  the  corning  World's  Fair  is  to  be  different  —  we  say  it  is!     Charles  Gies  of  Local  666 
photographed   this    to   prove   it,    and  he  pulled  a  good  photograph  too. 


Twenty-six 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


Jos.  A.  Valentine  br-ings 
us  still  another  shot  of 
the    ever-entrancing 
Grand  Canal  in 
Venice 


Ramon  Freidich   strolls 

in  among  a  group  of  our 

California  canyon  oaks 

and  brings  away  this 

charming  shot. 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty -seven 


George  Hollister,  prowling 

around  among 

the  uncovered 

ruins  of  Pompeii, 

discovered  these  old  mills, 

and  brought  away 

something  of  their  beauty 

of  outline  and 

surroundings. 


And  right  here,  looking 
over  toward  Clover  Field, 
Art  Marion  catches  the 
frost  on  the  pumpkin  and 
the  fodder  in  the  shock 
in  a  way  that  warms  the 
cockles   of  our  star- 
spangled  hearts. 


Twenty-eight 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


Here  we,  have,  the  beloved  Hack  Finn  doing  his  stuff.   There  may  be  scum  on   the  placid  water,  a  swelter  in 
the  air,  and  a  mud-turtle  just  around  the  bend;   but  to  the  camera's  eye  all  is  beauty.     Gordon  Head  clicked 

the  shutter. 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-nine 


Newsreelers 


DOPE   SHEET 


By  RAY  FERNSTROM 

All  Rights  Reserved 


In  addition  to  our  "Newsreel  of 
the  Air"  your  scribe  was  invited  to 
act  as  M.C.  on  a  couple  of  "Holly- 
wood On  the  Air"  broadcasts.  Did 
you  hear  them  ?  One  was  "Newsreel 
Night"  and  the  other  the  "King  Kong" 
program. 

These  programs  go  out  from  here 
all  over  the  country  so  I  hope  you 
liked  'em.  Keep  listening  and  maybe 
us  newsreelers  will  be  on  this  one 
again  and  get  the  old  gang  another 
break,  in  recognition,  which  the  news- 
reel  boys  need  and  deserve.  You  can 
all  thank  Mr.  John  Swallow  for  let- 
ting us  be  heard  the  nation  over  and 
also  the  chap  who  wrote  the  continu- 
ity, Russell  Birdwell. 

You  boys  who  heard  these,  please 
drop  Mr.  Swallow  a  line  and  let  him 
know  how  much  we  appreciate  such 
recognition;  and  maybe  the  Academy 
awards  committee  will  be  in  a  mood 
to  remember  us  next  time. 

I  reproduce  here  the  speech  of 
President  B.  B.  Kahne,  of  Radio 
Pictures,  which  he  made  over  a  coast 
to  coast  radio  hookup  on  the  "Holly- 
wood On  the  Air"  program  "newsreel" 


25  TO  150  MM 

RANGE  WITH  ONE 

FINDER 


Instantly  aligned  with  camera  lens  on 
any  standard  camera   or  blimp. 

Always  using  your  original  mattes 
as  the  image  is  centered  to  the  matte 
instead  of  cutting  or  adjusting  the 
matte  to  the  center  of  the  image. 

Brilliant   upright   image. 

Inclosed   focusing  screw. 

Optics  by 

Harrison  &  Harrison 

Optical   Engineers 

Fred    Hoefner 

CINEMA  MACHINE  SHOP 

5319  Santa  Monica  Blvd. 
GLadstone   0243  Los   Angeles 


night.  I  am  sure  all  newsreel  men 
will  be  pleased  to  read  this  tribute  to 
our  clan  from  this  esteemed  head  of 
one  of  the  industry's  great  organiza- 
tions: 

B.    B.   Kahne's   Speech 

At  dawn  on  May  20,  1927,  I  stood 
in  the  rain  with  a  small  crowd  at 
Roosevelt  Field,  Long  Island,  await- 
ing the  memorable  and  thrilling  take- 
off of  Charles  A.  Lindbergh  for  Paris, 
France.  As  Colonel  Lindbergh,  then  a 
captain,  piloted  his  tiny  monoplane 
down  the  mud-soaked  runway,  I  saw 
a  Pathe  news  cameraman  standing 
beside  his  camera  at  the  treacherous 
end  of  the  runway.  It  had  been  at 
that  point  two  years  before  that  Cap- 
tain Rene  Fonck  had  crashed  his  giant 
plane,  causing  the  tragic  death  of  his 
two  companions.  Colonel  Lindbergh's 
plane,  almost  out  of  control  due  to 
the  heavy  mud.  swept  at  lightning- 
speed  by  the  daring  young  Pathe 
news  cameraman.  Apparently  this 
newsreel  man  had  given  little  thought 
to  his  own  safety;  his  task  was  to  get 
the  best  and  most  thrilling  picture  of 
the  historical  take-off  on  the  first 
transatlantic  flight  from  New  York  to 
Paris. 

Observing  this  tableau  I  realized  in 
a  small  way  the  dangers  that  walk 
beside  the  newsreel  cameraman  as  he 
goes  about  his  daily  work.  These 
dangers  and  hardships  are  faced  and 
endured  for  only  one  reason:  That 
picture-goers  everywhere  may  see  the 
actual  news  happenings  of  the  day. 

The  newsreel  cameraman  plays  an 
important  part  in  our  daily  lives.  He 
i  to  us  a  living,  breathing  page 
from  modern-day  history.  No  theater 
creen  is  complete  without  the  news- 
reel!  The  humblest  newsreel  camera- 
man is  just  as  important  to  our 
motion  picture  industry  as  the  Holly- 
wood cameraman  who  photographs 
Constance  Bennett,  Greta  Garbo  or 
Ruth  Chatterton. 

I  salute  the  newsreel  cameraman! 

*     *     * 

We  thank  you,  Mr.  Kahne! 


The  night  we  went  on  the  National 
Broadcasting  network  my  old  partner 
and  sound  man  of  Paramount  News 
days,  Les  Norman,  sac  at  the  controls 
away  back  in  New  York  at  WJZ.  He 
says  he  jumped  six  feet  on  hearing  his 
old  drinking  partner  of  South  Amer- 
ican days  because  he  hadn't  heard  a 
word  about  it  and  I  didn't  know  he'd 
be  on  back  there  at  that  time.  His 
letter  surely  brings  back  memories  of 
our  year  and  a  half  together.  Have 
you  still  got  those  native  drums, 
Norm? 


Ray  Fernstrom  at  Mike 
FILTER  DOPE 

Last  month  I  gave  you  some  dope 
on  a  new  filter  combination  of  the 
23A  and  56.  This  is  not  recommended 
for  Eastman  film  and,  when  used  on 
Dupont,  should  be  on  when  you  focus. 

The  old  Aero  2  should  be  on  your 
lenses  all  the  time  and  will  help  on 
some  of  the  faces  you  have  to  shoot. 
Take  it  off  only  when  the  light  gets 
too  bad. 

Why,  oh  why,  must  we  newsreelers 
mar  the  beauty  of  our  lady  subjects 
in  some  of  the  closeups  recently  seen 
on  the  screen  ?  And,  fellers,  it's  such 
an  easy  job  to  slip  on  a  filter  and  a 
diffusion  disc.  Surely  there  is  time  on 
some  of  those  shots  for  this.  Many 
of  your  interior  shots  can  rival  studio 
photography  if  you  would  only  try 
that  disc  advice. 

Eastman  has  a  nice  new  J/4  dif- 
fusion disc  that  you  can  use  with 
excellent  results  on  all  closeups  and 
group  scenes  of  personalities.  Re- 
member, though,  to  focus  sharp  with- 
out the  disc,  then  slip  it  on  in  front 
of  your  lens.  If  you  have  a  lens  shade 
a  piece  of  the  old  film  can  tape  will 
hold  in  it  place  in  front  of  the  ole 
glass  eye.  The  lens  shade,  if  not  over 
two  inches  away  from  the  front  of 
the  lens,  is  just  about  the  right  dis- 
tance to  give  you  proper  diffusion. 
For  less  diffusion  set  it  closer  to  your 
lens.  Those  Akeley  shades  on  the  ole 
two-inch  lens  should  serve  the  purpose 
well. 

If  after  trying  and  adopting  the  use 
of  the  diffusion  disc  and  filter,  (Aero 
2  for  all  around  work)  you  wish  to 
improve  on  this,  add  the  use  of  a 
couple  of  light  folding  reflectors  and 
you  will  see  a  marked  improvement 
in  your  closeups  of  famous  per- 
sonalities. 

Several  of  the  boys  have  asked 
when  not  to  use  filters. 

Filters  help  but  little  on  street 
scenes  where  no  sky  appears  in  your 
picture  or  when  you  are  working  in 
the  shade  or  where  you  have  mostly 
green.  Let  me  again  mention  the 
good  old  Aero  2  for  all  around  filter- 
ing and  the  23A  for  all  air  shots. 
Then  if  you  want  to  add  one  more, 
and  the  perfect  one  for  closeups  where 
you  want  to  wash  out  your  back- 
ground, the  5N5  which  combines  the 
(Continued  on  Page  33) 


Thirty 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


Six  Sixty  Six 


The  Newsreel  Cameramasters  of  the  Windy  City  Are  Enjoying 

Their  Fiercest  Winter— The  Sassiety  Reporter  Says 

Good-bye— Palm  Trees  versus  Blizzards 


In  Focus — In  Spots! 

THE  mailman  what  is  poundin  the 
beat    into    my    joint    has    been 
havin  one  swell  time  readin  the 
postcards  aimed  my  way — so's  I  been 
gittin  one  big  har!  har!  out  of  them. 
.  .  .  Seems  the  story  goes  like  this! 

Every  one  of  them  guys  what  hails 
from  around  the  Middle  West  every 
time  they  packs  up  their  groan  boxes 
and  shoves  off  for  the  southland  or 
to  the  tropics  why  the  minnit  they 
arrives  there  and  sees  the  palm  trees 
and  gets  sunburned  and  drinks  the 
real  McCoy  they  gets  down  thataways, 
why  right  away  they  swells  up  with 
sentiment   and   they    gets    homesick. 

At  least  it  seems  so.  Then  what 
happens.  Well,  they  all  goes  out  and 
buys  a  lot  of  fancy  postcards  of  palm 
trees  and  starts  shippin  them  up  this- 
away.  Well,  this  month  my  postman 
drags  in  cards  from  Florida  from 
Roger  Fenimore  and  Urban  Santone. 
And  the  picture  shows  palm  trees. 
Then  along  comes  Bill  Gerecke  from 
Chile  with  a  card  showin  a  picture  of 
people  standin  around  in  a  park  of 
palm  trees.  Then  John  Herrmann 
has  to  announce  he  is  sunnin  hisself 
in  Mexico  on  a  fancv  picture  postcard 
showin  they's  got  palm  trees  in  Mex- 
ico, too. 

Well,  sir,  mebbe  the  first  disease 
that  bites  a  guy  the  minnit  he  hits 
the  tropics  in  the  winter  is  to  rub  it 
into  them  northerners  on  how  swell 
the  weather  is  where  they  is  gettin 
their  breaks.  Anyhow,  none  of  them 
guys  seems  to  be  original.  At  least 
on  the  cards  they  sends  to  this  depart- 
ment. Always,  "The  weather  is  swell, 
having  good  time,  the  liquor  is  good 
here,  wish  you  was  here! 

Braggin  About  a  Blizzard 

Well,  well!  It  ain't  jealous  I'm  a 
bein,  but  since  them  guys  ain't  sent 
me  their  forwardin  address  I'm  gonna 
use  this  space  here  to  inform  them 
about  a  little  braggin  I  want  to  do 
about  where  I'm  awinterin  this  season. 

I'm  vacationin  (?)  up  here  in  a 
town  they  calls  Chicago  with  a  whole 
gang  of  tough  newsreel  hombres  what 
likes  their  winters  raw  .  .  .  and  cold 
.  .  .  and  without  sunshine  what  burns 
complexions  of  dainty  film  grinders 
.  .  .  and  where  the  wind  howls  kinder 
heavy   enough   so's   you   kin   trot  out 


By    the    Sassiety    Reporter 
As  Told  to 

FRED   H.   FELBINGER 


that  swell  benny  from  the  mothballs. 
Youse  guys  down  there  in  the  trop- 
ical sunshine  is  snickerin  as  you  reads 
this,  ha  ?  ...  Go  ahead,  but  now's 
my  turn.  While  youse  is  sittin  there 
sweatin  addressin  them  silly  postcards 
of  palm  trees  to  us  birds  up  north 
here  you  is  missin  the  time  of  your 
life. 

We  has  just  had  the  biggest  and 
swellest  blizzard  what  ever  stopped 
traffic  in  the  Windy  Burg  swirl  down 
on  us.  Yes,  sir,  real  honest  to  good- 
ness snow  blown  right  down  your 
neck,  stackin  up  in  drifts  eight  feet 
high  .  .  .  and  cold. 

What  a  Storm 

Why,  man,  my  noise  ketcher  Rob- 
ertson had  ice  sickles  hangin  from 
that  brand  new  mustache  he  is  grown 
on  his   upper  lip.     And   all  them   666 


newsnoopers  was  out  in  it  makin 
scenes  and  tryin  to  clean  the  snow  out 
of  the  lenses  so's  they  could  continue 
to  shoot. 

Jackson  Boulevard  and  Mich.  Ave. 
was  so  snowed  down  you  couldn't  see 
your  hand  afore  your  face.  And  there 
I  sees  Charlie  Geis  a  shootin  all 
dressed  up  like  a  German  dachshund 
with  the  funny  headgear  he  had  on 
his  bean. 

And  down  the  line  I  sees  Ralph 
Saunders  tryin  to  git  the  Pathe  truck 
out  of  a  snow  drift  with  Tony  Caputo 
atop  yellin  like  a  bull  to  be  careful 
less  he  skid  off  with  the  camera. 

Up  in  Lincoln  Park  motorists  think 
they  is  got  another  statue  next  to  the 
one  of  Gen.  Grant,  but  it's  Jack  Bur- 
nett froze  to  his  Akeley  while  trying 
to  get  an  exposure  between  blows. 

Boy,  oh,  boy!  What  a  storm!  Best 
blizzard  in  a  decade.  And  youse 
sissies  down  South  roastin  to  death. 
Well,  mebbe  youse  guys  was  drinkin 
good  stuff,  eh!  har!  har!  The  blizzard 
happened  on  Tuesday.  That's  onion 
soup  day  over  at  Ches's  Place,  and 
you  know  Ches  hisself  is  on  back  of 


AGFA  RAW  FILM  CORPORATION 


6368  SANTA  MONICA  BOULEVARD 

FACTORIES:     BINGHAMTON, 


HOLLYWOOD,  CALIFORNIA 
NEW  YORK,    U.S.A. 


March,  19  3 3 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-one 


the  bar  every  Tuesday  Night  in  per- 
son. 

So  after  gittin  the  ole  face  wind- 
burned  by  the  blow  we  trots  into 
Ches's,  shakes  off  the  snow,  unbuttons 
the  galoshes  and  sops  up  a  couple  of 
nice  hot  bowls  of  onion  soup  .  .  .  and 
a  couple  of  Ches's  snifters  .  .  .  and 
hears  a  couple  of  Ches's  yarns. 

Allatime  while  you  guys  aint  got 
nothin  to  while  away  the  time  with 
down  there  in  the  tropics  except  sit 
there  and  address  silly  postcards  of 
palm  trees  to  us  northerners  what 
still  kin  take  a  old-fashioned  winter 
and  like  it. 

Rare  Old  Fireman 

Say,  Fenimore,  Santone,  Gerecke, 
Herrmann,  if  youse  reads  this  send  on 
your  addresses  and  I'll  send  youse  a 
couple  real  view  postcards  of  a  bliz- 
zard like  you  used  to  enjoy  when  you 
was  a  kid. 

I  can't  send  you  any  photo  cards  of 
Sloppy  Jo's  bar  in  Havana  with  peo- 
ple a'sittin  at  the  bar  drinkin  Dychery 
cocktails,  but  mebbe  I  kin  dig  one  up 
of  Ches  sloppin  up  the  bar  while  he 
is  tryin  to  learn  to  mix  up  a  "Fire- 
man's Shirt"! 

Youse  guys  auto  see  Ches  amixin 
them  "Fireman's  Shirts."  His  stum- 
mick  shakes  twice  as  hard  as  the 
shaker  in  his  hand,  but  the  drink  is 
tol'able.  .  .  . 

Anyhow,  if  youse  guys  tire  of 
tropics,  of  palm  trees,  drop  in  on  us 
birds  up  here  in  Chi.  We  got  bliz- 
zards, onion  soup,  Ches  and  Fireman's 
Shirts. 

SIX-SIXTY-SIX 


A  Quiet  Month 

In  the  quiet  month  of  February 
around  Chicago.  The  million  dollar 
nite  blaze  of  the  grain  elevator  .  .  . 
in  twenty  below  zero  and  the  follow- 
ing Knights  of  the  Celluloid  freezing 
faces,  nipping  fingers,  gettin  frost- 
bitten feet;  Tony  Caputo,  Martin  Bar- 
nett,  Sid  Stearn,  Jack  Darrock,  Mau- 
rice Hare,  Virgil  Bowers — all  sufferin 
so's  a  couple  ten  million  could  sit  in 
theaters  and  thrill  to  a  minute  and 
half  of  fire  scenes  .  .  .  shot  in  twenty 
below  .  .  .  camera  cranks  freezin  so 
tight  the  boys  had  to  thaw  out  the 
boxes  over  improvised  fires  to  git  the 
next  scene.  I'm  holdin  out  on  one 
name  of  the  above  heroes  .  .  .  Jack 
Barnett  .  .  .  reason  bein  Jack  showed 
up  in  a  fur  lined  flyin  suit  and  only 
froze  his  face  ...  so  I  cant  make  a 
hero  out  of  him  with  the  rest  men- 
tioned above.  All  I  kin  say  is  Jack 
Barnett  wuz  mighty  cold  .  .  .  remem- 
ber he  wuz  dressed  warmer  than  them 
other  crankin'  hombres. 

The  new  Union  Office  .  .  .  with  the 
boys  gittin  a  thrill  walkin  in  a  high 
class  reception  room  .  .  .  private  office 
for  our  business  agent,  Bill  Strafford, 
and  Miss  Braun.  Jack  Barnett  agin 
gittin  his  nice  little  fire  wagon  car 
cracked  up  .  .  .  it's  a  complete  wash- 
out this  time  and  Jack  shoppin  for  a 
new  model.  Pretty  good  this  one 
lasted  him  eggsactly  four  months. 

And  Emilio  Montemuro  helps  kill 
the  depression  for  the  auto  magnates 
by  buying  a  new  little  puddle  jumper 
with  a  rumble  seat.  .  .  Ralph  (Bull) 
Philips  up  and  out  of  bed  directing  ac- 
tivities in  the  Action  Film  Labora- 
tories wearin  a  pair  of  old-fashioned 
flannel  pajamas. 

What  in  the  world  has  happened  to 
Charlie  David?  .  .  .  Jack  Barnett  and 
Floyd  Traynham  are  keepin  them- 
selves busy  making  shots  of  each 
other  in  action.  ...  Is  Charlie  Ford 
plannin  to  make  a  release  that  finally 
glorifies  the  newsreelers  ?  .  .  .  And 
occasionally  I  spies  Charlie  Ford  out 
on  Red  riots  in  person  .  .  .  the  last  of 
the   Eymo   experts  on  news  coverage. 

Didja  see  that  little  news  feature  of 
ice  boats  racin  at  Oshkosh  in  Fox 
Movietone  .  .  .  minute  of  film  slidin  on 
the  screen  of  your  theatre?  But  it 
didn't  show  Eddie  Morrison  goin 
through  the  ice  up  to  his  neck  .  .  . 
makin  it  .  .  .  or  his  noise  ketcher,  Phil 
Gleason,  gittin  a  beautiful  shiner 
when  one  of  the  ice  boats  socked  him 
as  it  sailed  by  sixty  milesper. 

SIX-SIXTY-SIX 

Sassiety  Reporter  Passes 

And  with  the  above  we  fold  up  our 
typewriter  and  spell  "Finis"  to  the 
Sassiety  Reporter.  ...  I  want  to  thank 
all  you  guys  for  your  tolerance  all 
these  years  in  really  glancin  over  this 
collum.  It's  been  a  awful  lot  of  fun 
watchin  you,  writin  about  and  pickin 
on  you;  havin  you  read  this  baloney 
without  up  and  bustin  me  in  the  nose 
sometimes;  but  as  I  said,  it's  all  been 
in  fun. 

Sometimes  I  said  a  couple  of  words 
about  studio  men,  about  commercial 
and  industrial  men,  but  if  most  of  you 
been  followin  this  tripe  of  mine  you 


nrobably  have  noticed  I  leaned  jest  a 
bit  kinder  toward  newsreelers,  the  un- 
hung    heroes    of     the     cinema-crafts. 

That  ain't  because  I  am  one  of  them; 
maybe  I  am  (I  freely  admit  I  am  one 
of  the  lousy  ones  gittin  by),  but  no 
foolin,  I  have  worked  with  these 
baboons  nigh  unto  eleven  years  now 
.  .  .  and  I  have  learned  to  love  them 
and  their  kind. 

God  bless  every  baboon  of  them.  .  .  . 
Mebbe  they  ain't  all  goin  to  heaven, 
but  I  betcha  when  Gabriel  blows  the 
last  trumpet  the  whole  mess  of  them 
will  be  fightin'  each  other  .  .  .  friend- 
ly enemies  to  the  end  .  .  .  for  a  better 
position  for  each  respective  reel  they 
represent  .  .  .  gittin  the  last  authentic 
record  on  celluloid  of  the  last  authen- 
tic event  the  bards  have  so  freeely 
prophesied  in  them  bibles,  them  news- 
reelers pick  up  in  hotel  rooms  to  place 
under  the  highballs  they  mix.  .  .  .  So's 
they  dont  git  rings  on  the  dresser  of 
the  hotel  management.  .  .  .  Your  Sas- 
siety Reporter  salutes  you  and  says, 
"Waynos  Notches!"  (It's  supposed  to 
be  Spanish;  heard  it  on  the  radio 
wunst;  don't  know  the  meanin  of  it, 
but  it  sorta  sounds  romantic  ...  or 
sumpin'  to  yoors  trooly!) 

—RED  FELBINGER. 


The  Wings  of  659 


Roy  Klaffki,  commodore  of  the 
International  Photographer  Esqua- 
drille,  reports  that  the  squadron  now 
boasts  the  following  named  active 
flyers:  Mickey  Whalen,  Perry  Evans, 
Dewy  Wrigley,  Hal  Mohr,  Lloyd  Ward, 
Wm.  Skall,  Bill  Dietz,  Curley  Linden, 
Chas.  Stumar,  Ray  Binger,  Elmer 
Dyer,  Bill  Walling,  Geo.  Hollister,  Jr., 
as  well  as  Mickey  himself.  Pictures 
of  this  handsome  and  gallant  group 
are  coming  up. 


Alvin  Wyckoff 


Thirty-two 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  19S3 


Looking  About  on 
Location  and  Set -by  ty 


GLASS  is  an  important  factor  to- 
day in  all  branches  of  industry, 
particularly  in  the  motion  pic- 
ture. It  may  be  had  to  fill  many  pur- 
poses including  a  three  ply  glass  that 
is  proof  against  either  rifle  or  pistol 
missiles  even  though  fired  at  close 
range.  There  is  another  glass  that 
transmits  light  only  one  way,  that  is, 
when  used  in  a  window  a  person  can 
see  out  but  an  outsider  can  not  see  in. 
Another  type  when  held  before  the 
eyes  or  camera  gives  effects  identical 
to  scenes  under  water.  Glass  is  now 
made  to  absorb  heat  but  not  light,  to 
absorb  selectively  any  color  and  in 
many  ways  filter  light  for  photo- 
graphic purposes. 

The  studios  make  many  types  of 
artificial  glass  to  be  used  in  shooting 
scenes  where  real  glass  would  bs  a 
hazard  if  used.  Chief  among  these  is 
the  candy  glass  that  is  made  both  into 
bottles  and  plate  glass.  This  type  of 
material  is  clear  and  photographs 
identical  to  real  glass.  Another  ma- 
terial used  is  resin,  which  is  molded 
into  the  amber  bottles  so  often  used 
in  making  those  bottles  broken  over 
actors  heads.  Chalk  is  often  used 
when  a  bottle  is  to  be  thrown.  When 
a  person  goes  through  a  window,  the 
material  which  flies  and  shatters  like 
glass  is  sheets  of  transparent  candy. 
If  babies  are  seen  to  be  playing  with 
bottles  and  they  break,  as  was  the 
case  recently  at  Paramount,  candy 
bottles  are  used. 

Try  if  you  can  to  detect  the  differ- 
ence between  these  artificial  glasses 
and  the  real. 

Compare    this    with    the    first   glass 


when  it  was  known  only  as  a  vitreous 
paste  that  was  molded  in  clay  by  the 
Egyptians  5,400  years  or  so  ago  and 
used  by  them  for  ornaments  with  all 
the  respect  associated  with  platinum 
ornaments  today. 


To  create  atmosphere  on  the  Ron- 
ald Colman  set  where  "Masquerader" 
was  filmed,  cakes  of  ice  and  ice  water 
were  used  to  make  the  air  chilly;  fog 
was  artificially  made  by  attaching 
tubes  carrying  air  under  pressure  to 
cans  of  refined  oil.  These  cans  of  oil 
which  were  secreted  about  the  set 
gave  off  clouds  of  realistic  London- 
like fog. 

*      *      * 

In  the  past  many  of  the  fog  and 
smoke  effects  were  made  by  a  com- 
bination of  acids  which  produced 
vapor  fumes.  They  were  harmful  to 
nose  and  throat  and  interfered  with 
dialogue.  Now,  Harry  Redman  at 
R.K.O.,  has  perfected  a  device  that 
filters  the  chemical  smoke,  to  make  it 
clean  and  pure  so  it  wont  interfere 
with  activities  on  the  sound  stages 
such  as  the  acid  or  oil  vapor  does. 


Recently,  on  the  Mary  Pickford  des- 
ert set  for  "Secrets,"  one  could  see  an 
interesting  and  characteristic  cross 
section  of  studio  life.  On  the  set  was 
a  Spanish  ranch  house  upon  which  the 
cameras  were  to  pick  their  action.  Out 
of  camera  line  amid  the  usual  tangle 
of  "flats,"  "cables"  and  other  props 
were  a  couple  of  serious-faced  fiddlers 
somehow  finding  room  for  their  fiddle 


arms,  grimly  creating  atmosphere  with 
"hearts  and  flowers"  music  reminiscent 
of  wide  open  spaces.  Further  on  are 
two  men  calmly  letting  the  day  pass 
while  balancing  a  five  foot  Joshua 
tree  that  has  been  anchored  to  a 
Christmas  tree  base  which  was  not 
quite  large  enough  to  steady  it.  It  is 
easier  for  them  to  watch  the  passing 
scenes  rather  than  take  five  minutes 
to  nail  a  larger  board  under  the  tree. 
Over  all  is  a  conversational  drone 
from  sideline  story  tellers  and  those 
busily  directing  what  work  is  neces- 
sary. 

#     #     # 

Native  tact  so  beautifully  projected 
with  contagious  geniality  that  it 
easily  enters  the  realms  of  diplomacy 
is  one  of  the  attributes  of  Virginia 
Wood,  attache  in  Paramount's  pub- 
licity office.  The  motion  picture 
"finds"  itself  in  such  personalities  and 
it  needs  them  in  the  story  carried  to 
the  screen.  At  best  the  story  on  the 
screen  is  a  reflection  of  those  who 
build  it  and  a  person  can  only  build 
with  the  material  in  hand. 

Inherent  in  diplomacy  is  under- 
standing of  people  and  situations 
which  when  used  in  a  picture  episode 
makes    it   real. 


Much  could  be  said  upon  the 
technique  used  in  creating  explosions 
and  gun  fire  effects  upon  the  screen. 
At  Universal,  if  a  person  is  to  be  shot 
through  a  window,  Oliver  Emert 
makes  a  bullet  of  waxed  paper  which 
spends  itself  and  breaks  up  after 
shattering  the  glass.  The  actor  com- 
pletes the  illusion  by  acting  shot. 

Machine  guns  can  now  be  fired  us- 
ing blank  cartridges  due  to  a  device 
that  fits  over  the  muzzle,  whereas 
formerly  blanks  could  not  be  used  be- 
cause of  lack  of  recoil. 

Imitation  cartridges  to  be  carried 
in  belts  or  otherwise  photographed 
are  the  regular  cartridges.  For 
safety,  they  have,,  instead  of  powder, 
a  little  ball  inside  the  shell  that 
rattles. 


ROY  DAVIDGE  FILM 
LABORATORIES 

An  Exclusive  "Daily" Laboratory 


b  7  0  1  -  6  7  1  5 


Quality   and   Service 

SANTA     MONICA 
GRanite    3108 


BOULEVARD 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-three 


Often,  when  a  machine  gun  is  to 
fire  and  the  bullets  strike  in  a  row 
on  a  wall  an  interesting  method  is 
used  to  create  this  illusion.  A  row  of 
detonating  caps  are  imbedded  in  the 
wall  behind  the  wall  paper.  These 
caps  are  set  off,  one  after  the  other, 
by  a  rheostat.  The  caps  upon  explod- 
ing give  the  effect  of  missiles  strik- 
ing. Many  of  the  casualties  of  the 
c  arly  days  are  now  eliminated  by  the 
use  of  these  sensible  devices  and  the 
effect  is  better  upon  the  screen,  which 
after  all  is  what  the  audience  wants. 
The  intelligent  person,  whether  going 
to  see  a  stage  play  or  a  picture  on 
the  screen  knows  that  many  devices 
and  props  must  be  used  if  the  story  is 
to  br-  well  told.  Of  course,  on  the 
stage  the  imagination  is  called  upon 
to  overlook  prop  scenery  and  effects 
while  the  motion  picture  is  often  con- 
demned because  the  audience  knows 
many  of  the  effect  shots  are  simulated 
even  though  not  detectable.  It  is  odd 
that  the  public  "thumbs  down"  such 
use  of  devices  which  makes  pictures 
realistic  which  if  not  used  would  mean 
the  audience  would  need  to  work  men- 
tally that  much  harder  to  get  the 
story. 

The  stage  producer  paints  his  larg-i 
sets  on  drops  and  fiats  while  in  the 
motion  picture  it  is  actually  built  and 
consequently  when  viewing  a  screen 
story  it  is  not  necessary  to  continual 
ly  "sell"  oneself  and  say  that  is  a 
large  set  as  is  the  case  on  the  stage. 


New  Standard  Leica  Camera 

This  month  E.  Leitz,  Inc.,  60  East 
10th  Street,  New  York  City  announce 
a  new  type  of  Leica  Camera  which  is 
certain  to  become  exceedingly  popu- 
lar. It  is  the  new  Standard  Leica, 
and  is  offered  to  the  public  as  a  ges- 
ture to  permit  camera  enthusiasts  to 
possess  a  Leica  at  a  reduced  price 
during  these  times  of  depression. 

The  Standard  Leica  is  not  an  in- 
ferior or  cheaper  instrument.  It  is  in 
every  respect  up  to  the  highest  stand- 
ard with  which  the  Leica  cameras 
have  always  been  identified.  It  lacks 
only  the  built-in  focusing  range  finder. 
Aside  from  this,  it  is  identical  with 
the  model  D  Leica. 

All  Leica  lenses,  niters  and  equip- 
ment are  interchangeable  on  the 
Standard  and  Model  D  Leica  cameras. 

A  new  type  range  finder  which  is 
mounted  horizontally  on  the  camera 
comes  as  part  of  the  equipment.  This 
range  finder  is  mounted  on  a  swivel 
lug   by    means    of    which    it    may    be 


turned  aside  at  will  so  that  it  does 
not  interfere  with  the  manipulation  of 
the  control  buttons. 

The  interesting  thing  about  the 
Standard  Leica  is  that  it  can  at  any 
time  be  converted  into  a  Model  D 
Leica  at  the  usual  conversion  charge. 
It  will  be  noted  that  the  price  of  the 
Standard  Leica  plus  the  conversion 
charge  totals  the  price  of  the  Model  D. 

Many  amateurs  who,  due  to  the 
times  do  not  feel  justified  in  buying 
the  Model  D  Leica  can  now  indulge  in 
Leica  photography  at  less  cost  by 
buying  the   Standard  Leica. 

The  Standard  Leica,  equipped  with 
a  focal  plane  shutter  with  speeds  up 
to  l/500th  of  a  second,  exposure,  El- 
mar  f:3.5,  50mm  lens,  range  finder, 
and  film  magazine  costs  only  $06.00 
complete. 

A  folder  describing  this  camera 
may  be  obtained  by  writing  to  E. 
Leitz,  Inc.,  60  East  10th  Street,  New 
York  City. 


FILTER  DOPE 


(Continued  from  Page  29) 
Aero  2  with  a  neutral  density  filter 
and  which  allows  the  necessary  wider 
opening  of  your  lens  to  wash  out  the 
background  is  the  one  to  use.  Re- 
member, too,  that  this  is  your  filter 
for  shots  where  you  have  extremes  of 
contrast  in  lighting. 

Those  of  you  who  want  to  limit 
yourselves  to  one  filter,  use  the  Aero  2 
>id  for  you  who  want  to  limit  your- 
selves to  three  excellent  ones  I  pass  on 
the  recommendation  of  one  of  our 
Hollywood  experts:  the  Aero  2,  the 
5N5,  the  23A. 

We  reprint  by  request  our  filter 
chart  of  October  for  those  of  you 
who  missed  it.  This  chart  will  be  of 
assistance  to  amateurs  who  may  read 
our  column  as  well  as  you  news- 
reelers. 

Use  these  and  forget  all  the  other 
filters. 

Judge  your  exposure  without  filter. 

Then  allow  for  respective  filter  used 
as  follows: 

Aero  2 — For  all-around  shots,  open 
up  lVa  stops. 

23A — For  all  air  shots,  clouds,  con- 
trasts, open  up  2  full  stops. 

G15 — Same  as  23A  on  exposure. 
Use  for  little  more  contrast  than 
Aero  2. 

5N5 — For  scenes  on  water.  Use  on 
snow  stuff  or  wherever  extremes  in 
lighting  occur.     Open  up  3  stops. 

72 — For  night  effects  in  daylight. 
Use  wide  open. 


EVERYTHING  PHOTOGRAPHIC 

for  Professional  and  Amateur 

New  and  used.     Bought,  sold,  rented 

and  repaired.     Camera  Silencing. 

Send  for  Bargain  Catalogue 


Hollywood  Camera  Exchange 


1600  Cahuenga  Blvd.'.   Hollywood 

Tel:  CL  2507  -  HO  9431 

Cable  Address:  HOcame* 

Open  8  *    m    to  10  p.  m. 


Take   Your   Optical  Problems   to 

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OPTICAL  TECHNICIAN 

Special    Cinema    Lenses,    Prisms, 

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New    and    superior    Optical    Unit 
for    sound    on    film. 

GRanite    7331 

1806    Whitley    Ave.,    Hollywood, 
Calif. 


You  Can't  Beat  This 

Lee  Shippey,  clever  writer  of  "The 
Lee  Side  of  Los  Angeles,"  in  the  L.  A. 
Times,  pays  this  tribute  to  "The 
Killers  of  the  Chapparal"  produced 
by  Harry  Gant  of  the  International 
Photographers  and  which  recently 
was  shown  at  Filmarte. 

"It's  sheer  daring,  comedy,  love  and 
cruel  tragedy,  all  photographed  in  the 
thick  chaparral  on  the  leeside  of  L. 
A.  Harry  Gant,  veteran  cameraman, 
and  his  associates  have  in  this  picture 
one  which  can  hold  interest  as  can  no 
picture  filmed  in  Asia  or  Africa  which 
I  have  seen.  And  this  picture, 
with  wild  cats  for  stars,  was  taken  in 
a  section  of  our  county  in  which 
everything  fights  to  live  and  lives  to 
fight. 

"We  held  our  breath  when  thirty 
wild  cats  prowled  on  the  screen  and 
spotted  several  wise  old  owls  in  con- 
ference on  a  lamb.  And  business  be- 
gan picking  up.  The  owls  took  wing 
and  the  wild  cats  seemed,  for  a  mo- 
ment, to  follow  suit.  They  fairly  flew 
from  limb  to  limb  in  pursuit.  There's 
comedy  when  the  wild  cats  encounter 
a  little  black  and  white  skunk  and 
tragedy  when  one  brings  down  a  fawn. 
It  is  most  instructive  to  see  a  raccoon 
catch  a  fish.  And  the  spectators  are 
astonished  when  a  haughty  old  rat- 
tlesnake hastily  seeks  safety  at  sight 
of  an  innocent-looking  weasel,  but  the 
weasel  gives  chase,  catches  the  rattler 
by  the  lower  jaw,  as  it  strikes  and 
hangs  on  until  it's  lily  time  for  the 
rattler.  There  was  love  interest  when 
Miss  Dolly  Terrapin,  from  a  neigh- 
boring settlement,  turtled  into  a  group 
of  ten  desert  terrapins,  armored  like 
knights  of  old,  and  the  tilt  was  on. 
'Tilt'  is  right,  for  a  terrapin  is  com- 
pletely hors  de  combat  when  flopped 
on  his  back,  and  nobody  knows  it  bet- 
ter than  another  terrapin.  Their 
game  seems  to  be  hooking  one  shell 
under  another  and  the  weaker  shell 
wearer  gets  flopped.  That  effective 
process  of  elimination  continues  until 
only  one  is  left  on  all  fours  and  he 
proudly  waddles  off  with  the  fair 
damsel. 

"Not  a  foreign  actor  in  the  cast. 
All  native  sons  and  daughters  of  the 
leeside  of  L.  A. — A.  M." 


Thirty-four 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  19J3 


King  Kong— a  IVonder  in  Celluloid 


Here  the  56  foot  ape,  perched  upon 
the  peak  of  the  Empire  State  build- 
in;/,  tallest  structure  in  the  ivo-rld, 
fights  an.  attacking  fleet  of  army 
planes. 

KING   KONG 

Directors,  Merian  C.  Cooper  and  Ernest  B. 
Sehoedsack ;  story  by  Edgar  Wallace  and 
Merian  C.  Cooper ;  screen  play  by  James 
A.  Creelman  and  Ruth  Rose  ;  first  camera- 
men, Eddie  Linden,  Vernon  Walker  and 
J.  O.  Taylor;  operative  cameramen,  Eddie 
Henderson,  Felix  Sehoedsack  and  Lee 
Davis  :  assistant  cameramen,  Bert  Willis. 
William  Reinhold,  William  Clothier  and 
Clifford  Stine  :  chief  technician,  Willis 
O'Brien  ;  sound,  E.  A.  Wolcott ;  film  edi- 
tor,   Ted    Cheesman. 

Cast :  Fay  Wray,  Robert  Armstrong,  Bruce 
Cabot,  Fred  Reicher,  Sam  Hardy,  Noble 
Johnson,    Victor   Wong   and   James    Flavin. 

HERE  is  RKO's  "King  Kong."  It  is 
something  really  new  and  in- 
triguing for  the  jaded  appetite 
of  the  screen  play  fan.  That  over- 
worked word  "colossal"  is  entirely  ap- 
plicable in  this  case.  The  story  is 
fantastic,  includ- 
ing prehistoric 
animals  and 
strange  tribes. 
The  central  figure 
is  King  Kong,  a 
tremendous  ape; 
so  large  that 
when  Fay  Wray 
is  held  in  one  of 
his  huge  paws 
she  looks  like  a 
very  tiny  doll.  It 
would  be  impos- 
sible for  the  aver- 
age picture  goer 
to  visualize  the 
amount    of    time, 

work  and  care  that  was  exercised  in 
the  taking  of  one  scene  in  which  Kong 
appears.  A  scene  that  lasted  but  a 
few  minutes  on  the  screen  consumed 
weeks  in  the  making.  In  fact  way 
back    in    1930    experiments    and    re- 


Eddie  Linden 


search  work  were  started  and  in  the 
fall  of  1931  Kong  was  given  his  first 
screen  test  under  the  working  title  of 
"The  Eighth  Wonder." 

The  picture  was  actually  55  weeks 
in  production  with  2  to  10  cameras  on 
the  set.  The  negative  used  amounted 
to  238,000  feet,  although  there  are 
only  10,000  feet  in  the  finished  pic- 
ture. Some  astonishing  camera  tricks 
were  employed  which  in  many  cases 
required  weeks  before  the  desired  re- 
sults were  obtained.  The  old  method 
of  using  "matt"  shots  was  almost  en- 
tirely eliminated  and  various  new 
methods  in  advance  of  anything  done 
heretofore  were  introduced.  In  one 
sequence  65  electricians  were  at  work 
and  350  lamps  were  throwing  their 
powerful  beams  over  the  set. 

It  will  be  interesting  to  note  that 
Director  Sehoedsack  and  Photographer 
Linden  spent  two  weeks  in  New  York 
on  the  Empire  State  Building  to  get 
that  thrilling  scene  where  Kong  holds 
Fay  Wray  a  prisoner  on  the  "moor- 
ing mast"  104  stories  above  the 
ground.  Breathing  is  almost  sus- 
pended when  the  huge  ape  holds  her 
in  his  paw  out  over  the  city. 

However,  a  few  lighter  moments 
did  brighten  the  hard  work.  Take  for 
instance  where  Robert  Armstrong  is 
shooting  a  test  of  Fay  Wray  aboard 
the  good  ship  Venture.  He  tells  Fay 
he  "shoots  his  own"  because  the  last 
cameraman  he  had  got  scared  at  a 
charging  rhinoceros  and  beat  it.  Then 
Bob  decides  to  try  a  filter  and  the 
camera  crew  almost  ceases  to  work  in 
registering  their  amusement  over 
Bob's   effort  to   get   the    filter   in    the 


holder.  They  say  he'd  still  be  trying 
if  Director  Sehoedsack  hadn't  called 
lunch. 

In  another  sequence  where  Kong 
steps  on  the  native's  body  in  the  mud, 
the  colored  boy  raises  his  head  and 
says:  I's  all  through,  Boss.  Ah  jest 
saw  Saint  Peter  a  reachin'  foh  his 
fountain  pen." 

A  goodly  share  of  King  Kong's 
crown  belongs  to  Merian  C.  Cooper 
and  Ernest  Sehoedsack,  whose  cour- 
age and  convictions  made  this  tre- 
mendous undertaking  a  reality.  A 
bow  is  also  due  Technician  Willis 
O'B'rien  for  some  of  the  fantastic  ef- 
fects achieved. 

The  photography  of  the  picture  is 
one  of  the  outstanding  features  of  the 
season  and  the  greatest  credit  is  due 
Eddie  Linden,  J.  O.  Taylor  and  Ver- 
non Walker,  all  of  whom  measured  up 
to  the  full  stature  of  their  artistic 
capabilities. 

This  is  a  picture  that  will  un- 
doubtedly appeal  to  all. 


THE  COHENS   AND   KELLEYS   IN 
TROUBLE 

First  cameraman,  Len  Powers:  operative  cam- 
eraman, Dick  Fryer;  assistants,  Walter 
Williams  and  Morton  Glouner ;  stills, 
Shirley  Martin,  sound,  Jeff  Moulin ;  film 
editor    Robert   W.    Carlisle. 

'"T^HE  many  admirers  of  George 
Sidney  and  Charles  Murray  will 
welcome  the  return  of  this  pair 
in  Universal's  "The  Cohens  and  Kel- 
leys  in  Trouble."  Maureen  O'Sullivan 
and  a  fine  cast  lend  able  support. 
George  Stevens  directs.  Cameraman 
Len  Powers  is  at  his  best  in  these  se- 
quences with  the  sea  for  background. 


A  flying  reptile — Pterodactyl  for  short,  seizes  the  beautiful  maiden,  and  soars 

aloft,  only  to  be  grabbed  out  of  the  air  by  the  gigantic  ape,   which  proceeds 

to  tear  the  bird  limb  from  limb. 


March,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-five 


LOOKING   'EM  OVER 


THE  CRIME  OF  THE  CENTURY 

First  cameraman,  David  Abe]  ;  operative  cam- 
eraman, Ernest  Laszlo ;  assistant,  James 
Kins? ;  stills.  Earl  Crowley ;  sound,  P.  T. 
Wisdom;    film    editor,    G.    Loring. 

STRANGE    story    of    intrigue    and 
mystery  is  Schulberg-Paramount's 
"Crime  of  the  Century,"  adapted 
by  Florence  Ryerson  and  Brian  Mar- 
low  from  Walter  Espe's  play  of  "The 
Grootman  Case."     The  mystery  is  as 
to  the  identity  of 
the  person  or  per- 
sons    responsible 
for  two  murders. 
It    grips    all    the 
way. 
There  comes  an 
■?      -  innovation     near 

the  conclusion  of 
.''  the    story    when 

from  off  stage,  so 
to    speak,    there 
enters  a  stranger 
who      announces 
that  for  the  space 
of  one  minute  the 
house     will     be 
given  an  uninter- 
rupted opportunity  to  figure  out  each 
for  himself  the  person  responsible  for 
the  tragedies. 

So  for  a  long  and  full  minute  we 
look  upon  a  hall  clock  and  listen  to 
its  steady  tick  as  slowly  the  figures 
rise  to  sixty.  There  is  little  chance 
for  any  one  to  figure  it  out  for  him- 
self so  tightlv  is  the  secret  buried. 

William  Beaudine  has  directed  a 
subject  which  will  have  unquestioned 
appeal  for  lovers  of  the  weird  but  yet 
not  in  the  category  of  the  horror  stuff. 
Of  this  there  is  little,  the  producer- 
choosing  to  rest  its  possibilities  for 
entertainment  in  the  subtlety  of  its 
invention. 

The  photography  was  in  the  capable 
hands  of  David  Abel  who  turned  out 
one  of  his  usually  excellent  jobs. 


David  Abel 


PRIVATE  JONES 

First  cameraman,  Charles  Stumar ;  operative 
cameraman,  Jimmie  Drought ;  assistants, 
John  Martin  and  George  Trafton ;  stills, 
Mickey  Marigold;  sound,  Gilbert  Kurland  ; 
film   editor,   Robert   Carlisle. 

NO  matter  how  militaristic  you 
may  be  in  your  inclinations  and 
beliefs  here  is  one  pacifistic 
character  who  will  interest  you  might- 
il".  The  chief  reason  for  this  of 
course  lies  in  the  fact  that  Private 
Bill  Jones  is 
neither  a  coward 
nor  a  weakling. 
He  establishes 
himself  in  the  re- 
gard of  his  screen 
followers  even  in 
spite  of  his  un- 
scrupulous tactics 
to  avoid  the  toils 
of  the  draft. 

Lee  Tracy  is 
the  likable  and 
human  private 
whose  entrance 
into  the  army  on 
the  end  of  a  pitch- 
fork   is    immedi- 


ately preceded  by  the  sudden  death  of 
his  mother,  an  ending  precipitated  by 
the  arrest  of  the  son  by  draft  officers 
for  falsifying  his  statements.  There 
is  a  smashing  finish  between  these 
two  principals,  one  that  will  pull  any 
principals,  one  that  will  pull  any 
house  to  the  edge  of  the  seats. 

Russell  Mack  directs.  The  adapta- 
tion is  by  Prescott  Chaplin  and  Wil- 
liam N.  Robson  of  Richard  Schayer's 
original  story. 

Charles  Stumar  is  credited  with  a 
workmanlike  job  of  cinematography 
on  this  opus. 


for  all  General  Motors  units  in  intro- 
ducing to  the  public  and  dealers  the 
new  model  cars  in  a  typical  Holly- 
wood fashion. 


MINE  IS   THE  BLAME 

Story  and  dialogue  by  Isadore  Bernstein ; 
screen  play  by  Sylvia  Seid  ;  to  be  directed 
by  Lois  Weber ;  settings  by  Lewis  W. 
Physioc  ;  photography  in  charge  of  Alvin 
Wyekoff. 

WITHOUT  preachment  or  ser- 
monizing "Mine  Is  the  Blame" 
is  an  entertaining  psychological 
story  that  endeavors  to  show  the  fu- 
tility of  suicide.  The  combination  of 
Isadore  Bernstein  and  Lois  Weber  re- 
calls many  of  the 
financially  suc- 
cessful pictures 
of  silent  days 
written  by  one 
and  produced  by 
the  other.  It  was 
chiefly  through 
the  efforts  of  Lois 
Weber  that  Bern- 
stein's story,  "His 
People,"  was  pro- 
duced again  as  a 
talkie. 

Starting    with 

AnrthCuerrPtBfrri™         Alvin  Wyekoff 
bane's    column, 

"Mine  Is  the  Blame,"  quickly  swings 
into  a  story  depicting  the  life  of  the 
family  of  a  prominent  professor  in 
chemistry,  a  student  of  Nietsche,  who 
decides  to  take  his  life  when  the  de- 
pression hits  him  and  leave  his  beau- 
tiful young  wife  and  two  children 
with  an  enormous  insurance. 

Recalling  Miss  Weber's  ability  to 
handle  such  subjects,  some  may  recall 
"Where  are  My  Children,"  "Shoes," 
"The  Rosary,"  and  "Jewel,"  predic- 
tions are  that  in  "Mine  Is  the  Blame" 
there  will  be  an  awakening  of  pro- 
ducers to  the  fact  that  stories  with  a 
"reason"  can  still  bring  crowds  to  the 
theatre.  Here's  more  power  to  Lois 
Weber  and  Isadore  Bernstein. 

On  this  story  Mr.  Physioc  turned 
in  sixteen  sketches  in  three  days. 


Charles  Stumar 


Hollywood  Technique  Employed 
at  Detroit 

Gordon  Avil,  who  photographed 
"The  Champ,"  which  was  given  sec- 
ond award  in  The  Film  Daily  poll  of 
the  ten  best  pictures,  is  now  in  De- 
troit at  the  Jam  Handy  Studios  intro- 
ducing modern  Hollywood  production 
technique  and  processes  in  the  indus- 
trial  field. 

Avil  is  doing  some  admirable  work 


Pellex    Broadens    16   MM.   Field 

Walter  Bell  of  Hollywood  and  Gor- 
don S.  Bennett,  the  latter  formerly  of 
Frisco,  have  organized  the  Pellex 
Film  Company  for  manufacture  and 
distribution  of  Pellex  Film  to  the  16 
mm.  trade. 

Mr.  Bell  was  for  seven  years  with 
Cine  Art  Productions,  producers  and 
distributers  of  Cine  Art  Films  and 
was  associated  also  for  several  years 
with  William  Horsley  for  whom  he 
sold  more  than  16,000,000  feet  of  li- 
brary film. 

Messrs.  Bell  and  Bennett  now  con- 
trol their  own  processing  plant  for 
amateurs  and  they  are  organized 
through  wholesale  dealers  to  cover  the 
entire  West  Coast. 

Their  processing  plant  operates  on 
a  one  day  service  and  film  arriving  by 
mail  at  the  plant  in  the  morning  is 
finished  and  on  its  way  home  in  the 
mail  leaving  Hollywood  the  same 
evening. 

The  Pellex  people  claim  to  have 
greatly  extended  the  16  mm.  field  be- 
cause of  the  lower  price  of  Pellex  film 
as  compared  with  the  price  prevailing 
UTJ  to  the  time  of  the  announcement 
of  Pellex  early  in  February.  The 
Pellex  price  is  $3.75  per  roll  of  100 
feet  against  $6.00.  Pellex  also  issues 
a  50  foot  roll  at  $1.90  and  these  prices 
also  include  processing. 

The  producers  of  Pellex  claim  that 
prior  to  the  advent  of  Pellex  the  ma- 
jor expense  of  16  mm.  photography 
was  the  cost  of  film,  whereas  now  the 
amateur  producer  of  16  mm.  film  with 
a  weekly  income  of  $35.00  or  $40.00 
can  afford  to  make  movies  as  in  the 
days  when  his  income  was  materila- 
ly  larger.  This  low  priced  Pellex  film 
is  cheap  only  in  price.  Its  quality  is 
amazingly  fine  and  it  is  giving  its 
users  the  greatest  satisfaction.  It  is 
not  a  panchromatic  nor  a  super  speed, 
but  has  qualities  equal  to  the  finest 
orthochromatic  and  for  all  ordinary 
shooting  it  will  yield  the  best  results. 
It  has  speed  ranging  between  ortho- 
chromatic  and  the  regular  panchro- 
matic film,  fine  grain  and  wide  lati- 
tude. 

The  Pellex  people  do  not  recom- 
mend the  use  of  filters  with  this  film 
or  the  use  under  artificial  lights  be- 
cause of  the  peculiar  quality  of  the 
emulsion,  but  in  its  own  field  and  at 
the  greatly  reduced  price  they  feel 
that  they  have  to  offer  the  16  mm. 
trade  a  quality  of  merchandise  which 
if  not  revolutionary,  is  a  great  step 
forward  and  an  immense  service  to 
that  vast  clientele  who  cannot  any 
longer  pay  the  higher  prices  to  enjoy 
the  delight  of  their  photographic  and 
cinematographic   hobbies. 

The  Craig  Movie  Supply  Company, 
1031  S.  Broadway,  jobbers  in  home 
movie  equipment,  are  the  dealers  in 
Pellex  in  Los  Angeles. 


"Thirty-six 


The     INTERNATIONAL     PHOTOGRAPHER 


March,  1933 


Bloop,  Bloop  a  Bloop 

What  is  a  Bloop  Punch? 

Ask  Art  Reeves;  he  sells  'em.  Fig- 
ure No.  1  is  a  pretty  good  representa- 
tion of  this  funny  looking  contrivance 
and  Figure  2  shows  what  it  does  to 
the  sound  track.  If  it  were  not  for 
patches  in  the  sound  track  bloop 
punches  wouldn't  have  been  invented. 
Because  of  the  double  density  caused 
by  the  patch  in  the  sound  track  the 
print  at  that  point  would  be  too  light 
if.  indeed,  it  showed  at  all  and  here's 
where  the  bloop  punch  comes  in.     The 


Fig.  1 

punch  cuts  a  triangular  piece  of  film 
from  the  sound  track  of  the  negative 
and  thus  allows  the  printing  light  to 
register  an  opaque  section  that  vir- 
tually fades  the  section  in  and  out 
without  a  loud  speaker  bloop.  A  bloop 
is  really  a  bump.  If  a  print  were  run 
through  the  sound  projector  without 
the  use  of  a  bloop  punch  these  trans- 
parent spots  in  the  patches  would 
overload  the  photoelectric  cell  which 
would  have  the  effect  of  making  a 
bloop  or  bump  in  the  loud  speakers. 


Fig.  2 


A  New  Lab. 


Thomas  J.  Walsh  and  John  B. 
Autofilli  have  retired  from  the  Akeley 
Camera  Corporation  and,  in  associa- 
tion with  William  A.  Bruno,  have  es- 
tablished Bruno  Laboratories  at  20- 
26  West  22nd  Street,  New  York  City. 


Our  President 

^^»w  A  smiling  likeness  of  William  C.    (Bill)    Elliott, 

^^^^SSfcL^  International  president  of  the  I-A  who  was  visit- 

^ft  '""  '"  ''""  A-nge4es  at  the  time  this  magazine  went 

*  *"  t°  press.     He  is  one  of  the  most  popular  officials 

in  the  history  of  the  I-A.  Frank  Tinney  accom- 
panied the  big  chief.  Mr.  Elliott  is  a  member 
of  the  Cincinnati,  Ohio  Stage  Hands  Local  No.  5. 
After  several  years  service  as  business  representa- 
tive of  No.  5,  he  was  elected  fifth  vice  president 
of  the  I-A  and  because  of  his  efficiency  and  per- 
sonal popularity  he  was  steadily  advanced  until 
now  he  is  the  the  top. 

Elliott's  is  a  big  job  in  these  times  of  great 
economic  disturbance,  but  he  can  safely  be  trusted  to  fulfill  his  mission. 
Come  again,  Mr.  President. 


"ARTREEVES" 

DEPENDABLE 
SOUND  RECORDING.  EQUIPMENT 


ACCESSORIES 

Wedgelite  Recording  Lamps 
Bloop  Punches  Tachometers 

Motors 
Cannon  Connectors  &  Cable 


Phone:      WYoming    4501 


Representative 

MOVIE  CAMERA  CO. 

Bombay,     India 


]-(olrV^vood 

Motion  PicTure/EouipmemTCo.  |Td. 


645  NORTH  MARTEL  AVE- 


CABLE  ADDRESS  ARTREEVES 


HOLLYWOOD,  CALIFORNIA,    US  A 


Visual  Education 

Frank  B.  Good,  who  needs  no  in- 
troduction to  the  cinematographic 
world,  is  an  intimate  friend  of  Mex- 
ico's able  and  brilliant  young  presi- 
dent, Alvarado  Rodriguez.  Accord- 
ing to  Mr.  Good  the  president  is  a 
great  friend  of  the  motion  camera 
and  he  is  using  it  extensively  in  the 
aggressive  campaign  for  visual  edu- 
cation he  has  inaugurated  in  the 
schools    of    our   sister   republic. 


Phone  GLadstone  4151 

HOLLYWOOD 
STATE   BANK 

The    only    bank    in    the    Industrial 

District  of  Hollywood  under 

State  supervision 

Santa   Monica   Boulevard   at 
Highland  Avenue 


^ 


i<y 


/ 


(p  i»  ** 


& 


March,  IMS 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-seven 


A  Chat  With  16  M.  M.  Folk 


By  MILTON   W.   MOORE 

International   Photographers 


I  live  up  against  the  mountains  in 
Altadena,  almost  within  the  shadow 
of  the  famous  Mt.  Lowe. 

Because  I  am  a  cameraman  and  be- 
cause I  am  the  only  one  in  captivity 
in  this  village  nestled  beneath  the 
Sierra  Madre  peaks,  I  have  a  lot  of 
fun.     I  answer  questions. 

They  come  singly  and  in  groups 
these  16  mm.  fans  who  want  to  know 
about  this  and  that  in  photography. 
Sometimes  they  fill  all  the  chairs  and 
overflow  onto  cushions  or  just  sit  on 
the  floor. 

They  ask  a  lot  of  questions  I  can't 
answer  and  they  know  I  can't  and 
when  they  get  me  on  a  spot  like  that 
the  party  is  good.  What  they  want  to 
know  mostly  is  not  technical,  but  what 
to  "shoot"  and  when.  So  we  have 
adopted  a  kind  of  slogan  which  is 
"Don't  be  a  16mm.  snap-shooter,"  and 
supplemented  by  other  trite  mottoes 
as  "It's  got  to  be  good  to  get  shot," 
etc. 

Probably  the  fault  most  common  to 
all  owners  of  home  movie  outfits  is 
the  tendency  to  compile  a  family  al- 
bum. The  fault  is  not  in  the  idea  but 
in  the  execution  of  the  idea.  Little 
Johnnie,  aged  six,  clean  and  hair 
neatly  combed,  sitting  sedately  in  the 
best  parlor  chair,  a  toy  in  his  hand 
and  an  angelic  expression  on  his  face 
would  no  doubt  make  a  beautiful  pic- 
ture. That  is  perhaps  the  way 
mamma  would  like  to  present  him  to 
the  world.  But — little  Johnnie,  aged 
six,  in  play  suit  and  rumpled  hair, 
with  the  cat's  tail  firmly  grasped  in 
one  chubby  hand  and  mamma's  very 
best  silver  mounted  brush  in  the  other 
is,  we  will  venture,  a  much  more  ac- 
curate action  picture  of  the  young 
man.  Posed  pictures  are  seldom  in- 
teresting beyond  a  mere  mechanical 
likeness,  while  natural  pictures  of 
people  are  human. 

If  you  know  what  California  nights 
are  like  under  the  influence  of  a  full 
moon  you  will  understand  what 
prompted  this  question  from  one  of 
the  newer  and   younger  visitors : 

"Can't  I  possibly  take  pictures  on 
these    bright    moonlight   nights?" 

Alas  for  romance,  science  has  not 
yet  devised  the  means  for  photograph- 
ing satisfactorily  by  the  light  of  the 
silvery  moon,  but  if  one  can  be  just  as 
romantic  and  sentimental  in  the 
golden  light  of  a  springtime  after- 
noon, then  there  is  a  way.  Place  a 
filter  over  the  lens  of  your  camera. 
This  will  give  the  picture  a  dark  sky 
and  an  overall  balance  of  light  and 
shadow  which  will  be  a  fair  imita- 
tion of  the  real  thing.  However,  I 
am  afraid  you  will  find  that  the  subtle 
influence  of  moon  and  stars  which  are 
missing  from  your  picture,  have  left 
your    "night    made    in    the    daytime" 


shot  just  another  scene — interesting 
only  as  an  example  of  photographic- 
technique. 

This  is  rather  a  broad  illustration 
of  the  case,  but  it  points  out  a  perti- 
nent fact.  Analyze  the  subject  which 
you  are  moved  to  photograph.  Why 
does  it  appeal  to  you?  Can  that  ap- 
peal be  photographed?  If  not  save 
your  film.  If  it  can  be  photographed 
analyze  the  subject  further  and 
photograph  only  that  part  which 
makes  the  picture.  The  components, 
composition,  balance,  harmony,  atmos- 
phere have  attracted  you,  consciously 
or  sub-consciously. 

A  beggar  in  rags  squats  beside  a 
gateway,  the  bare  limbs  of  a  tree  cast 
black,  grotesque  shadows  across  the 
grey  wall;  beyond,  through  the  gate- 
way is  a  stately  mansion  in  a  sunlit 
garden.  Here  is  a  picture.  You  walk 
closer,  the  squatting  figure  becomes 
just  a  dirty  beggar,  repulsive.  You 
give  him  a  coin  and  he  moves  away. 
With  him  goes  the  picture  which  you 
might  have  called  "Poverty".  And 
then  is  left  a  wall  with  shadows  and 
a  stately  mansion  beyond  a  gateway — 
"Castle  of  a  Gentleman"  is  all  that 
remains.  The  beggar,  repulsive  in 
himself,  made  the  picture  both  in  me- 
chanics of  composition  and  in  psycho- 
logical value. 

The  picture,  as  you  first  saw  it,  was 
a  good  still  subject.  It  is  equally  as 
good  for  16mm.  even  though  the  ele- 
ment of  physical  action  is  absent. 

There  is  the  marked  distinction, 
however,  between  the  subjects  suit- 
able for  stills  and  for  movies.  You 
can't  hang  your  movies  on  the  wall. 
Therefore,  the  subjects  selected  for 
your  16mm.  camera  should,  if  pos- 
sible, be  related — that  is  there  should 
be  some  attempt  at  continuity  of 
thought  or  sequence  of  events.  Con- 
sider the  reel  of  pictures  as  a  medium 
for  recording  interesting  events  or  do- 
ings of  people  in  whom  you  are  inter- 
ested, not  as  a  ribbon  of  film  on  which 
to  snap-shot  unrelated  subjects. 

A  lone  shot  of  your  dog  chasing  a 
ball  across  the  lawn  is  like  a  lost  soul; 
but  a  series  of  scenes  of  your  dog  do- 
ing his  tricks  makes  an  interesting 
movie.  These  scenes  may,  of  course, 
be  shot  at  different  times  and  after- 
wards spliced  together  in  proper  se- 
quence. 

Don't  shoot  a  picture  "just  for  in- 
stance." Consider  each  scene  as  a 
unit  of  a  series  of  scenes  which  will 
tell  a  story — a  real  natural  story. 
Avoid  dramatics  unless  you  are  one 
of  those  gifted  persons  who  can  di- 
rect home  talent  and  make  the  artist 
act  like  Garbo  or  Gable.  And,  who 
knows,  perhaps  you  are  just  such  a 
person. 


Eastman  Issues  Super  Films 

in  "Still"  Rolls  and  Paeks 

THE  Eastman  Kodak  Company 
plans  this  month  to  begin  sup- 
plying Eastman  supersensitive 
panchromatic  film  in  the  form  of  "still" 
rolls  and  film  packs  of  the  most  popu- 
lar sizes.  The  emulsion  offered  will 
be  of  the  same  type  as  those  which 
have  found  wide  use  on  motion  pic- 
ture film,  16mm.  motion  picture  film, 
cut  film  and  plates,  since  their  intro- 
duction two  years  ago. 

In  the  recent  past  the  interest 
among  amateur  photographers  in  the 
special  photographic  qualities  of  pan- 
chromatic materials  has  increased  ap- 
preciably. Making  a  panchromatic- 
emulsion  easily  available  for  this 
group  is  the  Eastman  Kodak  Com- 
pany's objective. 

Increased  speed  under  artificial 
light  and  out  of  doors  in  the  early 
morning  and  late  afternoon  is  an  addi- 
tional advantage  of  supersensitive 
"pan." 

Panchromatic  emulsions  require 
somewhat  different  treatment  in  photo 
finishing  from  that  accorded  emul- 
sions not  sensitive  to   red  light. 


Who's  This? 


v 


GURUV 

OUTDOOR.) 


?c 


0WER5- 


Caricature  by  Dick  Winslow,  sixteen- 
year-old  extra,  of  Leu  Powers,  ser- 
geant-at-arms  of  International  Pho- 
tographers'  Executive  Board  and 
shooting  first  camera  for  the  Doane 
company  at  Universal. 


V 


Thirty-eight 


The     INTERNATIONAL  PHOTOGRAPHER 


March,  1933 


Eastman's  New  Projectors 

THE  Eastman  Kodak  Company 
has  completed  two  new  16mm. 
projectors,  with  illumination  re- 
spectively of  500  and  750  watts.  They 
are  designated  Kodascopes  K,  Models 
50  and  75. 

The  increased  illumination  and  crisp 
focussing  of  the  projectors  not  only 
produce  brighter,  sharper  pictures  on 
average-size  screens  but  also  they 
permit  projection  on  much  larger 
screens.  The  resultant  larger  screen 
pictures  will  be  as  fully  illuminated 
as  those  shown  by  ordinary  projectors 
on  small-size  screens.  Kodacolor 
movies,  too.  benefit  from  the  extra 
brilliance  with  color  tones  of  unsur- 
passed quality. 

The  Model  75  is  expected  to  find 
particular  usefulness  for  projection 
before  schools  and  clubs. 

Outwardly  alike,  the  new  projectors 
are  light  in  weight,  smart  in  appear- 
ance, compact,  and  sturdy.  They  pro- 
ject 400  feet  of  film  with  a  simple 
threading,  and  the  film  is  rewound  by 
motor  in  less  than  30  seconds.  A 
unique  rewind  brake  assures  the  film 
being  wound  tightly  on  the  reel. 

Levers  cause  the  film  to  reverse  at 
will  or  to  project  a  "still."  Operating- 
controls  are  centralized  on  one  con- 
venient panel.  Most  of  the  important 
bearings  are  oiled  from  a  central 
point. 

As  with  the  previous  model  of  the 
Kodascope  K,  a  receptacle  for  plug- 
ging in  a  floor  lamp  or  a  table  lamp 
is  provided.  Therefore  the  same 
switch  that  turns  on  the  projection 
lamp  extinguishes  the  room  light  and 
vice  versa. 

Kodascopes  K  do  not  overheat.  A 
powerful  fan,  forcing  a  steady  stream 
of  air  through  a  newly  designed  cool- 
ing jacket,  keeps  the  projectors  cool 
at  all  times.  A  hinged  lamphouse 
door  facilitates  occasional  inspection 
and  cleaning  of  the  optical  parts. 

Both  projectors  operate  on  100-125- 
volt  A.C.  or  D.C.  lines.  The  Model  75 
contains  far  and  away  the  most  bril- 
liant light  source  ever  built  into  any 
home  projector. 

In  the  case  of  the  Model  75  a  rheo- 
stat and  an  indirectly  illuminated 
voltmeter  protect  against  overloading 
the  projection  lamp,  thereby  increas- 
ing its  life  and  yet  assuring'  the  full 
and  correct  amount  of  illumination. 


mTEi<^ 


CLASSIFIED 


Bob  Miller  to  the  Orient 

On  Friday,  February  24,  Bob  Mil- 
ler sailed  on  the  Dollar  liner,  Presi- 
dent Hoover  for  Manila,  Tokio  and 
other  points  in  the  Orient.  Bob  is 
chief  photographer  of  the  Dollar  and 
Matson  Steamship  lines,  under  com- 
mand of  Alfred  Palmer,  owner  of  the 
photographic  concessions.  According 
to  Mr.  Miller  the  President  Hoover 
has  the  finest  and  best  equipped  dark 
room  afloat.  On  this  trip  he  will 
shoot  stuff  for  movie  backgrounds  as 
well  as  stills.  Our  shipmate  has  four 
more  round  trips  to  make  before  com- 
pleting  his   contract. 


rflTH   ANY  CAMERA  

'  fniatt  PWl^W  mi  Ni,MCHvrtt  m  feytimt- 
K|lw  MhaMai  ani  many  »tW  iffrcts. 

A.L- L  J_.l-_ u-  .- 


GEORGE  H.  SCHEIBE 

ORIGINATOR  OF  EFFECT  FILTERS 

1927- 


W.   A.   SICKNER 

FIRST   CAMERAMAN 

COMPLETE  AKELEY 
EQUIPMENT 

CRestview    7255  GLadstone    5083 

HEmpstead    1128 


We  WCLYlt  3  5mm.,  travel, 
fight,  thrill  and  curosity  films,  from 
all  part*  of  the  earth  and  unusual 
and  interesting  films  depicting  the 
life  and  habits  of  Asiatic  peoples 
as  well  as  others. 
Send  us  description  and  length  of 
subject.  Cash  will  be  remitted  for 
any  subject  accepted. 
We  have  for  sale  negative  and 
positive  short  ends,  both  Eastman 
and  Du  Pont. 

Continental  Film-Craft,  Inc. 

1611    Cosmo    Street,    Hollywood,    Calif. 


FOR  RENT 

MITCHELL  CAMERA 

Silenced    and    Rebuilt    by    Mitchell 

Adapted    for    Multicolor    and    Dunning 

Process 

35   mm  ;  50   mm  ;   75   mm  ;   105   mm 

Pan    Tachars    Lenses 

Mitchell    Motor  Gear   Box 

D.   B.   KEYES,   WYoming   6139 


FOR  SALE  OR  RENT— Mitchell  and  Bell  & 
Howell  silenced  cameras,  follow  focus.  Pan 
lenses,  free  head,  corrected  new  aperture. 
Akeley,  De  Brie,  Pathe,  Universal,  Prevost, 
Willart,  De  Vry,  Eyemo,  Sept,  Leica.  Motors, 
printers,  lighting  equipment.  Also  every  va- 
riety of  16  mm.  and  still  cameras  and  projec- 
tors. Everything  photographic  bought,  sold, 
rented  and  repaired.  Send  for  our  bargain 
catalogue.  Open  8  A.M.  to  10  P.M.  Holly- 
wood Camera  Exchange,  1600  Cahuenga  Blvd. 
Phone  GLadstone  2507.  Hollywood  9431.  Cable 
address    Hocamex. 

SELL  YOUR  STILLS.  Get  into  print.  Stamp 
brings  you  "Sample  List  10-IP"  giving  sub- 
jects immediately  wanted  hundred  magazines, 
newspapers,  syndicates,  etc.,  also  all  photo- 
graphic contests.  Authors  Shop,  Drawer  1916, 
Baltimore.   Md. 

FOR  SALE  OR  TRADE— Mitchell  camera 
complete  with  speed  movement,  all  built-in 
features.  25  mm.  35  mm,  50  mm,  75  mm, 
matched  Astro  Tachar  lenses,  mounted  on 
turret,  also  4%  Heliar  lens  Mitchell  mounted, 
2  tripod  heads,  free  and  tilt,  six  400  foot, 
two  1000  foot  magazines,  high  hat,  also  Bell 
&  Howell  camera  complete.  Address  Mervyn 
Freeman,  1960  South  Vermont  Ave.,  Los  An- 
geles,  Calif.      Phone:     REpublic   3171. 

FOR   SALE— $200,   Debrie  35  mm.   camera  like 
new,   8   magazines  ;   one  Zeiss  F   3.5,   50   mm. 
and  one  75  mm.     Cases.     Debrie  tripod.    HEm- 
stead  2375. 

WANTED— Mitchell  tripod  for  8  by  10  still 
camera,  also  cheap  35  mm.  camera  complete. 
Suitable  for  silent  news  work.  Len  Hum- 
phries, 29  Donegal  Drive,  Leaside,  Toronto, 
Canada. 


FOR  SALE  OR  TRADE— Bell  &  Howell  Filmo 
70  D.  camera  and  outfit,  3  lenses,  Mayfair 
case,  tripod  and  case,  Kodacolor  attachments, 
etc.  All  in  first  class  condition.  Want  late 
model  Eyemo  camera.  Jackson  Rose,  c/o 
International   Photographer. 


Silent   and  Speed  Mitchell  Cameras 

for   Rent 

Follow  focus.  Also  new  Mitchell  motors, 
extra  1000  foot  magazines,  motor  adapter, 
baby  tripod,  25-35  mm.  and  long  focus 
lenses  ;    Mitchell   gear  box. 

B.  B,  Ray,  York  4553 


./linn  Katie  Olsen  risit*  her  cousin  tit  Reseda.     Photo  by  Rn 


March,   19  Jo 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-nine 


Alton  Goes  to  Argentine 

FROM  The  Standard,  a  Buenos 
Aires  newspaper  printed  in  Eng- 
lish, comes  word  of  the  opening  in 
Olivos  December  12  last  of  the 
S.  A.  Radio-Cinematografica  Lumiton 
(Light  and  Sound)  studio.  John  Al- 
ton, long  a  member  of  the  Hollywood 
cameramen,  is  manager  and  technical 
adviser  of  the  new  company,  spon- 
sored entirely  by  Argentine  capital. 

The  West  coast  photographer  has 
been  abroad  several  years,  having 
been  affiliated  with  French  and  Ger- 
man producing  plants.  The  property 
over  which  he  has  been  called  to  pre- 
side is  situated  on  about  five  acres  of 
ground.  The  company  has  erected  its 
own  stages  and  laboratory.  Up  to 
date  equipment  has  been  installed. 
The  cutting  rooms  are  in  charge  of 
Lasto   Kish. 


In  Morgana  Color 

The  colorful  1933  Pasadena  Tourna- 
ment of  Roses  was  filmed  in  color 
with  a  Filmo  movie  camera  by  the 
Morgana  Color  Process,  by  a  member 
of  Bell  &  Howell's  Hollywood  organi- 
zation. The  350-foot  film  was  later 
shown  on  a  6-foot  screen  to  an  audi- 
ence of  300 — a  noteworthy  accom- 
plishment for  a  16mm.  color  process — 
at  the  annual  awards  banquet  of  the 
Tournament  Association.  The  film 
was  promptly  booked  for  other  show- 


CRESCENT  BROKERAGE   CORPORATION 

Gustave    A.    Blumenreiter,    President 

INSURANCE  IN  ALL  ITS  BRANCHES 

SPECIAL  SERVICE  FOR  CAMERAMEN 

Rolan  C.   Kennell,    Manager 

416    W.    8TH    ST.,    LOS    ANGELES  TRINITY    8677 


Educational  Program 

THE  newly  constituted  Central 
Information  Bureau  for  Educa- 
tional Films,  a  British  organiza- 
tion, plans  the  establishment  of  a  cen- 
tral reference  office  for  matters  relat- 
ing to  educational  films  and  the  en- 
couragement of  motion  pictures  as  an 
aid  to  international  understanding 
and  useful  research. 

Among  the  announced  objectives 
are  the  building  up  of  a  library  of  ap- 
proved 16mm.  films,  provision  of  in- 
formation for  teachers  and  exchange 
of  information  with  foreign  film  in- 
stitutes and  exhibitions  of  best  for- 
eign films  of  "non-theatrical"  inter- 
est. 


ings  before  large  audiences.  Later  it 
was  shown  privately  to  Mary  Pick- 
ford,  grand  marshal  of  the  tourna- 
ment parade,  and  Douglas  Fairbanks. 
The  Pasadena  tournament,  as  every- 
one knows,  is  an  outstanding  annual 
event  on  the  West  Coast. 


Laff  This  Off 


Phil  Tannura  writes  from  London: 
"One  night  Director  Allan  Dwan  told 
his  camera  crew  that  he  wanted  a 
crane  for  the  next  day's  work.  Every- 
body was  flabbergasted,  but  the  boys 
finally  decided  to  get  an  ordinary 
street  crane  and  add  a  few  bars  to 
keep    the    platform    on    the    level.      It 


worked  and  was  used  throughout  the 
filming  of  Dwan's  "Counsel's  Opinion" 
picture.  Sixteen  man  power  hoisted 
and  panned.  The  first  time  we  used 
it  was  on  a  set  with  over  one  hundred 
people.  We  started  on  the  balcony 
and  zoomed  down  over  the  dancing 
heads  to  the  effect  that  the  whole 
bunch  precipitately  fled  the  scene." 


Ralph    Staub,    the    Screen   Snapshots 
Reporter,  as  "Kate  Smith." 


Dr.  G.  Floyd  Jackman 

DENTIST 

Member   Local   No.    659 
706    Hollywood   First    National    Bldg. 
Hollywood   Blvd.   at  Highland   Ave. 
GLadstone   7507  Hours:    9    to 

And    by   Appointment 


CINEX  TESTING   MACHINES 
CINEX    POLISHING    MACHINES 

Barsam  -  Tollar 
Mechanical  Works 

723?    Santa    Monica    Blvd. 
Phone    GRanite    9707         Hollywood,    California 


Phil   Tannura  shows   the   latest   thing  in   booms  in  London — That's   Phil 

on  the  boom. 


30%     to    60' v     cash    savings 

on  16  mm.  and  35  mm. 

Cameras,  Projectors 

and  Accessories 

Write       for       Bass       Bargaingram. 

Specify  size  of  apparatus  interested 

in.        For     over     22      years     Value 

Leaders  of  the  nation. 

Your   copy  is  ready.      Write  for  it. 

BASS  CAMERA  CO. 

179   W.   Madison    St.,   Chicago,   111. 


Forty 


T  h 


INTERNATIONAL     PHOTOGRAPHER 


March,   1933 


o;  rocvii 


T  ust  Push  *■* 
SI  SNYDER  and  ED.  ESTABROOK 
have  taken  over  the  magazine  and 
the  first  thing,  as  you  will  notice,  was 
to  push  this  department  back  to  the 
last  page.  This  way  it  takes  just  one 
more  push  and  it's  out.     So  will  I  ? 


New  Shooter 
HERB  ALLER,  Howard  Hurd's  as- 
sistant, was  checking  up  on  an  em- 
ployment agency  that  was  looking  for 
a  cameraman  that  was  willing  to  work 
for  praise  and  glory,  if  any.  Mickey 
Whalen  went  along  with  him.  The 
agency  man  asked  Whalen  what  he 
did.  Whalen  replied:  "I  shoot  first." 
He  asked  Aller  what  he  did  and  he 
replied:    "I    shoot   assistant." 


Rob  Wagner,  in  the  "Script"  says: 

Jan.  7th — Karl  Struss  camera  work 
is  always  very,  very  beautiful. 

Jan.  7th — Thanks  to  Robert  Kurrle's 
photography. 

Jan.  21st — Ernest  Palmer,  the  cine- 
matographer.  His  work  is  entirely 
worthy  of  his  magnificent  subject. 

Feb.  4th — And  the  camera  work  of 
Hal  Mohr  is  beautiful  beyond  words; 
the  night  stuff  particularly   so. 

Feb.  11th — And  the  superb  camera 
work  of  Victor  Milner. 


Brother,   can   you   spare  a   dime? 

ROY  JOHNSON  has  ten  dollars 
which  says  that  he  can  beat  JOHNNY 
MESCAL  18  holes  of  golf.  The  catch 
is,  it  must  be  played  at  Girard  where 
Johnson  thinks  he  is  pretty  good  and 
not  at  Fox  Hills  where  Mescal  is  not 
bad. 


Always  Obliging 
CHARLIE  ROSHER  came  into  the 
camera  department  at  R.  K.  O.  the 
other  day  to  get  his  mail.  He  found 
one  magazine  that  had  been  opened 
and  the  preceding  issue  was  missing. 
Charlie  posted  a  note  to  the  effect 
that  the  boys  were  welcome  to  read 
his  mail  as  long  as  they  left  it  where 
he  could  get  it  when  they  were 
through  with  it.  Also,  if  anything 
important  happened  to  be  in  his  let- 
ters he  would  appreciate  their  calling 
him  on  the  'phone.  This  was  not  to 
apply  to  bills. 


There  are  two  signs  on  the  adminis- 
tration building  at  R.  K.  O.: 
CASTING  OFFICE 
5  MILES  PER  HOUR 
I    wonder    what    the    speed    limit   is 
coming  out. 


Homeward  Bunned 

PAUL  PERRY  and  GUY  WILKIE 
have  left  Ceylon  headed  for  home,  and 
should  arrive  in  China  in  time  to  see 
some  excitement.  Get  ready  for 
what's  what  in  the  Orient. 


Portrait    of   Cameraman 

(Working) 


This  little  knock  towards  Technoc- 
racy to  show  the  hypocrisy  practiced 
by  the  aristocracy  with  an  8x10  still 
by  Raider  Olsen,  with  an  Actinic  Re- 
lease. 

After  many  years  of  manufacturing 
cameras  no  attention  or  thought  has- 
been  given  to  the  man  that  smokes  a 
pipe.  Elsie  Janis  claimed  that  she 
liked  a  man  that  smoked  a  pipe.  She 
is  the  only  woman  that  I  ever  heard 
of  that  did  and,  it  seems  to  me,  I  re- 
member meeting  a  few.  Of  course 
she  was  getting  paid  for  a  pipe  to- 
bacco ad  at  the  time  she  proclaimed 
this  and  that  might  make  a  difference. 
But  to  get  back  to  what's  wrong — 

How  can  a  man  smoke  an  Akeley 
and  run  a  pipe  ?  I  mean  run  an  Ake- 
ley and  smoke  a  pipe.  According  to 
the  photo  above  it  can  be  seen  that  it 
is  hard  to  have  your  picture  taken 
and  smoke  a  pipe  without  trying  to 
operate  the  camera.  This  is  a  con- 
dition that  should  be  corrected  as  it 
will  mean  more  pipes  and  tobacco 
sold  and  perhaps  more  Akeleys  and 
that's  what  we  need;  more  things 
sold. 

On  first  glance  at  this  picture  you 
would  think  that  Olsen  did  not  have 
an  assistant  when  the  camera  was  set 
up,  as  you  will  notice  that  the  matte 
box  is  on  upside  down.  Also  that  the 
finder  is  lying  on  top  of  the  camera 
in  a  very  careless  manner.  This  is 
not  the  case  though,  as  all  that  is 
necessary  to  correct  the  position  of 
the  matte  box  is  to  turn  the  camera 
over  and  we  all  know  the  finder  is 
built  in  the  Akeley. 

This   same  thing  applies   to  a  good 


DO  YOU  KNOW— 

That  Nick  Musuracco  and  Harry 
Wild  have  been  on  the  R.  K.  0.  lot 
since  1922.  It  was  F.  B.  0.  in  those 
days. 

That  Harry  Perry  previewed  his  air 
picture  at  the  Warner's  Beverly  and 
it  went  over  swell. 

That  Harry  Merland's  middle  moni- 
ker is  Joseph. 

That  Tocquine  Martin  LeClede  is 
the  assistant  you  know  as  Tod. 

That  I  would  like  to  hear  from  Os- 
mond H.  (Brody)  Borradaile. 

That  Ted  Tetzlaff  is  the  son  of  the 
famous  racing  driver. 

That  Chas.  Schoenbaum  was  with 
Paramount  for   14  consecutive  years. 

That  Billy  Marshall  was  there 
longer  than  that. 

That  Bob  Pittack,  ("Ole"  to  me,) 
is  Wanda  Hawley's  brother. 

That  Cecil  Wright's  center  name  is 
Bird. 

That  Stanley  Cortez  is  Ricardo 
Cortez  brother. 

That  Harold  Wyckoff  is  no  relation 
to  Alvin. 

That  Clifton  Kling  is  known  as 
"Pinkie". 

That  Bob  Miller  has  started  on  an- 
other Round  the  World  Cruise. 

That  J.  Henry  Kruse  has  opened  a 
dancing  Club  called  the  Paraval. 

That  Shorty  Stafford's  first  name  is 
Earl. 

That  T.  F.  Jackson  does  first  class 
repair  work  on  auto's  when  between 
pictures. 

That  Earl  Walker  has  a  Purple 
Heart.  This  is  a  citation  and  not  an 
affliction. 


WHY  IS  THIS? 


After  many  meetings  of  the  Board 
of  Executives  of  Local  659  it  was 
agreed  that  sons  of  members  of  this 
organization  be  given  preference  on 
application  for  membership.  They 
have  been  rewarded  by  the  following: 

Born  to 

Mr.  and  Mrs.  Phil  Tannura,  January, 
1933,  Girl. 

Mr.   and   Mrs.   Ralph    Ash,    February, 
1933,  Girl. 

Mr.  and  Mrs.  Hans  Koenekamp,  Feb- 
ruary,  1933,    Girl. 


many  things  that  bother  us  these 
days.  If  they  look  wrong  to  you  at 
the  time  just  turn  them  over  and  they 
will  look  different.  This  will  not  ap- 
ply to  a  glass  of  beer  however. 

If  you  should  happen  to  see  Olsen 
before  I  do  tell  him  the  matte  on  the 
left  side  is  cutting  in  a  little  and  to 
be  sure  and  have  it  fixed  before  he 
shoots  anything. 


*  General  Electric  Laboratories 
Upset  Tradition! 


*  Simplified  lamp 
design  revolution- 
izes high  wattage 
lighting. 


SINCE  the  days  of  Thomas  Edison,  lamps  have  been 
built  around  a  glass  stem,  with  the  attachment  of  the  base 
as  the  final  step.  To  follow  the  same  plan  of  design  and 
construction,  when  movies  first  called  for  high  wattage 
lamps,  was  natural. 

Now  the  Nela  Park  Laboratories  of  General  Electric 
Company  have  upset  tradition !  They  have  developed 
a  new,  simplified  design  for  high  power  lamps  which 
completely  reverses  established  lamp  construction  formu- 
las, by  beginning  with  the  base,  and  which  produces  a 
stronger  more  accurate  lamp  for  your  use! 

Improvement  of  existing  types  of  G.  E.  Mazda  lamps 
— to  fit  your  operating  conditions — is  the  work  of  onlv 


What  these  improvements  mean  to  you 

A  new  base,  simplified  one-piece  lead-in-wires  which  do  away 
with  the  glass  stem,  and  a  new  heat-resisting  glass  bulb,  make 
this  new  type  5  KW  G.  E.  MAZDA  lamp  offer  three  important 
advantages: 

1.  More    accurate    positioning   of    light    source    with    reference    to 

reflectors    and    lenses. 

2.  Gives  a   stronger,  more  rugged  lamp,  better  able  to  withstand 

the    severe    service    encountered    in    studio   lighting. 

3.  More   compact    storage    in    limited    studio    quarters,    since    this 

new  lamp  is   lighter  in  weight   and  shorter  in  length. 


one  group  of  G.  E. 'scientists.  Another  group  works 
earnestly  on  the  development  of  new  lamps  to  cope  with 
motion  picture  lighting  needs  of  the  future — needs  with 
which  General  Electric  is  familiar  through  close  contact 
with  the  studios.  And  still  another  group  checks  the 
microscopically  accurate  manufacture  of  G.  E.  Mazda 
lamps  by  testing  them  in  use. 

Such  care  enables  General  Electric  to  offer  a  complete 
line  of  lamps,  standard  in  quality  and  meeting  every 
cinematographic  need.  No  wonder  the  use  of  G.  E. 
Mazda  lamps  on  movie  lots  is  continually  growing. 
General  Electric  Company,  Nela  Park,  Cleveland,  Ohio. 


GENERAL©  ELECTRIC 

MAZDA  LAMPS 


Art  Reeves, 

645  North  Mart  el   Ave., 

Los  Angeles,    Calif. 


iHE  MITCHELL  SILENT 
CAMERA  which  has  been 
received  very  favorably  will 
soon  be  available  with  new 
and  original  improvements. 
Our  improved  silent  camera 
will  contain  many  exclusive 
features  which  have  made 
the  Mitchell  the  leading  pro- 
fessional camera. 


t 


Mitchell  Camera  Corporation 

665    N.    Robertson    Boulevard 
West    Hollywood,    Calif. 
Cable    Address       MITCAMCO"  Phone    OXford    1051 


INTERNATIONAL 
PHOTOGRAPHER 

MOTION    PICTURE    ARTS    AND    CRAFTS 

HOLLYWOOD 


NTNF.TRRN 


MBHwaaa 


In  Bright  Sunlight  or 
Deep  Shadow 

Under  Incandescent  or 

Arc  Light 


will  give  a  better  result  than 
is  otherwise  obtainable 


"The  (flFPQHJ)  trade  mark  has  never  been 
placed  on  an  inferior  product" 

• 

SMITH  &    \l  I  III.  LTD. 

6656   Santa    Monica    Boulevard,   Hollywood    5147 

HOLLYWOOD,   CALIFORNIA 

Pacific   Coast  Distributors  for 

Du  Pont  Film  Mfg.  Corp. 

35  West  45th  Street  New  York  City 


INTERNATIONAL 
PHOTOGRAPHER 


HOLLYWOOD 


Vol.  5 


HOLLYWOOD,  CALIFORNIA,  APRIL,  1933 


No.  3 


Howard  E.  Hurd,  Publisher's  Agent 

Silas  Edgar  Snyder,  Editor 

Ira  Hoke,  Associate  Editor 

Edward  T.  Estabrook,  Manager 

Lewis  W.  Physioc,  Fred  Westerberg,  Technical  Editors 

John  Corydon  Hill,  Art  Editor 

A  Monthly  Publication  Dedicated  to  the  Advancement  of  Cinematogra- 
phy in  All  Its  Branches;  Professional  and  Amateur;  Photography ; 
Laboratory  and  Processing,  Film  Editing,  Sound  Recording,  Projection, 

Pictorialists. 


FRONT   COVER— ALEXANDER   KAHLE 

THE  HISTORY  OF   SOUND   PICTURES 2 

By  Earl  Theisen 

AROUND  THE  WORLD— TIBET 6-7 

By  Herford  Tynes  Cowling 

THE   HABIT  OF   CRITICISING  MOTION   PICTURES 8 

By  Annette  Glick 

SOME  FUNDAMENTALS 10 

By  Geo.  J.  Lancaster 

THE  CINEMATOGRAPHERS  BOOK  OF  TABLES 11-12 

By  Fred  W.  Westerberg 
THE  LAB   (Report  of  S.M.P.E.  Committee) 14 

"BACKWARD,    TURN    BACKWARD" 18 

By  Gaetano  (Tony)  Gaudio 

NEWSREELER'S    DOPE    SHEET 24 

By  Ray  Fernstrom 

LIGHTING— THE    MAGIC    OF    CINEMATOGRAPHY 28 

By  Lewis  W.  Physioc 

WORKING  FOR  THE  FUN  OF  IT 32 

By  James  N.  Doolittle 

WHEN   NEWSREELS   SHOOT   AN    EARTHQUAKE 34 

HOLLYWOOD  PLANETARIUM   36 

THE  ARTREEVES  LITE-TESTING  MACHINE 37 

OUT  OF   FOCUS 40 

By  Charles  P.  Boyle 

The    International    Photographer    is    published    monthly    in    Hollywood    by    Local    659. 
I.  A.  T.  S.  E.    and  M.  P.  M.  O.   of  the   United   States   and   Canada 

Entered   as   second    class    matter   Sept.    30,    1930.    at   the   Post    Office    at   Los    Angeles, 
California,    under  the   act   of    March    3,    1879. 

Copyright    1932    by    Local    659.    I.  A.  T.  S.  E.    and    M.  P.  M.  O.    of    the    United    States 

and    Canada 

Office    of    publication,    1605    North    Cahuenga    Avenue,    Hollywood,    California. 

HEmpstead  1128 

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Subscription    Rates — United    States   and   Canada,    $3    a  year.      Single   copies,    25   cents. 

The  members  of  this  Local,  together  with  those  of  our  sister  Locals,  No.  644  in 
New  York,  No.  666  in  Chicago,  and  No.  665  in  Toronto,  represent  the  entire 
personnel  of  photographers  now  engaged  in  professional  production  of  motion 
pictures  in  the  United  States  and  Canada.  Thus  THE  INTERNATIONAL 
PHOTOGRAPHER  becomes  the  voice  of  the  Entire  Craft,  covering  a  field  that 
reaches    from   coast   to   coast   across    North    America. 

Printed    in    the    U.S.  A.     at    Hollywood,     California 


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Something  to 

Holler  About! 

Personally  appeared  before 
me  this  day  Edward  T.  Esta- 
brook, manager  of  THE  INTER- 
NATIONAL PHOTOGRAPHER, 
and  under  oath  affirms  that  since 
February  15,  1933,  three  hun- 
dred ten  (310)  new  and  bonifide 
paid  subscriptions  have  been  re- 
ceived and  added  to  the  mailing 
lists  of  THE  INTERNATIONAL 
PHOTOGRAPHER.  This  periodi- 
cal is  published  monthly  in  Hol- 
lywood, California,  at  No.  1605 
Cahuenga  Avenue,  and  is  the 
property  of  Local  659,  I.A.T.S.E. 
and  M.P.M.O.,  Howard  E.  Hurd, 
publisher's  agent;  Silas  Edgar 
Snyder,  editor. 

Dated  this  27th  day  of  March, 
1933. 

(Seal)       Edward  T.  Estabrook. 

Harold  V.  Smith, 

Notary  public  in  and  for  county  of 
Los  Angeles,  State  of  California. 

My  commission  expires  March  7, 
1937. 


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SERVICE  ENGRAVING  CO. 


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Please  mention  THE   INTERNATIONAL   PHOTOGRAPHER    when   corresponding    with   advertisers 


Two 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


[The  assembly  of  this  muss 
of  historical  material  of  the 
cinema  in  sound  is  like  a  jig- 
saw puzzle  to  Mr.  Theisen. 
Every  piece  must  fit  perfect- 
ly into  its  place  or  the  pic- 
ture is  imperfect.  There  can 
be  no  mistake.  If  the  reader 
knows  what  it  is  to  look  up 
a  German,  patent  he  will  ap- 
preciate the  ardors  of  this 
task  which  Mr.  Theisen  per- 
forms so  well.  Through  this 
work  will  one  day  be  written 
the  authentic  history  of  the 
motion  picture  industry  in 
all  its  moods  and  tenses. — 
Editor's  Note.] 


The  HISTORY  of 
Sound  PICTURES 


Bv  Earl  Theisen 


Honorary  Curator  Los  Angeles  Museum 


Did  you  know  that  experiments  were  conducted  in  an 
attempt  to  make  talking-  pictures  as  early  as  1878?  That 
was  fifty-five  years  ago,  and  was  the  same  year  that  Edi- 
son announced  the  phonograph. 

A  survey  of  the  attempts  to  synchronize  sound  to  mo- 
tion pictures  indicates  that  talking  pictures  was  the  cher- 
ished dream  of  many  men,  and  that  they  date  from  the 
first  realization  that  the  human  voice  could  be  reproduced 
mechanically. 

Wordsworth  Donisthorpe  was,  probably,  the  first  to  sug- 
gest and  experiment  with  making  pictures  talk.  He  wrote 
a  letter  to  the  editor  of  "Nature"  which  was  published  in 
the  issue  of  January  24,  1878,  as  "Talking  Photographs." 
In  it  he  said,  "By  combining  the  phonograph  with  the 
kinesigraph  I  will  undertake  not  only  to  produce  talking 
pictures  of  Mr.  Gladstone  which  [who],  with  motionless 
lips  and  unchanged  expression  shall  positively  recite  his 
latest  anti-Turkish  speech  in  his  own  voice  and  tone.  Not 
only  this,  but  the  life  size  photograph  itself  shall  move  and 
gesticulate  precisely  as  he  did  when  making  the  speech, 
the  words  and  gestures  corresponding  as  in  real  life." 

He  goes  on  to  add  that  he  took  his  photographs  at  inter- 
vals of  half  or  quarter  seconds,  with  an  exposure  of  an 
eighth  second  after  which  he  mounted  the  finished  picture 
on  a  long  paper  band.  His  kinesigraph,  or  camera,  was 
so  arranged  that  after  exposure  the  glass  plate  would 
drop  out  of  the  way  and  be  replaced  by  the  next.  The 
phrase,  "with  motionless  lips  and  unchanged  expression," 
is  apparently  a  reference  to  the  fact  that  since  he  could 
not  take  more  than  four  pictures  a  second,  much  of  the 
action  and  facial  expression  incidental  to  the  sound  record 
was  lost,  which  resulted  in  the  subject  saying  several 
words  during  the  time  each  picture  was  on  the  screen. 
It  must  be  remembered  that  today  twenty-four  pictures 
are  taken  each  second  in  order  to  catch  all  the  expression 
changes. 

Since  the  phonograph  of  Donisthorpe's  time  was  far 
from  perfect,  giving  off  as  it  did  sounds  reminiscent  of  a 
cat  courtship,  very  little  came  of  his  experiments,  although 
his  idea  was  conceptional  and  was  the  introduction  of  the 
idea  of  the  talkies. 

The  first  two  men  to  concern  themselves  with  the  pho- 
tographic recording  of  sound  were  Czmark  of  Vienna,  who, 
in  1862,  photographed  the  vocal  cords  in  action,  and  Alex- 
ander Blake  of  Brown  University,  who,  in  1878,  carried 
on  a  series  of  experiments  of  photographing  the  vibrations 
of  a  mirror  attached  to  a  microphone  diaphragm.  The 
photographic  plate  was  kept  in  motion  by  a  clockwork 
mechanism. 

Charles  E.  Fritts  applied  for  a  U.  S.  patent  on  October 
22,  1880,  on  methods  of  recording  sound  phenomena  in 
which  he  specifies  various  systems  of  recording  sounds  by 
photographic  means.  In  the  claims  for  this  patent  he  spe- 
cifies various  slits,  or  shutters  as  he  calls  them,  which 
were  coupled  to  a  microphone  diaphragm,  as  well  as  vari- 
ous optical  systems  in  conjunction  with  mirrors  for  creat- 
ing the  sound  record.  These  rcords  were  to  be  recorded  on 
long  photographic  bands.     Selenium  bars  were  used  in  re- 


creating the  photographed  sound  record  from  a  radiant 
energy  into  a  pulsating  electric  current  that  vibrated  a 
diaphragm  to  recreate  the  sounds.  Selenium,  as  is  known, 
is  an  electrical  resistor  whose  conductivity  is  increased 
with  light  intensity. 

It  is  this  writer's  opinion  that  the  Fritts  patent  was  one 
of  the  broadest  ever  issued  on  any  invention.  It  covers, 
basically,  all  the  elements  of  sound  recording  as  practised 
today.  It  is  of  interest  to  note  this  patent  was  not 
granted  until  thirty-six  years  afer  applicaion.  In  the 
meantime  its  inventor  had  died. 

Demeny,  in  1892,  bi-ought  out  his  "Chronophotophone," 
which  was  a  device  that  synchronized  a  cylinder  phono- 
graph with  slides.  These  slides  were  crude  attempts  to 
portray  motion  and  were  made  in  the  Photographic  Gun 
that  had  been  devised  by  Demeny  several  years  earlier. 

In  the  meantime  Edison  had  approached  the  problem  of 
recording  pictures  for  his  phonograph.  This  is  interest- 
ingly told  in  a  book  written  by  Dickson,  entitled  "History 
of  the  Kineto-Phonograph,"  which  was  published  in  1895. 
In  the  foreword,  in  Edison's  own  hand  writing  is  stated, 
"In  the  year  1887,  the  idea  occurred  to  me  that  it  was 
possible  to  devise  an  instrument  which  should  do  for  the 
eye  what  the  phonograph  does  for  the  ear,  and  that  by  a 
combination  of  the  two  all  motion  and  sound  could  be 
recorded  and  reproduced  simultaneously."  This  little  book 
tells  of  a  studio  room  constructed  in  1888  in  which  at- 
tempts were  made  to  do  this.     After  a  series  of  experi- 


From   Dickson's  "History  of  the  Kinetophone,"   published 
in    1895,  showing  the  Edison   Talkie,  being  recorded  before 

1895. 


April,  193& 


The     INTERNATIONAL     PHOTOGRAPHER 


Three, 


Sound  track  made  by  system 

devised    and    announced     by 

Rhumer     in      the     Scientific 

American,  July  29th,  1901. 


Sound      track     and     picture 
.  .made  by  Lauste  in  1910. 


A  sound  track  and  picture  of 

the  variable  density  made  by 

Lauste  in  1911. 


Specimen     made     by     Amet, 

showing  multiple  track,  made 

in  1922. 


Type  of  sound  system  used 
in  Germany  in  1922.  Notes 
at  bottom  of  frame  sung  by 
artists  in  orchestra  pit.  Earl- 
ier in  this  country  voices  be- 
hind screen  rendered  lines  of 
characters,  or  frock-coated 
speilers  by  side  of  screen  held 
forth. 


The  first  type  of  Photophone 

of  1928. 


First    of    the    Cinephone    by 

which  first  Mickey   Mouse 

was  recorded. 


Specimen  of  film  showing 
synchronizing  mark.  In  1912 
by  Amet.  Sound  was  by  disk. 


Recent   specimen    of   "Movie- 
tone" synchronizing  mark. 


35MM  film  with  sound  track- 
on  outer  edge,   as   used  in 
Germany 


42MM  film  with  track  on  outer 
edge,  also  used  in  Germany. 


Specimen  of  "Split  35MM 
film"  used  by  MGM  and  Uni- 
versal as  economy  measure. 
First   used  by  MGM  in  1931. 


RCA  Highest  Fidelity  Photo- 
phone  announced  May,  1932. 
Largely  developed  by  M  C 
Satzel,  chief  engineering  de- 
partment of  RCA. 


m 

A 

m  J 

Specimen    of    the    de    Forest 
"Phonofilm"   of   1922.     First 
successfully  commercial  dem- 
onstrated   system. 


RCA    16MM    announced    in 

spring    of   1932.      First    16M 

sound  on  film. 


-Courtesy   L.   A.   Museum 


Four 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


Lauste' s  "sound  and  scene"  projection  1912.  The  lower 
lamp  house  was  placed  to  illuminate  tin  sound  track.  Film 
projection  is  old  "Fathe  Professional."  The  apparatus 
was  first  sold  by  Lauste  in  1911.  The  first  to  project  pic- 
tures for  Sound  from  the  same  film. 

Photo  courtesy  Merritt  Crawford 

merits,  a  demonstration  was  held  on  October  6,  1889, 
which  was  the  first  demonstration  of  the  Edison  motion 
picture,  and  the  pictures  were  synchronized  to  a  phono- 
graph. The  "Kinetophone"  here  demonstrated  for  the  first 
time,  had  its  commercial  debut  in  1894,  in  a  Raff  and  Gam- 
mon Peep  Show  Parlor  in  New  York.  The  pictures  were 
viewed  through  an  eye  piece  while  the  sound  were  con- 
veyed to  the  ears  by  means  of  tubes.  It  was  not  a  success, 
however,  Edison  continued  to  dabble  with  the  idea,  and  in 
1910  he  again  introduced  another  device  that  consisted  of 
a  projector,  and  a  phonograph  that  was  set  on  the  stage 
for  sound  effects.  They  were  coupled  together  with  a  long 
wire  belt  running  from  the  projector  booth  to  the  stage. 

These  first  experimenters  had  firmly  established  the  idea 
of  talkies,  and  had  set  under  way  many  inventors,  who 
struggled  with  the  problem.  Since  so  many  systems  were 
devised,  space  will  permit  only  the  more  notable  or  novel 
being   recorded  here. 

Among  these  is  Valdemar  Poulsen,  who  passed  a  steel 
ribbon  between  two  electro  magnets.  These  magnets  re- 
ceived a  pulsating  current  from  a  microphone,  which  in 
turn  magnetized  the  ribbon  as  it  passed  between  them. 
This  system  was  patented  in  Germany  on  April  21,  1900. 
Earnst  Ruhmer,  in  the  Scientific  American  of  July  29, 
1901,  announced  a  method  of  recording  sound  photo- 
graphically in  a  device  using  motion  picture  film.  He 
called  it  the  "Photographophone." 

Leon  Gaumont  and  H.  H.  Lake  were  issued  several  Brit- 
ish patents  during  1901  and  1903  on  different  methods  of 
synchronizing  phonographs  and  pictures  by  means  of  either 
gears  or  brushes  on  the  armatures  of  the  driving  motors. 
Their  patents  specify  loud  speakers  and  suggested  their 
use  behind  the  screen,  the  speakers  being  connected  with 
th  phonograph  by  electrical  wires.  This  suggested  use  is 
interesting  because  the  conventional  phonograph  at  this 
time  had  its  horn  attached  directly  to  the  needle  on  the 
record. 


Oscar  Messter  was  granted  several  patents  during  1903 
and  1904  on  systems  devised  by  him.  One  claim  granted 
him  in  a  British  patent  on  October  19,  1903,  was  for  a 
synchronization  mark  to  serve  as  a  starting  guide.  Mess- 
ter devised  the  "Auxtephone,"  which  was  a  loud  speaker 
that  intensified  the  sound  by  means  of  compressed  air. 
The  Messter  "Chronophone"  introduced  about  1905,  used 
this  method  of  increasing  the  sound  volume,  and  its  suc- 
cess may  be  judged  from  the  fact  that  it  was  used  for  a 
while  at  the  Hippodrome  in  Paris,  which  has  a  seating 
capacity  of  4000.  One  of  the  chief  problems  for  these  in- 
ventors, besides  keeping  the  phonograph  record  in  step 
with  the  picture,  was  the  lack  of  suitable  means  of  re- 
producing the  sound  in  sufficient  volume  for  a  theater- 
audience. 

Probably  the  most  successful  of  the  early  record  using 
devices  was  the  "Cameraphone"  introduced  in  1904  by 
James  Whitman,  in  New  York.  His  results  were  good,  and 
the  device  was  used  for  several  years,  but  the  novelty  of 
the  thing  eventually  wore  off. 

Among  others  to  develop  and  patent  phonographic  sys- 
tems in  the  next  few  years  was  W.  C.  Jeapes,  who  applied 
for  a  patent  in  1909  on  his  "Cinephone."  About  this  time 
Cecil  Hepworth  introduced  the  "Vivaphone."  This  was  a 
synchronizing  device  that  kept  the  projector  and  disc  in 
step  by  electro  magnets  and  pawls.  It  was  adaptable  to 
any  projector  or  phonograph.  E.  H.  Amet  was  granted 
numerous  patents  on  the  "Audo-Moto-Phono"  during  1912 
to  1918.  This  was  a  system  that  had  ample  sound  volume 
due  to  an  electrical  pickup  that  he  devised.  It  enjoyed  a 
certain  measure  of  success  for  a  number  of  years  in  Cali- 
fornia. 

In  order  to  give  some  idea  of  the  ramifications  of  the 
various  experimenters,  mention  might  be  made  of  the  work 
of  Katherina  von  Madelar,  who  was  granted  her  first  sound 
patent  in  1916  on  a  system  of  recording  by  means  of  an 
electrically  heated  needle  which  was  attached  to  a  micro- 
phone diaphragm.  This  diaphgram  upon  vibrating  from 
sound  bombardment  caused  the  heated  stylus  to  burn  a 
waveline  sound  track  in  the  celluloid  ribbon  upon  which 
it  rested.  This  was  only  one  of  the  many  methods  devised 
by  her  to  create  such  records.  She  called  her  sound  equip- 
ment the  "Propjectophone."  William  H.  Bristol  perfected 
the  "Bristolophone,"  which  was  patented  in  this  country 
as  an  entertainment  device  in  1917.  It  specified  the  syn- 
chronization of  a,  gramaphone  and  cinematograph. 

In  tracing  the  photographic  sound-on-film  recording  of 
sound  in  connection  with  motion  pictures,  the  work  of 
Eugene  A.  Lauste  is  the  most  important  of  the  earlier 
experimenters.  He  made  his  first  sound  recorder  in  1904. 
It  was  made  on  the  principal  of  the  earlier  recorders  made 
by  both  Blake  and  Fritts,  consisting  of  only  a  box  with  a 
slit,  and  a  light  beam  that  was  directed  from  a  mirror  on 
a  microphone  diaphragm  to  this  slit.  He  continued  to  ex- 
periment with  the  recording  of  sound  and  picture  on  the 
same  film,  and  in  1907  he  was  granted  an  English  patent 
(No.  18057).  This  patent  was  issued  to  three  men,  the 
other  two  being  associated  with  Lauste  mainly  for  the  pur- 
pose of  furnishing  finances.  Lauste  continued  his  experi- 
mental work  with  various  type  of  recorders  until  1910, 
when  he  hit  upon  the  idea  of  the  string  galvanometer. 
The  general  principal  of  this  is  a  mirror  attached  to  a 
wire  of  silicon  bronze  between  the  poles  of  two  magnets. 
The  mirror  vibrates  from  the  impulses  from  the  micro- 
phone. The  beam  of  light  upon  the  mirror  being  reflected 
to  the  film  through  a  narrow  slit.  This  results  in  an  ex- 
posure of  variable  area  similar  to  that  of  the  Photophone 
today.  By  1911,  he  had  successfully  succeeded  in  photo- 
graphing both  sound  and  picture  on  the  same  film.  Lauste 
is  still  working  with  sound  problems  in  conjunction  with 
the  Bell  Telephone  Laboratories. 

Theodore  W.  Case  started  working  with  various  electri- 
cal resistors  in  1916  and  by  1917  had  filed  an  application 
for  a  patent  on  a  new  substance  (Bismuth  and  Sulphur) 
having  a  variable  resistance  under  the  influence  of  different 
tensities  of  light.  It  was  granted  July  8,  1919.  This  was 
followed  by  several  other  similar  patents  and  in  1920  he 
filed  a  patent  on  the  first  photoelectric  cell.  The  photo- 
electric cell  was  the  solution  of  the  biggest  problem  of  the 
sound  pioneers,  with  it  they  could  reproduce  the  sound 
from  the  recorded  track  in  sufficient  volume  to  make  it 
practical  for  audience  reproduction.  This  tube  was  known 
as  the  "Thallafide"  cell. 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Five 


In  the  meantime  Lee  de  Forest  had  started  to  work  on 
a  sound  system.  By  1919,  he  had  filed  his  first  patent  on 
a  glow  lamp,  which  he  later  called  the  "Photion"  tube. 
This  tube  converts  the  pulsating  electrical  current  from 
the  microphone  into  a  radiant  energy  which  is  photo- 
graphed on  a  traveling  motion  picture  film.  While  this 
tube  makes  it  possible  to  record  the  sound  the  Case  tube 
facilitates  reproduction. 

In  the  next  few  years  de  Forest  was  granted  and  as- 
signed thirty-five  patents  on  talking  pictures  and  by  1923 
had  completed  several  successful  demonstrations  of  his 
"Phonofilm."  Following  the  week  of  April  11,  1923,  he 
started  his  first  public  exhibition  at  the  Rivoli  in  New 
York.  Up  to  this  time  this  was  the  most  successful  system 
developed,  and  through  it  was  a  promise  of  the  talkies 
that  were  to  come  in  the  next  few  years.  Again  the  sci- 
entists had  triumphed  and  had  successfully  made  another 
tool.  All  that  remained  now  was  for  a  courageous  busi- 
ness man  to  take  this  device  of  the  scientists  and  distribute 
it  to  the  public. 

The  man  to  do  this  was  Harry  Warner.  On  the  night  of 
August  7,  1926,  the  Warners  released  "Don  Juan,"  star- 
ring John  Barrymore.  It  was  released  with  sound 
sequences  at  their  New  York  theater.  This  opening  pro- 
gram carried  an  introduction  by  Will  Hays,  in  which  he 
prophesied  that  the  motion  picture  was  going  to  be  revo- 
lutionized by  this  new  thing  made  available  to  it.  The 
Warner  "Vitaphone"  system  was  licensed  from  the  West- 
ern Electric.  It  was  a  disc  system  synchronized  to  film. 
The  discs  were  mostly  discontinued  in  1930  for  the  sound 
on  film,  because  of  the  breakage  and  extra  transportation 
charges  incidental  to  the  large  16-inch  records. 

The  second  picture  released  with  sound  sequences  was 
the  Al  Jolson  "Jazz  Singer,"  and  the  first  completely  syn- 
chronized sound  picture  was  "The  Lights  of  New  York," 
released  on  July  15,  1928.  The  cast  included  Helene  Cos- 
tello,  Cullen  Landis,  Mary  Carr,  Gladys  Brockwell,  and 
others.     It  had  dialogue  through  the  entire  picture. 

In  the  meantime  William  Fox  and  Theodore  Case  started 
to  develop  the  system  which  was  later  the  "Western  Elec- 
tric Movietone."  Fox  furnished  the  financing  while  Case 
did  the  research  work.  This  was  developed  as  sound  on 
film,  both  the  picture  and  the  track  being  on  the  same 
film.  The  first  picture  to  be  released  for  public  showing 
was  Raquel  Meller  singing  a  cycle  of  songs,  which  was  re- 
leased in  conjunction  with  "What  Price  Glory,"  on  Jan- 
uary 21,  1927.  On  May  25,  1927,  the  first  complete  Movie- 
tone program  was  shown  with  "Seventh  Heaven,"  starring 
Janet  Gaynor  and  Charles  Farrell. 

The  first  outdoor  picture  was  the  Fox  Movietone  feature, 
"In  Old  Arizona,"  starring  Warner  Baxter.  It  was  first 
shown  at  the  Los  Angeles  Criterion,  December  25,  1928. 
The  first  picture  to  have  color  as  well  as  sound  was  the 
M.G.M.  "Gus  Edwards  Color-Tone  Review,"  and  the  first 
feature  in  color  and  sound  was  the  M.G.M.  "Broadway 
Melody." 

Charles  A.  Hoxie,  who  did  most  of  the  research  on  the 
R.C.A.  Photophone,  started  working  with  the  sound  and 


Amet's  talking  device,  1911-1917,  with  photograph  of  Mr. 
and  Mrs.  Amet  at  Redondo  in  1912.  The  palm  trees  shown 
in  the  picture  are  now  thirty  feet  in  height.  Note  the 
microphone  of  those  days  and  camera  that  recorded  sound 
picture  simultaneously . 


C.  E.  FRITTS,  OtC'D. 

I.  H.  (Him.  ADMINISTRATRIX. 

RECORDING  AND  REPRODUCTION  Of  PULSATIONS  OR  VARIATIONS  IN  SOUNDS  AND  OTHER  PHENOMENA. 

»PPL!C»i ION   tlllO  OCT    71.  I«»0. 

1,203,190.  Patented  Oct.  31, 1910. 

4  SMU1S-5HUI   I. 


?Pt •fnf.s.sf.y.- 


JriueTftor 


0£m+£u,     [f      fi-Jl£Cr~ 


Patent  specification  of  1880,  the  first  patent  on  record  for 

photographing  sound. 

Figures  16  to  19  show  different  sound  tracks. 

Figures  12  and  13  show  the  cell  used  for  reproducing  the 

Sounds. 

Figures  2  and  3  show  the  microphone  vibrator. 

Photo  courtesy  Leo  S.  Young. 


photographic  problem  in  1920.  The  device  he  constructed 
at  this  time  was  known  as  "Pallophotophone."  He  made 
his  first  sound  camera  in  January,  1921,  with  which  he 
recorded  many  speeches  of  prominent  men  which  were 
later  broadcast  over  radio  station  WGY.  This  work  led 
directly  to  the  first  commercial  models  of  Photophone 
equipment. 

The  R.C.A. -Photophone  had  its  first  showing,  which  con- 
sisted of  several  musical  numbers,  under  the  name  "Kin- 
etographophone,"  in  New  York,  at  the  State  Theater,  in 
September,  1927,  the  first  feature  in  Photophone  was  the 
F.B.O.  picture,  "The  Perfect  Crime,"  released  June  28, 
1928. 

The  first  cartoon  to  be  made  in  sound  was  the  Disney 
Mickey  Mouse,  "Steamboat  Willie,"  shown  at  the  Col- 
ony Theater  in  November,  1928,  which  was  made  by  the 
independent  Cinephone  system  which  was  developed  by 
Pat  Powers,  Halpenny,  and  William  Garrity.  This  was 
basically  the  de  Forest  Phonofilm  system. 

Through  these  first  few  pictures,  sound  was  firmly 
established  which  brought  to  a  culmination  another  dream 
of  the  scientist.    He  had  perfected  another  tool. 

The  exponents  of  dramaturgic  art,  as  well  as  those  of 
the  other  arts,  are  eager  to  grasp  the  tools  perfected  by 
the  scientists.  There  is  a  definite  convergence  of  both  art 
and  science  in  the  sound  motion  picture  and  one  aids  the 
other  to  relieve  awkwardness  in  expression  and  story 
telling. 


Six 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


Around  the  World 

with 
HERFORD  TYNES  COWLING 

No.l 


THIS  was  the  first  moving  picture  expedition  ever 
made  into  Tibet  for  the  purpose  of  filming  the  people 
and  customs  of  the  country,  although  the  first  Mount 
Everest  expedition  had  brought  out  a  very  few  moving 
pictures  of  Tibetan  people. 

My  expedition  into  Western  Tibet  took  four  months, 
during  which  time  I  crossed  three  passes  over  eighteen 
thousand  feet  above  sea  level  and  traveled  approximately 
six  hundred  miles  on  foot  or  on  yaks  over  extremely  diffi- 
cult country.  The  plateaus  of  Western  Tibet  average 
thirteen  thousand  feet  above  the  sea  and  are  surrounded 
by  mountain  peaks  ranging  from  twenty-four  to  twenty- 
eight  thousand  feet  in  height. 

Permission  was  obtaned  to  enter  Tibet  from  Kashmir 
in  Northwestern  India,  the  chief  condition  being  that  I 
should  carry  all  of  my  own  food  for  myself  and  servants, 
on  account  of  scarcity  of  food  in  the  country.  Transpor- 
tation was  secured  from  the  Tibetans  who  used  the  black, 
shaggy  yaks  as  transports,  except  over  the  mountain 
passes  when  Tibetan  porters  had  to  be  employed.  Many 
Tibetan  villages  were  visited  and  about  one  hundred  thou- 


sand feet  of  film  exposed  which,  incidentally,  kept  very 
well  at  the  high,  dry  altitude. 

A  large  portion  of  the  pictures  were  photographed 
around  the  Tibetan  lamasaries,  chief  of  which  was  the 
large  central  lamasary  at  Hemis,  where  the  devil  dancers 
were  filmed  for  three  days.  About  four  thousand  still 
pictures  were  taken  during  the  trip,  all  of  which  were 
developed  enroute.  At  this  very  high  altitude  the  air  was 
extremely  dry  and  the  days  were  fairly  comfortable  in 
June,  July,  August  and  September. 

The  nights  were  extremely  cold,  bringing  some  snow 
each  night,  which  was  gone  by1  noon  the  next  day.  There 
is  very  little  snow  at  this  altitude  during  the  summer 
months,  due  to  the  lack  of  moisture  in  the  air.  Having 
permission  to  enter  the  country  from  the  Lamas,  granted 
at  the  request  of  the  Maharajah  of  Kashmir,  the  Tibetans 
were  extremely  friendly  and  hospitable,  although  I  was 
often  held  up  for  lack  of  transportation  on  account  of  the 
scarcity  of  yaks  and  the  necessity  of  getting  together  the 
sixty  odd  animals  necessary  for  my  transportation. 

One  of  the  chief  difficulties  in  making  an  expedition  of 


H  T  C  photographing  the 
glacier. 


Looking  from  one  of  the  high  ■mountain  passes  in  the  Western  Hymalayas 
on  the  route  from  Kashmir,  India,  into  Western  Tibet,  at  an  altitude  of  eight- 
een thousand  feet.  The  peaks  in  the  picture  are  twenty-four  thousands  feet 
above  sea  level.  In  the  immediate  center  is  a  glacier  three  miles  wide.  This 
mountain  is  in  Western  Tibet  and  is  part  of  one  of  the  ranges  crossed  by  me 

on  this  expedition. 


April,  193  J 


The     INTERNATIONAL     PHOTOGRAPHER 


Seven 


"To  the  Roof  of  the  World 

IN  TIBET" 


this  kind  is  the  shortage  of  fuel  for  cooking  in  a  country 
where  there  is  no  large  vegetation  and  the  people  are 
dependent  on  dried  yak  dung  for  fuel.  I  bought  this  fuel 
from  the  natives  by  the  pound  for  cooking  purposes, 
which,  however,  did  not  impart  a  pleasing  flavor  to  my 
food. 

The  people  had  never  seen  a  motion  picture  and 
could  only  understand  an  ordinary  photograph  with  con- 
siderable difficulty.  Since,  however,  there  was  no  relig- 
ious objection  to  photographing  the  expedition  was  quite 
successful. 


A  prayer-wheel,  a 
copper  cylinder 
on  a  wooden  han- 
dle with  a  wciyht 
attached  to  as- 
sist in  turning. 
Filled  with  pray- 
ers written  on 
paper. 


Costume  and  dress  of 

a    typical    Tibetan 

lama  or  priest. 


Tibetan  devil  dancers  in  grotesque  paper-mache  masks, 
made  in.  Lahasa  and  blessed  by  the  Dalai  Lama  at  a  stiff 
price.  Each  Lamasery  has  a  group.  Masks  represent 
beings  passing  souls  encounter  in  their  journey  to  the 
next  world. 


"Knshok,"  sacred  Lama ; 
remarkable  figure  in  ori- 
ental religious  life.  Con- 
sidered reincarnation  of  a 
disciple  of  Buddha. 


Group    of    women    arrayed    in 
long  sheep-skin  coats  and  pe- 
culiar  head-dresses    known   as 
Piraks. 


Notice  the  enormous 
ear-flaps  of  ivool  in 
strands,  which  are 
woven  into  the  wom- 
en's hair. 


Tibetan  women  prac- 
tice polandry;  some  of 
them  have  as  many  as 
seven  husbands. 


Rear  view  of  Piraks 
studded  with  slver,  tur- 
quoise and  jeivels.  En- 
tire wealth  carried  on 
heads. 


Here,   in   this   mud   and 
stone,  yet  substantial 
monastery,  live  one  thou- 
sand lamas  or  monks. 


Religious  chortens,  by  western 

Thibet     roadsides,     similar     to 

pagodas;    always    passed    on 

right  by  Tibetans. 


Miniature  chortens  on 
prayer  wall.  Colored 
blue,  white  and  red, 
representing  sky,  earth 
and  regions  below. 


A  Tibetan  lamasary  or 

monastery  perched  on 

hill;  fifty  miles  from 

nearest  habitation. 


Eight 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


The  Habit  of  Criticising  the 
Motion  Pictures 

By  Annette  Glick,  Acting-  Director,  Visual 

Education  Section,  Los  Angeles 

City  Schools 


IT  IS  natural  that  parents  and  edu- 
cators should  concern  themselves 
more  with  the  social  and  ethical 
aspects  of  motion  pictures  than  with 
their  value  as  artistic  products. 
Frequently  what  one  accepts  as  a 
technical  and  artistic  triumph,  one 
rejects  as  suitable  food  for  growing 
boys  and  girls. 

It  is  as  if  one  must  view  the  film 
with  two  eyes,  each  focused  separately 
upon  two  images,  the  one  being  the 
film  as  an  adult  product,  subject  to 
the  canons  by  which  any  g-ood  novel 
or  stage  play  is  judged,  and  the  other 
the  film  as  a  juvenile  product,  with  its 
known  powerful  means  for  affecting 
the  thoughts  and  habits  and  emotions 
of  the  impressionable  adolescent. 

But  while  we  customarily  keep  the 
critical  right  eye  wide  open,  by  which 
the  moral  and  ethical  value  of  the  film 
is  determined  to  our  satisfaction  as 
parents  and  teachers,  we  too  often 
keep  the  left  eye,  by  which  the  artistic 
value  of  the  picture  is  equally  meas- 
ured, tightly  closed,  or  give  at  best  a 
brief  squint  through  lazy  and  droop- 
ing lids. 

We  let  loose  fulminations  and  broad- 
sides on  the  baleful  influence  of  cer- 
tain films  as  social  products,  but  we 
are  unable  to  give  these  criticisms 
weight  by  an  equal  ability  to  point 
out  flaws  in  the  film  when  judged 
artistically,  and  recommend  practical 
palliatives  and  remedies. 

It  is  believed  that  were  we  to  im- 
prove and  exercise  our  critical  facul- 
ties in  the  literary  and  dramatic 
judgment  of  the  film  product,  and  so 
demonstrate  our  ability  as  critics  of 


both  sense  and  discriminating  sensi- 
tiveness, our  voices,  where  matters  of 
the  essential  welfare  of  boys  and  girls 
as  effected  by  motion  pictures  were 
concerned,  would  be  heard  like  the 
blast  of  a  trumpet,  instead  of  as  a 
feeble  bleat. 

But  while  in  the  judgment  of  a 
novel  best-seller  or  currently  success- 
ful stage  play,  we  can  hold  our  own 
with  the  literary  critic  in  determining 
with  fair  clarity  wherein  the  product 
rises  to  heights  of  achievement,  sinks 
to  depths  of  inanity,  or  maintains  a 
fair  average,  with  the  typical  motion 
picture,  we  are  at  an  utter  loss  even 
to  call  up  the  most  rudimentary  and 
workable  standards  of  measurement. 
This,  of  course,  is  the  result  of  the 
newness  of  the  motion  picture  as  a 
literary  and  dramatic  medium,  and 
our  slowness  in  investing  it  with  the 
halo  of  tradition  and  lettered  dignity. 

The  principles  by  which  motion  pic- 
tures are  evaluated  and  perpetuated 
no  doubt  will  be  long  years  in  the 
making,  and  it  is  clear  that  such  fine 
motion  picture  critics  as  Norbert  Lusk 
and  Edwin  Schallert  are  even  now 
still  regarded  as  somewhat  outside 
the  pale,  and  hardly  to  be  included 
in  the  same  category  with  Richard 
i_.'urton.  Only  when  a  whole  family  of 
"erary  critics  of  the  first  water  turn 
Barrymore  and  desert  the  stage  for 
the  more  plebian  screen,  will  motion 
picture  criticism  come  into  its  own. 

As  for  its  potentiality  as  an  agency 
for  the  moral  regeneration  or  degen- 
eration of  the  world,  the  baffling  and 
appalling  thing  is,  of  course,  the  all- 
pervading,    far-reaching,    limitless 


rang-e  and  intensity  of  the  motion  pic- 
ture. Children  may  read  the  abstract 
word  symbols  of  a  book,  and  without 
powerful  imagination,  may  only  feebly 
reconstruct  its  scenes,  but  the  motion 
picture  is  life  itself,  stopping  only 
short  of  actual  experience. 

It  is  one  thing  to  discuss  with  high 
school  students  in  chemistry  the  in- 
jurious results  of  noxious  gases;  it  is 
another  thing  actually  to  have  them 
breathe  the  poisonous  fumes.  It  is 
one  thing  to  discuss  in  a  sociology 
class  the  evils  of  opiates;  it  is  another 
thing  to  take  the  class  on  a  personally 
conducted  tour  of  the  opium  dives  of 
Chinatown.  The  vividness  of  the 
motion  picture  is  rendered  almost  with 
childlike  naivete;  its  reality  amounts 
to  a  vicarious  experience.  Children 
who  come  from  a  motion  picture  have 
lived  the  scenes  portrayed,  not  merely 
viewed  them. 

The  motion  picture  is  the  living 
record  of  an  experience;  the  printed 
word  is  only  its  feeble  and  abstract 
representation.  As  a  medium  for  the 
transmission  of  experience,  the  motion 
picture  is  as  far  above  the  printed 
word  in  range  and  power  and  grasp 
as  the  printed  word  is  above  the  in- 
adequate sign  language  of  the  Indian. 
There  are  many  things  that  thumb 
and  finger  cannot  say;  there  are  some 
things  that  even  words  are  inadequate 
to  express;  there  are  few  emotions 
that  may  not  be  conveyed  by  the  rich, 
revealing  representation  of  moving 
imagery. 

It  is  clear  that  all  knowledge  began 
with  the  attempt  to  fix  thought  and 
transmit  it  from  generation  to  genera- 


How  they  do  it  in  England.   Associated  Radio  Pictures  on  location  on  the  River  Thames,  filming  "Three  Men  in  a  Boat.'' 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Nine 


tion.  Painting  and  sculpture,  as  well 
as  writing,  were  part  of  an  impelling 
desire  to  perpetuate  and  fix  an  emo- 
tion or  thought  or  feeling.  Even  with 
us  today,  the  simplest  thought  has 
nearly  always  its  concomitant  in  the 
instinctive  impulse  to  express  it — to 
transmit  it  to  others. 

Some  way,  by  the  simple  verbal  act 
of  mouthing  the  thought — articulating 
it,  it  seems  as  if  we  had  written  some 
sort  of  record  in  the  air.  And  some 
day  in  the  future,  when  the  mystery 
of  radio  shall  have  been  extended,  we 
shall  find,  indeed,  that  all  these 
spoken  words  through  past  centuries 
have  their  undying  record,  and  we 
shall  call  up  lost  sounds  and  forgotten 
utterances.  Of  our  words,  written 
eternally  in  the  ether,  we  may  say  as 
Christ  did  of  Lazarus:  "He  is  not 
dead,  but  sleepeth." 

If  all  our  spoken  words  are  recorded, 
they  will  be  infinite.  As  a  race,  we 
are  at  the  antipodes  from  the  Hindoo, 
who  is  content  to  sit,  leaning  upon  his 
T-square  arm  rest,  in  introspective  and 
philosophic   contemplation! 

But  to  the  poet  or  philosopher,  be- 
fore whose  dreaming  eye  the  world 
unfolds,  words  are  cryingly  inade- 
quate things. 

Though  words  are  inadequate  media 
for  the  expression  of  abstract  thought, 
due  to  its  restriction  to  pictorial 
imagery,  the  silent  motion  picture  is 
little  better.  Talking  pictures,  on  the 
other  hand,  achieve  a  higher  level  for 
thought  transmission  than  the  silent 
screen,  adding  as  they  do  the  sym- 
bolism of  words  to  concrete  and 
graphic  pictorial  representation.  And 
the  talking  motion  picture  comes  more 
nearly  gathering  within  its  fold  all 
forms  of  thought  conception  than  any 
other  medium  for  the  expression  of 
thought  and  feeling  since  the  world 
began,  uniting  as  it  does  painting 
with  sculpture,  and  sculpture  with 
music,  and  music  with  the  drama,  and 
poetry  and  literature  with  all  these. 

Though  there  have  been,  it  is  true, 
Leonardo  da  Vincis  and  Michelangelos 
who  thought  as  well  in  terms  of  archi- 
tecture and  sculpture  or  painting,  and 
expressed  themselves  with  as  much 
facility  and  genius  in  any  one  or  all, 
the  trend  of  art  expression  has  tended 
to  place  the  varied  art  forms  in  sepa- 
rate   compartments    with    clearly    de- 


fined barriers  between. 

It  would  have  been  considered  a 
major  phenomenon  had  Beethoven  as 
instinctively  turned  to  an  expression 
of  his  rhythm  and  harmony  through 
the  medium  of  chiseled  marble  or 
etched  line.  There  is  no  doubt  that 
sculpture  can  best  portray  form  and 
roundness;  painting,  color  and  shadow; 
music,  harmony.  But  the  histrionics 
of  the  motion  picture  may  include  all 
these  and,  through  the  magic  of  imag- 
ination, portray  symbolically  all  the 
complexities  of  life,  its  many  ramifi- 
cations and  its  interlacings.  All  these 
are  the  province  of  the  screen. 

Through  the  imagination  as  stimu- 
lated and  aroused  by  words,  one  may 
hear  again  Beethoven's  Kreutzer  Son- 
ata or  see  again  the  rampant  color 
harmonies  of  Turner  or  Sargent.  All 
the  fine  arts  are  within  the  realm  of 
the  writer,  but  the  palette  upon  which 
he  spreads  his  colors,  the  spinet  upon 
which  he  plays  his  song,  is  the  sensi- 
tive, imaginative  power  of  the  reader. 
Sometimes  his  superb  imagery,  his 
exalted  melodies,  fall  upon  dead  ears, 
decause  we  lack  life  experience  and 
creative  imagination  ourselves,  we  are 
a  diaphragm  which  will  not  vibrate  to 
its  receiving  sound,  or  a  harp  string 
which  cannot  be  plucked.  The  poet's 
words  mean  nothing,  and  the  musi- 
cian's dying  cry  becomes  only  a 
feeble  tune. 

It  is  through  this  power  to  supply 
experience  as  well  as  simply  to  con- 
vey ideas  and  thoughts  and  emotions, 
that  the  motion  picture  accomplishes 
what  the  poet  or  sculptor  or  musician 
cannot  do.  The  motion  picture  does 
not  merely  stimulate  the  imagination 
and  arouse  thought;  it  supplies  that 
very  experience  (vicariously),  which 
is  at  the  basis  of  thought.  And  to  this 
fountain-head  of  experience  are  added 
all  the  arts,  freed  of  their  restrictions 
of  time  and  place,  and  given  the 
world  and  even  the  stellar  spaces  for 
their  province. 

Far  exceeding  the  pen  in  potency 
and  range  is  the  motion  picture,  for 
to  the  abstract  symbolism  of  words 
with  all  their  power  to  express  emo- 
tions, impulses,  and  meanings,  will 
some  day  soon  be  added  the  symbol- 
ism of  painting,  and  sculpture,  as 
music  has  already  been  enlisted  to 
make  up  the  harmonious  whole. 


Photography  by 
Paul  Ivano  of 
an  original  draw- 
ing for  a  motion 
picture  set — the 
work  of  Mr. 
Cedric  Gibbons, 
art  director, 
M.G.M. 


In  the  newer  period  of  mechanical 
improvement,  when  stereoscopic  pho- 
tography— to  supply  form  and  round- 
ness as  in  sculpture,  and  color  and 
musical  recording  shall  have  been  per- 
fected, when  even  there  is  a  "Theater 
of  Odor  Melodies"  where  odor  shall 
take  its  rightful  place  as  one  of  the 
senses  utilized  by  art  for  significant 
and  realistic  expression,  in  this  period 
just  ahead,  the  motion  picture  will 
combine  all  art  forms  in  one  superb 
whole,  just  as  Phidias  so  hopefully 
painted  his  marble  figures  to  give 
them  the  glow  of  health  and  life,  and 
Ghiberti  in  the  doors  of  the  Baptistry 
at  Florence,  caused  his  bronze  paint- 
ings almost  to  stand  erect. 

But  in  the  speed  with  which  these 
very  mechanical  improvements  are 
being  made,  lies  the  evanescent,  trans- 
itory character  of  the  motion  picture. 
These  same  mechanical  improvements 
affected  the  book  in  its  effort  to 
record  thought,  from  the  early  days 
when  prehistoric  man  heaved  up  his 
piles  of  stones  as  a  record  of  some  act 
successfully  accomplished,  through  the 
days  of  the  perfection  of  papyrus,  the 
wax  tabulum  of  the  Romans,  parch- 
ment, pen,  and  paper,  down  to  the 
modern  clattering  linotype  and  rotary 
printing  press. 

But  while  these  mechanical  changes 
took  place  over  centuries  and  mil- 
leniums,  with  the  motion  picture,  this 
same  range  of  mechanical  perfection 
and  accomplishment  has  been  a  mat- 
ter of  years  and  decades.  And  just  as 
our  modern  age  would  chafe  at  read- 
ing Oppenheim  or  G.B.S.  on  frayed 
and  crackling  papyrus,  so  our  modern 
1933  hoots  at  the  vintage  of  1923  as 
expressed  in  antiquated  motion  pic- 
tures. So  fast  do  we  move,  as  a 
result  of  our  Yankee  ingenuity  and 
driving  energy,  that  the  mechanical 
progress  of  a  year  becomes  as  a 
century. 

And  the  curious  fact  is  that  in  no 
Other  form  of  art  expression  does  the 
mechanical  medium  so  clearly  deter- 
mine the  nature  of  the  art  expression 
as  in  the  motion  picture.  The  music 
of  Schubert  is  still  Schubert  whether 
played  on  a  spinet  or  via  radio; 
Shakespeare's  plays  are  still  enjoyed 
in  the  primitive  manner  with  no  stage 
props  at  all,  and  a  sign  reading. 
"This  is  the  forest  of  Arden,"  to  sup- 
ply the  missing  scenery.  Socrates 
might  sit  and  with  crooked  stick 
scratch  his  words  in  the  sand  and  all 
the  world  would  still  read.  Some  of 
the  greatest  painted  etchings  of  all 
time  were  scratched  on  the  walls  of 
Altimira  by  Cro-Magnon  artists,  and 
we  still  stand  in  wonderment  before 
them,  thrilling  as  much  to  the  taut 
muscles  and  plunging  hulks  of  the 
great  prehistoric  animals  as  to  the 
intimate  beasts  of  Landseer  or  Rosa 
B'onheur  accomplished  with  modern 
canvas  and  colors.   *   *   * 

When  once  the  mechanics  of  motion 
picture  production  become  stabilized 
and  fixed,  when  technical  improve- 
ments come  with  less  swiftness,  when 
the  Stradivarius  becomes  the  standard 
medium  over  centuries  of  time,  then 
the  motion  picture  artist  will  be 
judged  by  his  work  and  not  by  its 
mechanical  trappings. 


Ten 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


A  Photographer  is  a  NOVICE  Before  He  is 

an  Amateur 


By  GEORGE  J.  LANCASTER 
(A  member  of  the  International  Photographers) 


Amateurs  can  produce  first  class  films  when  working 
within  strict  limitations.  Films  which  are  original  in 
expression  and  outlook  and  of  high  technical  character 
have  been  shown  on  a  number  of  occasions. 

A  variety  of  cameras,  lenses  and  telephoto  attachments 
can  be  obtained  and  really  first  class  results  produced. 
What  you  see  in  the  finder  is  what  you  will  get  on  the 
film,  providing  the  lens  is  set  at  the  correct  focal  length, 
the  diaphragm  stopped  at  the  correct  exposure  in  accord- 
ance with  the  brilliancy  of  the  prevailing  light. 

Some  cameras  operate  at  speeds  of  8-12-16-24-32-48 
and  64  frames  per  second;  each  speed  requires  a  different 
opening  of  the  diaphragm.  Example — At  speed  8  the 
film  travels  slower  past  the  aperture  than  at  64,  thus 
admitting  more  light  for  the  exposure,  therefore  requiring 
the  diaphragm  to  be  closed  more  than  if  the  speed  should 
be  at  64;  the  film  speeding  past  the  aperture  more  rapidly 
requires  more  light  for  the  exposure. 

The  normal  speed  for  a  slow  motion  is  128  exposures  per 
second;  for  best  results  a  1" — F.18  Cooke  lens  should  be 
used.  A  2  inch  lens  is  referred  to  as  a  long  range  lens 
while  lenses  from  to  6  inches  in  focal  length  are  termed 
telescope  lenses.  The  power  of  the  6  inch  telephoto,  for 
instance,  has  a  magnifying  power  six  times  greater  than 
the  one  inch  lens. 

Long  distance  and  telephoto  lenses  provide  a  tremendous 
variety  of  opportunities  from  which  they  are  barred  if 
only  with  short  focal  length  lenses.  The  2  inch  lens  is 
particularly  useful  for  intermediate  distance  shots,  the 
six  inch  lens  for  movies  at  greater  distances.  Because  of 
their  long  focal  length  telephoto  lenses  are  generally 
slower  than  the  ordinary  lenses;  by  increasing  the  size 
of  the  aperture  a  speed  as  fast  as  F.33  can  be  obtained. 

The  hyperfocal  distance  is  the  minimum  distance  at 
which  critical  sharpness  is  obtained  for  a  given  diaphragm 
opening  when  the  lens  is  focused  at  infinity.  All  objects 
at  the  distances  shown  and  beyond  will  be  in  focus.  If  the 
exact  distance  desired  is  not  marked  on  the  lens  it  will  be 
sufficient  to  set  lens  at  intermediate  positions  between 
markings. 

Filters 

First  in  importance  to  the  camera  operator  who  strives 
for  real  beauty  in  his  films  is  the  uses  of  color  filters, 
known  as  ray  niters  and  light  filters.  The  seven  colors  of 
the  spectrum  are  violet,  indigo,  blue,  green,  yellow,  orange 
and  red.  Yellow  appears  most  brilliant  to  the  eye.  Green, 
blue  and  violet  on  one  side,  orange  and  red  on  the  other 
side  lose  brilliance  according  to  their  distance  in  the  spec- 
trum from  yellow.  Orange  and  red  appear  more  brilliant 
to  the  eye  than  green  and  blue. 

In  order  to  obtain  a  true  photographic  reproduction  of 
what  the  eye  sees  it  is  necessary  to  reduce  the  amount  of 
blue  light  that  reaches  the  film;  permitting  to  record  the 
orange,  red  and  yellow  rays  in  their  corrective  values. 

Color  filters  for  ordinary  purposes  are  yellow  in  color; 
placed  over  a  lens  a  yellow  filter  holds  back  a  portion  of 
the  blue  light  making  blue  photograph  darker,  the  red  to 
be  photographed  lighter,  while  the  rest  of  the  spectrum  is 
corrected.  White  clouds  stand  out  against  grey  skies, 
the  fine  details  of  highlight  and  shadows  are  seen  in 
water  and  snowscenes;  yellow  flowers  stand  out  light 
against  their  foliage. 

Filter  densities  are  rated  by  symbols  indicating  the 
increase  in  exposure,  for  subjects  under  average  light 
conditions  2  x  (2  times)  the  normal  exposure  given,  when 
ortho  film  is  used,  but  when  (pan)  panchromatic  film  is 
used  it  is  necessary  to  increase  the  exposure  one-half 
times  greater  or  two  and  one-half  times  open.  Beach  and 
water  scenes,  close  -ups  and  general  short  distance  shots, 
snow  scenes  and  telephoto  shots  call  for  use  of  filters. 

The  4X  filter  is  generally  used  for  landscapes,  cloud 
studies  and  for  general  use  with  panchromatic  film;  the 
sky  filters  which  are  graduated  from  clear  to  6X  density, 


permits  differential  filtering  to  compensate  requirements 
between  portions  of  the  same  subject,  for  instance  in 
photographing  clouds  and  sea  in  combination  with  the 
foreground  without  under-exposing  the  foreground. 

To  obtain  sharp,  brilliant,  clear-cut  pictures  the  lens 
must  be  free  from  dusty  finger  marks,  or  covered  with  a 
smoky  film.  Photographic  lenses  are  made  of  optical 
glass,  the  nature  of  which  is  such  that  extreme  care  must 
be  used  to  prevent  abrasions  and  ruinous  chemical  re- 
actions. It  is,  therefore,  suggested  to  use  a  scientifically 
developed  cleaning  fluid,  cleaning  tissue,  a  camel's  hair 
brush  and  a  linen  handkerchief. 

The  most  exact  and  convenient  method  of  obtaining  a 
sharp  focus  is  by  observation  through  the  lens  itself  as 
in  the  critical  focuses,  or  through  the  auxiliary  lens. 
Another  method  is  to  measure  the  distance  and  set  the 
lens,  which  has  been  scaled  for  sharp  focus  at  the  proper 
mark,  by  using  a  tape. 

Caution  should  be  used  to  hold  the  camera  steady,  even 
when  tilting  scenes  or  panoramas  are  being  made  and 
to  obtain  an  even  camera  movement,  the  perfection  of 
this  steady  movement  can  only  be  secured  by  the  use  of  a 
tripod  with  a  fine  pan  and  tilt  head. 

For  interior  photography  under  artificial  lights  three 
factors  control  the  success.  First:  The  power  of  the 
light;  second,  the  speed  of  the  camera  lens  and,  third,  the 
distance  of  the  subject  from  the  light.  While  no  one  has 
succeeded  in  equaling  the  sun's  lighting  power  artificial 
lighting  has  been  developed  to  a  point  where  it  is  a  rival 
of  the  sun's  rays.  With  a  500  watt  light  and  reflector  a 
good  exposure  can  be  had  at  four  feet  with  an  F3.5  lens 
opening.  If  the  subject  is  farther  away  either  the  lens 
must  be  faster  or  the  light  increased. 

For  instance  one  will  get  more  light  at  three  feet  than 
one  would  at  six  feet  away  from  the  light.  But  care 
must  be  taken  that  the  walls  and  ceilings  have  average 
reflecting  power  such  as  white  ceilings  and  medium  toned 
walls,  that  no  daylight  or  other  additional  light  falls  on 
the  subject,  that  the  subjects  are  clothed  in  medium  colors 
neither  white  nor  very  dark. 

Judging  by  the  widespread  interest  in  home  movies,  it 
is  well  for  the  amateur  to  know  the  camera  technique  in 
making  movie-play.  There  are  certain  rules  to  be  observed 
and,  of  course,  some  sort  of  a  story  to  follow;  a  play 
should  have  a  beginning,  a  middle  and  an  end. 

At  the  beginning  one  should  not  expose  the  situation  of 
(Continued  on  Page  17) 


This  is  one  of  the  original  dra  icings  used  in  the  scenic 
constmction  of  "King  Kong" 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Eleven 


CINEMATOGRAPHER'S 
BOOK  OF  TABLES 


By 
J.  F.  WESTERBERG 

(Member  of  the  International  Photographer) 


This  is  the  first  installment  of  the 
Cinematographer's  Book  of  Tables 
compiled  and  computed  by  Mr.  Fred 
Westerberg,  one  of  the  technical 
editors  of  The  International  Photo- 
grapher, member  of  the  S.M.P.E.  and 
the  Academy  of  M.P.A.  and   S. 

There  are  seven  more  installments 
to  come,  concluding  with  the  Novem- 


ber issue,  1933,  and  when  completed 
the  tables  will  constitute  a  handy 
reference  guide  welcome  to  all  cine- 
matographers,  professional  and  ama- 
teur. 

Take  note  that  the  tables  are  so 
placed  in  the  magazine  as  to  be  easily 
cut  out  and  bound  into  a  small  pocket 


ring  book.  Cut  down  the  middle  of 
page  11;  then  trim  top  and  bottom  to 
fit  your  cover;  punch  holes  to  fit  rings 
on  inner  and  outer  edges  of  magazine 
pages,  11  and  12.  When  all  tables 
have  been  bound  into  your  ring  book 
the  pages  will  number  from  1  to  32 
inclusive  with  complete  index. 


DEPTH  OF  FIELD 
100  MM  LENS 


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'o  FILTER  FACTORS 

FILTER      FACTORS     FOR      NORMAL     DAYLIGHT 
EXPOSURES    ON    STANDARD    BRANDS    OF    PAN- 
CHROMATIC   MOTION    PICTURE    FILM 


FILTER 
USED 

EASTMAN 
FILM* 

DUP0NT 
FILM 

AGFA 
FILM 

Type 
2 

Super- 
Sensitive 

Regular 
and  Special 

Super- 
Pan 

Super- 
Sensitive 

Aero  No.  1 

1.5 

1.25 

2.4 

1.7 

1.8 

Aero  No.  2 

2.5 

1.50 

3.7 

2.7 

2.3 

3N5 

5 

4 

5.6 

4.4 

4  6 

5N5 

8 

5 

8 

6  3 

5.7 

K-l 

1.5 

2.2 

1.9 

1.6 

K-2 

1.75 

* 

2.7 

2 

1.8 

3 

3.1 

2 

1.9 

Minus  Blue 

4.5 

2.5 

2.7 

2.4 

G 

5 

3 

5 

2.9 

2.2 

23-A 

6 

3 

5.3 

6 

2.8 

A 

10 

4 

7 

8.5 

3.6 



B 

12 

8 

16 

5.6 

14.4 

C 

10 

24 

12 

11 

17.5 

C-5 

4 

6 

F 

20 

8 

10 

17 

5.1 

N-D     .25 

1.8 

1.8 

1.8 

1.8 

1.8 

N-D     .50 

3.1 

3  1 

3.1 

3.1 

3  1 

N-D     .75 

5.6 

5.6 

5.6 

5.6 

5.6 

N-D  1.00 

10 

10 

10 

10 

10 

No.  72 

Night  Effect  Filter  F/i 

.3  to  F/3.5 

*Eastman   Special    Panchromatic  for   backgrounds   has 

the  same  factors  as  supersensitive  altho  the  speed  is 

2'/2  stops  slower. 


Clyde  De   Vinna   and   his   crew   set  up  for  a  shot   in    "Eskimo"   (MGM)   at   TELLER,   Alaska.     A   very  interesting 
story,  written  by  EDDIE  BLACKBURN  on  his  interview  with  DE  VINNA  appears  as  a  feature  of  "THE  BRULA- 

TOUR  BULLETIN"  in  this  issue. 


FILTER  TRANSMISSION  GRAPHS 


Wratten   Light   Filters 


20 


SENSITOMETRY 


TABLE  SHOWING  OVERALL  GAMMA  OBTAINED 

BY  VARIOUS  COMBINATIONS  OF  POSITIVE  AND 

NEGATIVE   GAMMAS. 


AOQ 


No.  29.     F. 


400        440 


550   S75     600      €20  650  700 

•ungues 

No.  72. 


75  5 

5fc 
■25  S 

/oS 

VIOLET 

BLUE. 

B-G 

GREEN 

Y-G 

YEL 

OR 

RO 

RED 

400 

4 

40 

4 

so 

5 

10 

5. 

so 

ST. 

5     61 

JO 

60 

10 

6 

so 

701 

J 

Data  by  Eastman  Kodak  Co.     Wratten  Filters.      1932   Edition. 


OVER-ALL  GAMMA 

Negative 
Gamma 

Positive 

Gamma 

1.4 

Positive 

Gamma 

1.6 

Positive 

Gamma 

1.8 

Positive 

Gamma 

2.0 

Positive 

Gamma 

2.2 

Positive 

Gamma 

2.4 

Positive 

Gamma 

2.6 

40 

.56 

.64 

.72 

80 

.88 

.96 

1  04 

42 

.59 

.67 

.76 

84 

.92 

1.01 

1.09 

44 

.62 

.70 

.79 

88 

.97 

1.06 

1   14 

46 

.64 
.67 
.70 

.74 

.83 

92 

1.01 

1.11 

1  20 

48 

.77 

.86 

96 

1  06 

1.15 

1.25 

50 

.80 

90 

1 

00 

1.10 

1   20 

1.30 

52 

.73 

.83 

.94 

1 

04 

1  14 

1   2-1 

1.35 

54 

.76 
.78 

.86 

.97 

1 

08 

1  19 

1.30 

1  40 

56 

.90 

1.01 

1 

12 

1  24 

1.34 

1.46 

58 

.81 

93 

1.04 

1 

16 

1.28 

1.39 

1.51 

60 

.84 

.96 

1.08 

1 

20 

1  32 

1.44 

1.56 

62 

.87 

.99 

1.12 

1 

24 

1  36 

1.49 

1.61 

64 

.90 

1  02 

1   15 

1 

28 

1  41 

1.54 

1.66 

66 

.92 
.95 
.98 

1.06 

1.19 

1 

32 

1  45 

1.58 

1.72 

68 

1.09 

1.22 

1 

36 

1.50 

1.64 

1.77 

70 

1  12 

1  26 

1 

40 

1.54 

1.68 

1.82 

72 

1  01 
1.04 
1  06 

1.15 

1  30 

1 

44 

1  58 

1.73 

1.87 

74 

1.18 

1.33 

1 

48 

1  63 

1.78 

1.92 

76 

1    22 

1.37 

1 

52 

1  67 

1.82 

1.98 

78 

1  09 

1.25 

1  40 

1 

56 

1.72 

1.81 

2  03 

80 

1.12 

1.28 

1  44 

1 

60 

1.76 

1  92 

2.08 

82 

1  15 

1.31 

1.48 

1 

64 

1  80 

1.97 

2.13 

84 

1.18 

1  34 

1.51 

1 

68 

1  85 

2  02 

2.18 

Sli 

1.20 

1.23 

1.38 

1  55 

1 

72 

1.89 

2.07 

2.23 

88 

1.41 

1.58 

1 

76 

1.93 

2.11 

2.29 

90 

1.26 

1   29 
1.32 

1.44 

1  62 

1 

80 

1.98 

2.16 

2  34 

92 

1.47 

1  66 

1 

84 

2  03 

2.21 

2  40 

94 

1   :,ii 

1.69 

1 

88 

2.07 

2.26 

2.45 

96 

1.34 

1  54 

1  73 

1 

92 

2.11 

2  30 

2  50 

98 

1  37 

1  57 

1.76 

1 

96 

2.15 

2  35 

2.55 

1  00 

1.40 

1.60 

1.80 

2 

00 

2.20 

2  40 

2.60 

April,  193 '3 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirteen 


JEFFERYS  &  CO.,  LTD. 

916  West  Lake  Street 

Burbank,  California 

WE  BUY  FILM  SCRAP  OR  DISCARDED 

PRINTS 

WE  DESTROY  THE  PICTURE 

Burbank  2397        Telephones        Zenith  5409 


From  Ty  s  Hollywood 
Note  Book 

Make-up  during  the  early  days  of  the  theatre  consisted 
of  a  series  of  masks  that  were  worn  by  the  actor.  In  the 
Grecian  Theater  of  four  of  five  hundred  years  before 
Christ  one  actor  would  enact  all  the  roles  in  a  play.  These 
early  masks  were  fastened  over  the  face  and  when  the 
actor  changed,  from  one  role  to  another  he  would  change 
to  the  corresponding  mask.  The  plays  of  the  early  theater 
were  mostly  tragedies. 

Make-up  is  like  the  wishing  powder  of  the  alchemists. 
It  eliminates  time  and  space.  With  it  the  make-up  artist 
can  make  age  into  youth  or  in  a  few  minutes  create  a 
character  from  any  part  of  the  earth. 

Willis  O'Brien,  the  technical  engineer  and  Eddie  Lin- 
den, photographer,  in  the  making  of  "King  Kong"  availed 
themselves  of  practically  every  phase  of  engineering 
and  photographic  skill  to  bring  this  picture  to  the 
screen.  Into  it  enters  all  the  processes  including  Dun- 
ning, Williams,  glass  matte  and  projection,  etc.,  as 
well  as  every  photographic  effect 
known.  Imagine  the  skill  required  to 
animate  an  18-inch  miniature  ape  that 
is  struggling  with  another  prehistoric 
monster  while  holding  Fay  Wray  in 
its  hand.  To  create  this  effect  Fay 
Wray  was  photographed  from  real  life 
and  then  introduced  into  the  hand  of 
the  miniature  ape  by  the  "proi'ection 
process."  This  18-inch  ape,  by  the 
way,  appears  on  the  screen  to  be 
thirty  or  so  feet  tall  while  the  girl 
seems  to  be  only  slightly  larger  than 
his  thumb. 

In  some  scenes  birds  in  flight, 
planes  flying  over  New  York,  animals 
fighting  are  introduced  and  animated 
in  miniature  with,  probably,  more 
realism  than  the  original  could  be 
brought  to  the  screen. 


The  New  "Good  Companion"  for  Movie 
Directors 


BRILLIANT 

The     Miniature     Reflecting 

Camera     that     is     Ideal     for 

taking  "Stills" 

While  your  story  is  being  en- 
acted, you  can  take  stills  of 
the  important  scenes  rapidly 
and  economically,  because 

YOU  SEE 
WHAT  YOU  GET! 


The  Voigtlander  Brilliant  shews  you  exactly  what 
the  finished  print  will  look  like — size,  position,  etc. 
You  get  the  composition  just  as  you  want  it. 

It's  light,  small,  compact,  easy  to  carry.  Fitted 
with  F  7.7  lens,  Automatic  Shutter,  takes 
Standard  Brownie  No.  2  film,  and  *  a  ^   q-^. 

makes     12    pictures    to    the    roll,  PR1CE  -Pi  /  jU 

6x6   Cm.  Leather  Case,    X2.50 

WILLOUGHBYS 

110  West  32nd  St.,  N.  Y. 


The  motion  picture  attracts  to  itself 
people  from  all  lines  of  endeavor  in 
order  to  bring  to  the  screen  the  story 
of  life.  Not  the  least  of  these  is  John 
Cerisoli,  an  Italian  wood  carver  of  the 
old  school.  His  family  has  been  wood 
carvers  for  four  generations,  in  Italy, 
and  he  has  been  carving  for  the  mo- 
tion pictures  for  over  twenty  years. 
He  has  worked  on  such  pictures  as 
"Moby  Dick,"  "Helen  of  Troy,"  and 
more  recently  "King  Kong."  It  is  not 
entirely  a  literal  claim  when  one  says 
he  can  carve  wood  with  his  eyes 
closed,  which  in  itself  means  little, 
but  since  he  carves  with  them  open 
his  contribution  to  the  cause  of  better 
pictures  is  a  worthy  one.  He  is  now 
with  Willis   O'Brien   at   R.K.O. 


INTERNATIONAL 
PHOTOGRAPHER 

MOTION   PICTURE    ARTS   AND    CRAFTS 
HOLLYWOOD 


Special  Offer 
One  Year  for 

$2 


A    Monthly    Magazine    Published    in    the    Film    Capital    of   the    World 


FOR  THE 

CINEMATOGRAPHER 

SOUND 

ENGINEER 

FILM 

EDITOR 

LABORATORY  TECHNICIAN 

PROJECTIONIST 

TECHNICAL 

EDUCATIONAL 

FOR  THE 

PROFESSIONAL                           FOR 

THE 

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For  a   Limited  Time  Only. 
Sign  this  coupon,  enclose  $2  and  receive  the  International  Photographer 

for   one   year. 

Name    

Street    

City    State 


Fourteen 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


Report  of  the  Committee  on  the 
Care  and  Development  of  Film 

(Reprinted  by  request  from  the  Journal  of  the  Society  of      Motion   Picture   Engineers,  No.  3,  Vol.  20,   March,  1933) 


Sub-Committee  On  Laboratory   Practice 

The  following  report,  reviewing  the  conditions  as  actu- 
ally found  at  present  in  the  field,  is  intended  as  an 
introduction  to  a  more  detailed  and  technical  study  of 
laboratory  practice,  to  be  reported  on  later.  All  the  phases 
of  handling  and  treating  both  unexposed  and  exposed  film 
in  laboratories  are  discussed,  beginning  with  the  testing 
of  the  raw  stock  as  received  by  the  laboratory,  passing 
through  the  exposing,  developing,  fixing,  washing,  and 
drying  of  the  film  and  concluding  ivith  duplicating  and 
several  subsidiary  operations.  Following  the  initial  xvork 
of  the  sub-committee  represented  by  the  studies  of  exist- 
ing conditons  described  in  this  report,  the  sub-committee 
/in, pases  in  the  future  to  report  separately  on  each  of 
the  above  named  phases. 

Outline 

A,    Testing;    B,    Exposing;    C,   Developing;    D,    Fixing; 
E,   Washing;    F,   Drying;    G,   Conditioning;    H,   Cutting; 
/,   Printing;   J,   Duplicating;   K,   Seasoning. 
Summary 

Testing.  When  producers  of  motion  pictures  began  to 
record  sound  on  film  in  addition  to  the  scenes,  the  problems 
of  processing  became  more  involved.  Factors  that  had 
been  allowed  to  vary  with  impunity  had  to  be  maintained 
constant,  and  sensitometric  equipment,  requiring  for  its 
operation  trained  men,  had  to  be  installed.  New  emul- 
sions were  prepared  in  the  attempt  to  obtain  a  higher 
quality  of  picture  and  sound  records. 

Exposing.  The  theory  of  sensitometry  is  quite  explicit 
in  defining  the  proper  exposure  of  the  negative.  However, 
no  standard  rules  of  exposure  can  be  strictly  adhered  to  in 
producing  motion  pictures  owing  to  the  numerous  varia- 
tions in  working  conditions  and  the  many  special  effects 
desired.  The  greatest  degree  of  coordination  is  required 
between  the  cameramen  and  the  laboratory  technicians  if 
the  best  quality  pictures  are  to  be  obtained. 

Developing.  In  order  to  increase  the  quantity  of  film 
processed  and  improve  the  quality  of  the  product, 
machines  are  now  used  in  all  large  laboratories  for  de- 
veloping film.  Three  methods  of  controlling  the  process, 
or  various  combinations  of  these  three  methods,  are  usual- 
ly employed:  (1)  sampling,  (2)  time  and  temperature, 
and  (3)  sensitometric.  Each  of  these  methods  has  its 
own  advantages. 

Fixing.  Alum  fixing  baths  are  most  commonly  used,  as 
they  require  very  little  attention.  The  motion  of  the  film 
through  the  bath  usually  causes  sufficient  agitation  of 
the  solution  to  assure  sufficiently  complete  fixing. 

Washing.  In  most  instances  the  tap  water  runs  directly 
through  the  washing  tanks  to  the  drain.  In  some  few 
locations  it  may  be  necessary  to  cool  the  water  during  the 
warm  season. 

Drying.  Conditioned  air  of  the  proper  temperature 
and  humidity  is  circulated  through  the  drying  cabinets. 
The  curl  of  the  film  usually  provides  an  index  of  the 
proper  conduct  of  the  drying  procedure. 

Conditioning.  To  prevent  the  accumulating  of  dust  and 
dirt  on  the  film,  only  conditioned  air  is  admitted  into  the 
developing,  printing,  and  assembling  rooms.  The  improve- 
ment in  the  quality  of  the  film,  due  to  guarding  it  against 
dirt  and  scratches,  has  more  than  offset  the  cost  of  the 
conditioning  equipment. 

Cutting.  The  introduction  of  the  sound  negative  de- 
manded a  new  technic  in  cutting  and  assembling.  The 
addition  of  music  and  other  kinds  of  sounds  requires 
thorough  technical  training  of  the  cutter. 

Printing.  Several  types  of  mechanical  devices  are  now 
used    to    determine    the    proper    printing    exposure.      The 


uniformity  of  development  that  occurs  in  developing 
machines  is  an  important  factor  that  assists  in  properly 
determining  the  exposure  of  the  negatives.  Trained  tech- 
nicians maintain  the  exposure  scales  of  the  printers  con- 
stant and  uniform. 

Duplicating.  Special  emulsions  and  printers  are  used  in 
attempting  to  match  the  quality  of  the  duplicate  print  and 
that  of  the  original  print.  The  contrast  can  be  matched 
by  appropriately  developing  the  film,  although  graininess 
may  increase  and  loss  of  definition  occur. 

Seasoning.  Many  patented  methods  are  in  vogue  to 
protect  the  film  and  lengthen  its  useful  life.  The  most 
common  method  of  seasoning  consists  in  applying  about 
the  perforations  a  small  quantity  of  wax,  which  decreases 
the  friction  and  the  tendency  to  tear  during  the  process  of 
projecting  the  picture. 

It  is  here  purposed  merely  to  describe  briefly  the 
methods  generally  employed  by  the  industry  in  the  de- 
velopment and  care  of  film.  Thus,  the  committee  submits 
this  report  to  the  Society  with  the  desire  that  it  be  con- 
sidered as  an  introduction  to  the  reports  to  follow,  in 
which  the  respective  operations  in  this  field  will  be  studied 
individually,  both  from  the  standpoint  of  actual  practice 
and  from  the  existing  literature. 

At  the  completion  of  such  a  survey  of  each  operation  of 
the  producers  in  converting  an  emulsion  into  a  finished 
print,  and  distributing  the  print  to  the  exhibitors,  the 
Committee  will  be  in  a  position  to  attempt  to  make 
recommendations  for  the  standardization  of  laboratory 
and  exchange  practice. 

On  examining  the  bibliography  in  this  field,  it  was 
found  to  be  extremely  lengthy.  Thus,  rather  than  at- 
tempt to  present  a  general  bibliography  in  this  report,  it 
has  appeared  advisable  to  subdivide  and  list  the  litera- 
ture in  later  reports  with  the  respective  operation  to 
which  it  pertains. 

In  this  general  discussion,  it  may  frequently  appear 
that  the  report  includes  subjects  outside  the  purview  of 
this  sub-committee.  However,  it  was  concluded  that  any 
factor  such  as  the  characteristic  of  the  emulsion  or  the 
nature  of  the  exposure  that  might  affect  the  quality  of 
the  finished  print  should  be  considered.  The  quality  of 
the  laboratory  work  is  judged  by  the  release  print. 
A.  Testing 

The  proper  processing  of  sound  film,  when  introduced 
into  the  laboratories,  necessitated  an  increase  of  personnel. 
The  requirements  of  the  sound  engineers  could  be  correct- 
ly interpreted  and  properly  fulfilled  only  by  those  familiar 
with  the  theory  of  sensitometry.  Some  laboratories  real- 
ized this  fact,  and  either  engaged  additional  help,  or 
properly  trained  some  of  their  own  employees.  Various 
types  of  sensitometers  were  installed,  and  sensitometric 
practice  soon  became  a  part  of  laboratory  practice.  The 
film  manufacturing  companies  were  particularly  helpful  in 
supplying  and  calibrating  equipment  and  in  training  the 
personnel. 

After  the  practice  of  continually  checking  and  maintain- 
ing developers  and  printers  had  been  instituted,  it  became 
apparent  that  frequently  variations  were  introduced  by 
new  emulsions.  Checking  new  emulsions  for  speed  and 
contrast  then  became  an  additional  function  of  the  new 
department. 

Various  types  of  equipment  were  tried,  with  more  or 
less  moderate  success.  Photocell  densitometers  were  de- 
veloped for  the  rapid  reading  of  sound  track  densities.  In 
most  instances,  operators  have  returned  to  such  standard 
equipment  as  a  calibrated  wedge  or  Nicol  prism  densito- 
meters. Densities  are  usually  read  with  the  emulsion 
facing  a  diffused  light.  Sensitometric  exposures  are  usu- 
ally made  in  variable  time  steps  with  a  high-intensity 
light.     Unless  otherwise  stated,  all  reference  made  in  this 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Fifteen 


report  to  densities  and  contrast  will  imply  this  type  of 
measurement. 

Practically  all  motion  pictures  now  made  in  this  country 
are  made  on  panchromatic  negative  stock.  The  process 
of  making  film  panchromatic  consists  essentially  of  adding 
dyes  to  the  emulsion  to  obtain  the  desired  spectral  re- 
sponse. 

With  the  advent  of  sound  pictures,  it  became  necessary 
for  some  producers  to  replace  the  noisy  carbon  lights 
wth  silent  incandescent  lamps.  The  incandescent  lamps, 
the  energy  radiation  of  which  was  much  greater  at  the 
longer  wavelengths,  permitted  the  emulsion  makers  to 
increase  appreciably  the  speed  of  their  product  by  increas- 
ing the  sensitivity  of  the  emulsion  to  the  red  end  of  the 
spectrum.  This  change  permitted  a  decrease  of  the  re- 
quired lighting  and,  in  general,  resulted  in  an  improve- 
ment in  quality  of  the  pictures  owing  to  the  closer  equiv- 
alence of  the  spectral  response  of  the  film  to  that  of 
the  eye.  However,  these  advantages  are  not  so  impor- 
tant on  exterior  pictures  where  many  producers  continue 
to  use  regular  panchromatic  stock. 

The  addition  of  a  gray  coating  to  the  film  base  resulted 
in  the  absorption,  by  the  base,  of  the  light  transmitted 
through  the  emulsion,  thus  preventing  the  reflection  of 
light  back  into  the  emulsion  and  additional  exposure 
caused  thereby.  Approximately  sixty  per  cent  of  the 
negative  emulsions  now  used  employ  the  non-halation  gray 
base.  Emulsion  makers  are  continually  improving  their 
product  by  increasing  the  speed,  decreasing  the  grain,  and 
adding  to  the  general  quality  of  the  finished  print. 

Due  to  its  low  cost  and  uniform  characteristics,  positive 
film  is  always  used  for  recording  sound  on  a  film  separate 
from  that  containing  the  picture.  Most  productions  are 
made  by  this  double  system  in  order  to  permit  the  selec- 
tion of  a  proper  emulsion  and  negative  developer  for  the 
sound  recording.  Numerous  new  emulsions  have  been 
made  in  attempts  to  improve  the  volume  and  quality  of 
the  sound  records.  Emulsions  of  high  gamma  infinity 
have  been  made  for  variable  width  records,  and  emulsions 
with  a  low  gamma  infinity  have  been  made  for  variable 
density  records.     High-speed  positive  emulsions  have  been 


made  for  flashing  lamp  recording  to  permit  the  use  of  a 
lower  intensity  of  unmodulated  light,  thus  demanding  a 
smaller  polarizing  current  and  tending  to  increase  the  life 
of  the  lamps. 

In  single  system  records,  where  sound  and  picture  are 
recorded  on  the  same  film,  the  sound  can  not  be  given 
much  consideration.  Both  the  negative  emulsion  charac- 
teristics and  the  negative  development  must  be  confined 
to  those  limits  that  are  satisfactory  for  the  picture.  The 
single  system  of  recording  is  used  only  when  portability 
of  equipment  is  more  important  than  high  quality  of 
sound.  Its  chief  use  is  found  in  news  photography,  in 
which  the  necessary  equipment  is  materially  decreased 
by  having  to  employ  only  a  single  camera. 

Emulsions  for  printing  are  low  in  price,  high  in  con- 
trast, monochromatic  in  response,  slow  of  speed,  and  of 
extremely  fine  grain.  Several  hundred  prints  are  fre- 
quently made  from  a  single  negative.  This  permits  the 
manufacturers  to  produce  positive  film  more  economical- 
ly on  large-scale  production.  Film  manufacturing  losses 
increase  with  the  speed  of  an  emulsion.  Dye  sensitiza- 
tion is  unnecessary  with  monochromatic  emulsions.  It  is 
therefore  possible  to  obtain  positive  emulsions  for  a 
fraction  of  the  cost  of  negative  emulsions. 

The  positive  film  must  be  high  in  contrast  to  permit  the 
required  over-all  gamma  of  unity  to  be  obtained  without 
excessive  negative  development.  As  the  high  speed  of 
the  negative  entails  a  coarse  grain,  the  development  is 
limited  to  low  values  of  gamma  at  which  the  grain  is 
not  objectionable. 

Lamps  of  almost  any  type  or  intensity  can  be  used  in 
the  printing  machines.  Therefore,  economy  of  manufac- 
ture chiefly  governs  the  speed  and  spectral  response  of  the 
positive  film.  The  low  speed  permissible  with  positive 
emulsions  permits  us  to  realize  the  advantages  of  fine 
grain  structure. 

B.  Exposing 

According  to  photographic  theory,  the  visual  tone  scale 
of  a  scene  can  be  matched  on  a  print  only  when  the  nega- 
tive and  print  are  properly  exposed.  The  region  of  cor- 
rect exposure  of  a  particular  emulsion  can  be  determined 


"CAVALCADF'-through  Cooke 

Speed  Panchro  Lenses 


B  &  H  Cooke  Varo  Lens 

The  B  &  H  Cooke  Varo  Lens  is  a  topic  of  conversation  in  the  major  film 
studios  of  tiie  world.  And  the  magnificent  results  being  obtained  with  it 
every  day  serve  only  to  stimulate  this  interest.  This  lens  varies  focal  length 
and  magnification  while  retaining  critical  focus  and  while  changing  iris  setting 
with  focal  length  to  retain  correct  exposure.  Thus,  without  moving  camera  or 
subject,  the  lens  permits  zooming  up  to  and  receding  from  the  subject  without 
a  break. 
Write  for  complete  data  and  prices.      Available  on  rental  to  responsible  studios. 


The  capsheaf  insuring  the  perfection  of  Noel  Coward's 
"Cavalcade"  (Fox)  was  its  filming  by  able  Ernest  Palmer 
through  Cooke  Speed  Panchro  Lenses.  And  "Cavalcade" 
is  but  one  of  a  score  of  screen  successes  whose  excellence 
of  photography  was  assured  by  the  technical  perfection 
of  Cooke  Speed  Panchro  Lenses.  Especially  corrected 
for  today's  lighting  and  films,  the  maximum  variation  in 
chromatic  focus  is,  for  instance,  but  .001  inch  in  the 
3-inch  lens  working  at  F  2.  Eleven  focal  lengths — 
24  mm.  to  \x/\  inches.  Cooke  F  2.5  Panchro  lenses  offer 
the  same  correction  as  the  Speed  Panchros.  Seven  focal 
lengths — 35  mm.  to  6-Vs  inches. 

BELL  &  HOWELL 

COMPANY 

1S49  Larchmont  Ave.,  Chicago;  11  West  42nd  St.,  New  York; 
716  North  La  Brea  Ave.,  Hollywood;  320  Regent  St.,  London 
(B  &  H  Ltd.)   Est.  1907. 


Betty  Compson  was  always  beau- 
tiful and  the  artistic  touch  of  Shir- 
ley Vane  Martin  ivas  all  that  was 
needed  to  transfer  her  loveliness 
with  fidelity  to  the  photographic 
plate.  Photograph  her  any  way 
and  you'd  get  a  work  of  natural 
art,  but,  after  all,  correct  postur- 
ing is  not  to  be  ignored  and  the 
setting  with  the  elegant  appoint- 
ments is  befitting  even  to  so  sump- 
tuous  a   subject   as   this   charming 

girl.     Thank  you,  Mr.  Martin. 


by  plotting  the  characteristic  from  the  density  readings  of 
a  sensitometric  strip  of  the  emulsion.  If  the  density  be 
plotted  against  the  logarithm  of  the  exposure,  the  region 
of  correct  exposure  will  be  a  straight  line.  On  a  negative 
picture,  developed  with  a  sensitometric  strip,  those  por- 
tions of  the  scene  that  produce  densities  that  fall  along 
the  straight  line  are  properly  exposed.  Theoretically  all 
other  portions  are  either  overexposed  or  underexposed. 
This  is  true  also  of  the  print. 

In  practice,  the  improper  exposure  of  a  negative  is 
easily  detected  by  inspection.  If  details  be  lacking  in  the 
shadows,,  the  film  is  underexposed;  or,  if  it  be  lacking  in 
the  highlights,  the  film  is  overexposed. 

Since  it  is  extremely  difficult  to  reproduce  faithfully  the 
complete  range  of  tones  visible  in  the  usual  scene,  the  ex- 
posure is  adjusted  for  the  objects  of  principal  importance. 
As  the  time  of  exposure  of  all  sound  pictures  must  be 
constant,  the  exposing  light  must  be  adjusted  so  as  to 
obtain  the  proper  exposure.  Trained  cameramen  seldom 
fail  to  expose  their  film  properly  when  they  are  working 
under  normal  conditions.  It  is  much  more  difficult,  how- 
ever, to  achieve  the  proner  lighting  contrast.  Often  a 
cameraman  returns  to  a  set  for  the  purpose  of  photo- 
graphing additional  scenes  or  making  retakes  after  a 
lapse  of  several  weeks.  He  must  attempt  to  duplicate 
his  previous  lighting  so  that  his  new  negatives  will 
properly  match  the  previously  exposed  negatives,  both 
in  density  and  contrast.  A  change  of  light  intensity  in 
printing  can  often  compensate  for  a  change  of  negative 
density,  but  a  change  of  contrast  can  be  corrected  only 
by  varying  the  negative  development. 

The  usual  procedure  followed  in  photographing  a  scene 
is  for  the  director  to  describe  to  the  cameraman  the  light- 
ing effects  desired  on  the  screen  when  the  print  is  pro- 
jected. The  cameraman  attempts  to  accomplish  what  the 
director  desires  by  adjusting  the  positions  of  his  light 
sources,  the  intensity  of  the  light,  the  color  of  the  light, 
and  the  amount  of  diffusion.  These  adjustments  are  based 
on  his  experience  with  numerous  scenes  photographed 
under  various  lighting  conditions,  which  he  had  subse- 
quently viewed  on  the  screen.  The  cameraman  must  be 
very  familiar  with  the  characteristics  of  both  the  negative 
emulsion  and  the  manner  of  developing  in  the  laboratory. 
If  he  makes  an  error  in  judging  the  lighting  of  the  set, 
the  laboratory  may  or  may  not  be  able  to  help  him,  de- 
pending upon  the  type  of  negative  development  control 
employed. 

There  are  three  principal  methods  of  exposing  sound 
negatives.  In  the  variable  width  system,  a  mirror  at- 
tached to  a  vibrating  galvanometer  unit  reflects  a  beam  of 
light  upon  the  moving  film,  producing  a  sound  track  of 
varying  width.  There  are  two  methods  of  exposing  vari- 
able density  sound  tracks.     In  one  case,  a  light  beam  of 


constant  intensity  impinges  upon  the  moving  film  through 
a  slit,  the  variation  of  whose  width  changes  the  time  of 
exposure.  In  the  second,  the  film  is  exposed  to  a  modu- 
lated light  beam  through  a  slit  of  fixed  width  and  the  in- 
tensity of  the  exposing  light  is  varied. 

In  variable  density  recording,  the  same  rules  concern- 
ing exposure  apply  as  in  exposing  a  negative  pcture. 
Overexposure  or  underexposure  of  the  sound  track  causes 
audible  distortion  just  as  similar  errors  made  in  ex- 
posing the  picture  negative  cause  visible  distortion.  Im- 
proper exposure  in  variable  width  recording  does  not 
usually  result  in  distortion,  but  causes  a  change  of 
volume. 

In  photographing  a  scene  by  the  double  system,  a  strict 
routine  is  followed  to  insure  the  proper  marking  of  the 
film  and  thus  enable  the  laboratory  to  print  the  sound 
and  picture  negatives  in  synchronism.  At  a  signal  from 
the  director,  the  sound  machine  and  camera  are  started 
on  an  interlocked  system.  The  sound  man  or  his  assistant 
indicates  when  his  machine  has  reached  synchronous  speed. 
The  assistant  cameraman  announces  the  feature,  scene, 
and  "take"  numbers  before  the  microphone.  Action  fol- 
lows until  the  cameras  are  stopped  at  a  signal  from  the 
director.  With  the  cameras  and  sound  machine  still  in- 
terlocked, the  cameraman  and  sound  man  make  syn- 
chronizing marks  on  their  respective  films.  The  sound 
man  also  punches  the  feature,  scene,  and  take  numbers  on 
his  film.  The  cameraman  photographs  a  slate  bearing  the 
same  information.  The  films  are  now  completely  equipped 
with  identifying  marks. 

The  routine  of  different  companies  varies  somewhat  in 
obtaining  the  same  results.  Some  companies,  in  preference 
to  making  synchronizing  marks,  photograph  the  action  and 
record  the  sound  of  some  simple  device,  such  as  that  made 
by  two  pieces  of  wood  struck  together.  The  cutter  soon 
learns  to  recognize  the  sound  record  of  this  signal  noise 
as  a  synchronizing  mark  on  the  sound  track. 

C.  Developing 

All  developing  done  by  the  major  laboratories  is  now 
accomplished  in  machines  in  which  the  film  is  mechanically 
moved  through  the  developer  at  constant  speed.  The  ex- 
posed film  is  fed  to  the  machine  at  one  end;  and  the  de- 
veloped, fixed,  and  dried  film  is  emitted  at  the  other  end. 
Since  many  of  the  laboratories  designed  their  own  ma- 
chines to  suit  their  specific  requirements,  numerous  types 
are  found  in  operation.  They  may  be  roughly  divided  into 
two  classes:  those  in  which  the  film  moves  perpendicularly, 
and  those  in  which  it  moves  horizontally. 

The  developer  is  continually  circulating  through  a  cool- 
ing system.  In  some  machines  thermostats  automatically 
maintain  the  temperature  constant  within  one  degree. 
The  temperature  of  operation  varies  at  different  labora- 


"Secrets."  Here  she  is  —  the 
World's  Sweetheart — if  the  world 
is  not  too  cockeyed  to  have  such  a 
thing.  Not  just  a  woman — an  ac- 
tress— a  star,  but  an  institution. 
Mari)  Pickford  is  the  most  amaz- 
ing figure  on  the  screen,  a  pioneer 
and  yet  the  youngest  actress  of 
them  all — a  builder  of  millions  of 
wealth,  a  philanthropist,  a  philos- 
opher and  could  have  been  gover- 
nor of  California  if  she  had  not 
been  too  busy  doing  things  she 
likes  to  do  better.  Photograph  by 
Mr.  K.  0.  Rahmn. 


tories  from  65F.  to  68°F.  The  developer  is  maintained 
at  a  given  strength  by  automatically  introducing  addi- 
tional developer  into  the  circulating  system. 

Considerable  variation  can  be  found  in  the  speed  at 
which  the  film  travels  through  the  developer  in  different 
developing  machines.  While  the  average  speed  for  nega- 
tive film  is  about  sixty  feet  per  minute,  speeds  as  low  as 
twenty  feet  per  minute  and  as  high  as  one  hundred  feet 
per  minute  can  be  found  at  various  laboratories. 

Similarly,  the  time  of  development  of  negatives  varies 
from  eight  to  twenty  minutes,  depending  upon  the  agita- 
tion, rate  of  circulation,  and  strength  of  the  developer. 
Negative  developing  gammas  vary  from  0.50  to  0.65. 

Although  the  negative  developers  used  in  different  lab- 
oratories vary  in  concentration,  their  basic  constituents 
are  usually  identical :  monomethyl-para-aminophenol  sul- 
fate, hydroquinone,  borax,  and  sodium  carbonate.  The 
concentration  of  these  ingredients  is  varied  to  permit  the 
most  efficient  operation  of  the  different  machines.  When, 
due  to  lack  of  space,  a  laboratory  is  obliged  to  use  a  small 
machine,  it  is  necessary  to  use  a  fast  working  developer  in 
order  to  obtain  the  proper  contrast,  unless  the  laboratory 
is  willing  to  operate  at  lower  efficiency  and  operate  the 
machines  more  slowly. 

Three  types  of  control  of  negative  development  are  in 
use.  In  the  time-and-temperature  system,  all  negatives, 
regardless  of  exposure,  are  developed  for  a  fixed  length 
of  time.  The  bath  is  supposedly  maintained  at  a  constant 
strength  and  constant  temperature.  The  strength  of  the 
bath  is  checked  at  regular  intervals  by  means  of  what  is 
supposed  to  be  a  standard  exposed  negative. 

In  the  sampling  system,  the  cameraman  submits  a  sam- 
ple negative  of  every  new  scene,  which  is  developed  for  a 
standard  length  of  time.  By  inspection  of  the  developed 
sample,  the  proper  time  of  development  of  the  particular 
scene  is  determined.  This  method  places  considerable  re- 
sponsibility on  the  inspector,  who  must  always  be  in  close 
contact  with  the  cameraman  in  order  to  know  the  type  of 
picture  to  be  desired. 

Reprinted  by  request  from  the  Journal  of  the  Society  of 
Motion  Picture  Engineers,  No.  3,  Vol.  20,  March,  1933. 
(Concluded  in  The  International  Photographer  for  May) 


(Continued  from  Page  10) 
the  theme.  This  eliminates  jumping  right  into  the  sub- 
ject, but  leads  the  audience  gently  toward  the  situation. 
At  the  middle  of  the  play  the  climax  must  be  reached  and 
at  this  point  work  toward  the  end.  When  the  end  has 
been  reached  it  should  close  in  such  a  manner  as  not  to 
leave  the  actors  "in  the  air,"  but  create  an  impression  of 
finality  and  satisfaction  to  the  theme. 

A  scenario  or  script  should  be  a  description  in  detail  of 
the  story  you  are  to  shoot.  The  angles  and  camera 
distances  should  be  written  as  technically  as  possible. 
Terms  for  camera  distances  and  angles  used  in  a  script 
are  as  follows:  close-ups  (.U.)  madium  close  up  (m.c.u.) 
medium  long  shot  (m.l.s.)  long  shot  (l.s.)  and  distance 
shot  (d.s.).  An  insert  is  a  close  up  of  an  inscribed  object 
such  as  a  visiting  card,  a  letter,  a  sign  post,  etc. 

After  you  have  taken  the  picture  and  have  worked  for 
perfection  in  the  character  and  general  make-up,  as  you 
see  in  a  professional  motion  picture  in  a  theatre,  the  next 
job  is  editing  the  titling.  This  will  improve  the  subject. 
The  first  step  is  to  study  the  projected  film  for  rearrange- 
ment into  some  kind  of  sequence,  adding  titles  into  nar- 
rative form.  Different  sections  may  need  more  than  one 
title;  the  film  isn't  cut  until  the  titles  are  made,  then  the 
sequence  is  determined.  Titles  made,  you  cut  up  your 
film,  splice  the  titles  in  and  join  the  parts  in  sequence, 
then  you  have  a  fascinating  movie  with  a  beginning, 
middle  and  end.  Our  film  is  complete  and  on  a  par  in  its 
class,  with  a  Hollywood  super-production. 


The  Man  for  the  Place 

Edward  D.  Horkheimer,  candidate  for  councilman  from 
Hollywood,  is  one  of  the  pioneers  of  the  motion  picture 
industry  in  California.  He  was  one  of  the  organizers  of 
the  famous  Balboa  Studios,  Long  Beach,  and  no  man  has  a 
better  or  more  sympathetic  understanding  of  the  needs  of 
the  workers  in  the  studios  and  the  allied  industries  in 
Hollywood. 

Mr.  Horkheimer  is  perfectly  acceptable  to  the  members 
of  Local  659  and  affiliated  organizations  who  sincerely 
recommend   him  to   the  voters  of  the   Hollywood   district. 


That  Leica  Again 


Gilbert  Morgan,  Hollywood  representative  of  E.  Leitz, 
Inc.,  of  New  York,  manufacturer  of  the  famous  Leica 
camera  has  for  three  years  demonstrated  this  camera 
throughout  the  country  and  has  placed  it  in  every  studio 
and  with  scores  of  camera  men,  directors,  actors  and 
technical  men  in  the  industry. 


Bert  Glennon  the  cameraman  who  shot  "The  Blonde 
Venus"  for  Von  Sternberg  at  Paramount  Studios  and 
also  photographed  "The  Half  Naked  Truth"  for  R.  K.  O. 
made  many  Leica  pictures  for  reference  work  during 
production.  The  Leica  played  an  important  role  of  its 
own  in  "The  Half  Naked  Truth,"  where  it  was  used  to 
make  a  candid  camera  shot  right  on  the  screen. 


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T/it's  excellent  still  tells  its  own  story.  It  exemplifies  a  new  use  for  camera  cranes.  The  picture  in  production  was 
"Murder  in  the  Zoo."  Director  Edward  Sutherland  is  standing  on  the  crane  while  Lionel  Atwell  and  Kathleen  Burke 
are  on  the  bridge  across  the  lagoon  where  swim  the  deadly  alligators.     The  cameraman  is  Ernest  Holler.     The  still 

was  shot  by  Sherman  Clark. 

"Backward,  Turn  Backward" 


Dear  Mr.  Editor: — For  some  odd 
reason,  oldtimers  like  myself  get  a 
great  deal  of  joy  out  of  recollections 
of  the  past.  The  slightest  incident  on 
the  set,  a  familiar  face  or  scene  and 
the  mind  harks  back  to  days  gone  by. 
The  years  roll  away  as  if  by  magic 
and  on  the  silver  screen  of  our  mind's 
eye  is  projected  scenes  which  original- 
ly took  place  in  the  long  ago. 

The  other  day  I  walked  on  the  set 
of  "Silk  Express,"  which  I  was  photo- 
graphing at  the  First  National  Studios 
in  Burbank.  One  of  the  extra  women 
said:  "Good  morning"  to  me.  I  did 
not  recognize  her  and  so  returned  her 
greeting   quite   casually. 

"Don't  you  know  me  anymore, 
Tony,"  questioned  the  woman  wist- 
fully.    "I'm  Florence  Lawrence." 

I  spun  on  my  heel  and  gazed  more 
closely.  It  was  true.  This  was  the 
original  Biograph  Girl,  the  most 
famous  glittering  star  of  her  time, 
the  Ruth  Chatterton  of  yesterday!  I 
had  photographed  her  a  score  of 
times  when  she  was  the  pampered 
darling  of  her  studio,  with  cars, 
maids,  jewels,  fame.  Now  she  was 
working  as   an   extra  on  this   set  for 


By  TONY  GAUDIO 

$5  per  day.  Such  indeed  are  the 
vagaries  of  fame,  the  irony  of  life. 

This  incident  started  me  thinking 
about  the  past.  Many  happenings  of 
those  early  days  in  motion  pictures 
came  to  my  mind — the  days  of  the 
Keystone  Kops,  of  heavy  one  and  two 
reel  melodrama,  "The  Birth  Of  A 
Nation"  and  even  earlier  D.  W.  Grif- 
fith masterpieces — much  else.  It  oc- 
curs to  me  some  of  these  reminis- 
cences are  eminently  worthy  of  repiti- 
tion. 

Take  this  story,  for  example:  It 
was  in  the  first  years  of  the  industry 
— then  really  and  truly  an  infant  in- 
dustry. The  comnanies  were  all 
small,  all  struggling  to  get  on  their 
feet.  Leading  actors  of  every  studio 
were  carpenters,  painters,  set  dress- 
ers and  prop  men  as  well  as  the  stars 
of  their  pictures. 

Ralph  Ince,  John  Adolphi  and 
James  Cruze,  now  directors,  but  in 
those  days  favorite  leading  men, 
would  erect  the  set,  fix  the  drapes,  set 
the  furniture,  then  make  up  their 
faces  and  enact  the  scenes.  Florence 
Turner,  the  famous  Vitagraph  Girl, 
simultaneously    with    her   position    as 


reigning  star  of  this  company  also 
held  the  positions  of  wardrode  woman 
and  cashier  for  the  women  extra 
talent. 

Then  Maurice  Costello,  New  York 
stage  matinee  idol,  entered  the  lowly 
movies.  Indignantly  asserting  his 
profession  was  acting,  he  refused 
point-blank  to  shift  scenery  or  erect 
back-drops.  The  other  leading  men 
followed  his  example  and  also  re- 
belled. The  day  was  won  and  the  pro- 
ducers sorrowfully  put  through  an 
order  for  carpenters,  painters  and 
prop  men. 

A  thousand  memories  of  the  old 
days  crowd  in  upon  me,  but  most  of 
these  are  grouped  around  the  days 
when  Florence  Turner  reigned  as  the 
Vitagraph  Girl  and  Florence  Law- 
rence as  the  Biograph  Girl.  In  this 
same  period,  Margaret  Fisher  was 
the  Universal  Girl,  Pearl  White  was 
making  serials  for  Pathe  such  as 
"The  Clutching  Hand,"  and  others 
with  equally  hair-rising  titles.  John 
Bunny  was  the  chief  comedian  at 
Vitagraph,  Bronco  Billy  Anderson 
was  making  Westerns  at  Essanay 
and  James  Cruze  was  the  leading  man 


.  jr...  -'•  < 


Here  is  Cinematographer  Ray  June  with  his  camera  crew  on  Mary  Pickford's  latest  picture  "Secrets."  Mr.  June  is 
sitting  under  the  enormous  blimp  containing  the  camera  while  Director  Borzage  is  immediately  in  front  of  him.  The 
other  meyyibers   of  the   technical  group  are    William,  Stuart    Thompson,   second   cameraman;   John   Noyes,   sound  and 

W.  J.  Clellan,  electrician.     K.  O.  Rahmn  shot  the  still. 


of  the  Tannhauser  Company,  in  New 
Rochelle. 

There  were  no  expensive  writing 
staffs  in  those  early  days  of  the 
motion  picture.  I  smile  when  I  read 
in  the  paper  of  some  sixty  writers 
being  under  contract  to  Metro-Gold- 
wyn-Mayer  and  stories  of  similar 
conditions  existing  at  the  other 
studios,  for  in  the  eaily  hey-day, 
directors,  producers,  cameramen — 
even  the  office  boy — suggested  the 
story  which  was  filmed. 

I  myself  wrote  a  goodly  number  of 
the  scripts  which  I  photographed. 
Time  has  dimmed  the  memory  of 
many  of  these — indeed  they  were 
simply  thought  up,  briefly  outlined 
and  then  "shot."  Some  of  those 
from  my  own  pen  were  "Conscience," 
a  Vitagraph  two-reeler  starring 
Florence  Turner;  "The  Queen's 
Honor,"  starring  Mary  Pickford  and 
"The  Blind  Husband,"  featuring  King 
Baggott  and  Owen  Moore. 

Henry  Walthall  was  a  "big  shot" 
in  pictures  in  those  days — young, 
handsome,  adored.  I  photographed 
him  in  "Strongheart,"  in  which  Wal- 
thall played  the  handsome  half-breed 
football  player.  I  recall  going  to 
Boston  to  photograph  the  football 
game  between  Harvard  and  Yale  for 
this  picture  in  which  Blanche  Sweet 
was  featured.     This  was  about  1913. 

I    photographedr  Blanche    Sweet    in 


a  number  of  pictures — another  was 
"The  House  of  Discord."  Strange  as 
it  seems  Mickey  Neilan  was  her  lead- 
ing man  and  Lionel  Barrymore 
played  the  heavy.  The  world  knows 
of  the  later  romance  of  these  first 
two.  About  this  time  Owen  Moore 
and  Mary  Pickford  were  one  of  film- 
dom's  happiest  couples. 

In  1914  I  was  at  the  old  Fort  Lee 
studios  in  charge  of  all  cameramen. 
It  was  from  here  I  was  called  to 
photograph  all  the  specials  Biograph 
was  making  for  Klaw  and  Erlanger. 
Do  your  remember  some  of  this 
famous  series  of  pictures:  "Class- 
mates," "The  Woman  In  Black,"  "The 
Millionaire  Kid,"  "The  House  of  Dis- 
cord," etc. 

In  1916  I  came  to  California  in 
charge  of  productions  co-starring 
Harold  Lockwood  and  Mae  Allison  for 
the  old  Metro  Company.  Then  joined 
Norma  Talmadge,  all  of  whose  pic- 
tures I  "shot'  for  four  and  a  half 
years — "Smilin'  Thru,"  "The  Lady," 
"The   Eternal   Flame,"  others. 

Reminiscences — a  thousand  of  them 
come  to  mind.  But  there  is  no  room 
for  all  the  meanderings  which  mem- 
ory brings  to  the  fore.  Enough  to  say 
that  the  good  old  days  of  motion 
pictures  were  truly  that — colorful, 
picturesque,  memorable,  a  time  of 
preparation  for  glories  to  come.  The 
mind   caresses   them   fondly   and  then 


lays    them    away    in    its    recesses    to 
sleep  until  eternity. 

REINCARNATION 

Have  you  ever  thought  of  the  great 
amount  of  time,  labor,  money,  worry, 
etc.  that  are  expended  to  produce  the 
film  you  use  in  the  theatre  ?  And 
have  you  ever  wondered  what  became 
of  the  once  precious  motion  picture 
record  when  it  reaches  its  final  worn 
our  shaving?  There  it  is,  about 
8,000  feet  long,  weighing  40  pounds, 
composed  of  celluloid,  albumen,  gela- 
tin and  silver;  all  scratched,  dirty  and 
unfit  for  further  life,  a  story  spoiled 
for  continued   showing. 

Is  it  declared  useless  and  thrown 
away?  No.  Evolution!  Onward! 
Never  say  die!  Film  scrapman  Jef- 
ferys  patiently  waits  for  it.  He  takes 
the  film  and  runs  it  through  chemical 
baths  catching  the  laughter,  tears, 
love  scenes  and  letting  the  clear 
celluloid  remain.  The  chemical  bath 
has  recoved  the  gelatin  and  silver  and 
deposits  its  valuable  content  to  be 
purified,  for  silver  is  still  negotiable. 

The  clear  celluloid  starts  anew.  To 
again  portray  the  emotions  of  your 
favorite  stars?  No;  its  romantic  life 
is  past.  It  is  sold  to  makers  of  arti- 
ficial leathers  and  laquers.  Its  new 
life  is  to  carry  pigments  and  gums 
and  stick  fast  to  wood,  iron  and  can- 
vas.    Its  new  name  is   Filac — J.H.K. 


Twenty 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


EASTMAN 
FILMS 


BRULATOI 


WHAT'S    WHAT! 


Published  Monthly  by  J.  E.  Brulatour,  Inc.,  Distributors  Ej 


DE  VINNA  BACK  FROM  ALASKA 


Rambling  Cameraman  Who  Gained  Fame  in  South 
Seas  Clicks  Encore  in  Far  North 


CLYDE   DE    VINNA,    winner   of   the    Academy    award    for   his   photographic 
achievement    in    "White    Shadows    of    the    South    Seas,"    has    returned    to 
Hollywood  after  spending  ten   months   in   Alaska  as   chief   of   camera   staii 
on   the   M.  G.  M.    production,    "Eskimo." 

Production  direction  was  in  the  hands  of  W.  S.  Van  Dyke,  who  has  alsc 
won  his  spurs  for  riding  the  seas  and  the  mountains  to  far  locations  for 
the   Culver   City   Studio. 

De    Vinna    has    been    in    charge    of    the    cameras    for    four    of    the    M.  G.  M. 
Van   Dyke  productions,   namely,   "Whitest 
Shadows",       "The       Pagan",       "Trader 


Horn"  and  now  "Eskimo." 

On  the  current  production  which  is 
being  polished  off  in  its  fine  points 
during  the  next  two  or  three  weeks 
at  the  M.  G.  M.  Studios,  De  Vinna  had 
as  his  photographic  associates  George 
Noble  and  Bob  Roberts  as  second  cam- 
eramen and  Dale  Deverman  and  Jimmy 
Knott  as  assistants,  with  Roy  Clark 
in    charge   of    the    stills. 

C.  S.  Pratt  and  H.  D.  Watson  are 
the  sound  engineers,  who  recorded  all 
the  takes  during  the  ten  months  of  pro- 
duction in  the  far  north  where  they 
employed  a  special  super-portable  sound 
recording  equipment,  which  is  the  cre- 
ation of  the  engineering  department 
sound    division,    M.  G.  M.    Studios. 

Noble,  Roberts,  Deverman  and  Knott 
remained  on  location  in  Alaska  where 
they  will  be  kept  busy  for  the  next 
several  weeks  in  obtaining  special 
shots  of  whales  and  polar  bears ;  also 
photographing  some  additional  back- 
ground material. 

De  Vinna's  report  on  conditions  at 
their  location,  which  is  between  Point 
Teller  and  Point  Hope,  approximately 
a  hundred  miles  north  of  Nome,  is  most 
interesting.  He  states  that  during  the 
months  of  December  and  January  past 
he  had  barely  an  hour  a  day  in  which 
to  operate  the  cameras,  and  then  un- 
der conditions  which  were  far  from 
favorable.  With  sunrise  at  about  11 
a.m.  and  sunset  at  1  p.m.,  just  two 
hours  later,  he  was  unable  to  get  any 
degree  of  satisfactory  exposure  except 
between  the  hours  of  11:30  a.m.  and 
12:30   p.m. 

Unit  was  equipped  with  a  motor 
generator  of  500  amp.  capacity  and 
ample  lighting  equipment,  with  which 
the  company  made  all  of  their  interiors 
while   they    were   in   the   north   country. 

Ten  actors  and  actresses  were  taken 
from  the  Culver  City  Studio,  and  this 
cast  was  augmented  by  about  six  hun- 
dred natives.  Including  the  cast  and 
technicians  the  personnel  of  the  unit 
numbered  about  forty.  All  of  the  long 
jumps  by  the  entire  company  were 
made   by    plane,    and    coming   out   from 


Teller  to  Fairbanks,  Alaska,  a  distance 
of  600  miles,  the  jump  was  made  in 
approximately   six    hours. 

During  the  ten  months  on  location 
the  camera  crew  exposed  approximate- 
ly 300,000  feet  of  Eastman  Super-sensi- 
tive grayback  negative,  and  De  Vinna 
is  most  enthusiastic  in  his  unstinted 
praise  of  this  film.  He  declares  it 
would  have  been  impossible  to  obtain 
results  achieved  with  any  other  film ; 
in  fact,  he  says  that  while  Eastman 
Super-sensitive  grayback  is  ideal  for 
all  production  purposes,  it  was  certain- 
ly made  to  order  for  the  very  unusual 
conditions  under  which  most  of  tne 
photography  was  made  on  this  produc- 
tion. The  glaring  reflections  and  hala- 
tions from  the  snow  and  ice  were  no 
deterrent  to  successful,  pleasing  and 
artistic  photography,  and  De  Vinna 
allows  he  would  like  to  see  somebody 
go  into  this  country  with  a  clear  base 
negative  and  come  out  with  anything 
at  all  comparable  to  the  results 
achieved   with   Eastman    grayback. 

In  discussing  the  natural  light  con- 
dition De  Vinna  says  it  is  simply  ter- 
rible, that  there  is  no  degree  of  uni- 
formity in  the  light ;  one  day  will  be 
glaringly  brilliant  and  the  next  day 
overcast  and  soggy.  We  asked  him 
whether  he  had  used  any  sort  of  sci- 
entific instrument  to  measure  the  light, 
and  he  replied,  "I  used  the  best  instru- 
ment that  any  cameraman  could  pos- 
sibly use  under  these  conditions,  a 
good  old  hand  test  of  Eastman  Gray- 
back  Super,  which  told  the  story  ex- 
actly as   we  had   to   know   it." 

We  were  very  much  interested  in  dis- 
cussing with  De  Vinna  details  of  their 
living  conditions.  We  asked  him  wheth- 
er they  had  any  fresh  meat.  "Plenty," 
he  said,  "we  had  reindeer  galore,  fresh 
beef  and   at  times   a   pig." 

"How,"  asked  we,  "did  you  get  the 
pig." 

"Flew  in,"  replied  De  Vinna. 

"Do  you  mean  to  tell  us,"  we  gasped 
"that    up   there   pigs   have   wings?" 

j*    i  !    !»*    ? 

— So  Gibby  and  Bud  picked  us  up 
off  the  floor,  De  Vinna  dusted  his 
hands,  threw  a  nasty  look  over  his 
shoulder,  and  left  our  office  to  returi* 
to  the  lot,  where  he  will  complete  his 
pick  -  up  and  polish  -  d.T  shots  of 
"Eskimo." 


Ernie  Miller  to  Mexico 

Having  completed  photography  of 
the  Mascot  serial  "The  Three  Mus- 
keteers", Ernie  Miller,  chief  cam- 
eraman for  Fanchon  Royer  Produc- 
tions, is  now  in  Mexico  shooting 
backgrounds  and  special  atmos- 
pheric shots  for  a  forthcoming 
Mascot  feature.  With  Miller  on 
"Musketeers"  were  Edgar  Lyons 
and  Tommy  Galligan  as  seconds, 
with  Monte  Steadman  and  Joe 
Lykens,  assistants.  Fanchon  Royer 
is  expected  to  return  from  New 
York  to  Hollywood  in  a  few  weeks, 
at  which  time  company  of  about 
thirty  will  be  taken  by  Miss  Royer 
to  Mexico  City,  where  a  big  Span- 
ish feature  will  be  produced,  at 
which  time  Miller,  of  course,  will 
be  in   charge  of  the  cameras. 


Fox 

L.  W.  O'CONNELL  has  completed 
production  on  the  Hamilton  McFadden 
picture  and  has  started  a  new  one  un- 
der the  direction  of  Frank  Craven 
which  carries  the  tag,  "Five  Cents  a 
Glass."  Sounds  very  interesting  and 
picture  will  probably  be  completed  be- 
fore the  title  is  a  realization  in  fact 
in  Hollywood.  Don  Anderson  is  in  the 
spot  of  second  cameraman,  with  assist- 
ant jobs  being  handled  by  Harry  Daw 
and   Russell  Hoover. 

HAL  MOHR  has  completed  "War- 
rior's Husband",  a  Lasky  picture  di- 
rected by  Lang  for  Fox  distribution, 
and  is  now  standing  by  for  his  next 
probable  assignment  again  in  associa- 
tion with  Director  Henry  King,  the 
man  who  was  responsible  for  "State 
Fair",  which  was  also  photographed 
by  Mr.  Mohr.  Bill  Skall  continues 
as    the    man    of   all    work. 

GEORGE  SCHNEIDERMAN  is  com- 
pleting "Pilgrimage",  a  Jack  Ford  pro- 
duction, and  is  standing  by  for  an- 
other assignment,  which  will  probably 
take  him  to  the  Fox  Western  Studios 
for  the  next  several  weeks.  Curt  Fet- 
ters, second :  James  Gordon,  Lou  Kun- 
kel,    assistants. 

JOHN  SEITZ  is  turning  in  especially 
beautiful  photography  on  the  current 
Janet  Gaynor  vehicle,  "Adorable  , 
which  is  being  directed  by  Dieterle. 
Joe  McDonald,  second  cameraman ; 
Lou  Molino  and  Eddie  Collins,  assist- 
ants. 

JAMES  WONG  HOWE  has  returned 
from  Europe  where  he  has  spent  the 
past  six  months  on  assignment  of  Fox, 
and  is  now  in  production  on  "Power 
and  Glory",  directed  by  William  How- 
ard. Paul  Lockwood  and  Harry  Webb 
are    James'    assistants. 

LEE  GARMES  has  started  on  the 
new  Blystone  production,  "My  Lips 
Betray"  with  Warren  Lynch  and  John- 
ny Schmitz,  seconds  ;  Warner  Cruze, 
H.   C.   Smith,   assistants. 

ARTIE  MILLER  is  also  on  the  lisc 
of  new  starts  at  Fox,  being  assigned 
to  the  new  David  Butler  production, 
"Hold  Me  Tight."  Second  camera  is 
being  handled  by  Joe  Lashalle ;  Bill 
Abbott   and    Al    Lebovitch,   assistants. 


Warner  Bros.-Fi  t 
National 

SOL  POLITO  is  in  char  of 
cameras  on  Warner  Bros,  s  nd 
musical,  "The  Gold  Diggers  19! 
which  is  a  close  follow-up  o; 'Fo 
second  Street",  which  was  a  phi 
graphed  by  Polito.  Incider  ly, 
critics  in  every  key  city  in  t'Ui 
States  have  been  most  kind  i  t 
enthusiastic  comments  on  tb  jho 
raphy  of  "Forty-second  Strc  ' 
being  a  smart  little  boy,  coi  me' 
hold  his  staff  intact,  with  M  Jo 
his  second,  and  Speed  Mitche  his 
sistant. 

TONY  GAUDIO  is  all  st  led 
and  in  a  sputtering  state  en: 
siasm  with  his  current  as  nm 
"Voltaire",  starring  Georg  Ai 
This  is  Gaudio's  first  picture  th 
Arliss,  and  even  Tony  is  delif  <1  | 
the  results.  John  Adolphi  is  eel 
Al  Green  is  the  second  and  (  G 
rie,    assistant. 

SID  HICKOX  is  in  produ  a 
turning  in  some  truly  beau  il 
tography  of  Kay  Francis  "1 
Stevens,  M.  D.",  which  Lloyd ico 
directing.  Tommy  Brannigai  I  t 
ating  the  camera  and  Wesley  ide 
is   th  eassistant. 

ARTHUR  TODD  has  com  ed 
Bobby  Jones  golf  series,  whic  hr< 
the  kindness  and  courtesy  of  \  . 
Warner,  we  enjoyed  seeing  ir  mi 
with  the  Warner  chief  at  th<  urt 
Studio  last  week.  Photograp  is 
about  as  important  in  this  ries 
Bobby  Jones  shorts  as  is  titan 
Bobby  Jones  swing  of  the  f  < 
Perhaps  Mr.  Warner  would  : 
us  to  say  more  at  this  timi  >ec 
we  can  appreciate  his  desin  d  1 
this  splendid  photographic  fi  .ire 
cret  until  the  series  hits  th  scr 
of  the  theatres  throughout  a 
try,  and  when  the  average  s,er, 
for  that  matter,  the  extraordi  S  f 
er,  sees  this  series,  he  may  nc  ert 
realize  why  it  is  different  o,  e 
not  realize  that  the  photogr:  y  i 
stitutes  the  big  difference,  bne 
theless  we  take  our  favorite  >hi< 
hand   and   salute   Mr.   Todd. 

GEORGE  BARNES  has  mc  to 
Burbank  plant  where  he  is  eh: 
of  the  photography  on  the  J1  B 
dell  picture,  which  no  less  a  Hut 
ity  than  Fred  Gage  himself  p  »> 
"Great!"  And,  boys  and  gi|  | 
Fred  Gage  says  it  is  great,  ■ 
that. 

JIMMY  VAN   TREES  conti; 
Richard    Barthelmess    and   is  .'■ 
photographing     "Breadline"    i -r 
direction   of  William   WellmanjSa 
is   Lou  Jennings,  assistant  Ji.J 
Trees,    Jr.,    who    is    clicking    el 
that    spot. 

CHICK  McGILL  has  a  ciM 
assignment  for  a  cameraman  '«> 
Prisoners",  and  is  taking  ; 
of  all  the  opportunities  that  1;  » 
the  art  director,  has  made  avi;H' 
him.  Roy  Del  Ruth  is  direct  :  ' 
nethl  Green  is  the  second  d 
Whitley,    assistant. 

MERRITT  GERSTAD,  M.  <ffj 
timer,  has  been  added  to  the  '3I 
First  National  staff,  and  d  U 
past  month  has  been  busy1* 
added  sequences  on  the  Jam  ^j 
picture,  "Reform  School."  H 
second  cameramen  were  Ben  >' 
Harry  Davis,  and  the  assistai  M 
Hower   and  Jack   Kaufman. 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-one 


I  BULLETIN 


EASTMAN 
FILMS 


iPEu: 


iims,  in  Cooperation  with  The  International  Photographer 


WHO'S    WHO! 


Paramount 

tLNER  continues  on  the 
etrich  "Song  of  Songs"  pic- 
tl  Mamoulian  directing.  Bill 
i  Frank  Titus  are  the  second 
1  ;uy   Roe  and    Bob    Rhea   are 

S1ALLER  is  finishing  "Inter- 
ouse"  with  Peggy  Hopkins 
vch  was  directed  by  Eddie 
nl  The  boys  operating  the 
\!re  Bobby  Newhard  and  Guy 
■hi le  the  assistants  were  Tom- 
ril  Eli  Fredricks  and  Charley 
■ 

r'/ER  just  started  a  nice  as- 
,  musical,  "College  Humor", 
ftlley  Ruggles  is  directing. 
oi  will  do  a  bit  of  crooning 
3i  Guy  Bennett  is  handling 
5r!  while  Tommy  Morris  keeps 
iiJng.  Tover  is  in  a  rather 
plition  ;  he  alternates  between 
d  aramount.  His  last  one  at 
asWith  Richard  Dix  in  "The 
IB  r." 

lY|SHARP  is  finishing  that 
iolble  assignment,  "The  Beer 
Ihe  crew  was  Freddie  Mayer, 
LM  Ahern  and  Johnny  Eck- 
sttts. 

31   KRASNER    has    completed 

ldjiicture  for  the  Chas.   Rogers 

v,  'Bed    Fellows."      With    him 

ai     Hallenberger,    as    second, 

Jhiberg   and   Leo   Hughes,    as- 

rasner     must     be      clicking 

e   3gers    unit    because    he    has 

igrd  to  his  third   picture. 

:U    MARTINELLI     has     com- 

a    ery     difficult     photographic 

?n\  one    of    those    spooky    pic- 

Siernatural",      for      Halperin 

f    Paramount   release.   Jocky 

al   Roy   Eslick   were   the   sec- 

i,  :hile    Eddie    Adams    and   Al 

mtr   the    assistants. 

Lt  LANG  and  DAVE  ABEL 

vc    pictures    and    taking    full 

re  k   the   time   off. 


\  Columbia 

I  A-JER,  old-timer  at  the  Fox 
raffed  to  Gower  Street  plant 
b  Studios  and  photographed 
k  .jnes  picture,  "Trail  of  the 
.  v  ch  was  directed  by  George 
\V.ner's  second  was  Henry 
,  jd  his  assistants,  Marcel 
rddike   Walsh. 

t  LINE  has  completed  "Sa- 
nd arted  photography  on  the 
H|yer  production,  "The  Open 
9.  I.  Brown  is  operating  the 
w:l  Fred  Dawson  and  Jack 
drafeng  the   assignment   as   as- 


TETZLAFF      is       shooting 

lives"   under   the   direction 

I.     Andre   Barlatier  is   the 

Jack     Anderson     and     Al 


KER  and  JOE  AUGUST 
igned  a  Columbia  feature 
date  scheduled  for  right 
t  will  be  at  the  camera 
it  starting  production  at 
tan   Studios. 


ituiar  Completes 

imar    has    turned     in     an 

'     od     photographic     job     on 

ely"    for    I.    E.     Chadwick, 

waslnade    for    Monogram    re- 

Johi  y  Martin  assisted. 


McCord  With  Maynard 

Ted  McCord,  who  recently  com- 
pleted final  production  of  a  series 
of  Westerns  made  by  Schlesinger- 
Rogell  for  Warner  Brothers-First 
National,  is  in  charge  of  the  cam- 
eras for  Ken  Maynard,  Western 
star,  who  has  launched  his  initial 
production  of  a  series  of  ten  for 
Universal,  shooting  at  Universal 
City. 


RKO 


CHARLES  ROSHER  is  photograph- 
ing Irene  Dunne  in  "The  Silver  Cord  ' 
under  the  direction  of  John  Cromwell. 
Charlie  retains  his  old  crew  which  has 
been  associated  with  him  on  all  of  the 
Constance  Bennett  pictures  since  she 
has  been  producing  for  RKO,  which 
means  that  Frank  Redman  is  the  sec- 
ond  and   Jack    Cooney,    assistant. 

EDDIE  CRONJAGER  completed  ttifc 
Wheeler  and  Woolsey  production,  "In 
the  Red",  and  before  starting  his  next 
assignment  at  the  Melrose  Avenue 
plant  is  brushing  up  with  paint  and 
putty  his  house  at  Malibu. 

ROY  HUNT  completed  the  Culbert- 
son  bridge  series,  where  he  had  asso- 
ciated with  him  Russ  Metty  and  Jeff 
Gibbons  as  seconds,  and  Willard  Barth 
and  Dick  Duvol  as  assistants.  Hunt's 
next  assignment  will  be  another  Bill 
Boyd  picture  scheduled  to  start  imme- 
diately. 

BERT  GLENNON  is  photographing 
"Maiden  Cruise",  which  Mark  Sand- 
rich  is  directing.  At  second  we  find 
Russ  Metty,  with  Charley  Burke  as 
assistant. 

NICK  MUSURACA  and  JACK  Mac- 
KENZIE  are  standing  by  for  starting 
dates  on  assignments  which  they  have 
received  for  productions  starting  at 
RKO    in    the    very    near    future. 

JOHN  SWAIN.  chief  laboratory 
technician  of  the  RKO  Productions, 
has  returned  from  New  York,  where 
he  cooperated  with  the  laboratory  in 
first  release  prints  of  the  Merian 
Cooper,  Ernest  Schoedsack,  Eddie  Lin- 
den, Willis  O'Brien  production,  "King 
Kong",  which  opened  with  a  loud  bang 
at   Grauman's  Chinese   late  this   month. 


Spanish  Pix  Finished 

During  the  past  month  Fox  produced 
two  original  Spanish  pictures.  HARR^ 
JACKSON  photographing  "The  For- 
gotten Melody",  and  clicking  in  a  big 
way  with  the  executives  of  the  Movie- 
tone plant ;  and  BOB  PLANCK  photo- 
graphing "The  Romantic  Widow."  This 
is  Plank's  third  consecutive  assignment 
at  the  camera  for  Spanish  pictures  pro- 
duced by  Fox.  As  a  result  of  his  ex- 
cellent showing  Bob  has  been  assigned 
to  a  forthcoming  feature  production 
which   will   be  handled   by   Sol   Wurtzel. 


Roach  Closed 

ART  LLOYD  and  HAP  DEPEW 
have  finished  shooting  the  last  two  pic- 
tures on  this  season's  program  at 
Roach  Studios,  and  while  the  Culver 
City  plant  is  closed  during  the  next 
six  or  eight  weeks,  both  men  will  be 
assigned  elsewhere. 


EUROPE    CALLS    HOLLYWOOD 


Charles  Van  Enger  Hops  by  Plane  to  Lead  Threatened 
Exodus  of  Local  Cinematographers 


MORE   than    a   few   prominent    Hollywood   cameramen    are  .currently   inter- 
ested   and    in    some    cases,    enthusiastically    excited,    with    the    prospects 
of  showing  their   brother  artists    in   Europe   just    why  Hollywood   photog- 
raphy   is    the    standard    at    which    other    outstanding    producers    of    the    world   are 
aiming. 

First  indications  of  renewed  European  interest  came  two  or  three  weeks 
ago  when  local  talent  agencies  approached  several  cameramen,  asking  their 
attitude  toward  possible  production  engagements  in  Europe.  Chiefly  mentioned 
<!>.'i  i  e   British  Gaumont  and  British   Inter- 


M.G.M. 

HAL  ROSSON  has  completed  pho- 
tography on  the  production,  "Man  of 
the  Nile"  under  the  direction  of  Sam 
Wood,    starring    Ramon    Novarro. 

OLLIE  MARSH  has  put  the  final 
camera  touches  to  "Service",  Clarence 
Brown's  production.  Eddie  Fitzgerald 
and  Kyme  Meade  continue  as  Marsh's 
favorite  second  and  assistant  respect- 
ively. 

NORBERT  BRODIN  is  standing  by 
for  next  assignment  after  having  com- 
pleted "Made  on  Broadway",  directed 
by    Harry    Beaumont. 

ELMER  DYER,  the  old  cruiser  of 
the  airways,  has  been  spending  the 
past  few  weeks  at  March  Field  doing 
air  sequences  for  "Turn  About."  This 
clever  aerial  photographer,  whose  repu- 
tation ranks  second  to  none,  has  about 
as  many  actual  air  hours  to  his  credit 
as  the  average  air  mail  pilot. 

RAY  JUNE  has  been  loaned  to 
M.  G.  M.  by  Samuel  Goldwyn  Produc- 
tions and  will  photograph,  "When 
Ladies  Meet."  Picture  direction  by 
Harry  Beaumont.  Second  cameraman, 
Les   White,    assistant   Harry   Parkins. 


Valentine  Completes 
"Terror" 


JOE  VALENTINE  has  turned  out 
final  scenes  on  his  shocker  production, 
"Terror  in  the  Night",  which  was  di- 
rected by  Ben  Stoloff  for  Bryan  Foy 
Productions  at  Culver  City.  Valentine 
was  assisted  by  Arthur  Rankin.  Pic- 
ture   is    released    by    Columbia. 


Mescall  Railroaded 


Johnny  Mescall  (we  refuse  to  men- 
tion his  golf  game)  now  gets  a  taste 
of  ties,  tracks  and  cinders  while  he 
is  behind  the  camera  on  the  Chadwick 
Monogram  production,  "Casey  Jones." 
Production  is  scheduled  to  finish  early 
in    April. 


Educational  Studios 

DWIGHT  WARREN  and  GUS 
PETERSEN  have  been  turning  out 
comedies  here  during  the  past  month 
as  usual,  and  as  we  go  to  press  three 
new  laugh  jerkers  are  being  placed  in 
production  with  C.  C.  Burr,  Arvid 
Gilstrom  and  the  Andy  Clyde  unit 
starting   any   minute. 


national,  with  most  of  the  agencies  ap- 
parently interesting  themselves  in  tht 
requirements  of  the  first  mentioned 
company. 

Charles  Van  Enger  of  Fox,  who  spent 
more  than  a  year  in  Europe  for  that 
company  and  returned  to  Hollywood 
just  about  a  year  ago,  was  first  of  the 
candidates  to  receive  definite  contract 
assignment  with  British  Gaumont,  and 
hopped  from  Grand  Central  Airport 
Saturday,  March  25th,  for  New  York, 
where  he  arrived  Sunday  evening  and 
sailed  on  the  President  Roosevelt  for 
Liverpool,  leaving  New  York  Tuesday, 
March    28th. 

Van  Enger's  ticket  calls  for  fifty-two 
consecutive  weeks  with  British  Gau- 
mont, where  at  the  present  time  Glen 
MacWilliams,  another  old  timer  of  the 
Fox  camera  staff  is  chief  of  the  pho- 
tographic department.  MacWilliams 
left  Hollywood  about  six  months  ago, 
and  within  three  months  after  his  ar- 
rival to  take  up  his  new  duties  with 
British  Gaumont,  was  given  complete 
charge  of   his  division. 

If  we  may  judge  by  our  contact  with 
cameramen  at  practically  all  of  the 
major  studios,  it  would  seem  that  the 
British  producers  are  not  overlooking 
any  photographic  bets.  Practically 
every  photographer  to  whom  we  have 
talked  during  the  past  week  or  ten  days 
has  been  approached,  either  directly  by 
letter  or  cable  or  through  local  talent 
agencies,  and  negotiations  are  now  be- 
ing carried  on  by  at  least  six  of  the 
leading  members  of  the  Hollywood  cam- 
era craft. 

It  is  interesting  and  in  order  to 
note  that  in  our  discussion  with  these 
candidates,  who  are  seriously  consid- 
ering European  assignments,  as  well 
as  with  others  to  whom  the  proposi- 
tion has  been  broached,  there  is  no 
great  feeling  of  uncertainty  as  regards 
the  future  of  Hollywood  production. 
The  general  attitude  is  one  of  opti- 
mism, and  most  of  the  men  feel,  with 
apparent  justification,  that  while  at  the 
moment  we  are  in  the  throes  of  a 
rather  hectic  situation,  this  will  short- 
ly clarify  to  the  renewed  and  increased 
advantage  of  everyone  concerned  in  the 
production    of   pictures. 

Those  who  have  indicated  a  willing- 
ness or  desire  to  take  a  fling  at  Euro- 
pean production  seem  to  be  of  one 
common  opinion,  that  at  the  outset 
they  would  like  a  change  of  scenery 
and  associations  and  environment,  and 
without  exception  they  feel  that  even 
though  Hollywood  leads  the  world  as 
far  as  picture  production  is  concerned, 
it  is  just  possible  that  they  may  learn 
something  new  in  the  European  studios, 
and  thereby  improve  themselves  and 
the  quality  of  their  production. 


It  is  hard  to  believe — that  this  is  the  shot  of  a  motion  picture  studio  set.     The  artist  whose  imagination  posed  and 

photographed  it  is  Anthony  Ugrin  and.  the  picture  in  which  it  is  one  of  the  scenes  is  entitled  "Zoo  in  Budapesth,"  a 

Jesse   Lasky   production  for  Fox   Films.     Gene  Raymond  and  Loretta  Young  are  starred. 


Stereo-Camera 

Andre  Barlatier,  a  member  of  the 
International  Photographers  and  one 
of  the  pioneers  of  the  motion  picture 
industry,  is  the  inventor  of  a  camera 
which   he   terms   Stereo-Camera. 

It  is  protected  by  a  basic  patent 
covering  22  claims  and  its  rights  are 
vested  in  Mr.  Barlatier  who  will 
undertake  its  manufacture  as  soon 
as  the  economic  situation  is  favorable. 

Mr.  Barlatier  is  also  the  inventor 
of  that  charming  and  interesting 
plaything,  the  Filmoscope,  a  device 
which  gives  to  motion  picture  films 
three  dimensional  or  sterescopic 
qualities  and  effects. 

Ths  Filmoscope  is  hardly  larger 
than  a  man's  bill  fold  or  cigarette 
case.  It  suggests  the  old  time  stereo- 
scope of  our  grand-parents'  days  and 
it  may  be  carried  in  the  vest  pocket. 
It  is  merely  a  sterescope  in  collapsi- 
ble form  through  which  35  mm.  film 
is  run  horizontally  from  left  to  right, 
the  pictures  being  photographed  on 
the  film  sidewise. 

If  desired  the  film  may  be  projected 
on  a  screen  with  full  three  dimen- 
sional effect  by  mounting  the  Filmo- 
scope on  a  small  lamp  house  with  two 
light  sources.  In  this  case  the  ob- 
server must  view  the  screen  through 
red  and  green  goggles  to  get  the  per- 
fection of  stereoscopic  effect  and 
color. 


The  Filmoscope  is  owned  by  the 
Filmoscope  Corporation,  a  corpora- 
tion organized  under  the  laws  of  the 
State  of  Nevada  on  the  18th  of  July, 
1929,  authorizing  ten  thousand  shares 
of  stock,  no  par  value.  Mr.  Barla- 
tier controls  it. 

To  secure  the  best  results  in  photo- 
graphic film  for  use  in  the  Filmo- 
scope Mr.  Barlatier  found  it  necessary 
to  build  a  specially  designed  camera 
and  his  Hollywood  Stereo-Camera  is 
the  answer. 

This  is  a  small  camera  of  attractive 
design  and  equipped  with  a  focal 
plane  shutter  on  the  graflex  principle, 
fast  and  productive  of  very  sharp 
photography. 

It  is  9  by  2%  by  2  inches  in  dim- 
ensions yielding  pictures  on  the  film 
15/16  of  an  inch  high  by  13/16  of  an 
inch  wide.  The  camera  will  carry  a 
cartridge  of  film  containing  17  Yz  feet 
which  will  take  90  to  100  complete 
stereo-pictures  without  reloading. 

The  camera  is  built  around  the  new 
type  of  focal  plane  shutter  developed 
by  Mr.  Bartlatier  and  it  is  entirely 
without  gears.  It  is  of  simple  con- 
struction and  may  be  manufactured  in 
quantities  at  an  amazingly  small  cost. 

Our  inventor,  as  a  part  of  this 
equipment,  has  fabricated  a  printing 
machine  which  he  claims  has  great 
possibilities.  It  is  constructed  along 
new  lines  and  will  be  described  in 
detail  later  together  with  the  camera. 


The  Right  Number 


This  up  and  coming  son  of  Mr.  and 
Mrs.  Martin  Glouner  is  apparently 
trying  to  get  the  right  number.  We're 
going  to  watch  and  if  he  gets  it  we're 
going  to  take  it  away  from  him. 
His    name    is  Richard. 


.'^sP 


^ 


Wally  Albright  is  the  boy — Rajah  is  the  elephant.     Both  are  taking  it  easy  between  scenes  of  "Zoo  in  Budapesth," 
a  Jesse  Lasky  production  for  Fox  Films.     The  two  are  great  friends.     This  still  was  photographed  by  Anthony  Ugrin. 


JOAN  RAELLA  ARRIVES 


Introducing  Joan  Raella  Jones, 
daughter  of  Ray  Jones,  head  stillman 
at  Fox  Studios,  and  Mrs.  Jones. 
Raella  already  seems  to  be  a  bit 
wearied  with  the  world  but  then  she 
had  been  here  only  twenty-one  and 
one-half  hours  when  the  proud  daddy 
shot   this   delightful  picture. 


China  Charges  that  Our  Pictures 

Are  Undermining  Their  Best 

Traditions  and  Customs 

This  interesting  comment  upon  our 
pet  industry  is  credited  to  C.  Bos,  del- 
egate for  China  to  the  International 
Institute  of  Educational  Cinematog- 
raphy in  an  article  entitled  "The  Con- 
dition of  Cinematography  in  China." 
From  the  International  Bureau  of 
Educational  Cinematography  publish- 
ed by  the  League  of  Nations,  in  Rome. 
Says  Mr.  Bos,  in  part  :  .  .  . 

The  Chinese  intelligentia,  while 
fully  realizing  the  possibilities  of  the 
cinema  as  a  potential  factor  of  civili- 
zation and  social  elevation,  trace  the 
modern  social  evils  of  Shanghai  and 
other  cities  where  the  imported  films 
have  penetrated,  to  the  debasing  in- 
fluence of  the  screen.  The  vernacular 
press  has  often  dealt  with  this  sub- 
ject and  deplored  the  demoralizing  ef- 
fect of  certain  films  and  the  evil  hab- 
its they  suggest  to  the  younger  gen- 
eration. In  this  connection  I  cannot 
do  better  than  quote  part  of  a  letter 
from  my  old  Chinese  teacher  Wang 
Ting  Chang  of  Tientsing,  an  enlight- 
ened scholar  of  the  old  school,  whose 
opinion  I  sought  on  this  engrossing 
subject: 

"Remember  the  words  of  our  celebrated 
statesman  Wen  Hsiang  addressed  in  1860  to 
your  foreign  ministers  in  Peking :  "You  for- 
eigners are  too  anxious  to  awaken  us  and 
urge  us  on  to  the  path  of  piogress  and  you 
will   succeed  ;   but  you   will   regret   it ;  for  once 


started  we  will  proceed  rapidly  and  go  far, 
farther  than  you  believe  at  present  and  far- 
ther than  you  would  wish  us  to  go."  In  fact, 
while  your  idealists  are  preaching  the  unity 
of  mankind,  world-mindedness  and  internation- 
al peace,  owing  to  your  murderous  machine 
guns,  tanks,  guns  and  flying  machines,  which 
you  are  importing  into  our  country,  our  civil 
wars  have  developed  from  mere  guerillas  to 
national  calamities  involving  tens  of  millions 
of  the  Chinese  people.  Where  do  the  tens  of 
thousands  of  brigands,  who  constantly  infest 
our  country  obtain  their  modern  armaments 
from?  Your  leaders  boast  of  your  material 
wealth  and  achievements,  but  they  neglect  to 
educate  the  minds  of  your  peoples  to  higher 
ideals  of  humanity,  otherwise  how  could  your 
last  great  war  have  happened?  How  have 
your  vaunted  Christian  principles,  which  you 
insist  upon  propagating  among  us,  helped  you 
in    averting    calamities  ? 

"As  to  the  influence  of  the  cinema  on  the 
minds  of  the  Chinese  people,  this  latest  of  all 
your  inventions  is  undermining  the  best  tra- 
ditions and  customs  of  our  ancient  social 
structure.  The  prominence  given  in  your  films 
to  adultery,  divorce  and  laxity  in  morals  is 
destroying  our  admirable  family  life  which 
has  stood  the  test  of  millenia  ;  your  kissing 
scenes,  your  exhibitions  of  nudity  and  obscene 
dancing  on  the  screen  are  demoralizing  our 
lower  classes  and  excite  the  passions  of  our 
boys  and  girls  beyond  resistance ;  your  crime 
stories  have  taught  our  kidnappers,  robbers, 
thieves  and  bandits  how  to  use  revolvers,  how 
to  circumvent  the  police,  and  how  to  utilize 
the  motor  car  in  their  nefarious  trade ;  the 
dancing  halls  and  night  clubs  which  have  come 
in  the  wake  of  the  cinema  and  are  invading 
the  country  from  Shanghai  to  Chengtu  and 
from  Mengtze  to  Kirin,  are  undermining  the 
morality  of  our  boys  and  girls.  Indeed  the 
list  of  evil  habits  and  customs  that  can  be 
traced  to  your  film  screen  is  a  long  one.  As 
to  yourselves,  can  you  not  see  that  this  shame- 
less exhibition  of  the  bad  side  of  your  cinema 
and  jazz  civilization  does  not  stimulate  re- 
spect among  our  masses  for  the  foreigners  in 
our  midst?" 


Martin  Glouner  is  responsible  for 
the  lighting  and  photography  of 
this  wonderful  miniature  of  Netv 
York-Manhattan.  Note  the  detail 
of  construction  and  size  of  the 
workmen  relative  to  the  buildings 
around  them.  This  miniature  is 
from  the  Universal  production, 
"Broadway,"  and  is  an  example  of 
the  best  construction  of  its  kind. 
In  the  May  issue  of  THE  INTER- 
NATIONAL PHOTOGRAPHER 
another  miniature  from  the  pro- 
duction will  be  published,  also  a 
shot  from  Martin  Glmtner's  facile 
box. 


Newsreelers 


DOPE   SHEET 


By  RAY  FERNSTROM 

All  Rights  Reserved 


Now  that  Eastman  is  about  to  put 
on  the  market  a  Supersensitive  Pan- 
chromatic Negative  Film  for  the 
amateur  box  Brownie  Cameras  we 
are  going  to  enlarge  this  department, 
to  help  photographers. 

So,  from  now  on,  everyone,  regard- 
less of  whether  he  or  she,  uses  a  tiny 
box  camera  or  huge  studio  motion 
picture  outfit,  there  will  be  at  least 
something  of  interest  on  these  pages. 

This  new  negative  will  enable  every 
photographer  to  obtain  professional 
results  and  get  a  world  of  new  fun 
out  of  the  old  camera.  A  few  words 
of  instruction  must  be  followed.  First: 
Be  sure  to  load  your  camera  in  a 
shady  spot,  keeping  the  roll  tightly 
wound  when  loading  or  unloading. 
Paste  the  bit  of  black  tape  that  comes 
with  each  roll,  attached  to  a  bit  of 
white  cloth,  on  the  outside  of  your 
camera  over  the  little  red  window 
through  which  you  view  the  numbers 
on  your  film.  Lift  this  off,  only  when 
you  are  turning  up  to  the  next  pic- 
ture. 

Be  sure  to  tell  your  photo  finisher 
that  your  pictures  were  made  on 
Supersensitive  Panchromatic  Nega- 
tive, so  that  he  does  not  accidentally 
ruin  your  scenes  with  a  red  light  in 
developing.  This  negative,  being 
sensitive  to  nearly  all  colors  will  fog 
when  exposed  to  a  red  light. 

Filters  will  enhance  the  beauty  of 
photography  possible  with  this  nega- 
tive, so  we  shall  give  you,  from  time 
to  time,  helpful  bits  of  information  to 
aid  you  in  getting  the  best  results. 

To  begin  with  let  us  try  the  Aero  2. 
This    is    a    yellowish    filter    made    of 


gelatine  sheets.  You  may  find  that 
the  Aero  2,  or  other  filters  we  desig- 
nate, are  sold  under  other  names,  but 
the  color  is  the  same.  With  the  Aero 
2  your  clouds  will  begin  to  stand  out 
in  contrast  to  your  sky  and  add 
materially  to  the  beauty  of  your 
picture. 

To  use  a  filter  on  a  box  camera 
merely  cut  a  piece  of  gelatine  to  cover 
the  lens  on  the  outside  of  your  box. 
Then  tape  this  piece  to  the  box  with 
a  thin  strip  of  tape  around  the  edges. 
With  a  box  camera,  using  this  new 
sensitive  panchromatic  negative,  you 
should  acquaint  yourself  with  those 
two  little  catches  that  appear  on  top 
of  the  box  above  the  lens.  The  small- 
er one  is  to  be  pulled  out  for  time 
exposures.  When  this  is  extended,  a 
flick  of  the  trigger  will  o~en  the  lens 
and  after  the  desired  exposure, 
another  flick  will  close  the  lens  shut- 
ter. 

Now  to  look  at  your  glass  lens  pull 
out  this  smaller  catch.  Then  flick  the 
trigger.  Now  your  lens  is  in  view. 
Pull  the  larger  catch  above  the  lens, 
out  to  its  last  notch.  You  will  notice 
that  it  has  three  holes  of  varying 
sizes.  Familiarize  yourself  with  the 
sizes  at  the  different  notches.  You 
can  feel  the  slide  stopping  at  these 
notches  as  you  pull  it  out.  For  all 
shots  in  bright  sunlight  use  the  small- 
est opening  and  when  you  use  the 
Aero  2  filter  in  bright  sunlight  use 
the  middle  opening. 

After  using  the  Aero  2  filter  for  a 
while  you  will  be  familiar  with  its 
use.       Then     you     may     desire     even 


greater  contrast  in  your  clouds 
against  the  sky.  Try  the  23A,  a  red 
gelatine  filter  that  gives  excellent 
pictorial  quality.  Use  this  with  your 
largest  lens  opening,  just  as  you  are 
shooting  most  of  your  snapshots  now, 
with  the  present  films  you  buy  in  the 
drug  store. 

For  vest  pocket  and  other  folding 
cameras  follow  the  above  instructions, 
but  your  lens  is  mounted  differently, 
with  different  markings,  which  we 
shall  now  discuss. 

Open  your  camera.  You  have  on 
the  baseboard  a  footage  indicator. 
This  should,  as  you  know,  be  set  be- 
fore each  picture  to  the  correct 
number  indicating  the  number  of  feet 
you  are  standing  from  the  subject  to 
be  snapped.  Under  your  lens  is  a 
little  sliding  scale  with  such  numbers 
as  6.5,  8,11,16,22.  These  indicate  the 
different    size    openings    of    the    dia- 


Elwood  Bredell,  still  man  with  the 
Paramount  Studios,  likes  to  pick 
up  occasionally  a  bit  of  interesting 
production  staff  while  he  waits  for 
the  opportunities  grudgingly  ac- 
corded him  (and  all  still  men)  to 
map  the  precious  stills  that  sell  the 
pictures.  This  is  a  scene  from 
"Monte  Carlo."  Note  the  lighting 
and  careful  grouping  of  the  actor 
folk.  Can  you  locate  the  cameras 
at  first  glance? 


* 

m  — 

;   ^y  --           ^ — ' 

•«^:*fc¥r*r«' 

W^*         -^    * •' 't 

.1 

phragm  within  your  lens.  The  smaller 
the  number  on  your  indicator  the 
larger  the  opening  will  be. 

Most  snapshooters  make  pictures 
with  this  indicator  half  way  between 
all  the  numbers,  in  the  exact  center. 
Good  results  are  on  an  average 
obtained.  When  you  now  use  a  filter, 
in  this  type  camera,  unscrew  the  lens 
from  its  holder.  Holding  the  front 
part,  next  unscrew  the  back  part  care- 
fully so  as  not  to  drop  the  glass  out. 
Cut  a  round  piece  of  gelatine  to  fit 
in  between  the  two  elements  of  your 
lens  and  screw  the  parts  together. 
Allow  a  larger  opening  for  your  lens 
to  allow  for  the  amount  of  light  that 
your  filter  absorbs.  On  the  Aero  2 
allow  a  number  and  a  half  larger 
opening. 

We'll  say  that  you  plan  to  shoot  at 
11.  Open  your  lens  aperture  to  be- 
tween 8  and  the  next  smaller  number 
on  your  indicator.  These  numbers 
may  vary,  but  the  results,  will  be  the 
same.  When  using  the  23A  open  up 
your  lens  aperture  two  full  numbers, 
or  stops,  as  we  call  them  here  in 
Hollywood.  Remember,  the  smaller 
the  number  on  your  indicator  the 
larger  the  opening  will  be.  The 
smallest  numbers  give  the  most  light 
on  your  film. 

The  speed  of  your  shutter  is  deter- 
mined by  turning  the  little  round  in- 
dicator above  your  lens;  the  one  with 
,  T,  25,  50,  75,  100.  meaning  25th  of  a 
second  50th,  75th  etc.  This  is  for 
time  exposures  when  you  wish  to  open 
1  the  lens  and  leave  it  open  for  a  length 
of  time.  The  shutter  is  then  closed 
by  again  flicking  the  trigger.  All 
time  exposures  must  be  made  with 
the  camera  very  steady  on  a  box  or 
tripod. 

A  fine  average  exposure  can  be  mae 
with  the  shutter  speed  indicator  set 
at  75.  If  you  have  no  75  use  100  or 
50,  but  be  sure  to  hold  your  camera 
steady  for  50.  A  steadier  picture  will 
result  from  a  faster  shutter  action, 
such  as  a  75th  or  a  100th.  Of  course 
sunlight  is  essential  for  a  hundredth 
of  a  second  exposure.    Experimenting 


will  help  you  most  in  determining  the 
best  setting  to  use.  If  your  negative 
is  too  light  allow  a  little  larger  lens 
opening  next  time,  say  one  smaller 
number.  Find  your  favorite  shutter 
speed  and  then  set  your  lens  open- 
ings to  allow  for  more  or  less  light  on 
your  next  try.  If  your  picture  is 
blurred  you  either  moved  as  the  snap 
was  taken  or  your  distance  scale  was 
incorrectly  set.  If  you  had  been 
snapping  action  such  as  a  moving  car 
and  the  picture  blurred  your  shutter 
action  was  not  fast  enough.  A  100th 
will  catch  average  action  nicely 

If  you  wish  to  see  the  results  with 
a  23  A  red  filter  watch  the  newsreels. 
You  will  see  a  picture  of  Uncle  Sam's 
navy  on  parade  off  the  coast  of  Cali- 
fornia. Those  scenes  wherein  the 
clouds  stand  out  boldly  were  shot 
using  the  23A  filter.  Most  all  news- 
reel  scenes  where  the  clouds  are  as 
bold  and  beautiful  were  made  with 
red  filters,  of  which,  the  23A  is  the 
most  practical. 

Newsreel  men  who  have  been  using 
the  Aero  2  on  closeups  of  people,  will 
no  doubt  be  even  more  enthusiastic, 
with  the  5N5  on  such  closeups,  where 
there  is  great  contrast  in  lighting  on 
the  subject.  Open  up  three  full  stops 
on  this  one  and  your  background  will 
also  go  out  giving  your  subject  the 
best  advantage   possible. 

This  department  would  appreciate 
any  inquiries  as  to  the  use  of  film, 
cameras  and  filters.  Here  in  Holly- 
wood we  have  the  pick  of  the  world's 
best  in  both  information  and  mater- 
ial, and  we  strive  to  please  you,  our 
readers. 

RAY  FERNSTROM 
An  International  Photographer 


at   the   approaching  Chicago   World's 
Fair. 


SAVITT'S  BIG  JOB 

Sam  Savitt,  member  of  666,  Chicago 
is  in  Hollywood  on  business  connected 
with  the  filming  of  a  big  picture  for 
the  Southern  Pacific  Railroad.  The 
completed  film  will  be  a  moving 
panorama  of  scenes  on  the  way  from 
Chicago  to  Los  Angeles  along  the 
route  of  the  S.  P.     It  will  be  exhibited 


IMPROVED   MITCHELL   FINDER 

The  Mitchell  Camera  Company  an- 
nounces a  new  adapter  lens  for  their 
finder,  which  will  double  the  field  of 
view.  This  improvement  is  particu- 
larly useful  when  using  long  focus 
lenses  on  the  camera. 

This  makes  two  adapter  lenses 
that  Mitchell  has  devised,  the  25  m.m. 
and  this  new  one. 

The  finder  also  has  as  an  integral 
part,  the  new  adjustable  matte,  con- 
trolled by  two  graduated  dials.  The 
matte  consists  of  metal  cross-strips 
that  frame  the  picture  and  so  con- 
structed as  to  permit  the  viewing  of 
the  surrounding  field.  The  dials  are 
graduated  for  various  size  lenses  with 
provision  for  adjustment  when  neces- 
sary. 


HARD  TO  BELIEVE 

Lindsey  Thomson  has  just  com- 
pleted the  still  work  on  "City  Hall," 
a  William  Burke  picture  for  educa- 
tional release.  While  on  this  job  Mr. 
Thomson  met  with  something  remark- 
able in  the  way  of  a  leading  man. 
His  name  is  Preston  Foster  and  he 
liked  to  have  stills  shot  of  himself. 
One  night  he  waited  45  minutes  to 
permit  Lindsay  to  get  a  shot.  Hard 
to  believe.  Bob  Cline  was  chief 
cinematogropher. 


James  N.  Giridlian,  an  Inter- 
national Photographer  resident  in 
Pasadena,  reports  the  organization  of 
The  Foothill  Pictorialists,  a  group  of 
photographic  fans  who  live  in  the 
great  open  spaces. 

Mr.  Giridlian,  who,  by  the  way,  has 
the  finest  iris  gardens  in  California,  is 
president  of  the  new  group  and  Mrs. 
Hortense  Kreyser  is  secretary.  The 
Foothill  Pictorialists  are  greatly  in- 
terested in  16  m.m.  cinemotography 
and  some  of  them  are  experts  in  this 
field. 


Twenty-six 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


Ti 


HE 


REALM 


OF 


16 


M.  M. 


Mary  Astor  is  one  of  the  most  skilled 

and  enthusiastic  amateurs  in  the 

world   of   16    m.    m. 


[Our  16  m.  m.  department  is  a  bit  scattered 
in  this  issue  because  of  the  late  arrival  of  new 
advertising  matter. 

The  features  for  April  are  the  article  on 
"Lighting,"  by  Lewis  W.  Physioc,  and  that  on  the 
fundamentals  of  motion  photography  by  George 
J.  Lancaster.  Both  of  these  writers  are  mem- 
bers of  the  International  Photographers. 

Mr.  Milton  Moore  will  be  in  our  May  issue  with 
his  Questions  and  Answers,  and  Mr.  Lancaster, 
also,  will  make  answer  to  some  of  the  pregnant 
inquiries  of  our  16  m.  m.  correspondents. — Ed- 
itor's Note. J 


This  study  in  plastic  sculpture  made 
by  Edward  Kearns,  member  of  the 
International  Photographers,  certain- 
ly proves  that  a  cameraman  can  be 
more  than  one  kind  of  artist.  Edward 
finds  time  between  studio  engagements 
to  study  art  at  the  Chouinard  School. 
The  accompanying  figure  represents 
his  second  attempt.  Mighty  good, 
Edward.    Keep  it  up. 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-seven 


Wipe-Offs 

An  interesting  development  in  the 
art  of  scene  change  technique  is  the 
special  effect  changes  or  "wipe-offs" 
which  to  a  large  extent  has  replaced 
the  straight  cut,  the  lap  dissolve  and 
the  fade  in  and  out  of  scenes. 

We  have  noticed  the  different  effects 
such  as  windshield  wipe-off,  from 
any  direction;  the  different  center 
source  changes;  the  spiral  growths, 
the  paper  tear  aways,  the  explosive 
puff  changes,  etc.,   etc. 

Howard  Anderson,  one  of  our  well 
known  trick  cinematographers,  claims 
to  have,  perhaps,  furthered  this  vogue 
more  than  anyone  else.  He  recalls 
some  interesting  incidents.  For  in- 
stance, four  years  ago  Cecil  De  Mille 
upon  viewing  some  of  Anderson's 
wipe-off  scenes  for  De  Mille's  "The 
Godless  Girl"  ventured  that  a  wipe- 
off  was  good  only  for  comedy.  Now 
observe  any  present  feature  including 
his  own  latest  masterpiece. 

But  Anderson's  biggest  push  for 
the  wipe-off  was  the  showing  of  a 
reel  of  these  effects  at  M.G.M.  to  Di- 
rector Fred  Niblo,  who,  very  much 
interested,  requested  Anderson  to 
come  by  appointment  and  meet  one  of 
the  studio  executives  for  another 
showing.  This  also  was  several  years 
ago.  He  did  so  and  upon  entering 
the  projection  room  found  it  crowded 
with  everyone  who  might  be  interested 
in  a  new  development.  The  showing 
brought  to  Anderson  an  immediate 
offer  of  a  job,  but  he  already  had  one. 
However,  the  wheels  of  progress  kept 
moving.  Not  long  after  this  Anderson 
viewed  "The  Trail  of  '98"  in  a  theatre. 
Lo  and  behold!  Wipe-offs!  This  was 
the  first  feature,  he  believes,  to  show 
them.  "I've  started  something," 
thought  Anderson. 


PATENT  NO.  1,372,811 

This  patent  was  issued  March  29, 
1921  to  W.  L.  Hall  under  the  title  of, 

i  "Method  of  Making  Pictures."  Of 
the    many    claims    listed    here    are    a 

|  few  that  may  be  of  interest  to  some 
of  our  readers: 

"The  term  'miniature'  wherever 
used  throughout  my  specification  or 
claims  is  understood  to  refer  to  that 
class  of  objects  which  includes 
paintings,    drawings,    physical    repre- 

(  sentatives  or  other  artificial  replicas 
of  every  kind  known  and  utilized  in 
the    art    of    photography    and    motion 

'  pictures. 

"The    miniature    may    be    a    small 

I  scale  model  of  objects  desired  to  ap- 
pear in  the  final  picture  or  may  be 
in  the   form   of   a   picture   painted   or 

.  drawn  or  otherwise  produced  on  a 
panel  of  any  suitable  material,  for 
instance,  on  an  opaque  panel  of 
compo  board  or  other  suitable  mater- 
ial and  a  board  backing  therefor,  or 
glass  or  other  transparent  material. 
"The  method  of  making  moving 
pictures  which  consists  in  placing  a 
miniature  in  the  foreground  of  a 
scene  lying  within  the  field  of  view 
of  a  cinematographic  camera,  caus- 
ing action  to  take  place  in  the  por- 
tions of  the  scene  not  obscured  by  the 
miniature,  and  making  a  series  of 
photographic  exposures  of  the  minia- 
ture and  the  action  and  the  portions 


"ARTREEVES 

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CABLE  ADDRESS  ARTREEVES 


HOLLYWOOD,  CALIFORNIA,    USA 


of    the    scene    not    obscured    by    the 
miniature. 

"The  method  of  making  a  com- 
posite photograph  which  consists  in 
placing  in  the  foreground  of  the  local 
scene  a  miniature  picture  of  a  scene 
foreign  to  the  local  scene  and  cor- 
responding in  tone  and  perspective  to 
that  portion  of  the  local  scene 
obscured  from  the  focal  range  of  a 
camera  by  the  miniature,  and  photo- 
graphing the  local  scene  and  minia- 
aure  simultaneously." 


Co-operation 

There  is  one  situation  or  phase  of 
the  photographic  craft  against  which 
hundreds,  nay  thousands,  perhaps 
millions  of  curses  have  been  voiced. 
By  whom  ?  The  director,  the  business 
manager,  the  head  cameraman,  the 
stillman.     Who  else?     Why,  the  pub- 


licity man,  the  salesman,  the  ex- 
change man,  the  exhibitor. 

So  often  nowadays  a  stillman  trying 
to  get  his  shot  is  to  be  pitied.  When 
a  stillman  asks  for  a  shot  why  is 
there  so  often  a  hostile  chill  set  vi- 
brating ?  Many  times  the  answer  is 
"NO!"  Sometimes  the  encouraging 
reply  is:  "You  have  to  shoot  a  still 
now!  Always  interruptions.  All 
right;  hurry  up  and  get  it  and  get  off 
the  set!" 

Is  such  a  situation  encouraging  to 
a  stillman  to  earn  his  salary?  NO! 
Is  it  going  to  help  sell  the  picture? 
NO!  Is  it  going  to  help  bring  money 
into  the  producer's  pocket?  NO! 
Obviously  such  crass  stupidity  should 
be  eliminated.     How?      Co-operation! 

Let  us  get  together  and  make  an 
issue  out  of  it.  Suggestions  are  in 
order.     Give  the  stillmen  a  break. 


T  iv  enty -eight 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 

Lighting  the 

Magic  of  Cinematography 


By  LEWIS  W.  PHYSIOC 


[This  article  from  the  facile  and  learned  pen  of  our 
own  Mr.  Lewis  W.  Physioc  is  not  new  but  is  called  forth 
by  request  and  is  this  time  particularly  addressed  to 
those  earnest  souls  among  the  16  m.m.  operators  who 
want  to  sit  at  the  feet  of  the  master  and  learn  to  do 
things  as  the  skillful  professional  does  them.  It  was 
first  published  in  the  A.  S.  C.  magazine  several  years  ago 
and  was  reprinted  by  Bell  &  Howell  and  others.  It  is 
the  personal  property  of  the  author — Editor's  note]. 

The  accompanying  pictures  are  a  series  of  photographs 
of  the  head  of  the  celebrated  "Venus  de  Milo."  They 
were  designed  to  illustrate  how  different  lightings  may 
change  the  character  of  the  subject;  destroy  or  preserve 
beauty,  exaggerate  or  subdue  blemishes,  aggravate  or 
favor  the  signs  of  age. 

This  would  seem  to  be  a  matter  of  supreme  importance, 
especially  to  our  feminine  stars,  for  the  question  becomes 
most  serious  as  the  years  roll  by.  It  becomes  almost  tragic 
when  they  have  reached  that  glorious  age  which  combines 
the  fullness  of  womanhood,  maturity  of  character,  compell- 
ing personality  and  dramatic  experience,  all  of  which 
combine  to  make  them  great  artists,  when  they  find  all 
this  pitted  against  the  smooth,  youthful  faces  of  the  in- 
genues. 

These  wonderful  women  are  continually  taunted  by  that 
old  bugaboo  of  a  phrase  "the  camera  never  lies"  and  it  is 
in  their  interest  that  we  will  endeavor  to  show  that  the 
camera  may  become  the  greatest  liar  in  the  world. 

For  many  years  some  of  our  stars  have  been  under  the 
delusion  that  their  best  appearance  on  the  stage  was 
dependent  upon  an  excess  of  flat  light.  How  often  we 
have  heard  the  expression  among  the  comeramen:  "I  have 
to  burn  her  up." 

Let  us  study  the  subject  carefully  and  see  what  we  can 
learn  for  the  benefit  of  our  stars.  There  is  an  impression 
among  many  of  them  that  any  degree  of  modeling  or 
shading  produces  a  muddy,  dirty  face  on  the  screen  and 
discloses  age.  This  is  an  erroneous  idea — it  is  muddy  high 
lights  that  give  the  dirty  appearance.  Character  lines 
and  signs  of  age  can  be  beautifully  smoothed  out  by  soft 
lighting;  it  is  the  cast  shadows  from  strong,  direct  light 
that  does  the  damage.  In  the  proper  place  we  will  dis- 
tinguish between  the  shade  and  shadow.  There  is  an 
axiom  that  we  cannot  assail  and  it  is  this:  Picture  making 
depends  upon  light  and  shade,  but  we  know  also,  that  the 
best  results  demand  a  proper  distribution  of  these  ele- 
ments, light  and  shade.  There  is  no  beauty  in  a  white,  flat 
surface  outlined  against  a  background.  The  elements  of 
beauty  in  a  face  are  nature's  mould  of  the  features, 
general  coloring,  the  expressions  of  the  intelligent  features, 
the  eyes  and  mouth,  which  are  so  much  influenced  by  the 
development  of  character,  the  evidence  of  temperament 
and  personality  and  above  all,  the  soul  that  shines  through 
all — and  these  marvelous  elements  can  just  as  easily  be 
burnt  up  as  the  purely  physical  imperfections  in  the  skin 
texture.  How  can  we  expect  to  find  a  beautiful  woman  in 
a  pair  of  eyes  straining  to  keep  from  blinking  under  the 
glare  of  too  many  "inkies" — the  lure  of  dainty  lips  lost  in 
a  flood  of  flat  light?  The  portrait  of  our  goddess  is  usually 
represented  by  a  pair  of  squinting,  bloodshot  orbs,  two 
black  spots  marking  the  nostrils  and  a  dash  of  rouge  for 
delicately  modeled  lips.  Must  we  call  this  feminine  beauty? 

Now  there  must  be  some  simple  rule  that  we  may  de- 
duce from  our  study  of  this  subject — some  broad,  funda- 


mental fact  that  we  may  easily  keep  in  mind,  and  we 
suggest  a  natural  law  that  artists  in  all  ages  have  rec- 
ognized— it  is  this  simple  certainty  that  the  stronger  the 
light  the  harsher  the  shadows  and  the  harsher  the  shadows 
the  more  prominent  the  imperfections,  whether  these  im- 
perfections be  faulty  mould  of  the  features,  a  mole, 
wrinkles,  pimples  or  other  excrescences  of  the  skin. 

The  recognition  of  this  rule,  then,  naturally  leads  to  a 
more  detailed  application  to  insure  the  most  artistic  re- 
sults. The  critical  study,  over  a  period  of  many  years,  has 
resulted  in  a  general  agreement  amon~  artists  that  these 
harsher  effects  of  strong  light  and  shade  are  sometimes 
suitable  for  rendering  dramatic  and  spectacular  ideas  but 
that  the  more  delicate  forms  of  beauty  should  be  lighted 
with  more  softness  and  plasticity.  This  last  idea  of  light- 
ing is  not  an  easy  thing  to  accomplish.  It  requires  skill 
in  the  placing  of  the  light,  a  thorough  knowledge  of  the 
quality  of  this  light  and  a  very  refined  taste  and  judgment 
as  to  the  intensity  of  the  lights  and  the  depth  of  the 
shadows.  The  general  illumination  should  be  sufficiently 
soft  to  permit  freedom  of  expression  in  the  eyes  but  bril- 
liant enough  to  avoid  muddy  lights;  so  highly  diffused  as 
to  produce  no  cast  shadows  and  so  arranged  as  to  furnish 
the  proper  modeling,  upon  which  the  reproduction  of 
beauty  absolutely  depends. 

In  lighting  a  head  we  have  five  well  defined  elements, 
and  it  is  the  arrangement  of  these  that  demonstrates  the 
talent  of  the  photographer.  They  are  Lights,  High  Lights, 
Shade,  Shadow  and  Reflects.  First,  let  us  distinguish  be- 
tween shade  and  shadow.  Common  definitions  do  not  fur- 
nish a  satisfactory  distinction  between  these  two  terms, 
but  to  the  artists  and  photographers  there  is  a  wide  dis- 
crimination. The  artist  defines  shadow  as  the  result  of 
an  opaque  body  intercepting  the  passage  of  direct  light, 
leaving  a  dark  contour  of  the  object  on  the  surrounding 
planes.  This  shadow  is  composed  of  two  densities — the 
penumbra,  that  portion  of  the  shadow  that  lies  near  the 
edge  of  the  shadow  and  which  is  slightly  illuminated  by 
rays  diffracted  around  the  edge  of  the  body  casting  the 
shadow;  and  the  umbra,  that  portion  not  reached  by  any 
of  the  diffracted  rays  and  left  in  total  obscurity.  This 
umbra  controls  the  contrast  of  a  picture  and,  as  before 
mentioned,  it  is  directly  proportionate  to  the  intensity  of 
the  light.  The  modification  of  this  umbra,  by  reflection, 
is  important. 

The  shades  are  those  portions  of  the  subject  unillumi- 
nated,  and  like  the  shadows,  may  be  modified  by  reflects. 

The  lights  of  a  picture  are  those  areas  subjected  to 
light  and  are,  in  turn,  modified  by  high-lights — points  of 
light  of  greater  intensity  than  the  general  lighting,  thrown 
on  the  protuberating  features  to  produce  relief. 

From  all  this  we  deduce  another  principle;  artistic  re- 
sults depend  upon  the  proper  quality  of  light  and  its  skill- 
ful arrangement.  Now  in  selecting  the  quality  of  our  light 
we  must  revert  to  our  primary  consideration,  the  fact  that 
harsh  shadows  are  unfavorable  to  the  reproduction  of  the 
face,  and  that  the  only  light  that  does  not  cast  shadows  is 
that  which  is  highly  diffused.  Here  we  are  confronted 
with  a  grave  difficulty.  For  many  years,  the  good  old 
North  light  has  been  considered  the  ideal  source,  but  mod- 
ern expedients  have  forced  us  to  desert  this  form  of  light. 

In  the  early  days  of  photography  before  the  use  of 
panchromatic  films  the  multiple  bank  of  Cooper  Hewitts 
furnished  a  finely  diffused  light,  but  they  have  now  been 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-nine, 


Thirty 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


Plate  A. 


#z  A 


#4  A. 


ki* ?     J) 


•  O/V  PL  AN£ 
<  \rJITH  SuBJ£Cr 


too 

i  £LeVATEO 


V 

c 


Plate  B 


&+B 


entirely  discarded  because  their  spectral  quality  of  light 
is  counter  to  the  provisions  of  the  modern  panchromatic 
emulsion.  The  new  film  is  designed  to  permit  of  the  use 
of  incandescent  light  but  we  find  that  the  new  system  of 
lighting  presents  an  important  problem  of  being  able  to 
furnish  sufficient  diffusion  without  too  great  a  loss  of  light. 
This  difficulty  lies  in  the  fact  that  a  direct  source  of  light 
casts  its  individual  shadow,  and  no  matter  how  much  we 
may  silk  them  down  (cover  them  with  diffusing  mediums) 
there  is  always  that  active  source  of  energy  that  casts 
the  baneful  shadow. 

Note  this  as  a  point  of  consideration:  The  necessity  of 
using  more  than  one  glowing  element  to  insure  the  proper 
exposure,  imposes  an  equal  number  of  cast  shadows,  and 
it  is  the  multiplicity  of  shadows  that  impairs  the  modeling. 

With  the  aid  of  modern  lenses  and  panchromatic  film 
we  are  looking  forward  to  the  time  when  someone  will  be 
bold  enough  to  make  some  experiments  with  matt  surface 
reflectors  as  the  basic  source  of  light,  especially  for  close- 
up  work,  in  lieu  of  direct  lighting.  Surely  we  have  been 
given  sufficient  hints  of  the  value  of  indirect  lighting. 

For  the  benefit  of  those  who  still  believe  that  to  pre- 
serve their  beauty,  it  is  necessary  to  burn  out  the  blemishes 
with  a  blaze  of  light,  it  is  our  humble  opinion  that  there 
is  more  security  in  Dryden's  ancient  lines,  as  true  now  as 
when  he  wrote  them: 

"  'Tis  every  painter's  art  to  hide  from  sight 
and  cast  in  shades  what  seen  would  not  delight." 

In  the  accompanying  cuts,  Plate  A  shows  various  treat- 
ments of  the  full  face,  and  we  may  learn  something  by 
studying  each  individually: 

No.  2A — Shows  the  lovely  Venus  transferred  into  a 
stupid,  gross  featured,  flat  nosed,  blear-eyed  individual. 
Note  the  ugly  cast  shadows,  from  the  nose  across  the 
cheeks;  and  also,  how  well  defined  are  the  imperfections 
on  the  surface  of  the  model.  This  effect  is  achieved  by 
the  popular  burn-up  method  of  throwing  strong,  open 
lights  at  the  same  angle,  across  the  face.  The  whole  is 
flat  and  uninteresting. 

No.  4A — Is  a  similar  effect,  except  that  the  photographer 
has  thought  to  help  the  situation  a  little  by  diffusing  the 
light.     However,  it  is  still  flat  and  uninteresting,  due  to 


too  even  a  distribution  of  light.  See  how  broad  is  the 
bridge  of  the  nose,  the  eyes  still  dull  and  stupid,  the  mouth 
thick  lipped  and  sensual  and  the  surface  of  the  face 
blotchy. 

No.  3A — Is  more  engaging,  but  is  harsh  and  contrasty, 
and  tends  to  destroy  feminine  delicacy  by  suggesting  more 
an  Adonis  than  a  Venus.  Observe  the  sharp,  square  cut 
of  the  nose  and  the  eye  sockets.  However  the  eyes  begin 
to  assume  a  little  expression — they  are  enveloped  in 
shadow  and  the  imagination  comes  to  the  aid  of  the  plaster 
Venus.  But  study  the  surface — there  is  no  disguising  the 
fact  that  she  is  nothing  more  than  cold,  hard  plaster. 

No.  5A — Here,  the  photographer  has  attempted  to  burn 
out  a  little  fullness  under  the  chin  that  seems  not  to  have 
worried  Venus,  but  annoys  some  of  the  present  beauties. 
This  method  may  accomplish  its  design,  but  see  what  else 
has  happened — it  makes  Venus'  right  cheek  appear  in- 
flamed with  the  tooth  ache  and  her  expression  gives  evi- 
dence of  pain — her  eyes  are  rolling  up  in  her  head  and  her 
nostrils  are  twitching  in  her  paroxysm. 

No.  1A — Shows  the  ideal  system  of  lighting.  All  the 
features  are  softly  rounded  and  modeled.  The  lovely  work 
of  this  ancient  and  unknown  sculptor  is  preserved  and  re- 
produced in  all  its  feminine  delicacy  and  charm.  Compare 
the  beauty  of  the  lips  and  the  sweetness  of  their  expres- 
sion to  the  other  reproductions.  Study  the  dainty  model- 
ing of  the  nose,  how  round  and  shapely  the  head  and  we 
can  almost  feel  the  presence  of  the  eyes.  But  most  impor- 
tant of  all,  the  imperfections  on  the  surface  of  the  cast 
are  hardly  noticeable  and  there  is  almost  a  feeling  of  flesh 
rather  than  the  hard,  cold  plaster-paris. 

PLATE  B 

This  group  shows  the  three-quarter  view.  This  is  an 
interesting  pose  of  the  head  from  the  standpoint  of  draw- 
ing but  presents  a  broad,  flat  area  of  cheek,  which  is  not 
easy  to  keep  from  appearing  flat.  The  pose  is  generally 
used  under  the  assumption  that  one  side  of  the  face  often 
appears  more  favorable  than  the  other. 

No.  2B — Is  softly  back-lighted  and  the  right  side  held 
in  shade  to  present  a  little  mystery  to  the  imagination  in 
taking  care  of  the  broad  area  of  the  cheek,  also  to  hide 
an  ugly  blotch  on  the  right  cheek. 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-one 


No.  4B — Is  the  same  pose,  lighted 
too  contrastily  and  gives  a  sharp, 
angular  effect  down  the  center  of  the 
face. 

No.  3B — In  this  picture,  the  few 
pleasing  points  of  the  two  preceding 
lightings  are  destroyed  and  no  sem- 
blance of  effect  remains,  due  to  too 
strong  and  direct  a  light  on  the  right 
cheek.  Note  how  the  blotches  show 
up  as  soon  as  the  harsh  light  is  used, 
also  the  rough  spots  and  deep,  ugly 
shadows  on  the  left  cheek.  Observe 
also  the  unbalanced  expression  of  the 
eyes  and  the  lack  of  any  feeling  of 
distance  between  the  extremity  of  the 
nose  and  the  right  ear.  This  is  just 
as  apt  to  happen  in  photographing 
the  living  model. 

No.  5B — Here,  the  small  area  of 
light  is  held  in  shade  and  an  attempt 
is  made  to  throw  the  eyes  in  the  shade 
to  create  expression  and  an  apparent 
direction  of  vision.  This  scheme  of 
lighting  is  favorable  to  light  blue 
eyes.  That  portion  of  the  cheek  which 
bears  the  ugly  blotch,  is  also  shaded 
and  there  is  beginning  to  be  a  feeling 


of  roundness  and  distance  between  the 
nose  and  the  ear. 

No.  IB — Here  there  is  a  perfect 
sense  of  roundness.  Note  how  the 
two  cheeks  seem  to  lead  around  to  the 
back  of  the  head.  Observe  the  deli- 
cate modeling  of  the  eyes  and  lips. 
The  living  model  would  require  a  lit- 
tle stronger  reflected  light  in  the 
shaded  portions,  but  with  the  cast,  too 
strong  a  reflection  would  give  a 
crossed  effect  of  the  eyes.  This,  like 
No.  1A,  is  a  very  fair  representation 
of  the  work  of  the  great  and  un- 
known sculptor  and  all  of  these  dif- 
ferent lightings  show  that  the  camera 
can  became  a  great  liar. 

We  do  not  deny,  however,  that  for 
dramatic  reasons,  some  of  these  effects 
may  be  desired  rather  than  avoided, 
and  for  those  who  may  be  interested, 
we  offer  a  series  of  plans  showing 
each  arrangement  of  lighting: 

100  represents  the  full  open  unit. 
75  a  lesser  amount,  undiffused. 
D  the  full  unit  with  one  diffuser. 
the  full  unit  with  two  diffusers. 
the   full    unit    with    triple    dif- 
fusers. 
reflector. 


DD 
TD 


i; 


Automatic  Mixing  Control 

Art  Reeves  has  perfected  an  auto- 
matic mixing  control  which  should 
prove  of  interest  to  all  sound  en- 
gineers. By  its  use  the  voice  will  auto- 
matically predominate  over  back • 
ground  music  and  effects. 

A  device  such  as  this  has  long  been 
the  aim  of  sound  engineers  and  it  is 
understood  that  one  of  the  major 
studios  is  now  using  a  method  such 
as  this  in  its  production.  However, 
Art  Reeves  claims  his  device  to  be  the 
only  one  manufactured  independently 
and  is  adaptable  and  available  to  all 
users  of  ArtReeves'  equipment. 


NO!    THE   INDUSTRY   IS  NOT 

GOING  TO  MOVE  TO  NEW 

YORK  OR  FLORIDA 

And  some  of  the  reasons  are: 

Hollywood  studios  represent  a  capi- 
tal investment  of  approximately  $95,- 
000,000. 

They  employ  normally  about  27,000 
people;  part  time  pay  roll  represents 
17,000  additional — all  permanently  at 
home  here.  Local  allied  industries, 
arts  and  professions  to  the  number  of 
nearly  300  are  benefited — millions  are 
permanently  invested. 

Power  and  light  companies  supply 
electricity  sufficient  to  serve  33,000 
homes  nightly.  Immense  permanent 
local  investment. 

The  movie  people  have  their  perma- 
nent homes  here. 


25  TO   150  MM 

FIELD  WITH  ONE 

FINDER 


Instantly  aligned  with  camera  aper- 
ture— both  Vertical  and  Horizontal, 
in    any    Standard    Camera   or    Blimp. 

Brilliant    L1  plight    Image 
Inclosed    Fccusing   Screw 

Optics  by   Harrison   &   Harrison 
Optical   Engineers 

Fred   Hoefner 

CINEMA  MACHINE  SHOP 

Manufacturers  of 

Cinematographic  Equipment 

5319  Santa  Monica  Blvd. 

GLadstone  0243  Los  Angeles 


They  also  have  their  investments 
here. 

They  like  to  live  here,  for  reasons 
apparent  to  anyone  who  has  felt  the 
joy  of  residing  in  Hollywood  and  vi- 
cinity. They  are  not  afraid  of  earth- 
quakes. Earthquakes  have  quaked  all 
around  Hollywood  for  many  years, 
but  Hollywood  and  Los  Angeles  have 
never  suffered  appreciably  in  loss 
either  of  life  or  of  property. 

The  east,  south  and  middle-west 
suffer  every  year  from  floods  and  hur- 
ricanes and  marine  disasters — Holly- 
wood has  none  of  these,  but  about 
once  in  eight  years  it  has  the  thrill  of 
feeling  the  secondary  vibrations  of  a 
temblor,  if  you  know  what  that  it. 

Also,  there  is  no  mud,  slush,  ice  or 
zero  weather  here;  better  food  and 
fewer  liars. 

See  Romans  III-4. 

The  actor  "colony"  here  in  Holly- 
wood is  the  largest  and  finest  in  the 
world. 

The    producers    like   it   here — and — 

In  Hollywood  it  is  easiest  to  live 
best. 


''*, 


Thirty-two 


The     INTERNATIONAL     PHOTOGRAPHER 

Working  for  the  Fun  of  It 

A  Call  to  Give  the  Stillman  an  Identity  for  the   First   Time  in  His   Life 

Bv  JAMES  N.  DOOLITTLE 


April,  1933 


HOLD  IT  FOR  A  STILL! 

The     importance     of     correct     stance 

cannot     be     overemphasized     even     in 

photography. 


All  of  us  are  born  in  labor,  some 
inherit  jobs  and  others  have  work 
thrust  upon  them.  Certain  individ- 
uals toil  in  order  to  accumulate 
enough  of  what  it  takes  to  tide  them 
over  until  they  get  their  next  assign- 
ment— if  and  when — and  there  are 
those  bound  to  their  stints  through 
ties  of  marriage  or  consanguinity. 
Again  there  are  those  who  work  for 
the  pure  pleasure  of  doing  something. 
Some  of  the  latter  are  still-men  to 
whom  I  address  myself  with  a  "Hi, 
Brother,"  for  I  am   one   of  you. 


Not  that  the  coroner  will  one  day 
pronounce  my  demise  due  to  overwork, 
exactly,  but,  by  and  large,  I  am  in- 
tensely interested  in  my  chosen  voca- 
tion and,  if  the  yoke  weighs  upon  me 
more  heavily  at  one  time  than 
another,  it  is  because  there  is  no  way 
of  avoiding  the  monotony  of  "line 
production,"  if  you  get  what  I  mean. 

At  least  there  wouldn't  be  if  it 
were  not  for  one  agency — my  hobby. 
I  have  been  transmuting  the  inverted 
images  upon  my  ground  glass  into 
cash  or  negotiable  specie  for  so  many 
years  that  I  am  beginning  to  consider 
myself  an  old-timer  although  I  do 
not  date  as  far  back  as  the  period 
when  the  photographer  had  to  dunk 
his  plates  in  the  silver  solution  just 
before  exposing  them  nor  had  I  begun 
to  take  an  active  interest  in  motion 
pictures  at  the  time  Colonel  Muy- 
bridge  was  hailed  as  a  cinematog- 
rapher  of  some  promise.  So  photog- 
raphy is  my  hobby  and  the  means 
whereby  I  manage  to  keep  my  bread 
pretty  well  buttered — thinly,  at  times, 
but  still  buttered.  But  this  isn't  in- 
tended as  an  autobiography  and  the 
uppercase,  first  personal  pronoun  will 
not  be  employed  from  here  on. 

"Working  for  the  fun  of  it"  does 
not,  in  its  present  application,  imply 
laboring  without  remuneration  and 
"toiling  for  the  pure  pleasure  of  doing 
something"  is  not  to  be  taken  literallv 
as  a  gesture  of  unalloyed  altruism 
for,  in  seeking  to  establish  a  point, 
the  fact  is  not  overlooked  that  even  a 
photographer  must  eat.  In  a  less 
roundabout  manner  I  (there's  that 
"I"  again)  mean  simply  to  suggest 
capitalizing  the  pleasure  which  may 
be   latent   in   the    occupation   that    at 


times  has  a  way  of  becoming  unutter- 
ablv  dull.  Turn  the  job  into  a  hobby 
and  let  the  production  budget  pay  for 
your  fun! 

You've  heard  of  the  nostman  who 
goes  for  a  hike  on  his  day  off  and 
maybe  a  taxi  driver  has  been  known 
to  cruise  about  the  downtown  streets 
in  his  own  car  for  relaxation  during 
his  spare  moments,  but  the  photog- 
rapher who  packs  up  his  camera  and 
goes  out  to  take  pictures  for  pleasure 
is  a  comparatively  rare  species.  He 
is  as  rare  as  the  pleasure  that  goes 
only  with  an  intense  liking  for  the 
thing  with  which  he  gains  a  com- 
petence. 

Your  daily  routine  is  the  business 
of  producing  a  pictorial  commodity 
according  to  a  pretty  well  established 
formula  which  shows  no  easily  dis- 
tinguishable evidence  of  varying 
during  the  next  couple  of  decades  at 
least.  I  state  this  time  with  some  as- 
surance for  the  past  two  have  wit- 
nessed no  startling  advances  in  the 
conceptions,  requirements  or  applica- 
tion of  still  pictures.  Important  im- 
provements have  indeed  taken  place 
from  year  to  year,  but  those  are  as 
much  attributable  to  the  manufac- 
turers of  photo  supplies  as  to  the  skill 
of  the  men  responsible  for  turning 
this   material  into  pictures. 

I  do  not  reflect  one  bit  of  discredit 
upon  the  motion  picture  still  man 
when  I  make  this  sweeping  statement 
for  he  is  not  permitted  to  exercise  the 
free  expression  of  his  individuality  on 
account  of  the  restrictions  of  tihe 
"front  office."  The  front  office  is  con- 
cerned with  the  matter  of  securing 
such  stills  as  will  adequately  repre- 
sent  the    action    of   the   drammer  so 


ROY  DAVIDGE  FILM 
LABORATORIES 

An  Exclusive  "Daily" Laboratory 

Quality    and    Service 

0701-6715       SANTA     MONICA       BOULEVARD 

GRanite     3108 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-three 


the  Eastern  office  can  sell  the  piece 
to  the  exhibitor. 

A  happy  situation!  Make  the 
proper  exposure,  avoid  faulty  focus, 
don't  show  too  much  movement,  turn 
in  plenty  of  stuff  so  the  man  up  front 
will  see  that  you've  been  working  and 
you  fulfill  every  requirement  of  your 
job.  Don't  argue;  just  look  at  the 
stills  in  the  lobby  of  a  theatre  where 
the  picture  of  another  studio  is  run- 
ning. They  look  just  like  yours — no 
better,  no  worse.  Or  look  at  the  stuff 
the  other  boys  are  doing  right  on  your 
own  lot.  Just  like  yours — no  better, 
no  worse  or  one  of  you  would  lose  his 
job.  If  you  don't  think  so,  the  office 
does — which  is  the  same  thing. 

This  wasn't  intended  as  a  lecture 
either.  I'll  get  to  my  point.  For  a 
long  time  I've  had  an  idea  in  my  head 
which  my  ego  permits  me  to  think  is 
a  good  one  and  some  weight  is  given 
to  my  claim  by  the  fact  that  it  has 
found  successful  application  in  other 
instances.      In   a   word,   organize. 

The  cameramen  did  it  and  became 
cinematographers.  You  can  do  it  and 
become  photo-pictorialists — lens  mas- 
ters, if  you  choose.  This  plan  has 
nothing  to  do  with  the  industrial 
situation,  of  course,  and  does  not  seek 
to  parallel  the  functions  of  the  Local; 
it  must  be  purely  "for  the  fun  of  it" 
a  more  or  less  informal  group  of  the 
more  seriously  constituted  men  de- 
voted to  photography  as  a  medium  of 
artistic  expression. 

In  its  workings  it  should  provide  a 
stimulus  for  the  creation  of  improved 
technique,  a  medium  for  the  inter- 
change of  ideas  and  an  agency  for  the 
raising  of  the  general  standard  of 
pictorial  endeavor.  It  will  serve  to 
create  a  new  interest  among  the  older 
men  in  this  branch  of  production  and 
the  younger  or  less  experienced  will 
find  a  goal  and  be  helped  towards  its 
attainment. 

Roughly  detailed,  the  manner  of 
getting  under  way  would  first  be  a 
general  call  to  assembly  of  all  men 
tentatively  interested  in  such  a  pro- 
ject and  at  which  time  a  director  and 
secretary  would  be  elected.  Time  and 
■^lace  of  subsequent  periodical  meet- 
ings would  be  decided  and  the  aims 
and  purposes  discussed. 

It  wouid  be  well  to  decide  not  to  be- 
come too  formal — avoid  rules  and 
regulations,  constitutions  and  by-laws 
— instead  formulate  such  agreements 
as  may  serve  general  purposes  and 
make  them  sufficiently  elastic  to  per- 
I  mit  flexible  adaptation  to  needs  as 
,   they  arise. 

As   time   goes    on,   it   will   probably 
I  occur  to  the  members  that  the  spirit 
I   of  competition  is  a  wholesome  stimu- 
lant to  increased  activity  in  further- 
i  ance  of  which  exhibitions  will  be  held. 
Interest  would  be  enhanced  if  a  point 
I  were  made  to  publicise  the  creator  of 
meritorious  work.     Give  the  still-man 
an   identity   for   the   first   time   in   his 
life. 

The  subjects  for  competitions  can 
be  made  to  vary  from  time  to  time — 
portraits  one  month,  say,  then  gen- 
eral subjects.  A  comedy  assignment 
followed  by  landscapes  would  vary  the 
fare  and  all  material  should  be 
obtained  from  any  source  whatever — 


EVERYTHING  PHOTOGRAPHIC 

for  Professional  and  Amateur 

New  and  used.     Bought,  sold,  rented 

and  repaired.     Camera  Silencing. 

Send  for  Bargain  Catalogue 


Hollywood  Camera  Exchange 


1600  Cahuenga  Blvd.*.  Hollywood 

Tel:  CL  2507  .  HO  9431 

Cable  Address:  HOcamex 

Opcn.8  »-  m.  to  10  p.  m. 


preferably  not  from  work  in  "line  of 
duty." 

Liberal  participation  in  photo- 
graphic saloons  held  in  various  parts 
of  the  world  would  be  found  to  add 
a  new  interest  to  activities  of  the 
group  especially  as  it  is  a  truth  that 
almost  no  work  from  the  great 
motion  picture  industry  finds  its  way 
into  exhibitions! 

An  annual  salon  composed  solely  of 
member's  work  and  held  about  the 
time  the  Academy  dishes  out  awards 
for  this  and  that  might  draw  atten- 
tion to  the  stillmen  and  in  course  of 
time  such  recognition  would  be  ac- 
corded that  some  genius  would  be 
given  the  Academy  award  for  the 
best  still   picture   of  the   year.     Just 

"SECRETS" 


United  Artists  production ;  director,  Frank 
Borzage ;  writers,  Rudolph  Vesier,  May 
Edginton,  Frances  Marion,  Salisbury 
Field ;  first  cameraman,  Ray  June ;  oper- 
ative cameraman,  Stuart  Thompson  ;  as- 
sistants, Hal  Carney,  Jimmie  Hackett  and 
Ellis  Carter ;  stills,  K.  O.  Rahmn  ;  sound, 
Frank  Maher  and  Charles  Noyes ;  elec- 
trician, W.  J.  McClellan  ;  film  cutter. 
Hugh    Bennett. 

New  York  Evening  Post:  It  is  all 
carried  off  with  grace  and  gentle 
humor,  with  keen  directorial  sense 
and   beautiful   photography. 


think  of  the  thrill  of  getting  into  the 
soup  and  fish  and  showinp-  up  at  the 
Biltmore  and  being  handed  something 
besides  the  Bronx  razz  for  being  a 
stillman! 

The  thing;  has  potentialities  too 
great  to  be  ignored.  It  will  mean 
hard  work  for  a  certain  few,  but  the 
reward  will  be  liberal  and  collectable 
in  terms  of  a  tremendous  amount  of 
satisfaction  which  will  in  time  de- 
serve recompense  of  a  more  material 
nature. 

And  I  believe  the  ultimate  working 
out  of  an  organization  such  as  I  have 
sketched  will  illustrate  what  I  mean 
by  "working  for  the  fun  of  it." 


EARL   HAYS   PRESS 

PRINTED  INSERTS 

The    most   complete    library    of 

foreign     research     material     in 

the    industry. 

NEW  ADDRESS 

6510   Santa    Monica   Blvd. 

Near  Wilcox  Ave. 
Phone:    HOlIvwood  9591 


H  O  WAR  D 

ANDERSON 

Special  Effects 

Culver  Citv  3021 


Technical    Products    Co.,    Inc. 

CAMERA    REPAIRS 

PRECISION    MACHINE    WORK 

MINIATURE    &    SPECIAL    EFFECTS 

DESIGNING   &  ENGINEERING  SERVICE 

1221     N.     Highland     Ave— HEmpstead    5444 
Hollywood 


E.  Broox  Randall  &  Sons,  Inc. 

WRITERS  —  ADJUSTERS  —  ADVISORS 

OF    ALL    INSURANCE    LINES 

56(54  Hollywood  Blvd. 

Hollywood,  California 


HI   6111 


Thirty-four 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


When  the 

Newsreels  Shoot 
an  Earthquake 


The   steeple  up  in  the   air.     St.   An- 
thony's Church,  Long  Beach.   Body  of 

church  not  injured. 


After  a  week  of  hard  labor  filming  the  Pacific  Battle 
Fleet  of  the  U.S.N.,  the  newsreelers  of  659,  stationed  at 
Los  Angeles,  stepped  off  their  boats  just  in  time  to  feel 
the  first  shock  of  the  earthquake  of  March  10.  The  tem- 
blor struck  at  exactly  5:55  p.m..  Pacific  Standard  Time, 
and  lasted  about  thirteen  seconds. 

The  newsreelers  were  on  the  job  at  Long  Beach  Comp- 
ton  and  Watts  before  the  dust  of  the  falling  wreckage 
had  settled  and  as  a  result  several  scoops  were  scored  in 
getting  pictures  to  New  York  and  to  Metropolitan  papers 
via  air. 

The  big  studios  rendered  aid  in  illuminating  the  dark- 
ened towns  by  sending  truck  loads  of  lights  and  mobile 
generator  sets  so  that  the  spectacle  was  made  to  resemble 
a  man-made  movie  set. 

The  roll  call  of  the  newsreelers  at  work  on  the  scene 
only  a  few  minutes  after  the  first  shock  revealed  the 
Universal  News  with  Mervyn  Freeman;  the  Paramount 
News  with  Joseph  Johnson,  Irby  Koverman,  Sammy 
Green wald,  Robert  Sawyer,  McCarroll;  Fox-Hearst  with 
Joe  Hubbell,  Al  Brick,  Jimmie  Seeback,  Eric  Mayell,  Ben 
Jackson,  N.  McGrath.  H.  Tice;  Roy  Kluver  was  shooting 
from  the  Goodyear  blimp  and  our  own  newsreel  reporter, 
Ray  Fernstrom,  was  associated  with  the  Paramount  out- 
fit. George  Lancaster  and  Harry  Parsons  were  free- 
lancing  with   Leica   cameras,   loaned   by   Gilbert    Morgan, 


*ilM!M 


Sam  Greenivall  Mervin  Freeman 

Sound  men,  stilhnen  and  moving  picture  men  record  the 

tragic  work  of  the  temblor. 


and  altogether  it  was  the  busiest  group  in  the  world  that 
night.  A  little  later  they  were  joined  by  a  delegation 
from  San  Francisco. 

All  the  newsreelers  were  handicapped  by  a  strange  fog 
which  floated  in  from  sea  shortly  after  the  first  shock, 
but  it  lifted  in  time  to  permit  the  sharp-shooters  to  get 
a  lot  of  wonderful  stuff  in  their  boxes.  Everybody  who 
had  any  kind  of  a  camera  was  at  work  and  among  these 
were  to  be  seen  literally  scores  of  16  m.m.  outfits  getting 
the  record  on  what  their  owners  knew  was  to  be  a  part 
of  the  historv  of  California. 


Polytechnic  at  Long  Beach,  said  to  be 

the  largest  high  school  in  the   United 

States.     Almost    destroyed    by    quake 

and  fire. 


A  new  Packard  and  a  Chevrolet  lay 
buried  in  this  mound  of  debris  on 
Ocean  Avenue,  the  main  street  of 
Long  Beach.  Photographed  by  Leo  S. 
Young  and  Earl  Theisen. 


Compton  High  School,  showing  front 
entrance. 


April,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-five 


RECRUDESCENCE 

Casey  Jones,  the  brave  engineer, 
whose  "Farewell  trip  to  the  promised 
land"  has  been  immortalized  in  song 
and  story,  is  now  scheduled  to  be 
"immortalized"  on  the  silver  screen, 
according  to  an  announcement  made 
by  Monogram  Pictures.  "The  Return 
of  Casey  Jones"  is  the  name  of  the 
feature  and  Monogram  has  borrowed 
Charles  Starrett,  former  Dartmouth 
football  player,  from  Paramount,  to 
play  the  star  part. 

Starrett's  role  in  the  railroad  mel- 
odrama is  his  second  starring  assign- 
ment at  Monogram.  He  recently  com- 
pleted the  lead  in  "Jungle  Bride"  with 
Anita  Page.  J.  R.  McCarthy  will 
direct  "The  Return  of  Casey  Jones" 
for  the  I.  E.  Chadwick  production 
unit.  The  screen  play  was  adapted 
from  a  story  by  John  P.  Johns  now 
running  serially   in   Railroad   Stories. 


USING  16  M.M. 


Industrial  engineers  and  executives 
of  manufacturing  concerns  are  mak- 
ing use  of  16  m.m.  motion  picture 
cameras  to  film  the  various  manufac- 
turing processes  of  their  products. 
By  studying  these  films  they  have 
been  able  to  eliminate  waste  motion, 
thereby  stepping  up  efficiency  to  a 
marked  degree.  Many  of  these  films 
would  do  credit  to  the  professional 
cameramen. 


"THE  BIG  CHANCE" 

George  Meehan  has  finished  the 
photographic  work  on  "The  Big 
Chance,"  Eagle  Features  Corpora- 
tion's latest  picture  and  is  prepared 
for  the  next  production  of  the  eleven 
pictures  still  to  come  on  their  pro- 
gram. "The  Big  Chance"  is  a  big 
picture,  directed  by  Al  Hermann  and 
featuring  Myrna  Kennedy  and  Johnny 
Darrow. 


PANNING    16    M.M.   CAMERAS 

A  great  many  feet  of  16  m.m.  film 
is  ruined  by  too  fast  panning.  In- 
stead of  trying  to  cover  an  entire 
panorama  it  is  suggested  that  the 
camera  be  held  as  near  stationary  as 
possible  and  only  pan  when  necessary, 
and  then  slowly.  Don't  forget  when 
you  pan  fast  it  blurs  the  picture. 


SHOOK  'EM  OUT 

The  recent  slight  earthly  disturb- 
ance, commonly  referred  to  by  the 
Eastern  newspapers  as  an  earth- 
quake, apparently  brought  out  all  the 
Leica  cameras.  According  to  Gilbert 
Morgan,  of  Morgan's  Camera  Shop 
and  Leica  dealer,  he  has  been 
swamped  with  orders  for  thousands  of 
Leica  prints  from  his  many  clients. 


AT    LAST    "GULLIVER" 

Karl  Freund,  director  of  Universal, 
formerly  ace  cameraman  of  Germany, 
has  been  assigned  to  make  Dean 
Swift's  "Gulliver's  Travels"  into  a 
motion  picture.  It  is  not  yet  an- 
nounced what  particular  story  is  to 
be  screened,  but  if  there  be  any  doubt 
in  the  minds  of  the  U.  producers 
as  to  what  phase  of  Gulliver's 
adventures  would  be  most  helpful  and 
instructive  just  now  this  journal 
would    humbly    suggest    the    chronicle 


of  the  famous  Lemuel's  story  of  that 
wonderful  and  happy  country  where 
horses  are  the  rulers  and  the  highest 
caste.  A  picture  showing  this  story 
with  fidelity  and  power  might  put 
into  the  present  generation  a  new 
birth  of  inspiration  and  hope.  Mr. 
Freund  will  be  a  better  director  be- 
cause he  was  and  is  a  good  camera- 
man. 


Something  New  and  Better  in 

SOUND 

A  Quartz  Optical  Unit  for  Va- 
riable   Density    Recording    and 
Reproducing. 

Designed  to  focus  a  fine  line  of 

light  some  distance  away  from 

film,  thus  avoiding  trouble 

from  dust. 


C.  C.  MINOR 

OR  7331  1806   Whitlev  Ave. 


30%     to    60%     cash    savings 

on  16  mm.  and  35  mm. 

Cameras,  Projectors 

and  Accessories 

Write        for       Bass       Bargaingram. 

Specify  size  of  apparatus  interested 

in.        For     over     22     years     Value 

Leaders  of  the  nation. 

Your   copy  is   ready.      Write  for   it. 

BASS  CAMERA  CO. 

179    W.   Madison    St.,   Chicago,    III. 


We  WCttlt  35mm.,  travel, 
fight,  thrill  and  curosiry  films,  from 
all  parts  of  the  earth  and  unusual 
and  interesting  films  depicting  the 
life  and  habits  of  Asiatic  peoples 
as  well  as  others. 
Send  us  description  and  length  of 
subject.  Cash  will  be  remitted  for 
any  subject  accepted. 
We  have  for  sale  negative  and 
positive  short  ends,  both  Eastman 
and  Du  Pont. 

Continental  Film-Craft,  Inc. 

1611    Cosmo    Street,    Hollywood,    Calif. 


EDDIE  LINDEN 

CHIEF  CINEMATOGRAPHER 

KING  KONG 

Now  at  the  Chinese  Theatre 


AGFA  RAW  FILM  CORPORATION 

6368  SANTA  MONICA  BOULEVARD  HOLLYWOOD,  CALIFORNIA 

FACTORIES:     BINGHAMTON,   NEW  YORK,    U.S.A. 


Thirty-six 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1933 


HOLLYWOOD'S 

PLANETARIUM 


The  City  of  Los  Angeles  will  soon 
be  the  proud  possessor  of  one  of  the 
most  unique  and  interesting  public- 
institutions  in  America. 

Under  the  will  of  the  late  Colonel 
Griffith  J.  Griffith,  a  trust  was  formed, 
the  terms  of  which  provide  that  the 
trustee  shall  construct,  equip  and 
convey  to  the  City  of  Los  Angeles  an 
observatory  for  the  edification,  en- 
joyment, education  and  scientific  in- 
struction of  the  general  public — get 
that— GENERAL   PUBLIC. 

The  Grifith  Observatory  as  it  will  be 
known,  is  to  be  located  about  one- 
half  mile  west  of  the  Greek  Theatre 
on  the  south  slope  of  Mount  Holly- 
wood in  Griffith  Park. 

The  grading  of  the  site  and  pre- 
liminary road  work  are  well  under 
way  at  the  present  time  and  are  being 
done  by  the  Department  of  Parks. 
This  will  leave  the  entire  bequest 
available  for  construction  and  equip- 
ment of  the  building.  Parking  space 
for  three  hundred  automobiles  is  be- 
ing provided. 

Plans  and  specifications  are  now  be- 


ing prepared  by  a  local  firm  of  archi- 
tects with  the  assistance  and  cooper- 
ation of  many  nationally  known  sci- 
entists. 

The  Observatory  structure  will  be 
of  modernized  Greek  design  faced 
with  granite  and  terra  cotta  of  vari- 
ous shades  which  will  harmonize  with 
the  natural  surroundings  of  Griffith 
Park,  as  shown  herewith  in  the  ar- 
chitect's drawing. 

The  Hall  of  the  Planetarium  will 
have  a  seating  capacity  of  450.  In 
addition  to  this  room  there  will  be  a 
number  of  Exhibit  Halls  for  the  hous- 
ing and  operation  of  various  scien- 
tific and  educational  displays. 

The  Zeiss  Planetarium  is  the  most 
remarkable  instrument  that  has  ever 
been  devised  to  exhibit  impressively, 
and  with  the  illusion  of  reality  the 
motions  of  the  heavenly  bodies  and 
the  phenomena  which  result  from 
these  motions.  Through  the  mechan- 
ism itself,  small  beams  of  light  rep- 
resenting the  various  planets  are  pro- 
jected upon  the  inner  surface  of  the 
dome  ceiling  and  through  a  series  of 
gears  are  made  to  emulate  the  rota- 


tion of  the  planets  through  their  re- 
spective orbits. 

In  nature  a  day  lasts  24  hours, 
while  in  the  artificial  heavens  such  a 
diurnal  revolution  consumes  only  a 
minute  or  two.  The  instrument  con- 
denses time  and  the  celestial  phenom- 
ena of  long  periods  can  thus  be  ob- 
served in   a   very  impressive   manner. 

The  Planetarium,  together  with  a 
12-inch  telescope,  is  being  manufac- 
tured abroad  at  the  present  time  and 
will   soon  be   ready  for  shipment. 

When  completed  the  Observatory 
will  be  one  of  the  finest  of  its  kind 
in  the  world.  In  addition  to  the  Plan- 
etarium and  the  12-inch  refractor  tel- 
escope there  will  be  a  number  of  sci- 
entific displays,  both  astronomical 
and  physical.  These  displays  are  now 
being  planned  by  eminent  scientists 
and  will  be  constructed  to  depict 
graphically  many  of  the  wonders  of 
nature. 

Griffith  Observatory  will  undoubt- 
edly prove  of  great  benefit  both  to 
student  and  laymen  and  will  in  truth 
fulfill  the  desires  of  the  donor  as  ex- 
pressed in  his  will. 


Jerry  Fairbanks  and  His  New  Plane 

Jerry  Fairbanks,  first  camera/man  member  of  659,  has 
recently  received  delivery  on  a  brand  new  Timm  Mono- 
plane built  to  his  own  specifications.  The  ship  has  a 
wingspread  of  35  feet  and  is  propelled  by  165  horsepower 
Panther  motor.  The  craft  has  a  cruising  range  of  about 
500  miles  at  a  speed  of  100  miles  an  hour.  The  plane 
carries  two  people  and  is  equipped  with  dual  control 
throughout.  Jerry  is  a  licensed  pilot  and  has  been  flying 
since  1926.  He  expects  to  make  good  use  of  his  new  plane 
for  scouting  up  sequences  for  the  "Strange  as  It  Seems" 
reel  of  which  he  is  producer,  together  with  Manny  Nathan, 
for  Universal  release.     Photo   by   Willard  Emrick. 


April,  193.; 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-seven 


THE  ARTREEVES 
LITE-TESTING  MACHINE 


This  illustration  shows  the  Lite-test  machine  -with  the 

handle   arid   magazines  up   in   position    preparatory   to 

making  a  light  test 

A  light-testing  machine  is  invaluable  in  reducing  to 
minimum  errors  in  timing  negative  for  printing.  A 
great  deal  of  guesswork  goes  into  timing  negatives  by 
eye  and  it  is  only  by  good  luck  and  coincidence  that  it 
is  anywhere  nearly  accurate. 

The  old  method  of  guessing  the  correct  printing  time 
has  proved  very  costly  and  an  indeterminate  amount 
of  positive  has  been  ruined  because  of  it.  The  loss  of 
positive,  however,  is  not  the  biggest  item.  Time  and 
labor  are  perhaps  the  most  important  because  of  the 
necessity  to  reprint  many  scenes. 

There  is  a  machine,  however,  that  will  eliminate  all 
this  guesswork  and  cut  your  losses  down  to  a  minimum. 
The  Artreeves  Lite-Testing  Machine  is  a  workmanlike 


The  Lite-test  machine  with  the  handle  and  magazines 
down  during  the  exposure 

looking  piece  of  machinery  that  any  laboratory  would 
be  glad  to  have.  As  may  be  seen  by  the  illustration  it 
is  equipped  with  two  film  magazines  to  hold  the  unex- 
posed and  exposed  positive  film.  In  this  manner  the 
machine  is  always  ready  for  immediate  use. 

Although  the  machine  is  used  in  the  dark-room  a  pro- 
longed exposure  of  the  positive  film  to  the  red  light 
would  result  in  a  slight  fog  and  this  is  prevented  by 
the  use  of  these  magazines.  The  machine  is  equipped 
with  two  rewinds  so  placed  that  the  negative  film  passes 
from  one  through  the  machine  and  onto  the  other  re- 
wind without  the  possibility  of  scratches. 


After  the  Lite-tester  has  been 
matched  to  the  printer,  its  operation 
is  very  simple.  The  negative  is  placed 
on  the  rewind  at  the  right  and  is 
then  threaded  over  the  timing  glass 
onto  the  rewind  at  the  left.  The  left- 
hand  magazine  is  loaded  with  unex- 
posed positive  film  of  the  same  emul- 
sion as  that  which  is  to  be  used  for 
the  print.  This  positive  is  then 
threaded  over  the  rollers  under  the 
pressure  pad  and  over  the  sprocket 
wheel  to  the  take-up  spool  in  the 
right-hand  magazine. 

The  electric  switch  is  then  turned 
on,  lighting  a  red  pilot  light  inside 
the  machine,  which  illuminates  that 
part  of  the  negative  which  is  to  be 
tested.  The  voltmeter  is  also  illumi- 
nated by  a  small  red  light  which  per- 
mits it  to  be  read  during  all  stages  of 
the  operation.  The  correct  voltage 
registers  on  the  meter  and  is  regu- 
lated by  the  knob  on  the  right.  The 
machine  is  now  ready  to  make  a  test. 

The  first  scene  on  the  negative  is 
rolled  into  place  over  the  timing  glass, 
then  the  large  handle  shown  in  the 
illustration  is  pulled  down,  the  ex- 
posure made,  after  which  the  handle 
is  returned  to  its  normal  position. 
When  the  handle  is  lifted  the  posi- 
tive film  that  has  been  exposed  is 
automatically  wound  up  into  the  take- 
up  magazine,  while  a  fresh  section  of 
the  positive  film  is  in  position  and 
ready  for  the  next  test. 

One  of  the  features  of  this  machine 
is  that  it  is  so  constructed  that  the 
negative  edge  number  may  be  printed 
on  each  test.  It  often  happens  that 
there  are  a  number  of  negatives  of 
the  same  scene,  either  photographed 
or  developed  at  different  times  with 
the  resultant  variation  in  density.  By 
utilizing  this  convenience,  it  is  claimed 
that  there  is  never  a  question  as  to 
what  particular  scene  is  tested.  The 
illustration  shows  how  this  is  done. 
Another  outstanding  feature  is  the 
voltage  control  and  an  ingenious 
method  of  automatically  timing  each 
test,  which  together  insure  the  same 
exposure  on  every  test  at  any  time. 

The  rewinds  are  of  an  improved  de- 
sign, well  balanced  and  strongly  con- 
structed, which  insures  their  continu- 
ing to  give  long  and  satisfactory 
service. 

After  the  various  negative  scenes 
have  been  light-tested  in  this  manner, 
the  positive  test  film  is  developed  a 
standard  time  in  the  usual  manner, 
after  which  these  tests  are  then  placed 
side  by  side  on  a  light  box.  The  cor- 
rect printing  time  is  then  easily  de- 
termined. 

Many     years     of     experience     have 
proved  that  this   is  the  only  correct 
method   of  procedure  in   order  to  se- 
cure an  evenly  matched  print  by  the 
time  temperature  method. 


Thirty-eight 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  19S3 


INTERNATIONAL 

CLASSIFIED   ADVERTISING 

Brings  results — Rates  30  cents  per  line — minimum  charge  one  dollar  per  in- 
sertion.    For  Rent — For  Sale — Wanted — For  Exchange. 


FOR  SALE  OR  RENT— CAMERAS 

FOR  SALE  OR  RENT— Mitchell  and  Bell  & 
Howell  silenced  cameras,  follow  focus.  Pan 
lenses,  free  head,  corrected  new  aperture. 
Akeley,  De  Brie,  Pathe,  Universal,  Prevost, 
Willart,  De  Vry,  Eyemo,  Sept,  Leica.  Motors, 
printers,  lighting  equipment.  Also  every  va- 
riety of  16  mm.  and  still  cameras  and  projec- 
tors. Everything  photographic  bought,  sold, 
rented  and  repaired.  Send  for  our  bargain 
catalogue.  Open  8  A.M.  to  10  P.M.  Holly- 
wood Camera  Exchange,  1600  Cahuenga  Blvd. 
Phone  GLadstone  2507.  Hollywood  9431.  Cable 
address    Hocamex. 

FOR  SALE— CAMERAS 

LEICA    cameras ;    new    and    second-hand  ;    fine 
grain        enlarging  ;        photo       supplies,        etc. 
Morgan's     Camera     Shop,     6305     Sunset     Blvd.. 
Hollywood. 

SILENT  Bell  &  Howell,  40-50-75  F  3.5  lenses  : 
Fearless  movement ;  Sunshade ;  Matte  Box ; 
two  40O-ft  magazines  ;  B  &  H  tripod  ;  carrying 
cases.        Price     $750.       Art     Reeves,     645     No. 

Martel    Ave.,    Hollywood. 

FOR  SALE  OR  EXCHANGE 

WILL    SELL    or    exchange    Leica    camera    out- 
fit   and    9-in.     Astro    Telescope    for    Giaflex 
camera ;    prefer    Auto-Graflex.      904    N.    Acacia 
St.,    Compton,    Calif. 

BELL  &  HOWELL  Filmo  70D  camera  and 
outfit,  3  lenses,  Mayfair  case,  tripod  and 
case,  Kodacolor  attachments,  etc.  ;  all  in  first 
class  condition.  Want  late  model  Eyemo 
camera.  Jackson  Rose,  International  Photog- 
rapher.  

FOR  RENT— CAMERAS 

MITCHELL       camera,       thoroughly       silenced: 
Astro    lenses,    follow    focus    device,    Mitchell 
free      head,      1000-ft.      magazines.        Box      10X, 
International    Photographer. 

MITCHELL     camera     for     high     speed     work. 

Equipped    with    40-50-75    mm.    Astro    lenses  ; 

1000-ft.    magazines,    tripod.      Box    10Z,    Interna- 

tional    Photographer. 

FOR  SALE— LIGHTS 

CRECO,    24-inch    Standard    Studio    incandeceni 
lights,    also    18-inch    Arc    Mutes.      Box    10A, 
International    Photographer. 

STANDARD      Studio      80-amp.      Rotary      Spot 
lights  ;    good    condition.       Box    10B.      Interna- 
tional   Photographer. 

CAMERA  REPAIRING 

BELL     &     HOWELL     cameras     with     old     type 
shuttles  silenced,   $150. Hollywood   Motion   Pic- 
ture    Equipment     Co.,     645     No.     Martel     Ave., 
Hollywood. 

FINANCIAL     BACKING     WANTED 

CAMERAMAN  of  world-wide  experience  wants 
responsible  party  to  finance  series  of  pic- 
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own  equipment,  stories,  etc.  ;  excellent  oppor- 
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tional   Photographer. 


WATCHMAKER 


SPECIALIZING       in       Swiss       and       American 
watches ;      only      high      class      workmanship. 
Harold   Reid.    6248   Santa   Monica   Blvd. 


TAILORING 


KROZEK-BRABEC     TAILORS,  highest     class 

tailoring   only.      12    years    this  location.     Still 

believing    in    good    work.      6236  Santa    Monica 
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MISCELLANEOUS 


SELL  YOUR  STILLS.  Get  into  print.  Stamp 
brings  you  "Sample  List  10-IP"  giving  sub- 
jects immediately  wanted  hundred  magazines, 
newspapers,  syndicates,  etc.,  also  all  photo- 
graphic contests.  Authors  Shop,  Drawer  1916, 
Baltimore.    Md. 

MAGAZINE  SUBSCRIPTIONS 


THE  INTERNATIONAL 
PHOTOGRAPHER 

SPECIAL  OFFER  for  limited  time  only.  One 
year  of  12  issues  for  $2.  The  most  instructive 
and  interesting  magazine  published  on  the 
making  of  motion  pictures.  The  International 
Photographer,  1605  Cahuenga  Ave.,  Hollywood, 
California. 

THE  INTERNATIONAL 
PROJECTIONIST 

THE  International  Projectionist,  a  monthly 
magazine  published  in  the  interests  of  the 
projectionist.  Interesting,  instructive.  Yearly 
subscription  U.  S.  and  possessions,  $2  ;  foreign 
countries  $2.50.  James  J.  Finn  Publishing 
Corp..     1     West    47th    St..    New    York. 

Recording  Contract 

Announcement  has  been  made  of 
the  completion  of  a  recording  contract 
between  Warner  Bros.  First  National 
Productions,  Ltd.  and  RCA  Photo- 
phone  Ltd.  of  London.  In  accord- 
ance with  the  new  agreement,  a  com- 
plete RCA  Photophone  sound  track 
has  been  made  available  to  the  War- 
ner Brothers  subsidiary  for  mobile 
sound  recording'  work.  Warner  Bros. 
First  National  Productions  has  been 
using  RCA  Photophone  recording  fa- 
cilities since  the  early  part  of  last 
year  through  a  sub-leasing  arrange- 
ment with  the  Teddington  Film  Stu- 
dios. With  the  addition  of  this  new 
producer,  there  are  now  twelve  lead- 
ing British  motion  picture  companies 
operating  under  licenses  from  RCA 
Photophone  Ltd.,  which  is  a  subsid- 
iary of  the  RCA  Victor  Company  in 
this  country. 


MORCAN S 
Camera   Shop 

Headquarters  for 

Leiea   Cameras 

ENLARGING  — FINE  GRAIN 

FINISHING 

PHOTO  SUPPLIES 

G305  Sunset  Blvd.        Hollywood 


Dr.  G.  Floyd  Jackman 

DENTIST 

Member   Local   No.    659 

706    Hollywood   First    National    Bldg. 

Hollywood   Blvd.   at  Highland   Ave. 

GLadstone   7507  Hours:    9    to 

And    by   Appointment 


FOR  RENT 

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Mitchell    Motor  Gear   Box 

D.    B.    KEYES,    WYoming    6139 


FOR  RENT  OR  SALE 
Silent   and   Speed 

MITCHELL  CAMERAS 

Follow  focus.  Also  new  Mitchell  motors, 
extra  1000  foot  magazines,  motor  adapters. 
baby  tripod,  25-35  mm.  and  long  focus 
lenses  ;    Mitchell   gear   box. 

B.  B.  Ray,  York  4553 


VISIT    OUR    NEW 

LOCATION 

TAYLOR 

FOUNTAIN 

LUNCH 

1610    Cahuenga   Ave 

.,    Hollywood 

We  solicit  vour  ] 

latronage 

./    Union  House  for 

Union  Men 

CINEX  TESTING    MACHINES 
CINEX    POLISHING    MACHINES 

Barsam  -  Tollar 
Mechanical  Works 

7239    Santa    Monica    Blvd. 
Phone    GRanite    9707         Hollywood,    California 


IDTERS, 


rraJac*  ftvmliqb}  ao4  NiqMCffafrs  in  toytim- 

F^Scnws-  DiffandfVas  and  mairy  vtW  «ff<rels. 

Ask  your  dealer,  or  write  to 

GEORGE  H.  sci i Kim: 

ORIGINATOR  OF  EFFECT  FILTBBS 


Ezsn* 


W.  A.  SICKNER 

FIRST   CAMERAMAN 

COMPLETE  AKELEY 
EQUIPMENT 

CRestview    7255  GLadstone    5083 

HEmpstead    1128 


Phone  GLadstone  4151 

HOLLYWOOD 
STATE   BANK 

The    only    bank    in    the    Industrial 

District  of  Hollywood  under 

State  supervision 

Santa  Monica  Boulevard  at 
Highland  Avenue 


Alvin  Wyckoff 


April,  lfis,: 


The     INTERNATIONAL     PHOTOGRAPHER 


Thirty-nine 


International  Photographer  May  Be 
Secured  at  These  Magazine  Stands 


UNITED  STATES 

ARIZONA 

Jerome-  P.   O.  Cigar  Store. 

Phoenix— Rich  Cigar  Store,    127  North   First. 

CALIFORNIA 
Culver  City— Herline   Studios,   3834   Main. 
Hollywood — 

Beachwood,   2695    North    Beachwood   Ave. 

Bell   &   Howell,   716   North   La   Brea  Ave. 

Donaldson    Drug    Co.,    6936    Hollywood    Blvd. 

Educational    Project-O   Film    Co.,    317   North 
Fairfax    Ave. 

El   Adobe   Market,   5207   Hollywood    Blvd. 

Foster   &    Williams,   6284   Hollywood    Blvd. 

Frog   Pond,   6213   Yucca   Ave. 

Gailing,   5482   Santa   Monica  Blvd. 

C.    C.    Gentry.    6667    Hollywood    Blvd. 

Guaranty    Bldg.     News     Stand,     6331     Holly- 
wood Blvd. 

F.  B.    Heller,    6363    Hollywood    Blvd. 
Hollywood     Camera     Exchange,     1609     North 

Cahuenga   Ave. 
Hollywood     Film     Enterprises,      6606      Sunset 

Blvd. 
Kaplan,    6550    Hollywood    Blvd. 
Lehnkering     Pharmacy,     Sunset     Blvd.     and 

Western    Ave. 

B.  Levine,   5905   Franklin   Ave. 

G.  H.   McMahon,    1243   North    Vine. 

W.   L.   Martindale,   9495   Santa   Monica   Blvd. 

Guy   Newhard,    6305   Sunset   Blvd. 

Peter's    Hollywood    Drug    Store,    5661     Holly- 
wood  Blvd. 

J.    Phister.    1602    North    Cahuenga    Ave. 

Plaza   Hotel,    1637    North    Vine. 

Ries   Bros.,    Inc.,    1540   North    Cahuenga    Ave. 

RKO   Barber   Shop,    Melrose  Ave.    and    Wind- 
sor. 

J.   Samuels,   1640  North   Vine. 

Savoy  Drug,  Sunset  Blvd.   and  Bronson   Ave. 

A.   Schlein,   6423   Hollywood   Blvd. 

Harry  Stewart,  Highland  Ave.  and  Hollywood 
Blvd. 

Sunset  Camera  Shop,   6305   Sunset   Blvd. 

Tayan,    Sunset    Blvd.   and   Western    Ave. 

Universal    News,    6700    Hollywood    Blvd. 

White   Gift   Shop,    5520    Santa   Monica   Blvd. 

Wilcox    Drug    Co.,    1557    North    Wilcox    Ave. 

Jess   Willard,    1339    North    Vine. 

Woods    Gift    Shop,    5530   Hollywood    Blvd. 
Huntington    Park — Huntington     Park     Camera 

Co.,  6508  Pacific  Blvd. 
Long    Beach — 

Jutson's,   146  Pine  Ave. 

Mac's  News  Stand,   33   South   Pine  Ave. 

Winstead   Bros.,   Inc.,   244   Pine   Ave. 
Los   Angeles — 

Ambassador   Drug   Co.,    3400    Wilshire    Blvd. 

Arrow    Drug    Co.,    4th    and    Hill. 

Barber,    668   South    Alvarado. 

Biltmore   Hotel   News    Stand.    5th   and    Olive. 

Biltmore  Sweet  Shop,  5th  and  Grand  Ave. 

Broadway    Arcade,     Broadway,     between     5th 
and  6th. 

Broadway    Dept.    Store,    4th    and    Broadway. 

Brown   Drug   Co.,   3413   Hoover  Ave. 

Bullocks,    6th    and    Hill. 

Burke,  Union  Stage  Depot,   202   East  5th. 

California   News,    315   West   5th. 

Carrol,    1800V'    West   7th. 

Clover  Printing  Co.,   4021/.   South   Hill. 

Crescent  News,  218  West  8th. 

Eastman    Kodak    Company,    643    South    Hill. 

J.    Goldman,    2600    South    Vermont   Ave. 

Grand   Central   Market.    1328   Fourth. 

Homer    No.    2,    Wilshire    Blvd.    and    Canyon 
Ave. 

Kompar,  3875  Wilshire  Blvd. 

A.    B.    Marcus,    2019    West    7th. 

R.    R.    Martindale,    5318    Wilshire    Blvd. 

May  Company.   8th   and  Hill. 

Natick   Book   Store,    104   West    1st. 

Pacific    Electric    Station,    6th    and    Main. 

Penny    Market,     Pico    Blvd.    and    Robertson 
Ave. 

C.  V.   Plenkharp,   339   South   Hill. 

J.    W.    Robinson   Co.,   7th   and  Grand   Ave. 
Schwabacher-Frey    Stationery   Co.,    736   South 

Broadway. 
Sixth    Street    Novelty    Shop,    823    West   6th. 
Smith    News    Stand,    617    South    Hill. 
Stertz   Model   Food,    420   North    Beverly    Blvd. 


C.   C.   Thomson.    145   West   11th. 
United    News    Co..    433    South    Hill. 
Weisman     Pharmacy,     5901     South     Vermont 

Ave. 
Westlake    Book    Shop.    2016    West   7th. 
T.   B.   White.  663   North   Western   Avenue. 
Wilke   News    Stand,    Chamber   of    Commerce 

Bldg.,    1145    South    Broadway. 
Wilkes,   122   East   7th. 
Ocean    Park—  Spencer,    P.    E.    Station. 
Pasadena — 

Pease,   49  East  Colorado   Blvd. 
Brown    Shop,    190    East    Colorado    Blvd. 
McCord  Cigar  Store.  400  East  Colorado  Blvd. 
Wabash  Drug  Co..  2500  Wabash   Ave. 
R.    E,    Smith.    1400   Sunset   Ave. 
San    Diego — Eastman    Kodak    Stores.    Inc..     119 

Broadway. 
San    Francisco 

Cine   Shop.    145    Kearney. 
Hirsch   &    Kaye.   239   Grant  Ave. 
San    Francisco    Camera    Exchange.    88    Third. 
Schwabacher-I''rey  Stationery   Co.,  735  Market 
Sherman,  Clay  &   Co..   Kearney  and  Sutter. 
San     Jose — Hutchings     News     Co..     438     Santa 

Clara. 
Santa    Ana-    Santa    Ana    News    Agency. 
Santa    Catalina— Winole's    News    Stand,    Alina 

Island,   Avalon. 
Santa    Monica— W.    W.    Martindale,    1319    West 
3rd. 

COLORADO 
Denver     Eastman  Kodak  Stores,  Inc.,  626   16th. 

CONNECTICUT 
New   Haven- 
Eugene    F.    Clark    Book    Shop.    343    Elm. 
Harvey    &    Lewis    Co.,    849    Chapel. 

FLORIDA 

Miami — Miami     Photo     Supply    Co.,    31     South- 
east  1st. 

IDAHO 
Boise — Ballou  Latimer  Co. 
Pocatello — Cook    Drug  Co. 

ILLINOIS 

Chicago — 

Associated    Film    Libraries.    190    No.    State. 

Bass    Camera   Co.,    179    West    Madison. 

Post  Office  News   Co.,   37   West  Monroe. 

Roval    Radio    Co.,    661    North    Michigan    Ave. 
Rockford     Johnson    Photo    Shop,    316    E.    State. 

IOWA 
Iowa  City— Rexall  &   Kodak  Store,   124  College. 

MAINE 

Portland-    Bicknell    Photo  Service. 

MASSACHUSETTS 

Boston 

Dadmun   Co.,   39  Washington. 

Eastman    Kodak  Stores,   Inc.,  38   Bromfield. 

Pinkham,    Smith    &    Co.,    15    Bromfield. 
Cambridge — EMF     Electric      Supply      Co.,      430 

Massachusetts  Ave. 
Lynn— J.   H.   Gouch,   490    Washington. 

MICHIGAN 

Detroit — 

Crowley,    Milner    &   Co. 

Detroit   Camera  Shop.   325   State. 
MINNESOTA 
Minneapolis — A.   J.   Gospeter,   1006  Nicollet. 

MISSOURI 

Kansas    City- 
Eastman   Kodak   Stores,   Inc.,   916  Grand  Ave. 
Plaza  Camera  Company,    4707   Central. 
St.    Louis — Eastman    Kodak    Stores,    Inc.,    1009 
Olive. 

MONTANA 
Billings-    Midland   Drug   Co.,   27th   and    1st. 

NEBRASKA 

Omaha 

Eastman   Kodak   Stores,  Inc..  419  South    16th. 
J.    G.    Kretschmer    &    Co..    1617    Harney. 
NEW    JERSEY 
Plainfield — Mortimer's,   317   Park   Ave. 
Union   City — Heraco   Exchange,   Inc.,   611    Ber- 

genline   Ave. 
Vineland — Robins     Photo    Service,     615     Lamlis 

Ave. 
West     New     York — Rembrandt     Studio,     526-A 
Bergenline   Ave. 


NEW   YORK 

Brooklyn — 

Abe    Cohen's    Camera    Exchange,    120    Fulton 

St. 
George  J.  McFadden,  Inc.,  202  Flatbush   Ave. 
Buffalo-  Buffalo   Photo   Material    Co.,    37    Niag- 
ara. 
New   York  City-  - 

Herbert  &  Huesgen,   18  East  42d. 
Luna    Camera    Exchange,    302    West    34th. 
New   York   Camera   Exchange,    109   Fulton. 
M.    Rabinowitz    &    Sons,    Inc.,    1373    fith. 
Times    Building    News    Co.,    42d    and    Broad- 
way. 
Willoughby's.    100-14    West    32d. 

OHIO 

Akron — Dutt.    Drug   Co. 

C;ncinnati      Fountain    News    Co..    426    Walnut. 

Youngstown      Eastman    Kodak    Stores,     Inc..     7 

Wick  Ave. 

OREGON 
Portland      Eastman     Kodak     Stores.     Inc.,     345 

Washington. 

PENNSYLVANIA 

Erie— Kelly   Studios,    1026   Peach. 
Philadelphia  — 

Klein    &    Goodman,    18    South    10th. 
Williams,    Brown    &    Earle,    918    Chestnut. 
Pittsburgh-  Eastman    Kodak    Stores.    Inc.,    600 

Wood. 
Scranton-    Scranton   Home  Movies   Library,   316 
North    Washington. 

TENNESSEE 

Jackson— Southern     Pictures     Corp. 

Knoxville — Snap    Shop,    415    West    Church    Ave. 

TEXAS 

Fort  Worth      Camera   Shop.  Inc..   113  West  6th. 
San   Antonio— Fox  Company.  209  Alamo   Plaza. 

WASHINGTON 

Pasco — New    Pasco   Drug   Co. 

WEST    VIRGINIA 

Charleston      S.  Spencer  Moore  Co.,   118  Capitol. 

WISCONSIN 

Bloomer-  Detloff's    Pharmacy. 
Madison — Photoart    House,    413     State. 


FOREIGN 
AUSTRALIA 

Melbourne — McGill's  New  Agency,  179  Eliza- 
beth   St. 

BRITISH  WEST  INDIES 

Jamaica — Kingston — De  Marcaio  &   Co.,  Ltd. 
Trinidad,   Port  of  Spain.    Louis  Tucker  Picture 
Productions,    23    Sackville    St. 

CANADA 

Winnipeg — Eastman  Kodak  Stores,  287  Por- 
tage Ave. 

ENGLAND 

London.  WC-2 — Goringer's  American  News 
Agency,   90   Green   St.,   Leicester   Square. 

London.  W5 — Bruce's  Ltd..  28  Broadway— 
Ealing. 

Bruce's  Ltd.,  28  Broadway.  Ealing,  London 
W.  S. 

EGYPT 

Alexandria-  Kodak  Societe  Anonyme,  23 
Cherif    Pasha    St. 

HAITI 

Port-Au-Prince  —  Camille  Thomas,  734  Rue 
Capois. 

MARTINIQUE 

Fort  de  France — Andre  Velicitat,  29  Rue 
Schovelcher. 

PORTO  RICO 

San    Juan-  Zeiss    Stores,     Inc..     Ceferino     Se- 
gundo. 

SWEDEN 

Stockholm  Nordiska  Kompaniet,  Bokavdel- 
minger. 


L 


Forty 


The     INTERNATIONAL     PHOTOGRAPHER 


April,  1988 


01  IGCWS 


ao-eSJDES- 


After  the  several  attempts  to  see 
the  Editor,  Si  Snyder,  I  had  been 
stopped  every  time  by  Miss  Boyce  who 
raised  her  hand,  pointed  towards  the 
door  and  said:  "Jeenkewer."  I 
thanked  her  for  the  use  of  the  phone 
and  thought  I  would  try  to  find  out 
what  she  meant.  After  several  in- 
quiries I  asked  Miss  Lincoln,  who  sees 
all  and  knows  plenty. 

She  explained  that  it  meant  Gene 
Cour  of  Chicago  was  in  the  office  and 
as  I  found  out  later,  was  fascinating 
Snyder  and  Estabrook.  By  the  time 
I  got  back  he  had  left  for  Chicago  and 
to  our  disappointment  the  earthquake, 
pardon  me — temblor,  was  going  to 
happen  after  he  left. 

After  getting  to  see  Si,  he  explain- 
ed that  Gene  had  been  talking  on  dy- 
namic symmetry  for  the  last  three 
days  and  as  it  was  impossible  to  get 
it  across,  Gene  promised  to  go  home 
and  write  an  article  for  this  issue. 
Si  asked  me  what  I  thought  about  it. 
I  told  him  that  if  they  couldn't  en- 
force it,  it  should  be  repealed. 

I  promised  to  get  some  stills  for 
the  articles  and  asked  an  English 
friend  of  mine  where  I  could  get  some- 
stills  pertaining  to  dynamic  symme- 
try. He  said  there  was  a  beautiful 
cemetery  over  on  Santa  Monica  Boule- 
vard, but  was  not  sure  whether  it 
was  dynamic  or  not.  I  went  over  with 
a  camera  and  discovered  that  it  was 
mostly  granite. 

So  long  as  I  was  there  I  thought  I 
would  make  a  shot  or  two  as  I  was 
sure  the  office  would  not  know  the 
difference  and  when  I  gave  them  to 
Si  he  said  they  would  do.  Maybe  I 
was  wrong  but  I  think  I  will  have  to 
wait  until  the  article  comes  from 
Gene,  to  make   sure. 

DO  YOU  KNOW 

That  Bill  Rand  is  married  and  has 
a  baby  girl. 

That  Art  Reeves  has  sold  27  of  his 
recording  outfits  to  foreign  countries. 

That  I  saw  Jackson  Rose  and  Joe 
Novak  talking  confidentially  the  other 
day.  Wonder  if  they  were  planning 
another  accident. 

That  Rav  Fernstrom  broadcasts 
over  KECA  Monday  nights  at  9:30. 

That  this  is  a  National  Hook-up 
and   is  released  by  52  stations. 

That  when  he  is  not  at  the  "Mike" 
he  plays  spare  parts  and  sound  effects 
with  great  feeling,  as  well  as  in  the 
Scandinavian. 

That  Bordy  Boradaille  has  married 
a  French  girl. 

That  Karl  Struss  had  his  foot  run 
over  by  a  camera  crane  and  went  "on 
with  the  show"  from  a  wheel  chair. 

That  Chas.  Bohny  is  Billie  Dove's 
brother. 

That  George  K.  Hollister  and 
George    K.    Jr.    are    members    of    the 


DYNAMIC 

SYMMETRY 


This  little  view  has  nothiny  to  do 
with  the  title  ol><> re  as  you  you  will 
see  if  you  will  he  kind  enough  to  redd 
the  following  article.  Nevertheless  it 
VMS  shot  in  a  "dead"  front  light  as 
you  can  tell  by  the  lock  of  definition 
i>i  the  bamboo  sprouts  in  the  back- 
ground. Print  furnished  by  Wood- 
bury Studios,  to  whom  I  owe  no  cents. 


Local.  And  that  George  K.  Sr.,  start- 
ed in  the  business  in  1906. 

That  I  often  wonder  whether  its  a 
business  or  a  racket. 

That  J.  O.  Taylor  is  the  new  Treas- 
urer. 

That  Ira  Hoke  parts  his  name  with 
Betillion. 

That  we  have  one  Heckler  in  the 
Local.     William   G. 

That  Gene  Cour  of  Chicago  has 
over  300  poles  working  for  him.  All 
American.      Telegraph    poles. 

That  George  Lancaster's  "Ghost 
Towns"  was  the  first  independent  sub- 
ject shown  at  the  Warners  Winter 
Garden  in  N.  Y. 

That  Bob  Morton  cooked  80  lbs  of 
beans  and  75  lbs  of  corn  bread  at 
the  Hollywood  American  Legion  re- 
cently. He  is  operating  the  lunch 
counter  and  Fountain  at  the  Holly- 
wood Post,   43,  A.   L. 

That  Jimmie  Palmer  helped  him 
make  1,100  cups  of  coffee  and  while 
resting  figured  that  the  corn  bread 
measured    120    square    feet. 


President   Wyckoff's   Cabinet 

I  suggest  the  following. 

Secy,   of   Interior.  ..  .Glen   Kerschner 

He  has   photographed   surgical  op- 
erations for  years. 
Secy,  of  War. .' Roy  Klaffki 

I  think  he  would  make  a  good  one. 
Secy,  of  Navy Al  Gilks 

He  used  to  own  a  boat. 
Secy,  of  Army Reggie  Lyons 

He  was  a  last  Lieutenant  in  the  last 

war. 
Secy,  of  Treas Milt  Gold, 

John   Silver  or  Raleigh  Nichols. 

Note.    (I    have    not    made    a    crack 

about  Woodin  money.) 
Secy,    of   Steak Speed    Hall 

I  am  sure  he  would  "fill"  this  posi- 
tion well. 
Secy,  of  Labor Paul   Vogel 

His  interest  would  be  in  his  work. 
Secy,  of  Foreign   relations 

Paul   Perry 

Now  on  his  way  home  from  a  trip 

ai-ound  the  world. 
Secy,  of  Commence Otto  Phocus 

He   is    ready   to   commence   at   any 

time. 
Secy,  of  Aviation Art  Reeves 

He  goes  up   in  the  air  easily. 

And  don't  forget,  it's  all  in  fun. 


EPITUFFS 
Here  lies  the  body  of  honest  Joe 

Dover. 
When  they  blew  up  the  ship  he  forgot 

to  swing  over. 

Here  rests  the  remains  of  old   man 

McGowan. 
He   opened   up   when   he   should   have 

stopped  down. 

Here  lies  a  sound  man,  ambitious  and 

thrifty, 
Ran    his    recorder    at    sixty    and    the 

camera  at  fifty. 

Here  rests  an  electrician,  his  fuse  is 

blown  out; 
He  should  have  looked  in,  when  they 

shouted,  "look  out." 

Here  is  a  lab  man  after  six  weeks  in 

bed. 
Ran   out  of  gin  and   drank  hypo 

instead. 

Here  lies  an  electrician,  his  name  was 

McHenty. 
His  feet  were  in  water,  his  hands  held 

two-twenty. 

Here  rests  a  cutter  who  threw  film  on 

the  floor. 
He    dropped    a    cigar;    he's    not    here 

any  more. 

Here  lies  a  director,  the  meanest   'tis 

said; 
Was  cured  over  night  by  a  crane  on 

the  head. 


Confirmed 

by  TIME 


T  may  have  been  fate  that  prompted 
the  perfecting  of  the  first  Eastman 
motion  picture  film  just  when  Edison's 
first  projector  demanded  it. 

But  it  was  time's  judgment  of  its 
merit  that  again  and  again  confirmed 
Eastman  film  as  a  leader  in  the  indus- 
try it  helped  to  father. 

Today  it's  Eastman  Super-sensitive 
Panchromatic  Negative  that  points 
the  way  to  new  heights  of  accom- 
plishment, in  a  new  era  of  cinema- 
tography. Eastman  Kodak  Company 
(J.  E.  Brulatour,  Inc.,  Distributors). 


EASTMAN  f.l 


M 


The  many  exclusive  features 
that  have  made  the  MITCHELL 
the  leading  professional 
camera  and  improvements 
which  will  be  included  in  our 
new  silent  camera  assure  the 
cinematographers  of  the 
finest  equipment. 


* 


Mitchell  Camera  Corporation 

665   N.   Robertson    Boulevard 
West  Hollywood,  Calif. 

Cable  Address      MITCAMO  Phone  OXford  1051 


INTERNATIONAL 
PHOTOGRAPHER 

MOTION   PICTURE    ARTS   AND    CRAFTS 

HOLLYWOOD 


Photographed  by   ROBT.  W.  COBURN 


NINETEEN 


THIRTY-THREE 


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PLACED  ON  AN  INFERIOR  PRODUCT 


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Under  INCANDESCENT  or 


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will  give  better  results  than 
are  otherwise  obtainable 


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INTERNATIONAL 
PHOTOGRAPHER 


Vol.  5 


HOLLYWOOD,  CALIFORNIA,  MAY,  1933 


No.  4 


Howard  E.  Hurd,  Publisher's  Agent 

Silas  Edgar  Snyder,  Editor 

Ira  Hoke,  Associate  Editor 

Edward  T.  Estabrook,  Manager 

Lewis  W.  Physioc,  Fred  Westerberg,  Technical  Editors 

John  Corydon  Hill,  Art  Editor 

A  Monthly  Publication  Dedicated  to  the  Advancement  of  Cinematogra- 
phy in  All  Its  Branches;  Professional  and  Amateur;  Photography; 
Laboratory   and   Processing,   Film   Editing,  Sound   Recording ,   Projection, 

Pictorialists. 


FRONT  COVER— ROBERT  W.  COBURN 

THE  PRACTICAL  LEICA      -----------       2 

By  Alvin  Wyckoff 
A  NEW  METHOD  OF  ADDING  DEPTH  TO  MOTION  PICTURES       5 

By  Curtis  R.  Haupt,  Ph.D. 
AROUND  THE  WORLD— TIGER  HUNT 8 

By  Herford   Tynes   Cowling 
"STAND  BY  FOR  CRASH"     -----------     15 

By  Al  Wetzel 
BEGINNINGS  OF  THE   DRAMA       -       - 16 

By  Earl  Theiscn 
TEK-NIK    TOWNE  -    18  &  19 

BRULATOUR    BULLETIN      -       -       -       -       -       -       -       -       -       -    24  &  25 

Activities  of  the  Cameramen 
TY'S  HOLLYWOOD  NOTE  BOOK     ---------     28 

By  Ty 
CINEMATOGRAPHERS   BOOK   OF   TABLES        -       -     -       -       -    31  &  32 

By  Fred  Westerberg 
THE  CINE-KODAK  SPECIAL       ----------     34 

Eastman  Announces 
QUESTIONS   AND   ANSWERS   16   M.M.       --------     35 

MINIATURE   AND   EFFECT    SHOTS        --------     38 

By  Willis  O'Brien 
THE    LABORATORY         - 42 

Reprint  S.M.P.E.  Journal 
KAMERA   KIDDIE  KARS       -----------     44 

By  J.  Henry  Kruse 
OUT    OF    FOCUS         -------------     48 

By  Otto  Focus 


The     International     Photographer    is    published    monthly     in     Hollywood    by     Local    659, 
I.  A.   T.   S.   E.   and   M.   P.   M.  O.   of   the  United   States  and   Canada 


Entered    as    second    class    matter    Sept.    30,    1930,    at    the    Post    Office    at    Los    Angeles, 
California,  under  the  act  of   March  3,   1879. 


Copyright    1932    by    Local    659,    I.  A.  T.  S.  E.    and    M.  P.  M.  O.    of    the    United    States 

and  Canada 


Office    of    publication,    1605    North    Cahuenga    Avenue,    Hollywood,    California 

HEmpstead    1128 

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Subscription    Rates — United    States   and    Canada,    $3    a    year.      Single   copies,    25    cents. 


The  members  of  this  Local,  together  with  those  of  our  sister  Locals,  No.  644  in 
New  York,  No.  666  in  Chicago,  and  No.  665  in  Toronto,  represent  the  entire  personnel 
o(  photographers  now  engaged  in  professional  production  of  motion  pictures  in  the 
United  States  and  Canada.  Thus  THE  INTERNATIONAL  PHOTOGRAPHER 
becomes  the  voice  of  the  Entire  Craft,  covering  a  field  that  reaches  from  coast  to  coast 
across   North   America. 

Printed   in  the  U.   S.  A.  at  Hollywood,   California 


BIG  FEATURES 

FOR    OUR 

JUNE  EDITION 

CINEMATOGRAPHIC 
COMPOSITION 

(Pre-release  of  an  article  by  Eugene  J. 
Cour,  that  will  appear  with  the  pictorial  sec- 
tion of  Cine  Crafts  Year  Book  for  1933.) 
Students  of  Dynamic  Symmetry  will  appre- 
ciate this. 

• 

THE  CINEMATOGRAPHY 
OF  NATURE 

(The  Rationale  of  the  Akashic  Records.) 
By  Ceoffrey  Hodson 


EVOLUTION  OF  THE 
MOTION  CAMERA 

By    Earl   Theisen 

(From  data   supplied   by  the  world's  greatest 
cameramen.) 


Mr.  L.  Guy  Wilky  will  tell  the  story  of 
his  recent  sojourn  in  Ceylon  shooting  wild 
animal  pictures.  A  30-foot  python  leads  his 
amazing   gallery   of  jungle   stills. 


THANK  YOU 

The  International  Photographer  and  the 
entire  personnel  of  Local  659,  owners  and 
publishers  of  this  magazine,  gratefully  ex- 
tend their  thanks  to  all  those  new  sub- 
scribers who  recently  took  advantage  of  our 
reduced  subscription   price. 


80 


SERVICE  ENGRAVING  CO 


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Tivo 


The     INTERNATIONAL     PHOTOGRAPHER 


May,  1933 


The 

Practical 

LEICA 

President,  Local  659,  International  Photographers 


Made  possible  through  the  advent  of  motion  picture 
negative  and  the  imagination  of  a  photographer  of  scien- 
tific mind,  there  is  now  available  to  the  practical  motion 
picture  photographer  of  today  the  Leica  camera. 

Heretofore,  it  has  always  seemed  necessary  for  the 
purpose  of  determining  the  proper  exposure  under  cer- 
tain conditions  that  the  cinematographer  must  assemble 
his  cumbersome  apparatus  and  expose  lengths  of  footage 
of  film  from  50  to  100  feet.  In  turn  this  footage  had 
to  be  sent  into  the  laboratory  for  processing  and  then 
after  one  or  two  days  projected  upon  the  screen  before 
the  cameraman  was  sure  of  the  result  and  before  he 
could  determine  the  result  sought  for. 

This  procedure  was  often  an  expensive  item  both 
in  cost  of  material  and  time.  In  some  instances  the 
same  method  is  necessary  today  to  determine  and  settle 
an  intricate  point  in  question  for  the  executive  manage- 
ment of  the  production.  But  for  the  cinematographer, 
who  is  constantly  searching,  and  who  must  determine 
to  an  infallible  nicety  a  fact  of  photography  before  in- 
corporating it  into  his  picture,  when  the  cost  of  many 
dollars  per  foot  will  be  involved,  the  Leica  camera  is 
an  indispensible  unit  of  his  constant  equipment. 

Due  to  the  fact  that  the  Leica  camera  is  accommo- 
dated to  the  use  of  motion  picture  negative,  and  the 
different  sizes  of  focal  length  lenses  used  by  the  cinema- 
tographer, the  latter  is  at  once  in  a  position  to  determine, 
within  half  an  hour  of  exposure,  the  proper  filter  to  use 
and  the  correct  exposure  to  obtain  the  result  demanded. 

By  addition  to  the  equipment  of  the  small  develop- 
ment tanks  made  for  use  with  the  Leica  many  important 
questions  can  be  determined  correctly.  And  while  on  an 
expensive  and  distant  location,  by  means  of  exposures 
made  at  various  "stops"  and  "speeds"  without  filters  and 
with  filters  of  various  densities  and  satisfactorily  de- 
termined within  a  limit  of  thirty  minutes,  and  by  the 
use  of  only  a  few  feet  of  negative  stock,  that  could  not 
be  used  for  any  other  purpose,  a  saving  of  many  times 
the  cost  of  effort  in  time  and  money  may  be  made — a 
matter  of  detailed  efficiency  that  returns  many  times  the 
cost  in  many  ways. 

For  the  still  photographer,  the  addition  of  the  Leica 
is  valuable.  With  the  Leica  he  will  always  be  the 
victor  over  the  competitor  who  insists  on  working  with 
the  larger  and  more  cumbersome  8  by  10  still  outfit. 
With  the  Leica  he  will  work  faster  and  can  afford  to 
make  several  exposures  of  a  subject  where  the  more  ex- 
pensive equipment  must  warn  the  operator  that  lie  is 
mostly  limited  to  only  one  exposure  or  one  negative. 
The  operator  with  the  Leica  will  have  the  advantage 
of  choice  from  his  negative  and  the  advantage  of  enlarge- 


pictures  (stills)  coming  to  the  trade  today  are  enlarge- 
ments made  from  the  negatives  exposed  in  the  Leica 
camera. 

Recently  the  writer  in  collaboration  with  Mr.  Cliff 
Thomas,  of  the  Hollywood  Camera  Exchange  (1600 
Cahuenga  Boulevard)  made  some  very  interesting  tests 
with  the  Leica  to  determine  the  effects  and  differences  of 
standard  makes  of  emulsions  with  a  range  of  21  filters. 
The  illustrations  herewith  will  probably  tell  the  story 
more  understandably  than  the  mere  wording  of  the 
detail. 


No.  1 — Interior  of  an  office 
with  two  extremes  of  lighting 
conditions.  35  mm.  lens.  F  3.5. 
1/60  second. 


i 


mm 


ment  of  any  size  required.     Some  of  the  finest  illustrative 

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No.  2 — Interior  living  room. 
The  only  light  used  here  for 
exposure  was  the  usual  lights  of 
the  room,  3  75w  Mazda,  15v, 
and  the  light  from  the  fireplace. 
F  5-6.     3  seconds. 


No.  3 — Same  room  and  same 
light  source.     F  5.6.   6  seconds. 


No.  -1 — Same  room  and  same 
light  source.     F  5.6.     8  seconds. 


No.  5 — Same  room  and  same 
light  source,  with  the  addition 
of  one  flash  bulb.  F  5.5.  3 
seconds. 

Negative:  Superspeed  emul- 
sion. The  printing  is  done  for 
the  value  of  exposure  or  man- 
ipulation. 


May,  1933 


The    INTERNATIONAL    PHOTOGRAPHER 


Three 


Illustrations     and     Data.     50     mm.     Lens 


F  18, 1/60 

second, 

no  filter. 


F  18,  1/60 

second, 
Al  filter. 


F  14,  1/60 

second, 
Al  filter. 


.-«&*/  J,h 


F9,  1/60 
second, 

3N5  filter. 


F  8,  1/60 

second, 

3N5  filter. 


F  9,  1/60 
second, 
G  filter. 


UKb#* 


F6.3,  1/60 

second, 
ND 100  filter. 


F  9,  1/60 

second, 

56  filter. 


i     .  F 9, 1/60 

second, 
"J       XI   filter. 


F  13, 1/60 


"■■jt  ■■■■.  jrf* 


A2  filter. 


F  16,  1/60 

second, 
Kl   filter. 


F  12, 1/60 

second, 

K2  filter. 


F  12,  1/60 

second, 

21  filter. 


%l  1'  > 


F  9. 1/60 
second, 

23A  filter. 


F6.3,  1/60 

second, 
25A  filter. 


F  12.5,  1/60 

second, 
ND25  filter. 


F9,  1/60 

second, 

ND50  filter. 


F8,  1/60 

second, 

X2  filter. 


F  3.5,  1/60 

i  *Jv   4y>, ,   j  f  i  /  second, 

*1*0>*4+l  - .  ^    23 A56  filter. 


F  3.5,  1/60 

second, 

70  filter. 


F3.5,  1/60 

second, 

72  filter. 


The  printing  of  the  negative,  as  in  the  examples  shown  The  cinematographer  in  charge  of  any  production  will 

herewith,  is  done  on  the  corrected  timing  of  the  negative  at  once  realize  the  advantage  to  him  of  the  addition  of 

without   filter,   and  all  the  filtered  negatives  are  printed  Leica  equipment  to  advance  his  efficiency  in  the  finished 

with    the    same    exposure,    without    any    attempt    at    cor-  quality  of  his  photography, 
rection. 


L.   GUY    IS   BACK    HOME 


After  a  sojourn  of  several  months  in  the  Orient,  L.  Guy 
Wilky  (there's  only  one)  arrived  at  his  home  in  Hollywood 
about  April   15,  all  pepped  up  and   ready  to  go  back  again. 

L.  Guy  and  Paul  Perry  had  been  the  cameramen  with  the 
Tom  White  expedition  which  went  to  Ceylon  to  shoot  wild 
animal  stuff — and  when  the  picture  was  finished  L.  Guy  leisure- 
ly   wandered    back    via    China    and    Japan    while    Paul    hooked 


up   with  Len  Roos   and   went   away  to   shoot  pictures   in   Java, 
Sumatra,  Bali  and  all  points  south  and  east. 

The  trip  was  productive  of  much  art  and  adventure  and 
Mr.  Wilky  has  promised  the  editor  a  beautifully  illustrated 
story  of  the  expedition  from  his  point  of  view  to  appear  in 
THE  INTERNATIONAL  PHOTOGRAPHER  for  June.  Look 
for  it.     A  thirty  foot  python  will  be  one  of  the  attractions. 


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Four  The    INTERNATIONAL    PHOTOGRAPHER  May,  1933 


UNDER  ALL 
CONDITIONS 

»  »  »  V-X  UTSTANDING  in  speed, 
fineness  of  grain,  and  resolving 
power,  Eastman  Sound  Recording 
Film  holds  its  own  splendidly  under 
all  conditions  of  variable  -  area  and 
variable -density  recording.  In  the 
face  of  a  continually  stronger  appre- 
ciation of,  and  demand  for,  sound 
of  highest  quality,  this  Eastman 
film  is  the  most  dependable  medium 
at  the  disposal  of  the  industry. 
Eastman  Kodak  Company.  (J.  E. 
Brulatour,  Inc.,  Distributors,  New 
York,  Chicago,  Hollywood.) 

EASTMAN 

SOUND    RECORDING    FILM 


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May,  1933 


The    INTERNATIONAL    PHOTOGRAPHER 


Five 


[The  motion  picture  industry  will  read  with 
interest,  amazement  and  delight  the  dignified 
and  scholarly  announcement  of  Dr.  Curtis  R. 
Haupt,  that  third  dimension  in  moving  pictures 
is  an  accomplished  fact. 

Dr.  Haupt  is  an  authority  whose  recent  re- 
searches on  "The  Probability  Law  Governing 
Ionization  by  Electron  Impact  in  Mercury  Vapor" 
were  of  such  importance  that  he  is  now  en- 
gaged at  Pomona  College  under  the  auspices  of 
the  National  Research  Council  of  Washington, 
D.  C,  in  the  completion  of  a  new  thesis  on 
"Energy  Losses  Experienced  by  Slow  Electrons  in 
Inelastic  Impacts  with  Mercury  Atoms." 

This  magazine  presents  Dr.  Haupt's  analysis 
of  "A  New  Method  of  Adding  Depth  to  Motion 
Pictures"  with  the  knowledge  that  it  is  highly 
honored  in  being  the  first  to  present  this  new 
conception  of  three-dimensional  photography  to 
the  motion  picture  and   scientific  world. 

In  this  day  of  uncertainty,  ballyhoo  and  noise 
comes  this  quiet,  convincing  and  authoritative 
announcement.  Even  the  name  of  the  inventor 
is  not  mentioned.  A  few  of  Hollywood's  tech- 
nical authorities  have  been  privileged  to  attend 
a  private  showing  of  test  films.  They  have  come 
away  stirred  by  the  beauty  of  the  pictures  and 
eager  to  know  more  of  the  men  who  have  devel- 
oped Natural  Vision.  In  our  issue  of  the  next 
month  we  hope  to  tell  something  of  this 
story. — Editor's  Note.] 


A  New  Method 
Of  Adding  Depth 
To  Motion  Pictures 


By 
CURTIS  R.  HAUPT,  Ph.D. 

Department  of  Physics,  Pomona  College 


The  constant  aim  of  the  motion  picture  producer  has 
been  to  give  the  public  pictures  which  reproduce  faithfully 
each  scene  exactly  as  it  would  appear  to  an  observer  watch- 
ing the  action  at  the  point  where  the  camera  was  located. 
On  account  of  great  differences  between  the  human  eye 
and  the  camera  which  takes  the  pictures  the  task  is  not  an 
easy  one.  In  the  eye,  images  are  formed  on  a  membrane 
called  the  retina.  Little  is  known  about  the  mechanism 
by  which  these  images  are  finally  interpreted  as  vision  by 
the  brain.  The  process  is  physiological  and  psychological. 
In  the  camera  the  images  are  formed  on  a  sensitive  film. 
This  film  is  a  plane  surface  whereas  the  retina  is  a  curved 
surface.  Just  what  difference  this  makes  in  camera-vision 
as  contrasted  with  eye-vision  is  not  known. 

Again,  we  know  that  the  crystalline  lens  in  the  eye 
is  capable,  by  muscular  action,  of  almost  instantaneous 
variations  in  thickness  so  as  to  focus  objects  at  various 
distances  on  the  retina.  The  details  of  a  scene  are  then 
apprehended  by  a  rapid  shifting  of  the  eyes  from  point  to 
point  over  it,  the  brain  holding  the  various  images  by 
memory  until  a  complete  spatial  concept  of  the  objects  in 
view  can  be  formed.  No  such  rapid  variations  in  focus 
are  possible  in  the  lens  of  a  camera.  Instead,  the  best  one 
can  do  is  to  have  objects  within  a  certain  range  in  fairly 
good  focus.  Objects  outside  of  this  range  will  be  photo- 
graphed more  or  less  indistinctly. 

Again,  the  eye  perceives  color  by  a  mechanism  not 
understood.  There  exists  as  yet  no  simple  way  of  sensi- 
tizing a  camera  film  to  reproduce  color.  Also,  the  eye  is 
able  to  receive  and  interpret  the  concept  of  displacement 
with  time,  and,  whenever  such  a  concept  is  obtained,  the 
motion,  as  far  as  our  consciousness  can  detect,  is  continu- 
ous. 

It  is  not  possible  to  record  continuous  motion  on  a 
camera  film.  Any  such  attempt  would  only  result  in 
blurred  images.  Moreover,  the  eyes  are  able  to  perceive 
objects  as  having  depth  as  well  as  lateral  extent.  The 
camera  has  been  only  partially  successful  in  simulating  this 


effect.  Our  knowledge  about  objects  is  further  aug- 
mented by  information  gained  from  the  other  sense  organs 
— hearing,  taste,  tactual  contacts  and  smell.  Herein  lie 
some  of  the  great  problems  which  have  to  be  met  by  the 
motion  picture  technician  who  would  put  more  realism 
into  his  films  and  thus  enhance  their  value. 

In  surmounting  these  difficulties,  the  progress  already 
made  has  been  almost  unbelievable  as  will  be  quite  ap- 
parent to  the  modern  theater-goer.  Let  us  briefly  men- 
tion some  of  the  achievements  which  have  been  made  in 
the  art  of  screen  technique. 

In  the  first  place,-  motion  pictures  are  only  possible 
on  account  of  a  peculiar  property  of  the  human  eye  and 
the  nerves  and  brain  tissues  associated  with  seeing.  This 
peculiar  property  we  term  persistence  of  vision.  The 
eye  is  not  able  to  detect  discontinuity  in  a  series  of  events 
if  they  happen  with  a  frequency  greater  than  a  certain 
critical  value — usually  about  12  per  second.  Thus  it  be- 
comes possible  to  take  a  series  of  pictures  in  rapid  suc- 
cession and  if  these  pictures  are  projected  with  such  a 
frequency  that  the  time  between  pictures  is  less  than  the 
time  of  persistence  of  vision,  the  eye  interprets  the  scene  as 
continuous  in  time  and  the  motional  concept  is  obtained. 

The  difficulties  of  adding  sound  to  the  silent  film 
have  steadily  been  overcome  by  the  concerted  drive  of 
investigators  in  many  laboratories. 

Pictures  have  also  been  produced  in  natural  color. 
True,  the  process  is  not  perfected  so  as  to  reproduce  every 
shade  and  tone  which  the  eye  might  detect  in  the  original 
scenes,  but  a  fairly  good  color  range  can  nevertheless  be 
obtained.  In  addition,  the  process  is  so  expensive  and  the 
time  required  to  turn  out  the  finished  film  is  so  great  that 
few  motion  pictures  are  produced  in  color  at  the  present 
time.  However,  the  technique  is  known  and  pictures  in 
color  will  be  possible  whenever  the  demand  for  them  jus- 
tifies the  additional  expense  and  time  necessary.  It  will 
not  be  possible  in  this  paper  to  discuss  the  techniques 
which  enter  into  these  processes. 


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Six 


The    INTERNATIONAL     PHOTOGRAPHER 


May,  1933 


The  addition  of  reality  to  pictures  by  methods  appeal- 
ing to  the  other  senses  is  not  practical  and  for  obvious 
reasons  will  probably  not  be  attempted. 

The  addition  of  a  third  dimension  to  motion  pictures 
has  been  attempted  by  many  experimenters.  Difficulties 
inherent  in  the  fundamental  differences  between  eye-per- 
ception and  camera-perception  beset  the  investigator  from 
the  first.  The  eyes  receive  information  concerning  the 
extent  of  bodies  in  space — in  a  number  of  different  ways. 
Luckiesh,  in  his  book  "Visual  Illusions,"  mentions  eleven 
as  follows:  (1)  extent,  (2)  clearness  or  brightness  and 
color  as  affected  by  distance,  (3)  interference  of  near  ob- 
jects with  those  more  distant,  (4)  elevation  of  objects, 
(5)  variation  of  light  and  shade  on  objects,  (6)  cast 
shadows,  (7)  perspective,  (8)  variation  of  the  visor  angle 
in  proportion  to  distance,  (9)  muscular  effort  attending 
accommodation  of  the  eye,  (10)  stereoscopic  vision,  (11) 
muscular  effort  attending  convergence  of  the  axes  of  the 
eyes.  It  is  seen  that  the  last  two  are  the  only  ones  con- 
cerned with  binocular  vision  and  all  methods  of  attaining 
three-dimensional  effects  in  pictures  must  depend  for  their 
success  upon  the  phenomenon  of  stereoscopic  vision.  Thus 
the  camera  is  greatly  limited  in  the  means  available  to  it 
in  reproducing  space  reality  as  compared  to  those  used  by 
the  human  eye.  In  view  of  these  facts  the  degree  of  suc- 
cess achieved  by  methods  already  tried  is  really  quite 
remarkable. 

Let  us  consider  briefly  how  the  eyes  themselves  per- 
ceive relief  by  the  use  of  binocular  vision.  Each  eye  is  a 
separate  optical  instrument  which  forms  its  own  image  of 
every  object  in  the  field  of  perception.  Since  the  eyes  are 
situated  a  certain  distance  apart,  called  the  interpupillary 
distance,  they  will  view  each  object  in  space  from  a  slightly 
different  angle.  Thus  the  images  formed  on  the  retina 
will  not  be  quite  alike  and  when  the  images  are  fused  by 
the  brain,  this  dissimilarity  will  be  interpreted  as  depth. 

Methods  of  producing  stereoscopic  effects  in  motion 
pictures  make  use  of  the  binocular  principle  in  the  follow- 
ing way.  If  two  photographs  of  the  same  group  of  ob- 
jects are  taken  simultaneously  or  in  rapid  succession  and 
from  slightly  different  lateral  positions,  there  will  be  dif- 
ferences in  image  positions  on  the  two  pictures,  similar 
to  those  which  occur  on  the  retinas  of  the  eyes.  If  these 
two  pictures  are  viewed  at  the  same  time,  one  by  either  eye, 
then,  under  the  proper  conditions,  the  images  formed  on 
the  retinas  will  be  like  those  obtained  in  normal  vision 
and  we  have  three-dimensional  pictures. 

For  the  production  of  these  effects  double  motion  pic- 
ture cameras  have  been  used,  i.e.,  two  complete  cameras 
mounted  side  by  side,  two  films  being  exposed  simultan- 
eously. The  technical  costs  of  making  such  a  picture  are 
thus  doubled.  This  is  an  obvious  disadvantage.  Projec- 
tion costs  are  likewise  doubled  for,  since  the  two  films  have 
to  be  projected  simultaneously  and  in  synchronism,  two 
projection  machines  must  be  employed.  A  further  com- 
plication results  from  the  fact  that  means  must  be  pro- 
vided for  excluding  from  the  one  eye  the  images  which 


should  be  seen  exclusively  by  the  other.  Various  means 
of  doing  this  have  been  employed.  One  method  has  been 
to  project  the  two  pictures  through  red  and  green  filters 
respectively.  Each  observer  wears  a  special  set  of  spec- 
tacles, with  a  red  filter  over  one  eye  and  a  green  filter 
over  the  other.  Each  filter  admits  only  the  picture  ele- 
ments having  that  color,  so  that  the  requisite  separation 
of  the  images  is  obtained.  One  of  the  first  simplifications 
suggested  was  to  print  alternately  on  the  same  strip  of 
positive  film  the  panels  taken  by  the  two  cameras.  They 
could  then  be  run  through  the  same  projecting  machine. 
If  the  color  filter  method  of  separating  the  images  were 
employed,  the  filters  would  have  to  be  mounted  so  that 
they  would  be  thrown  alternately  into  the  optical  path 
through  the  projector.  In  this  way  successive  panels 
would  be  projected  through  different  colored  filters. 

An  alternate  method  was  to  eliminate  all  color  filters 
and  to  mount  in  front  of  each  observer  a  shutter  arrange- 
ment having  two  openings  and  synchronized  with  the  pro- 
jecting machine.  These  two  openings  were  as  far  apart 
as  the  eyes  of  the  individual.  Only  one  shutter  would  he 
open  at  a  time,  namely,  that  one  which  would  permit  the 
eye  to  see  the  picture  photographed  by  the  corresponding 
camera.  Other  ingenious  systems  for  separating  the 
images  have  been  devised,  but  all  of  them  have  the  dis- 
agreeable feature  of  requiring  the  observer  to  watch  the 
screen  through  some  special  viewing  device.  This  has 
prevented  their  adoption  and  use  commercially.  Any  sat- 
isfactory method  which  is  evolved  must  eliminate  special 
devices  through  which  an  observer  must  look  in  order  to 
see  the  pictures  and  they  must  be  capable  of  projection  on 
a  two-dimensional  screen.  From  the  point  of  view  of 
economy  it  would  be  desirable  also  that  the  method  utilize 
existing  motion  picture  cameras  and  projecting  equipment. 

A  practical  and  surprisingly  simple  solution  of  three- 
dimensional  motion  pictures  has  been  reached  by  the  pro- 
cess of  making  Natural  Vision  pictures.  The  writer  was 
called  as  consultant  and  has  made  a  thorough  analysis, 
which  is  now  for  the  first  time  given  to  the  public.  The 
method  of  obtaining  stereoscopic  pictures  is  derived  from 
the  following  hypothesis  of  the  inventor  as  a  working 
basis  for  achieving  Natural  Vision  effects  in  motion  pic- 
tures. 

"The  internal  oscillation  of  images  on  the  retina  due 
to  the  circumstances  of  binocular  vision  instead  of  being 
produced  in  the  eye  by  varying  the  direction  of  the  axes 
focused  upon  different  planes  under  inspection,  can  be  pro- 
duced externally  upon  a  plane  surface  by  a  change  in  the 
relative  positions  of  the  objects  which  constitute  the  view." 
After  a  careful  analysis  of  "motional  perspective,  mon- 
ocular and  binocular  vision,  focal  and  axial  accommoda- 
tion of  the  eyes,  fusion  of  images  in  the  brain  and  other 
pertinent  criteria,"  as  well  as  experimental  investigations 
using  the  camera  and  optical  bench,  the  following  conclu- 
sions were  reached.  The  so-called  stereoscopic  effect  pro- 
duced by  the  ordinary  double  lens  system  and  Wheat- 
stone's  stereoscope  is  far  more  anaglyphic*  than  the  eye 
would  perceive  when  seeing  the  objects  from  the  same 
position,  as  that  from  which  they  were  photographed.  If 
this  be  true,  it  should  be  possible  to  produce  photographic 
relief,  more  in  accordance  with  that  which  the  eyes  cus- 
tomarily see,  by  taking  successive  photographs  from  points 
separated  laterally  by  much  smaller  distances  than  those 
used  in  obtaining  the  usual  stereoscopic  photographs.  In 
fact  these  points  might  be  so  near  that  the  second  camera 


*  anaglyphic — The  quality  of  relief  or   depth   as   differentiated   from 
the  non-relief  of  a  plane  surface. 


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The    INTERNATIONAL     PHOTOGRAPHER 


Seven 


could  be  entirely  eliminated,  all  of  the  photographs  being 
taken  with  a  single  camera  the  position  of  which  is  later- 
ally shifted  by  the  requisite  amount  between  pictures. 
These  conclusions  are  now  verified. 

A  series  of  experiments  intended  to  reduce  these  ideas 
to  standard  commercial  practice  has  been  under  way  for 
several  years.  As  a  result  there  was  finally  evolved  the 
present  system  by  which  time  elements,  retention  of  im- 
pression, mental  fusion  and  mechanical  technique  are  com- 
bined in  such  a  way  as  to  permit  standard  motion  picture 
practice  both  as  regards  the  taking  of  the  picture  and  its 
projection  on  the  theater  screen. 

The  apparatus  consists  essentially  of  a  standard  set  of 
camera  tripod  legs  which  support  a  motor  driven  mechan- 
ism. This  in  turn  furnishes  the  standard  Bell  &  How- 
ell, or  Mitchell,  tilting  head  with  an  arcuate  reciprocat- 
ing motion.  The  standard  camera  is  mounted  in  the  usual 
way  on  the  tilting  head  and  is  therefore  capable  of  being 
tilted  or  panoramed  exactly  as  ordinary  practice  demands. 

The  novel  and  peculiar  feature  of  the  device  lies  not 
so  much  in  the  driving  mechanism  itself  as  in  the  mechan- 
ical method  by  which  the  camera  is  caused  to  oscillate 
along  an  arc  (or  straight  line)  which  has  for  its  center  of 
curvature  some  point  within  the  area  being  photographed. 
This  point  is  determinable  by  simple  technical  methods  as 
well  as  by  purely  mathematical  ones. 

It  is  true  that  a  certain  special  mechanism  must  be 
added  to  obtain  this  result,  but  this  entails  no  change 
whatever  in  the  standard  motion  picture  equipment.  The 
system  in  no  way  interferes  with  matting,  filtering,  or 
other  technical  requirements  which  present  day  practice  in 
the  studio  requires,  nor  does  it  in  any  way  conflict  with 
the  requirements  of  sound  photography. 

Every  step  forward  in  motion  picture  practice  neces- 
sarily involves  a  new  technique.  Whereas  standard  prac- 
tice in  exposure  and  general  handling  of  the  camera  re- 
mains unchanged,  this  new  advance  in  the  art  of  taking 


Natural  Vision  pictures  involves  a  technique  all  its 
own.  The  camera  man  of  today  need  have  no  qualms 
regarding  this  technique.  A  few  hours  of  "shooting"  and 
the  making  of  half  a  dozen  test  shots  will  make  him  quite 
at  home  with  the  new  system.  It  now  lies  within  his 
power  to  produce  effects  on  the  screen  which  are  beyond 
those  seen  with  normal  vision,  or  to  reproduce,  in  any 
given  plane  in  the  picture  he  may  be  making,  the  same 
depth  that  the  unaided  human  eye  would  receive  when 
viewing  the  scene  from  the  same  point  as  that  at  which 
the  camera  is  placed. 

Popular  conception  of  stereoscopic  motion  pictures  has 
long  since  been  that  which  grew  out  of  the  old  fashioned 
stereoscope,  and,  to  many,  a  picture  is  not  truly  stereo- 
scopic unless  endowed  with  such  pronounced  relief.  Yet 
it  is  not  such  relief  that  we  see  in  every  day  objects  which 
surround  us.  It  is  a  matter  that  everyone  can  settle  to  his 
own  satisfaction  if  he  will  simply  take  the  time  to  observe 
carefully  the  things  he  sees  about  him,  to  study  them  and 
analyze  the  relief  that  his  eyes  can  actually  discern.  Any 
careful  observer  may  see  at  once  that  old  fashioned 
stereoscopy  and  normal  vision  are  two  vastly  different 
things. 

One  surprising  feature  of  the  method  is  that  very  small 
lateral  displacements  of  the  camera  will  produce  relief 
approximating  that  obtained  in  normal  vision.  These 
displacements  have  been  varied  from  l/20th  to  l/32d 
inch  with  good  results.  A  striking  and  conclusive  demon- 
tration  of  the  principles  involved  in  the  Natural  Vision 
process  is  obtained  when  two  successive  panels  from  one 
of  the  new  Natural  Vision  films  are  viewed  simultaneously 
using  an  ordinary  stereoscope.  The  pictures  show  a 
remarkable  degree  of  relief. 

The  following  discussion  will  illustrate  the  essential 
elements  concerned  with  the  making  and  viewing  of 
stereoscopic    pictures.      Throughout    this    discussion    we 

(Continued  on  Page  10) 


0   0 


FIRST  VITACRAPH  STUDIO 

The  first  Vitagraph  Studio  of  1898  on  the 
roof  of  the  Morse  Building,  on  Nassau  Street, 
in  New  York.  The  first  picture  taken  here 
was  "Tearing  Down  the  Spanish  Flag."  Dur- 
ing the  filming  of  a  picture  at  this  open  air 
studio,  if  a  steam  cloud  should  blot  out  the 
light,  the  actors  would  stand  in  frozen  poses 
until  the  light  returned.  Vitagraph  was 
formed  by  ].  Stuart  Blackton  and  Albert  E. 
Smith,  and  later  "Pop"  Rock  joined  them. 
This  picture  was  drawn  by  Blackton  for  the 
motion  picture  collection  at  the  Los  Angeles 
Museum. 


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Ma\,  1933 


AROUND  THE  WORLD 

WITH 

HERFORD  TYNES  COWLING 

A  TIGER  HUNT  IN  INDIA— No.  2 


Shooting  tigers  in  the  long 
grass  of  the  Indian  Tarai  is 
quite  different  from  any  any 
other  kind  of  hunting.  Because 
of  the  long  grass  it  is  absolute- 
ly necessary  to  employ  ele- 
phants. 

Filming  the  shoot  is  not  easy 
because  one  never  knows 
where  the  tiger  will  break  out 
of  the  cover  after  once  gotten 
into  the  ring. 

Baits  are  used  to  locate  the 

tiger,    after    which    a    ring    is 

formed  around  the  tiger  by  the 

elephants.    The  tiger  will  not 

rush  away,  but  hides  in  the  long  grass  hoping  to  escape 

notice. 

The  grass  is  trampled  down  around  the  ring  by  the 
elephants  to  give  the  hunters  a  shot  as  the  tiger  breaks 
through   the  clearing  thus  made. 

Fifty-eight  elephants  and  six  hundred  coolies  were  used 
in  this  shoot — most  of  the  coolies  were  busy  cutting  and 


hauling  food  for  the  elephants,  since  the  latter  were  busy 
working  with  the  hunters  and  did  not  have  a  chance  to 
rustle  their  food.  Each  elephant  eats  600  pounds  of 
banana  palms  a  day.  We  got  nine  tigers  in  seven  days' 
shooting. 

Getting  any  films  of  the  live  tigers  was  out  of  the 
question,  the  grass  being  too  long — and  no  telling  where 
they  would  break. 

I  have  often  been  asked  if  the  tiger  ever  makes  a 
direct  attack  upon  an  elephant.  The  answer  is  that  it  has 
happened  rather  often,  but  the  attack  is  almost  always 
from  the  rear. 

This  jungle  cat  is  versatile.  He  varies  his  attack 
according  to  the  animal  he  is  after,  but  always  goes  after 
the  elephant  above  and  from  the  rear.  He  is  the  only 
member  of  the  cat  species  which  has  courage  enough  to 
attack  the  elephant,  his  plan  being  to  get  onto  the  pachy- 
derm's back,  sink  his  teeth  into  the  most  vulnerable  spot 
on  both  sides  of  the  spinal  column  and  crush  the  vertebrae. 

To  get  away  with  this  he  must  be  quick  and  sure.  If 
he  misses  the  first  time  the  elephant  will  roll  on  him  or 
scrape  him  off  by  running  under  the  branches  of  a  tree. 


DEVRY  Sound  Recording 

Camera 

By  A.  P.  Hollis,  M.S. 

I  knew  it  had  to  come,  but  it  came  sooner  than  I 
expected.  I  mean  the  elimination  of  bulk- in  sound  record- 
ing cameras.  Anybody  familiar  with  the  truck  load  of 
impedimenta  that  the  sound  camera  man  has  had  to 
struggle  with  since  the  advent  of  the  "talkies,"  will  ap- 
preciate this  new  "wrist  watch"  edition  of  the  "talkie" 
camera. 

Of  course  the  mere  reduction  of  size  and  weight  is 
an  easy  matter.  But  to  reduce  size  without  reducing 
efficiency — that  has  been  the  rub.  But  now  it  looks  as 
if  both  of  these  things  have  really  been  done. 

The  new  DeVry  sound  camera  is  a  product  of  the 
fertile  brain  and  long  experience  of  Herman  A.  DeVry — 
who  has  pioneered  many  things  in  cinematography. 

The  camera  uses  the  single  system,  the  housing  being 
of  aluminum  strongly  reinforced.  The  mechanism  is 
of  the  two  claw  type  and  highly  refined  in  design.  An 
exclusive  feature  is  the  sound  sprocket  filter  wheel  con- 
sisting of  a  modification  of  the  Robertson  patent.  This 
is  one  of  the  reasons  for  the  unusual  results  secured  from 
the  DeVry.  The  camera  has  a  removable  magazine,  and 
will  accommodate  either  400  or  1,000  ft.  magazines. 
It  uses  a  standard  glow  lamp  and  the  sound  track  pro- 
duced is  of  the  variable  density  type.     A  tachometer  at 


the  rear  of  the  case  shows  the  operator  at  all   times  at 
what   speed   the   film   is  moving,   and   the   speed   is  con- 
trolled  by  an   automatic  electric  governor,   which  main- 
( Continued  on  Page  19) 


DeVry  Sound   Recording  Camera 
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.U.v.  1933 


The     INTERNATIONAL    PHOTOGRAPHER 


Nine 


Read  Left  to  Right: 

First  Row — Off  for  the  day's  shoot.  Heavy  gun  boxes  are  sent  on  ahead  since  the  elephants  travel  much  slower  than  our  transport  animals. 
This  little  fellow  was  a  fast  walker  and  served  as  my  taxi  back  and  forth  from  shoot  to  camp.  When  we  arrive  at  the  "beat"  we  trans- 
fer to  the   heavy  shooting  howdahs  before  starting  to  beat  for  tigers. 

Second  Row — Beating  the  eighteen  foot  grass  for  the  tiger.  After  the  tiger  is  killed  or  wounded  it  is  located.  Sometimes  a  wounded  tiger 
puts  up  a  terrific  fight. 

Third  Row — Once  "jumped"  in  the  high  grass  the  elephants  are  formed  in  a  ring  around  the  beast.  This  day  we  bagged  three.  Hunters 
ready  for  the  break. 

Fourth    Row — Bringing   home   the   cat's   whiskers.     This   was   my   lucky  day.     A  close-up  of  my  kill. 

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Mav,  1933 


(Continued  from  Page  7 ) 
shall  be  dealing  with  actual 
distances  which  can  either 
be  measured  directly  or 
computed  by  mathematical 
formulae.  The  apparent 
depth  between  images  is 
much  greater,  being  modi- 
fied by  psychological  fac- 
tors which  govern  the  ac- 
tion of  the  eyes  in  deter- 
mining three-dimensional 
space.  We  shall  first  in- 
vestigate one  of  the  funda- 
mental principles  of  binocu- 
lar vision. 

Let  0a  and  0,  in  Fig.  1, 
be  two  objects  which  are 
being  simultaneously  view- 
ed by  both  eyes  and  let  us 
suppose  that  the  eyes  are 
focused  in  the  plane  of  02. 
As  one  can  easily  verify  by 

trying  the  experiment,  it  is  apparent  that  instead  of  one 
image  of  the  object  01  there  will  be  two,  one  located  at 
0/  and  the  other  at  0/'.  The  image  0/  is  formed  by  the 
action  of  the  right  eye  and  the  image  0,"  is  formed  bv  the 
action  of  the  other  eye.  Thus,  although  the  observer  may 
not  be  conscious  of  it,  these  images  exist,  and  it  is  evident 
that  their  separation  q,  is  a  function  of  the  actual  distance 
apart  of  the  objects.  For  we  have  at  once  from  simple 
geometrical  considerations, 

q  ElEr 


0A  \J1 

or  solving  for  q  and  writing  the  interpupillary  distance  d 
for  ElEr  and  expressing  0,0.  in  terms  of  the  object  dis- 
tances Uj  and  U,,  we  have, 

q  =  d(U,-U,) 


I  his  displacement  distance  q  is  an  important  factor  in 
aiding  the  eyes  in  estimating  the  distance  between  vari- 
ous objects  in  the  field.  In  the  case  of  stereoscopic  effects, 
either  in  stationary  or  mo- 
tion pictures,  these  displace- 
ments become  of  utmost  im- 
portance. In  every  case  we 
are  looking  at  two  pictures 
in  the  same  plane,  which 
are  different  only  in  regard 
to  these  displacements.  The 
latter,  when  determined 
with  respect  to  some  arbi- 
trary object  as  a  reference 
point,  are  found  to  vary 
with  the  position  of  the  ob- 
ject in  the  field. 

Now  it  sometimes  hap- 
pens that  the  eyes  are  fo- 
cused in  the  plane  of  the 
near  object  rather  than  in 
that  of  the  more  distant.  Tn 
such  a  case,  the  more  distant 
object  0.,  will  be  imaged  bv 
the    eves    in    two    different 


points  0/  and  02"  in  the  plane  of  0X  as  indicated  in  Fig.  2. 
As  before,  if  we  let  q  be  the  image  displacement  0/0/' 
we  have 

q  =  d   (U2-Ux) 


u2 

A  reversal  of  the  process  just  discussed  shows  how 
the  eyes  can  use  these  displaced  images  in  one  plane, 
to  form  a  spatial  concept  of  the  objects  themselves.  Sup- 
pose that  two  photographs  taken  from  slightly  different 
points  are  mounted  in  the  plane  of  0,  and,  in  addition, 
let  us  assume  that  the  photograph  which  is  viewed  by  the 
right  eye  at  Er  lies  entirely  to  the  right  of  0a  and  the  one 
seen  by  El  lies  entirely  to  the  left  of  0X.  Then  if  a  given 
object  is  seen  by  Er  at  0/'  and  by  El  at  0./  it  will  seem 
to  lie  at  the  intersection  of  the  lines  Er02"  and  ElO./  or 
at  02-  This  is  the  principle  underlying  the  operation  of 
the  ordinary  stereoscope.  In  this  instrument,  auxiliary 
lenses  are  included  at  El  and  Er  to  assist  the  eyes  which 
are  focused  in  the  plane  02  to  converge  the  rays  from 
nearer  objects  such  as  0/  and  0.,". 

Again,  suppose  that  in  Fig.  2,  02'0/'  represents  the 
plane  of  a  motion  picture  screen.  Pictures  of  the  same 
scene,  taken  from  two  slightly  different  positions,  are  pro- 
jected on  the  screen  in  rapid  succession.  If  at  one  time  an 
object  appears  to  El  to  be  at  0/  and  a  fraction  of  a  sec- 
ond later  appears  to  Er  to  be  at  0/',  then,  due  to  persist- 
ence of  vision,  the  object  will  appear  to  El  to  be  on  the 
line  ElO/'  and  to  Er  to  be  on  the  line  ErO/'  and  there- 
fore at  their  intersection  0..  In  this  way  every  object  is 
established  in  the  three-dimensional  space  presented  to 
the  eye  by  this  system  of  displaced  images.  The  result  is 
a  stereoscopic  motion  picture. 

To  provide  a  basis  for  discussing  the  new  method  of 
obtaining  depth  in  motion  pictures,  let  us  consider  briefly 
the  mode  of  operating  the  stereoscopic  camera.  Let  0/ 
and  0/  in  Fig.  3  be  two  objects  which  are  being  photo- 
graphed. The  Figure  will  represent  either  one  of  two 
possible  experimental  procedures.  In  the  first  case  we 
will  imagine  a  single  camera  which  takes  its  first  picture 
with  the  lens  in  position  L/  and  then  shifts  laterally  a  dis- 
tance d'  to  position  L,'  where  it  takes  a  second  picture. 
In  the  second  case  we  can  postulate  two  cameras  one  at 
L,'  and  the  other  at  L/  which  simultaneously  take  two 
photographs  of  the  given  objects.  The  sensitive  film  is 
at  a  distance  s'  from  the  lens.  In  motion  picture  work 
this  distance  is  approximately  equal  to  the  focal  length 
of  the  lens.  In  position  1,  m,  and  m2  will  represent  the 
points  on  the  film  at  which  the  objects  will  be  focused. 
In  position  2,  m,'  and  m_/  will  represent  the  points  where 
the  objects  will  be  focused.  The  actual  displacements 
of  the  images  on  the  film  can  be  given  with  respect  to 
point  a,  the  intersection  of  the  optical  axis  with  the  film. 
Imagine  the  two  photographs  superimposed  so  that  a  and 
a'  coincide.  The  actual  displacements  of  the  images  of 
0/  and  0/  will  be,  respectively, 

(1) 


m,a  -\-  a'm/ 


b, 


(2) 


m2a  -|-  a'm/ 

These  can  be  obtained  in  terms  of  the  two  object  dis- 
tances U,'  and  U/  as  follows:  From  similar  triangles 
we  have  the  relations, 


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May,  1933 


T  h 


INTERNATIONAL    PHOTOGRAPHER 


Eleven 


m,a 


d/ 


s'  IV 

s'd,' 

whence  n^a  =  (3) 


s'd.,' 


similarlv  a  m. 


u/ 


(43 


Adding    (3)    and    (4)    and 
substituting  in  ( 1 ) , 

b]=     _(dl'  +  d/)    (5) 

U,' 
But  d/  +  d,'  =  d' 
Thus  (5)  becomes 
s' 
b,=      -(d')       (6) 
U,' 
For    the    other    object    we  have, 


b..  =  --(d')       (6) 
U,' 

Now  let  the  two  films  be  developed  and  the  positives 
made  therefrom  be  enlarged  m  times.  Let  the  positive 
made  by  the  lens  in  position  L/  be  mounted  as  in  Figure 
4,  at  a  distance  s  from  the  entrance  pupil  of  the  observer's 
left  eye.  Let  the  positive  made  by  the  lens  in  the  position 
L./  be  mounted  at  the  same  distance  from  the  right  eve. 


The  points  A;  M1;-  M.,;  A';  M';  and   M./  corre- 


spond respectively  to  the 
points  a  ;  m,  ;  ra. ;  a' ;  m'  ; 
and  m/. 

Now  AM!  =  m  (am,  ) 
and  A'M/  =  m  (am,') 
Let  us  call  MXM/  the  dis- 
placement   distance    in    the 
picture  plane  for  the  images 
which  give  rise  to  0, 
M,M,' 

=  d— (AM,  +  M,'A') 
=  d — m  (am,4-a'm/) 

B\    using  equation    (  1  )   and 

(6)  we  have 

M1M/  =  d— mb, 

ms'd' 
=  d-  (7) 


U/ 


Similarly    the    displacement  distance  for  ()..  is 


M.M,' 


ms'd' 


U./ 


(7: 


These  equations  give  the  displacement  distances  in 
terms  of  the  actual  object  distances  U/  and  U,'.  We 
must  now  obtain  them  in  terms  of  the  object  distances 
U,  and  U,. 


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1  welve 


The     INTERNATIONAL    PHOTOGRAPHER 


Maw  1933 


Let  0,0,  =  r. 

Let  the  distance  from  the  plane  of  AA'  to  0X  be  x. 

MiM/       d 
From  similar  triangles,  we  have = (8) 


formulas 
have 


M.,M/ 


and 


U, 


u„ 


u.,= 


(8')  If  we  solve  (8')  for  U2  we  have 


r+x  U2 

(r+x)d 


M2M2' 

(r+x)d 

d — ms'd' 
U.,d— sd 


Substituting  from  (7'] 


But  (r  +  x)  =  U  —  s 


(8") 


d — ms'd' 


U/ 
This  can  be  written  in  the  form 

U2(U2'd— ms'd')  ==U.,(U2d  —  sd) 
Now  if  01  is  to  appear  at  the  same  distance  from  the 
eye  as  0/  was  from  the  camera,  we  have 
Uo  =  U./  Substituting  above,  we  have 

"  d' 

s  =  ms' (9)     This  equation  tells  us  how  far  in  front 

d 
of  the  eye  the  picture  plane  AA'  must  be  located.    A  sim- 
ilar deduction  shows  that  the  same  relation  holds  for  the 
object  U/. 

For  perfect  reproduction  there  is  another  requirement, 
namely  that  there  be  no  lateral  distortion  in  the  positions 
or  dimensions  of  objects.  Let  us  again  refer  to  Fig.  3. 
It  is  evident  that  an  object  such  as  0./  would  be  photo- 
graphed by  lens  L2'  in  the  same  position  on  the  film  as 
0/.  A  similar  statement  can  be  made  in  regard  to  an 
object  0/  and  lens  L/.     Now, 

0/0/  d' 


u/-u/    u/ 

and  for  true  spatial  representation  this  relation  must  be 
maintained  in  the  stereoscopic  photographs  to  be  made 
from  the  film. 

If    the    unprimed    letters 


stereoscopic  photographs,  we 


represent    the 

o.o, 

have  


case    for 
d 


th« 


But 


u—  V1     ux 

It  follows  that  if 


7)  and  (7'),  the  factor  d  becomes  zero  and  we 
ms'd' 


M.M/ 


M„M/  = 


U/ 
ms'd' 

U/ 


(11) 


(12; 


u,  =  u/ 
l\  =  u/ 

0,0,  =  0/0/ 

d  =  d' 

This  indicates  that  for  the  condition  of  stereoscopic 
representation  as  obtained  in  the  Wheatstone  type  stereo- 
scopic pictures  the  camera  must  be  moved  the  same  dis- 
tance between  pictures  as  the  interpupillary  separation  of 
the  eyes. 

Now  let  the  positives  made  from  the  negatives  taken 
as  in  Fig.  3  be  projected  in  sequence  on  a  screen  by  a 
motion  picture  projector.  Corresponding  points  such  as 
A  and  A'  (Fig.  4)  are  imaged  at  the  same  point  on  the 
screen.      Thus    in    calculating    image    displacements,    in 

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The  negative  signs  indicate  that  the  points  M/  and 
M/  which,  in  Fig.  4,  were  imaged  on  the  right  hand  side 
of  the  central  line  bisecting  the  interpupillary  separation 
distance  d,  are  now  imaged  on  the  left  hand  side  and  vice 
versa.  Moreover,  the  displacement  IV^M/  which  in 
Fig.  4  was  the  smallest  of  the  two,  has  now  become  the 
largest,  (U/  >U/).  The  situation  is  represented  dia- 
gramatically  in  Fig.  5,  in  which  the  plane  M1M1'  repre- 
sents the  screen.  Furthermore,  let  us  put  no  restrictions 
upon  which  images  each  eye  can  see.  It  then  becomes  evi- 
dent that  there  are  two  sets  of  images  possible,  a  pair  OjCK, 
located  behind  the  screen,  and  a  pair  0/'02"  located  in 
front  of  the  screen.     One  notices  immediately  that  they 

are  in  the  inverse  order  in 
position  to  the  images 
which  were  photographed, 
thus  giving  a  pseudoscopic 
illusion.  Now  it  has  been 
demonstrated  by  numerous 
psychological  tests  that 
pseudoscopic  images  are 
seen  only  when  the  brain  is 
not  able  in  any  other  way 
to  obtain  information  about 
the  spatial  relationships  of 
bodies.  Any  previous  knowl- 
edge about,  or  familiarity 
with,  objects  of  the  type  be- 
ing viewed  would  prevent 
the  pseudoscopic  effect  from 
being  obtained.  Accord- 
ingly all  objects  so  photo- 
graphed would  be  interpret- 
ed as  stereoscopic,  even 
though  the  projected  images 
were  pseudoscopic. 

It  is  a  matter  of  speculation  as  to  just  what  the  brain 
does  when  the  choice  is  presented  to  it  of  forming  a  set 
of  images  in  two  different  locations.  As  psychology  can- 
not answer  the  question  unaided,  we  shall  have  to  take  the 
results  of  actual  experimental  tests  and  from  them  try  to 
arrive  at  some  reasonable  explanation. 

The  tests  show  that  motion  pictures  taken  by  this  new 
process  have  a  remarkable  degree  of  stereoscopic  depth 
when  projected.  The  stereoscopic  effect  is  most  pro- 
nounced for  nearby  objects.  This  is  in  accordance  with 
the  principles  governing  the  action  of  the  normal  eyes 
which  in  actual  vision  cannot  detect  depth  beyond  a  dis- 
tance of  about  450  meters.  It  is  probable,  then,  that  the 
eyes  are  selecting  one  of  the  two  possible  sets  of  images 
and  ignoring  the  others.  One  cannot  with  certainty  say 
which  of  the  two  sets  of  images  would  be  favored,  but 
there  is  some  reason  for  believing  that  the  images  0X  and 
0,  lying  behind  the  screen  are  the  ones  selected.  Ordi- 
narily, when  one  views  a  picture  of  any  kind,  it  is  seen 
to  the  best  advantage  when  the  point  of  fixation  is  behind 
the   picture.      The    rays   which    enter    the    eyes    from   the 


May,  193d 


T  h 


INTERNATIONAL    PHOTOGRAPHER 


Thirteen 


point  of  fixation  intercept  an  appreciable  area  on  the  sur- 
face of  the  picture  and  all  objects  lying  within  this  area 
are  seen  more  or  less  clearly.  If,  on  the  other  hand,  one 
concentrates  the  attention  on  a  single  point  of  a  picture, 
such  as  the  limb  of  a  tree,  that  point  is  seen  clearly  but 
no  other.  By  habit,  then,  we  are  accustomed  to  locating 
points  of  fixation  behind  the  plane  of  the  picture  being 
viewed.  In  Fig.  5,  M/M,  represents  a  screen  on  which 
a  picture  is  being  projected.  This  is  like  the  plane  of  the 
picture  and  points  of  fixation  are  probably  located  behind 
the  picture  for  normal  vision.  Thus,  without  any  special 
device  in  front  of  the  eyes  for  excluding  unwanted  rays, 
the  eyes  themselves  select  one  set  and  form  the  correspond- 
ing images  in  three-dimensional  relief. 

It  is  interesting  to  investigate  the  effect  on  the  picture 
elements  of  diminishing  the  distance  d'    (Fig.  3). 

In  Fig.  5  we  have  (using  0:  and  (L)  and  Equation  (11) 
ms'd' 
M,M/  =  -| (11)    (Since  we  are  interested  only 


Uxd 


i'd' 


IV 


But 


M^I/ 


y+u, 
u,d 


y+Ut 

Equate   (11)   and   (13) 


in  numerical  values) 

where  y  =   the   distance   of 
the  observer  from  the  screen. 

(13) 


from  which   U, 


IV       IV 

ms'd'y 


i4: 


ms'd'+Lyd 

Here  the  numerator  is  the  factor  which  really  deter- 
mines the  size  of  \J1  and  when  d'  becomes  smaller,  \J1 
becomes  smaller  so  that  transverse  dimensions  of  objects 
are  magnified  more  than  depth.  In  the  Natural 
Vision  system  of  stereoscopic  motion  pictures,  the  value 
of  d'  is  necessarily  made  small  to  prevent  apparent  mo- 
tion of  the  projected  images.  However,  due  to  perspective 
foreshortening  and  other  psychological  factors,  the  effect 
of  the  small  amount  of  depth  actually  present  is  greatly 
magnified,  giving  the  reality  of  normal  vision  as  men- 
tioned before. 

Equation    (14)   can  be  put  in  the  following  form: 
U.U/d  =  ms'd'y  +  msM'!^ 


whence 


ms 


'd'\ 


U, 


u„ 


U/d— ms'd' 

ms'd'y 
U./d— ms'd' 


(15)    For  another  object  U2' 
(16) 


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Fourteen 


The     INTERNATIONAL     PHOTOGRAPHER 


May,  ]933 


Subtracting, 
U—  U, 


ms'd'v 


1 

1 

U/d— ms'd' 

U/d— ms'd' 

This  equation  is  useful  in  determining  the  relative 
distances  between  the  images  of  objects  projected  on  the 
screen.  It  also  shows  the  relative  distance  between 
objects  to  be  proportional  to  the  distance  of  the  observer 
from  the  screen.  From  it  one  can  determine  the  amount 
of  camera  displacement  d'  necessary  to  give  any  desired 
amount  of  real  depth,  between  the  projected  images.  The 
apparent  depth,  as  noted  previously,  is  always  much 
greater  than  the  actual  depth  and  it  is  the  former  with 
which  we  are  really  concerned. 

In  deriving  all  of  the  foregoing  equations  we  have 
made  certain  simplifying  assumptions  which  involve  only 
second  order  corrections  in  the  equations  derived.  For 
example,  we  have  assumed  that  the  camera  lens  was  a 
single  thin  lens,  whereas  in  practice  it  is  always  a  highly 
corrected  combination  of  lenses.  In  such  a  combination, 
however,  there  always  exists  a  pair  of  fixed  points  called 
nodal  points  which  have  the  property  that  if  the  object 
and  image  distances,  respectively,  are  measured  from  the 
nodal  points  of  the  object  and  image  space,  the  combina- 
tion will  behave  like  a  single  thin  lens.  Thus  our  form- 
ulae will  be  correct  if  we  assume  that  object  and  image 
distances  are  measured  from  these  theoretical  points. 

One  of  the  greatest  advantages  of  the  new  system  of 
Natural  Vision  pictures  lies  in  the  elimination  of  a 
laige  part  of  the  distortion  so  apparent  to  theater  patrons 
who  happen  to  be  seated  far  to  the  side  and  relatively 
close  to  the  front  of  the  house.  In  the  ordinary  case, 
images  are  all  projected  on  the  same  plane,  which  is  the 
theater  screen.  The  angle  subtended  at  the  eye  by  two 
objects  in  a  horizontal  plane  is  less  when  an  observer  is 
at  the  side  than  when  in  a  central  section  of  the  theater. 
Thus,  in  the  former  position,  these  two  objects  will  appear 
nearer  to  each  other  than  in  the  latter  case.  On  the  other 
hand,  the  angle  subtended  at  the  eye  by  two  objects  in  a 


vertical  plane  remains  the  same  when  an  observer  moves 
from  center  to  side  of  a  theater.  So,  when  an  observer  is 
seated  at  the  side,  objects  on  a  theater  screen  appear  to  be 
elongated  in  the  vertical  direction.  This  distortion  is  very 
disagreeable  and  detracts  from  the  enjoyment  of  the  pic- 
ture. In  the  new  Natural  Vision  pictures,  points 
are  imaged  not  only  on  the  screen  but  behind  it  as  well, 
so  that  when  an  observer  is  at  the  side,  the  solid  angle  sub- 
tended at  his  eye  by  the  solid  pencil  of  rays  defining  a 
given  object  may  be  just  as  great  as  if  he  were  seated  in 
a  center  section.  Due  to  this  reduction  in  distortion,  the 
side  seats  become  much  more  desirable  than  ever  before. 
One  of  the  very  interesting  things  about  the  new  sys- 
tem is  the  opportunity  it  affords  for  obtaining  further 
information  of  a  psychological  nature  regarding  the  meth- 
ods by  which  the  eye  perceives  depth.  A  number  of  psy- 
chological factors  are  involved  in  these  Natural  Vision 
pictures.  The  significance  of  these  factors  has  not  been 
completely  worked  out,  but  it  is  hoped  that  this  can  be 
done  at  some  future  time. 

In  Summary: 

1.  The  Natural  Vision  process  produces  stereoscopic 
moving  pictures  reproducing  the  depth  seen  in  Nature, 
thus  departing  from  all  present  moving  pictures  and  add- 
ing greater  clarity  and  beauty. 

2.  The  Natural  Vision  process  reduces  distortion  in 
motion  pictures  when  viewed  from  theater  side  seats. 

3.  The  Natural  Vision  process  employs  an  oscillating 
mechanism  supported  by  standard  tripod  and  moving  a 
standard  camera.  Camera,  film,  development,  printing, 
projection,  screen  and  sound  are  standard  equipment  and 
practice. 

The  writer  desires  to  acknowledge  his  indebtedness 
to  Professor  Ellis  of  the  Psychology  Department  of  Po- 
mona College  for  the  opportunity  of  discussing  the  psycho- 
logical aspects  of  this  system  of  motion  pictures  and  to 
Professor  Leighton  of  the  Chemistry  Department  of  Po- 
mona College  and  Mr.  Ramsey  L.  Harris  of  the  Norton 
School  at  Claremont  for  their  helpful  criticism. 
The  End 


THE  BELL  &  HOWELL  SPLICER 

One  of  the  main  problems  of  splicing  sound  film  is 
the  fact  that  the  straight  splice  tends  to  cause  an  ob- 
jectionable noise  in  the  speaker  when  the  splice  passes 
the  scanning  slit. 

While  there  are  several  methods  in  use  for  overcom- 
ing this  difficulty,  it  is  the  opinion  of  Bell  &  Howell 
that  the  use  of  a  diagonal  splice  represents  the  quickest, 
most  convenient,  and  most  satisfactorv  method  of  all. 


This  firm  now  is  in  a  position  to  furnish  the  well 
known  Bell  &  Howell  splicer  equipped  with  special 
blades  to  make  a  diagonal  splice  on  the  sound  negative. 


The  splice  will  be  the  same  width  as  the  regular  negative 
splice  (.036")  and  being  made  on  the  bias,  will  not 
cause  an  objectionable  noise  in  the  speaker. 

Furthermore,  the  diagonal  splice  is  more  flexible,  and 
on  account  of  its  greater  length,  it  is  stronger  than  a 
straight  splice.  Its  use  is  suggested  for  the  sound  negative 
only. 


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swinging  Japanese  lanterns  and  abounding  greenery  a 
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May,  W33 


T  h 


INTERNATIONAL     PHOTOGRAPHER 


Fifteen 


Stand  By  for  CRASH! 

fruitless  Quest  of  NewS'Heeler  for  the 

Wreek  of  the  Akron  —  Death  Hazard  in 

flight  Over  Dark  and  Stormy  Sea 


[Written  by  Al  Wetzel  of  the  News-Reel  Division,  Local  644,  I.  A. 
T.  S.  E.,  New  York,  by  request  of  Charles  P.  Boyle,  and  forwarded  by 
President  F.  W.  Strenge,  Local  644,  for  exclusive  publication  in  THE 
INTERNATIONAL   PHOTOGRAPHER— Editor's   Note] 

"Stand  by  for  Crash !" 

If  anyone  of  you  had  been  aboard  the  U.  S.  Akron 
while  it  was  on  a  flight  over  New  Jersey  and  Pennsylvania 
on  the  night  of  April  the  third,  you  might  have  heard 
such  an  order  given  by  the  captain  of  the  ship — an  order 
given  as  would  any  other  order  be  given  with  coolness  and 
collectiveness  that  is  typical  of  the  officers  of  the  United 
States  Navy. 

Having  served  some  sixty  hours  in  the  air  in  the  Shen- 
andoah and  the  Los  Angeles  I  might  say  that,  on  such  a 
flight,  no  matter  what  its  purpose,  is  when  a  giant  airship 
cruises  through  the  night,  the  personnel  which  changes 
watch  every  four  hours  usually  are  at  their  posts  in  vari- 
ous parts  of  the  ship  and  the  alternate  crew  is  usually 
getting  rest  and  sleep  in  their  quarters,  and  that  only  those 
necessary  in  the  operation  of  the  ship  are  in  the  control 
gondola  and  at  their  posts  at  the  motors,  controls,  eleva- 
tors, rudders,  radio  and  various  necessary  duties. 

Occasionally  guest  officers  and  civilians  have  freedom 
of  the  ship  on  these  flights  and  to  me  the  most  interesting 
was  the  control  cabin.  So  my  description  of  the  control 
cabin  on  this  particular  night  would  be  of  Lt.  Commander 
Wiley  directing  operations  of  the  airship  with  the  captain 
of  the  ship  supervising  the  operations. 

Other  officers  in  charge  of  motors  and  various  duties 
enter  and  leave  the  cabin  in  the  performance  of  their 
duties.  To  me  the  men  who  operate  the  elevators  and  the 
rudder  seem  to  be  the  busiest  in  the  cabin.  At  least  they 
are  continually  checking  and  turning  the  wheels  that  keep 
the  ship  on  the  horizontal  and  vertical  courses.  Usually 
this  is  the  routine  that  takes  place  and  when  the  weather 
is  clear  and  visibility  is  good  this  is  commonplace  to  those 
aboard  the  ship. 

The  particular  flight  of  the  Akron  on  April  3rd  was 
for  the  purpose  of  checking  or  calibration  of  radio  direc- 
tion finding  stations  in  New  England,  and  the  ship  left 
its  hangar  at  Lakehurst  about  7:30  P.  M.  with  a  mild  six 
mile  wind.  On  the  ground  the  weather  was  foggy  and  I 
personally  noticed  that,  on  my  way  home  to  Great  Neck, 
the  fog  was  rolling  in.  No  I  was  not  on  the  ship  that 
eventful  night.  I  was  in  New  York  during  the  day  and 
drove  home  about  9  P.  M.  and,  as  I  reside  on  the  water's 


edge,  I  noticed  that  it  was  getting  worse  as  I  had  difficulty 
in  cutting  the  fog  with  my  headlights. 

While  reading  the  evening  papers  and  writing  a  letter 
rather  late,  I  noticed  that  it  started  to  thunder ;  this  was 
about  the  first  thunder  of  this  year  and  I  also  noticed  the 
wind  started  to  kick  up  and  it  developed  to  a  good  sized 
electric  storm.  The  storm  broke  about  midnight  and  was 
still  raging  when  I  retired  for  the  night  about  1  :30  A.  M. 
A  real  good  night  for  sleeping  I  thought,  but  all  of  a  sud- 
den I  found  myself  being  shaken  and  was  told  the  phone 
had  been  ringing  and  the  call  was  for  me.  I  looked  at 
the  clock;  it  was  4:00  A.  M. 

At  first  I  could  not  understand  the  questions  put  to 
me,  but  finally  I  was  asked  if  I  had  heard  that  the  Akron 
had  crashed.  My  answer  to  that  was:  "You  can't  fool 
me;  April  first  is  past!"  Then  my  caller  asked  me  if  I 
was  working  and  I  said  no.  Finally  I  realized  to  whom 
1  was  talking  and  it  turned  out  to  be  Mr.  Montague  the 
assignment  editor  of  Paramount  News.  The  next  thing 
that  was  asked  me  was  if  T  had  my  camera  at  home  and 
some  film.  I  assured  him  I  had  and  he  said :  "Jump  into 
a  taxi  and  go  to  Flushing  Airport  and  get  a  plane  and  go 
out  and  try  and  get  some  pictures  of  the  crash." 

The  only  information  he  could  give  me  was  that  the 
Akron  had  crashed  at  sea  about  thirty  miles  east  of  Barne- 
gat  Light. 

"Call  me  before  you  leave  and  return  to  Newark  Air- 
port and  there  will  be  some  one  there  to  rush  my  film  to 
the  lab.,"  he  said. 

Believe  me  that  was  hard  to  digest  at  four  in  the  morn- 
ing, but  I  kept  thinking  it  over  and  by  the  time  I  had 
dressed  and  collected  my  equipment  I  was  fully  awake. 
I  jumped  in  my  car  and,  although  the  fog  was  heavy,  I 
made  fine  time  to  the  airport  which  is  about  eight  miles 
from  my  home.  I  had  to  get  the  night  watchman  up  and 
helped  him  to  push  planes  around  and  gas  up,  only  to  find 
out  that  some  one  had  made  arrangements  ahead  of  me  by 
phone  and  I  could  not  get  a  ship.  A  still  man  said  I  could 
go  with  him,  but  the  plane  was  an  open  cockpit  Travelair 
and  it  was  starting  to  rain.     I  hated  to  go  in  an  open  job. 

The  Associated  Press  man  on  the  assignment  said  he 
had  talked  to  Clarence  Chamberlin  and  that  he  had  a 
cabin  plane  so  I  got  busy  on  the  phone  and  finally  got 
Chamberlin  to  take  me.  Mr.  Chamberlin  is  interna- 
tionally known  as  a  pilot  and  will  be  remembered  as  the 
(Continued  on  Page  36) 


The  L.  A.   with   plane 
hooked  on. 


The  J-3,  the  small  ship 
that  crashed  same  day. 


Interior  of  the  control 
gondola  of  the  L.  A. 


The    Los    Angeles    at 
her  mooring  mast. 


Shot  of  Wetzel  in  the 
control  gondola. 


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The     INTERNATIONAL     PHOTOGRAPHER 


May,  1933 


The  BEGINNINGS 

of  the   DRAMA 


By 
EARL  THEISEN 


Honorary  Curator  of  Motion  Pictures,  Los  Angeles  Museum 


That  democratic  art,  the  motion  picture  is  founded 
upon  the  same  premises  as  the  modern  legitimate  theater. 
They  hoth  have  a  common  ancestry,  which  dates  back 
to  obscure  historic  times. 

Among  the  earliest  theatricals  were  the  revels  during 
the  festivals  of  Dionysus,  the  Greek  god  of  the  theater. 
In  the  Festivals  of  Dionysus  could  be  found  a  showman- 
ship that  smacks  of  the  20th  century  spectacle,  as  well 
as  something  of  the  convention  of  the  modern  theater. 
This  god  of  Greece  had  the  power  of  lifting  human  be- 
ings to  the  divine  ecstasies.  He  was  a  god  of  the  com- 
mon people,  and  he  raised  his  celebrants  to  inspired  mo- 
ments. In  the  Dionysian  revels,  the  audience  of  worship- 
ers were  catapulted  bv  dance  and  ceremony,  from  one 
episode  to  the  next,  to  a  final  intoxicated  climax.  So  we 
find  in  the  drama  today.  The  present  day  audience  is 
carried  from  one  sequence  to  another  to  a  final  transcend- 
ing climax.  They  are  bombarded  with  impulses  beyond 
their  daily  pattern. 

The  dramaturgic  impulses  have  long  been  rampant  in 
man.  It  is  certain  that  these  impulses  date  back  to  man's 
prehistoric  dawn.  It  is  possible  that  the  taking  of  the 
rib  from  Adam  was  accompanied  with  a  dramatic  cere- 
mony. At  least  such  a  thing  should  have  been  done  in 
time  to  an  impressive  ritual. 

The  earliest  forms  of  drama  were  founded  upon  tribal 
dances  of  a  religious  nature,  with  priests  as  interpreter- 
actors.  From  the  first  it  was  the  hope  of  the  priests,  who 
were  the  earlier  philosophers,  to  raise  the  common  peo- 
ple on  a  par  with  their  cultures  and  philosophies.  It  was 
their  hope  that  one  would  assist  the  other  to  a  perfect 
unity.  The  most  effective  means  in  accomplishing  this 
was  by  dramatizing.  What  ever  the  early  man  wanted 
that  was  beyond  his  physical  power  he  tried  to  get  by 
dramatic  ceremony. 

George  T.  Walterhouse,  an  authority  on  the  early 
drama,  says,  "The  ancient  Greek  ancestor  of  modern 
drama  sprang  from  religion.  Like  other  primitive  peo- 
ples, the  early  Greeks  attempted  to  bring  about  proper 
functioning  of  moon,  sun,  and  reproductive  forces  by 
means  of  ceremonial  costume  dances.  They  believed  that 
they  became  whomever  they  impersonated  and  that  what- 
ever they  enacted  would  actually  happen.  The  result 
was  not  unlike  an  old-fashioned  camp  meeting." 

As  the  Greeks  grew  more  sophisticated,  tin's  con- 
fusion gave  way  to  order.  The  ceremony  was  planned 
in  advance.  Eventually  a  poet  was  selected  to  write  the 
lyrics  and  to  work  out  the  motion  to  the  smallest  detail. 
Such  refinements  made  rehearsals  necessary.  The  par- 
ticipants, now  restricted  in  number  to  a  formal  chorus, 
were  entrusted  to  the  poet  for  training.  At  the  per- 
formance they  were  led  by  the  poet. 

As  leader  of  the  chorus,  the  poet  came  to  reserve  cer- 
tain lyrics  for  himself.  Then  he  commenced  to  imperso- 
nate characters.     Thus  individual  acting  and  drama,  of 


which  elements  had  been  present  from  the  beginning, 
came  into  being.  According  to  tradition,  Thespis  made 
this  innovation  of  impersonation  of  characters  and  won 
the  first  Athenian  tragic  contest  in  534  B.  C."  These 
were  dramas  with  only  one  actor. 

Aeschylus,  during  525  to  456  B.  C,  was  the  first 
of  the  great  tragic  poets.  He  introduced  a  second  actor. 
Most  of  his  seventy-odd  plays  were  handled  by  only  the 
two  actors  and  the  chorus.  Probably  his  three  most  fa- 
mous plays  were  "Prometheus-Bound,"  and  "Agamem- 
non," and  "Suppliant  Maidens,"  all  of  which  have  been 
reproduced  many  times  throughout  the  history  of  the 
theater.     Aeschylus  is  noted   as  a  pioneer   in  stagecraft. 

A  third  actor  was  added  by  the  second  great  tragic 
poet,  Sophocles,  during  496F-406  B.  C.  The  first  actor, 
the  protagonist,  usually  played  the  chief  character,  while 
the  minor  parts  were  divided  between  the  second,  the 
deuteragonist,  and  the  third,  the  tritagonist. 

In  these  tragic  plays,  which  played  such  an  important 
part  in  Grecian  history,  the  actor  shifted  masks  to  indi- 
cate that  he  was  changing  from  one  character  to  an- 
other. This  practice  did  not  seem  ridiculous  to  these 
early  audiences;  and  the  use  of  masks  dated  as  they  did 
from  the  early  ceremonial  dances,  and  the  idea  that  a 
person  became  whomsoever  he  impersonated  still  lingered. 
Nor  did  the  audience  object  to  the  most  obvious  limita- 
tion of  the  mask — abscence  of  changing  facial  expression. 

The  open-air  theaters  were  large,  seating  as  they  did 
about  20,000,  and  stage  lighting  at  its  best  would  have 
been  some  flaming  knots  or  oil  lamps ;  hence  most  of  the 
spectators  could  not  have  seen  the  facial  expressions. 
Then  the  mask  had  this  advantage — its  carefully  con- 
structed mouthpiece  amplified  the  voice.  And  probably 
because  of  the  need  of  a  robust  voice,  all  the  players  were 
men. 

At  this  time  many  character  types  came  into  being 
that  are  still  used  to  symbolize  certain  personalities.  The 
hero  and  heroine  wore  a  blond  wig;  the  clown  or  light 
character  wore  a  mask  with  a  snub  nose;  the  comedian's 
masks   had   a  big  mouth   or   protruding  nose ;  while  the 


A    comedy    scene    taken    from    a    vase    drawing.      This    shows    the 

characteristic    masks    and    costumes    used     in     the    earlier    forms 

of  comedy. 


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May,  1933 


T  he    INTERNATIONAL     P  H  O  T  O  G  R  A  P  H  E 


R 


Seventeen 


heavy  used  a  sleek  black  wig,  and  as  is  the  custom  today 
he  featured  a  beard. 

Lest  the  actorse  seem  unduly  small  under  these  out- 
door stage  conditions,  the  actors  increased  their  stature 
by  wearing  padded  garments  and  stilt-like  boots,  or  'bus- 
kins." These  effect  costumes  are  thought  to  have  been 
originated  by  Aeschylus. 

The  artificiality  of  masked,  padded,  and  buskined 
actors  might  nave  been  avoided  by  changes  in  the  con- 
struction of  the  stage  and  the  theater.  Such  changes 
were,  however,  unthinkable.  The  ceremonies  had,  origin- 
ally, occurred  at  the  temples,  which  often  consisted  of 
only  an  altar  on  the  temple  porch.  When  places  began 
to  be  constructed  especially  for  th,-  drama,  the  temple  top 
became  the  stage  and  the  porch  became  the  orchestra 
place.  The  theater,  like  the  temple,  was  a  sacred  place, 
and  tradition  forbade  radical  changes  in  design.  The 
altar  and  the  door  behind  it  always  remained.  These 
constituted  the  only  scenery,  and  since  death  and  tragedy 
were  important  parts  of  this  drama,  the  altar  was  either 
used  as  an  altar  or  a  tomb.  The  audiences,  who  con- 
tinued to  watch  from  the  open,  imagined  an  incidental 
setting. 

There  were,  of  course,  minor  changes  with  the  pass- 


ing of  time.  At  the  sides  of  the  stage  two  additional 
doors  were  added.  Benches  were  provided  for  the  spec- 
tators, who  sometimes  numbered  twenty  thousand. 

The  spectators  to  these  plays  were  quite  demonstrative, 
when  pleased  they  clapped  and  shouted  their  approval, 
or  they  had  certain  episodes  encored  several  times.  And 
when  displeased  they  hooted  and  knocked  their  sandals 
against  the  seats.  The  country  folk  brought  olives  to 
throw  during  unpopular  passages. 

Everyone  went  to  the  theater  when  the  plays  were 
on.  If  a  seat  could  not  be  bought,  less  desirable  seats 
could  be  had  free  from  the  state.  The  plays  at  first  were 
only  given  once  a  year  for  one  week  during  March. 
Later,  especially  for  the  plays  of  the  last  great  tragic 
poet,  Euripedes,  who  lived  during  480  to  406  B.  C,  stage 
machinery  was  introduced.  These  consisted  largely  of  de- 
vices for  lowering  gods  to  the  stage. 

The  chorus,  which  had  originally  been  the  worship- 
ping dancers,  was  a  fixture  throughout  the  tragic  period. 
However,  it  gradually  became  subordinated  to  the  actors. 
Because  there  were  only  three  actors,  due  to  tradition, 
the  number  of  characters  in  the  play  was  always  small. 
Because  there  was  no  stage  setting,  the  audience  had  to 
(Continued  on  Page  30) 


Photos   Courtesy    Los   Angeles  Museum 
Upper  Left — Theater  of   Dionysus,  at  Athens,  the   most   famous  theate  r  the  world   has  known.     It  was  constructed  during  the   Roman   period. 

It  has  a   raised  stage  and  a   semi-circular  orchestra   for  the   use   o  f  the  dancing  chorus. 
Lower  Left — The  theater  at  Epidaurus,  typical  of  the  theater  of  the  fif  th  century. 

Upper  Right — The  Roman  theater  at  Aspendus,  showing  the  stage  which    had  for  scenery  a  house  front;  the  best  preserved  of  the  early  theaters. 
Lower  Right — The  Roman  theater  at  Epheus.    This  shows  what  happen  ed  to  the  theater  during  the  middle  ages,  when  all  drama  came  to  a 

pause  due  to  the  imperial  license  in  favor  of  the  Christian  church. 


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Eighteen 


The     INTERNATIONAL     PHOTOGRAPHER 


May,  1933 


•m 


f    rl   B    Wt  t 


-  1  *'  r 


II 


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PPf   ^    ^  j-jg,    j 


•ifu  &' 


FINE  WORK 

Gordon  Jennings,  assisted  by  his  brother  Dev,  did  the 
special  effects  on  the  Paramount  special,  "King  of  the 
Jungle,"  featuring  Buster  Crabbe.  Lucky  Humberstone 
directed  and  the  production  is  pronounced  a  technical 
masterpiece.  Gordon  Jennings  is  head  of  the  Paramount 
special  effects  department  and  the  work  of  the  brothers  is 
a  feature  of  the  production. 


EFFICIENCY 

Douglas  Shearer,  chief  sound  engineer  at  the  M-G-M 
Studios,  has  a  Western  Electric  Type  12A  loudspeaker  in 
his  office.  It  is  wired  directly  to  the  amplifying  room  and 
can  be  hooked  in  on  the  sound  channels  of  every  sound 
stage  on  the  lot.  A  volume  control  sound  panel  is  con- 
veniently at  hand  near  his  desk  for  regulating  purposes. 
This  enables  him  to  detect  any  trouble  in  the  system  and 
quickly  determine  and  rectify  the  cause.  In  addition  to 
this  novel  and  efficient  method  of  keeping  his  finger  on 
the  sound  pulse  of  his  department  he  has  a  Western  Elec- 
tric 4-D  receiving  unit  equipped  with  a  2-B  tuning  unit, 
hooked  up  with  the  same  loudspeaker  for  radio  reception. 


A  HIVE  OF  INDUSTRY 

The  Paramount  still  department  is  a  hive  of  industry 
under  the  capable  management  of  Harry  Cottrell.  His 
photographic  staff  consists  of  some  of  the  best  artists  in 
the  industry.  They  are  Eugene  Robert  Richie,  the  por- 
trait artist;  Irving  Lippman  and  Don  English,  publicity 
wizards;  and  William  Walling,  Jr.,  Mack  Elliott  and 
Sherman  Clark,  crack  production  still  photographers. 

To  give  some  idea  of  the  amount  of  material  used  in 
this  department  during  a  year,  figures  are  submitted : 

54,000—8  by  10  negatives;  12,000—4  by  5  negatives; 
5  tons  of  Hypo;  2,000  lbs.  of  sodium  sulphite,  and  other 
ingredients  in  proportion. 

The  equipment  in  the  still  laboratory  is  of  the  most 
modern  type  and  much  credit  is  due  Harry  Cottrell  for 
the  efficient  manner  in  which  this  department  functions. 


LOST 

The  Tom  White  Expedition,  of  which  Guy  Wilky 
and  Paul  Perry  were  the  cinematographers,  recently  re- 
turned from  Ceylon.  While  en  route  from  Ceylon  and 
while  transferring  from  the  S.S.  Porthos  to  the  S.S.  Presi- 
dent Coolidge  at  Hong  Kong,  a  perfectly  good  recording 
head  was  either  lost  or  stolen.  If  stolen  someone  evi- 
dently thought  it  a  camera  and  made  away  with  it.  For- 
tunately, however,  the  equipment  was  fully  covered  by 
insurance  placed  through  E.  Broox  Randall  &  Sons,  a 
leading  Hollywood  firm  of  insurance  underwriters,  and 
full  settlement  of  the  claim  was  immediately  made. 


TEK'NIK-TOWNE 

PROGRESS  IN  MAKE-UP 

Do  you  know  that  the  Max  Factor  Company  maintain 
a  research  department  where  make-up  problems  are 
worked  out  for  your  benefit?  If  you  have  never  availed 
yourself  of  this  important  service  you  should  get  ac- 
quainted with  it.  This  department  has  been  expressly 
established  for  the  benefit  of  the  studio  make-up  artists, 
as  well  as  the  individual  stars.  We  recommend  a  closer 
co-operation  with  this  important  service. 


SPECIAL  EFFECTS  LAB 

The  Special  Effects  Laboratory,  owned  by  Ray  Mer- 
cer, is  another  valuable  addition  to  the  industry.  Mr. 
Mercer  claims  to  have  perfected  a  smooth  fade  or  dis- 
solve. It  is  well  known  that  a  camera  does  not  make  a 
perfect  fade,  because  the  exposures  drop  off  too  abruptly. 

Mercer's  fades  are  made  on  the  original  negative  from 
1  to  14  feet  in  length  and  perfectly  graduated  in  density. 
A  great  many  of  the  recently  released  pictures  contain  a 
bit  of  Mercer's  handiwork,  unpublicized  and  perhaps 
unknown,  most  of  his  work  being  done  on  a  sub-contract 
basis. 

Some  of  the  interesting  effects  he  has  devised  are,  first, 
the  turning  page  change  of  scene  and  a  new  one  as  yet 
unused  ;  the  effect  of  a  scene  sliding  off  the  screen  and  a 
scene  sliding  on  at  the  same  time.  This  is  not  an  ordi- 
nary wipe-off.  In  addition  to  these  Ray  has  many  other 
effects  worth  while  looking  into. 


WORLD'S   FASTEST  LENSES 

The  Mitchell  Camera  Company  has  received  a  ship- 
ment of  new  Astro  lenses  with  the  enormous  speed  of 
F:0.95. 

These  lenses  have  a  theoretical  speed  of  twenty-two 
times  that  of  an  F:4.5  or  four  times  that  of  an  F:1.9. 

Not  to  be  outdone,  the  Carl  Zeiss  Company  announce 
a  lens  with  a  guaranteed  relative  aperture  of  F:0.85.  It 
is  primarily  intended  for  X-Ray  cinematography.  Won- 
der what  the  next  step  will  be? 


NEW  MOVIOLA 

Iwam  Serrurier,  of  the  Moviola  Companj ,  announces 
the  completion  of  a  new  Moviola  incorporating  many  new 
features.  It  consists  of  four  heads,  one  for  viewing  and 
three  for  sound  track,  each  with  volume  control.  Split 
or  full  width  sound  film  can  be  used.  This  machine  will 
permit  the  film  editor  to  combine  dialogue,  music  and 
sound  effects  and  determine  the  best  combination. 


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May,  1933 


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TEK-NIK-TOWNE 

REZ-FOC 

Steve  Rez'  discovery  of  a  new  artificial  toil  with  the 
qualities  of  safety,  stability,  harmlessness,  ease  of  applica- 
tion, natural  appearance  and  beauty,  performed  a  distinct 
service  to  the  production  department  of  motion  pictures. 

Mr.  Rcz.  has  been  for  several  years  a  painter  in  the 
studios  and  he  is  classed  as  a  spray  gun  expert — one  of 
the  best  in  the  world.  During  the  past  three  years  he 
has  been  in  the  paint  department  of  R-K-O  studios  and 
his  new  fog  has  been  in  process  of  testing  during  the 
past  two  years.  So  perfect  was  its  performance  in 
KING  KONG  and  THE  MOST  DANGEROUS 
GAME  that  Mr.  Rez  received  personal  letters  of  en- 
dorsement from  Merian  C.  Cooper  and  Ernest  B. 
Schoedsack  of  R-K-O,  also  the  highest  praise  from  Eddie 
Linden  and  Henrv  Girard,  chief  of  cameramen,  re- 
spectivelv  of  KING  KONG  and  THE  MOST  DAN- 
GEROUS GAME. 

The  new  fog  can  be  placed  where  desired,  in  the 
required  consistency  and  will  stay  where  placed.  It  is 
not  in  the  least  harmful  to  human  beings,  animals,  cloth- 
ing, metal,  plants  or  any  growing  things. 

It  is  not  liquid  smoke  or  anything  like  it  and,  to  all 
intents  and  purposes,  it  appears  to  be  the  perfect  product 
in  its  class. 


MEASURING  MARVEL 

The  Cragar  Corporation,  precision  engineers,  have, 
as  part  of  their  equipment  an  instrument  capable  of  meas- 
uring to  .000005  of  an  inch.  This  is  splitting  hairs  rather 
fine,  particularly  when  you  consider  that  a  hair  measures 
from  .002  to  .004  of  an  inch  in  thickness.  It  is  a  Pratt  & 
Whitney  measuring  machine  with  plugs  accurate  to 
.000005  of  an  inch  and  to  insure  accuracy  of  measurement 
this  instrument  is  used  in  a  constant  temperature  of  72 
degrees  Fahrenheit. 

The  Crager  Corporation  claims  that  this  is  the  only 
instrument  of  its  kind  west  of  the  Mississippi  River.  A 
year's  time  is  required  for  manufacture,  it  being  necessary 
to  thoroughly  season  the  metal,  and  great  care  exercised 
in  its  manufacture. 

Tn  addition  to  this  valuable  piece  of  equipment,  every 
class  of  precision  machinery  is  represented  and  available 
for  the  most  advanced  type  of  mechanical   research. 

There  recently  has  been  a  change  in  the  management 
of  the  Cragar  Corporation  and  as  a  part  of  their  service 
arrangements  can  be  made  to  rent  machines  and  space. 
An  interesting  thing  in  connection  with  their  plant  is  that 
it  was  originally  erected  by  King  C.  Gillette,  of  safety 
razor  fame,  to  be  used  as  a  technical  research  laboratory 
for  inventors,  all  on  a  non-profit  basis. 


MEGOFLEX 

Cliff  Thomas,  of  the  Hollywood  Camera  Exchange, 
has  just  received  a  shipment  of  Megoflex  Critical  Focus- 
ers.  The  Megoflex  is  an  ideal  finder  and  distance  meter 
combined  with  an  automatic  focusing  adjustment,  and  by 
attaching  the  Megoflex  to  your  Leica  it  will  be  con- 
verted into  a  reflex  camera. 


PRINTED  INSERTS 


Do  you  know  that  the  Earl  Hays  Press  is  the  onl) 
print  shop  solely  devoted  to  the  making  of  printed  inserts 
for  motion  pictures?  Mr.  Hays  prints  anything  from  a 
theatre  ticket  stub  to  a  newspaper.  He  printed  the  first 
full  page  newspaper  used  as  an  insert  in  "Speed  Girl."  a 
Hebe  Daniels  picture  produced  in  1921. 


DeVry  Sound  Recording  Camera 

(Continued  from  Page  8) 
tains  uniform  speed  even  with  a  variation  in  load  or 
voltage  of  15  per  cent.  Gears  are  of  steel  and  micarta 
throughout.  The  camera  has  been  completely  silenced. 
Three  lens  turret  provides  for  instantaneous  change  to 
different  lenses. 

DeVry  Amplifier 

rhe  DeVry  recording  amplifier  is  self  contained  in 
a  compact  case.  It  is  equalized  to  compensate  for  loss 
in  processing  of  the  film.  Non-microphonic  tubes  are 
used  and  it  is  provided  with  wire  wound  resistances, 
non-inductive  condensers,  filtering  in  all  grid  and  plate 
circuits.  Meters  enable  all  circuits  to  be  checked  at  a 
glance.  The  volume  control  operates  silently  and  smooth- 
ly and  a  monitoring  jack  enables  the  operator  to  deter- 
mine exactly  what  is  being  recorded.  A  calibrated  vol- 
ume indicator  is  built  into  the  amplifier  and  coupled  to 
the  output,  and  indicates  the  actual  decibel  level  into 
the  recording  lamp.  This  amplifier  will  operate  on  any 
type  of  recording  lamp,  either  two  or  three  element,  and 
will  record  frequency  range  from  20  to  12,000  cycles  with 
the  proper  lamp  and  lens  system. 

The  DeVry  amplifier  incorporates  the  most  radical 
improvement  made  in  years,  in  the  matter  of  reducing 
weight  and  bulk  of  sound  recording  equipment.  This 
improvement  greatly  reduces  the  bulk,  weight  and  num- 
ber of  parts  of  recording  camera  equipment.  Whereas 
other  complete  sound  recording  systems  weigh  from  600 
to  1,600  pounds  friction  head — the  DeVry  complete 
weighs  less  than  150  pounds,  including  every  item  of 
equipment — camera,  magazine,  storage  battery,  micro- 
phone, tripod  and  all  necessary  cables.  This  radical 
(Continued  on   Page  46) 


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A  group  shot  of  the  Eskimo  after  the  Cari- 
bou kill.  The  houses  are  a  temporary 
shelter  made  of  rocks  with  caribou  skin 
as  roof.  On  the  left  may  be  seen  the 
Umjaks  or  skin  boats  made  of  walrus 
hide.  These  boats  are  their  only  trans- 
portation so  far  as  the  water  goes.  In 
background  is  seen  the  ceremonial  dance 
celebrating  the  Caribou  hunt  and  kill. 
From  the  M-G-M  production  "Eskimo." 
Directed  by  Col.  W.  S.  Van  Dyke  of 
"White  Shadows"  and  "Trader  Horn" 
fame. 
Photo   by  Roy   Clark. 


NEW  FEARLESS  HYDRAULIC  CAMERA  DOLLY 

The  Fearless  Camera  Company  has  announced  its 
latest  development  in  a  camera  dolly.  Their  new  dolly 
has  three  wheels  and  the  front  wheel  may  be  rotated 
through  an  entire  circle.  The  dolly  base  is  a  large  alumi- 
num casting  with  a  floor  approximately  40  by  74  inches 
in  size,  allowing  ample  room  for  a  cameraman,  assist- 
ant cameraman,  director  and  mikeboom  soundman  to  be 
carried  on  the  dolly.  Provision  is  made  in  the  base  for 
carrying  lights  and  a  mikeboom  support  column  is  fur- 
nished with  the  dolly. 

Extraordinarily  low  camera  angles  may  be  had  with 
this  dolly  which  has  an  elevation  range  from  18"  to 
66".  From  the  floor  to  the  top  of  the  friction  head  is 
18"  in  the  low  position,  when  using  the  baby  elevator. 
This  baby  elevator  has  an  adjustment  range  of  9",  thus 
giving  positions  from  18"  to  27"  from  the  floor  to  the 
top  of  the  friction  head.  Lens  positions  when  using  the 
camera  outside  of  a  blimp  and  when  using  the  baby  ele- 
vator are  from  22"  to  31".  When  an  Educational 
type  blimp  is  used  the  lens  positions  are  25"  to  34"  with 
the  baby  elevator.  The  baby  elevator  is  screwed  into  a 
carrying  boss  over  the  front  wheel  when  not  in  use. 

The  main  elevating  column  is  of  the  hydraulic  type, 
although  a  screw  type  can  be  furnished  as  optional  equip- 
ment.    This  elevator   has  an   elevation   range   from   25" 


to  67"  to  the  friction  head  which  gives  lens  center  ele- 
vations of  32"  to  74",  when  used  with  an  Educational 
type  of  blimp.  Extremely  massive  construction  has  been 
used  in  the  guiding  column  which  is  entirely  separate 
from  the  elevator  mechanism.  Large  steel  tubes  prevent 
any  play  or  shake  of  the  camera,  even  while  in  the  top 
position.  Suitable  clamping  locks  hold  the  friction  head 
in  any  desired  position.  A  valve  is  used  to  control  the 
speed  in  lowering  the  camera  from  its  elevated  position. 
A  continuous  flow  type  of  pump  is  used  to  force  the  oil 
into  the  hydraulic  ram  for  elevating  the  camera. 

Automatic  cable  reels  can  be  readily  attached  to  this 
dolly  so  that  cables  do  not  interfere  with  dolly  operation 
when  making  a  dolly  shot. 

Electric  motor  drive,  of  the  silent  type,  can  be  fur- 
nished and  when  this  is  used  the  dolly  may  be  steered 
from  the  dolly  floor. 

The  entire  construction  embraces  the  finest  engineer- 
ing practice  and  all  materials  used  are  of  the  very  highest 
grade. 

Patent  applications  are  pending  on  the  design  and 
numerous  unique  features  of  construction. 


THE  FILM  PARADE 


The    Fearless    Camera    Dolly    with    the    standard    camera    support    in 
position.     Note    high    hat    being  carried   on   front  of   dolly. 


Commodore  J.  Stuart  Blackton  has  produced  an  epic. 
A  glorified  history  oo  the  screen,  of  the  screen.  "The 
Film  Parade"  shows  the  progress  of  the  art  of  motion 
picture  photography  from  its  inception  to  the  present  day 
and  is  of  especial  interest  to  anyone  that  appreciates  the 
changes  that  are  so  apparent.  The  fact  that  the  first 
commercial  efforts  of  projected  film  dates  back  only 
thirty-six  years  is  marvelous.  You  see  the  progressive 
jumps  in  technique  of  acting,  sets,  smoothness  of  cut- 
ting, etc.  The  changes  in  lighting  are  very  noticeable. 
It  has  shown  how  trick  photography  was  discovered  and 
how  sound  was  first  used  ;  also  to  see  some  of  the  pres- 
ent day  favorites  in  some  of  their  efforts  is  very  amus- 
ing. When  you  read  the  following  list  of  names,  under- 
stand what  thye  represent  and  consider  the  era  of  their 
fame  you  will  realize  what  a  vast  amount  of  energy  must 
have  been  expended  by  Commodore  Blackton  to  procure 


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Mala,  our  leading  man,  congratulates  an- 
other "Eskimo"  couple  on  the  arrival  of 
their  new  born — shot  at  the  Eskimos' 
summer  camp  far  into  the  Arctic  Circle. 
The  tent  on  the  left  is  rather  similar  to 
the  Indian  tepee  only  made  of  Caribou 
skins.  An  M-C-M  production  of  "Eskimo." 
Directed  by  W.  S.  Van  Dyke;  Clyde 
De  Vinna,  chief  cinematographer. 

Photo  by  Roy   Clark. 


their  representation — truly  a  historical  list  of  screen 
fame:  Mary  Pickford,  Charlie  Chaplin,  Douglas  Fair- 
banks, Lionel  Barrymore,  Rudolph  Valentino,  Maurice 
Costello,  John  Bunny,  Clara  Kimball  Young,  Sidney 
Drew,  Gladys  Hulette,  Cissie  Fitzgerald,  Paul  Panzer, 
Flora  Finch,  Anita  Stewart,  Earle  Williams,  Milton 
Sills,  Tom  Mix,  Buck  Jones,  Ramon  Novarro,  Dorothy 
Gish,  Barbara  LaMarr,  Lillian  Gish,  Bobby  Harron, 
Mabel  Normand,  Bessie  Love,  Ben  Turpin,  Francis  X. 
Bushman,  Blanche  Sweet,  Bobby  Vernon,  Broncho  Billy, 
Alia  Nazimova,  Oliver  Hardy,  Larry  Semon,  Malcolm 
MacGregor,  Edna  Purviance,  Lon  Chaney,  Robert  Mc- 
Kimm,  Marguerite  de  la  Motte,  Jimmie  Finlayson,  John 
Gilbert,  Renee  Adoree,  Mickev  Mouse. 


VICTOR    ANNOUNCES    COMBINATION    32V-110V, 

AND  UNIVERSAL  110V  TO  250V 

16  MM.  PROJECTORS 

Two  new  projectors  have  been  added  to  the  Model 
10  Series  by  Victor  Animatograph  Corporation,  Daven- 
port, Iowa,  to  meet  certain  domestic  and  foreign  de- 
mands. 

In  numerous  midwestern  and  northwestern  commu- 
nities of  the  United  States,  many  schools,  churches  and 
homes  derive  their  electric  power  from  32  volt  lighting 
plants.  In  these  same  localities  are  towns  serviced  with 
110  volt  current,  with  the  result  that  county  agents, 
school  superintendents,  salesmen,  etc.,  must  provide  for 
both  voltages  in  connection  with  the  use  of  picture  equip- 
ment. Heretofore  the  equipment  owner  found  it  neces- 
sary to  buy  both  the  110V  and  32V  motors  and  lamps 
and  to  interchange  them  when  necessary. 

The  new  Victor  IOC  Projector,  which  is  a  combina- 
tion 32V-110V  equipment,  has  already  been  enthusias- 
tically received  in  such  communities. 

Both  the  Models  10E  and  IOC  will  have  all  of  the 
latest  improvements  of  the  Model  10  Series  of  Victor 
projectors,  including  Hi-Power  Optical  System,  Rack- 
and-Pinion  Tilt,  Pilot  Light,  etc.  List  prices  for  the 
United  States  will  be  $198.00,  complete,  including  carry- 
ing case. 

Donald  B.  Oliver,  better  known  to  the  photographic 


Mr.  Henry  Kruse,  member  of  Lo- 
cal No.  659,  of  The  International 
Photographers,  has  joined  the  staff  of 
this  magazine  as  assistant  to  Manager 
Edward  Edward  T.  Estabrook. 

Mr.  Kruse,  besides  being  an  effi- 
cient cameraman  and  an  orchestra 
leader  of  skill  and  accomplishment,  is 
a  natural  born  mixer  and,  therefore, 
popular  with  the  studio  folk  and  the 
clientele  of  our  publication. 

Any  courtesy  extended  to  Mr. 
Kruse  will  be  appreciated,  not  only  by  the  management  of 
The  International  Photographer,  but  by  the  entire  per- 
sonnel of  Local  659. 

This  announcement  will  constitute  Mr.  Kruses'  cre- 
dentials to  negotiate  for  advertising  and  subscriptions  and 
to  arrange  for  art  and  editorial  matter  for  publication  in 
the  magazine. 

It  is  not  out  of  place  here  to  call  attention  to  the  fact 
that  Mr.  Kruse  is  conductor  of  the  Paraval  Dance  Club 
and  orchestra,  2905  Sunset  Boulevard. 

trade  as  "Captain"  Oliver,  has  severed  his  connection  with 
Bell  &  Howell  and  entered  the  service  of  Victor  Anima- 
tograph Corporation,  Davenport,  Iowa.  Oliver  will  work 
as  a  special  factory  representative,  contacting  Victor  Dis- 
tributors and  Industrials  throughout  the  middle  west, 
south  central,  and  south  Atlantic  states. 


New   Fearless   Camera    Dolly   with    high-hat    in    position    showing 
minimum  height. 


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a  Tragedy 

in  Sound 


Charles  Edgar  Fritts  might  have  been  another  Stein- 
metz  or  Edison,  had  not  poverty  and  physical  disability 
combined  to  thwart  him.  From  the  records  of  his  patents 
his  interests  extended  over  widely  separated  fields,  in- 
cluding subjects  listed  under  such  cryptic  headings  as 
"Curtain  Fixtures,"  "Telegraph,  "Car  Coupling,"  "Sele- 
nium Cells,"  "Methods  and  Means  for  the  Transmission 
of  Electric  Currents,"  and  others  too  numerous  to  men- 
tion. At  his  death  his  papers  included  man)  original 
ideas  in  a  wide  variety  of  fields  for  which  patent  appli- 
cations never  were  made  and  which,  therefore,  were 
never  put  to  practical  use. 

But  the  invention  for  which  posterity  will  chiefly 
remember  Fritts  is  that  filed  in  the  United  States  Patent 
Office  on  October  22nd,  1880,  which  describes  new  and 
original  means  for  photographing  sound  and  reproducing 
it  photographically  which  forms  the  basis  of  all  modern 
sound  motion  picture  recording  and  reproducing  systems 
in  use  today. 

In  the  early  1880's  Fritts  constructed  a  device  for 
photographically  recording  and  reproducing  sound  which 
was  successfully  operated  in  his  laboratory.  He  used  a 
light  slit  about  100  mils  wide.  But  according  to  the 
records  it  was  fullv  eleven  years  after  his  pitiful  death 
that  his  basic  patent,  No.  1,203,190,  was  granted — thirty- 
six  years  after  it  was  filed.  The  reasons  for  this  un- 
precedented delay  were  many,  but  perhaps  chief  among 
them  was  the  fact  that  the  principles  covered  in  his 
application  were  so  original  that  they  were  not  at  first 
comprehensible  tc  the  Patent  Office  officials.  This  parent 
patent  covers  broadly — photographic  recording  of  sound, 
photographic  reproduction  of  sound  and  a  photographic 
-•ound  record.  It  correctly  delineates  the  underlying  prin- 
ciples which  nre  utilized  today.  This  patent  was  ac 
quired  by  the  Victor  Talking  Machine  Company  and 
later   transferred   to   RCA    Photophone,    Inc.      The   onl\ 


An  unusual  shot  by  Gene  Kornman,  still-man  on  Jessie 
production,  "The  Power  and  the  Glory" — a  Fox  release. 
Howard   was  the  director  and   James  Howe,  cameraman-in 

fault  of  Mr.  Fritts'  invention  is  that  it  appeared  before 
the  world  was  ready  to  receive  it.  Half  a  century  later, 
others  erected  a  large  industry  on  the  firm  foundation 
prepared  by  Mr.  Fritts.  But  he  died  in  poverty, 
wretched,  disappointed  and  bitter  like  so  many  creative 
leaders  who  were  in  advance  of  their  time. 

Charles  Edgar  Fritts  was  born  October  13,  1838,  at 
Oneonta,  Otsego  County,  New  York,  the  son  of  William 
S.  and  Lydia  McDonald  Fritts.  He  died  in  New  York 
City  April  7,  1905.  He  was  educated  in  public  schools 
of  Oneonta,  followed  by  three  years  in  Select  School. 
From  there  he  went  to  Delaware  Literary  Institute  at 
Franklin,  New  York,  where  he  showed  especial  pro- 
ficiency in  Greek,  Latin  and  German.  After  two  years, 
however,  he  was  obliged  to  interrupt  his  studies  and  go 
to  work. 

Fritts  kept  abreast  of  his  varied  interests  by  supple- 
menting his  formal  education  with  systematic  and  diligent 
reading  of  scientific  and  technical  journals,  and  by  minute 
and  painstaking  study  of  a  number  of  the  best  known 
work  on  physics,  chemistry  and  kindred  sciences. 

He  taught  school  for  a  \ear,  then  learned  the  watch- 
making and  repairing  trade.     After  an  unsuccessful  ven- 
ture  in    the   nurserv   business,    he    returned    to   watch   re- 
pairing.    In  his  chosen  work  of  watch  repairing,  he  was 
very  successful.     His  fame  in  this  work  is  shown  by  his 
books,  each  of  which  was,  and  the  last  still  is,  an  author- 
ity on   the  subject.      Later,   when   he  had  established  his 
home  in  New  York,  he  was  engaged  by  a  Mr.   Hopkin- 
son,  a  former  acquaintance  and   editor  of   the  Jewellers' 
Circular,    to    write    articles    for    the    paper.      Under    the 
name   of    "Excelsior,"    he    conducted    an    inquiry    column 
in  the  Jewellers'  Circular  that  made  him  widely  known 
in    that    field.      Subsequenth ,    he    was    presented    with    a 
massive    gold    medallion    with    the    following   inscription: 
Presented  to  Excelsior  by  the  watch  makers 
of  America,  as  a  token  of  the  esteem  in  which 
he  is  held,  and  a  mark  of  the  admiration  won 
In     his     practical,     instructive    and     intelligible 
Treatise  on  Horology,  New  York,  1877. 


Laskv  bi 
Willi  K 
chief  Hv 


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players    were    Spencer    Tracey    and    Colleen    Moore.      Looks 
of  trouble  to  get  one  or  two  little  shots — but  that's  what 
ovies— movies. 

Mr.  Hopkinson,  together  with  several  others,  fur- 
nished funds  for  the  development  and  patenting  of  Fritts' 
inventions.  A  laboratory  was  established  where  he 
worked,  slept  and  prepared  his  own  meals.  He  occupied 
three  small  rooms  in  a  modest  building  consisting  of 
a  bedroom,  kitchen  and  space  for  the  laboratory  para- 
phernalia. 

With  the  aid  of  two  young  assistants  who  came  to 
help  him  by  day,  he  conducted  elaborate  and  exhaustive 
experiments  of  which  he  made  and  kept  complete  notes. 
It  was  here  that  Fritts  developed  and  perfected  his  sele- 
nium cells  which  brought  him  world  fame  and  made  him 
a  recognized  authority  on  the  subject.  One  of  his 
projects  was  an  attempt  to  make  selenium  cells  so  sen- 
sitive that  they  could  photograph  a  person  talking  on  the 
telephone  and  permit  the  person  on  the  other  end  of  the 
phone  to  see  him. 

Physically  he  was  not  strong.  He  had  some  leg 
trouble  as  a  boy  which  with  the  advancing  years  became 
worse  until  it  finally  incapacitated  him  almost  entirely. 
One  of  his  legs  had  been  amputated  in  the  70's  and  he 
wore  an  artificial  limb  thereafter.  He  was  also  hard 
of  hearing. 

When  the  funds  furnished  by  Hopkinson  and  others 
had  become  exhausted,  the  experimental  work  was  dis- 
continued as  he  had  no  funds  of  his  own.  He  then 
relied  entirely  on  his  writings  as  a  means  of  livelihood, 
and  continued  to  furnish  articles  for  the  Jewellers'  Cir- 
cular until  about  1894. 

Of  a  secretive  nature  which  confided  in  no  one,  he 
kept  very  much  to  himself  and  was  not  inclined  to  make 
or  keep  friends.  His  physical  disability  increased  so  that 
he  was  helpless  from  the  waist  down.  After  severing 
his  connections  with  the  Jewellers'  Circular,  his  for- 
tunes grew  steadily  worse.  He  barely  subsisted  on  the 
meagre  royalties  that  came  in  from  the  sale  of  his  books. 
He  kept  to  his  rooms  almost  entirely  and  one  summer 
was  in  such  straits  that  he  lived  on  milk  and  bread  alone. 
Another  winter  he  was  so  cold  that  he  had  to  pack 
newspapers   around    his   back    and    chest    to    try    to    keep 


warm.  His  paralysis  grew  worse  until  he  was  entirely 
helpless.  One  night  he  fell  out  of  his  bed  and  was 
unable  to  make  his  way  back  without  calling  for  help. 
Although  sick  almost  all  of  the  time  he  was  too  poor 
to  summon  medical  aid,  until  at  the  end  he  was  taken  to 
a  hospital  where  he  died  in  1905,  at  the  age  of  66.  He 
was  buried  in  the  family  plot,  Riverside  Cemetery,  One- 
onta,  New  York.  Under  these  pitiful  conditions  did  one 
of  the  most  promising  inventors  of  the  century  spend 
his  life,  to  die  unrecognized  and  unrewarded,  bitter 
against  his  unsurmountable  hardships  to  the  end. 


LOST  OR  STRAYED? 

Was  $1,500,000,000  taken  in  last  year  at  the  box 
offices  of  the  motion  picture  theatres  of  the  United 
States? 

Did  the  pictures  that  were  exhibited  in  these  theatres 
cost  only  $150,000,000? 

Is  it  a  fact  that  the  studios  get  back  out  of  every 
dollar  received  at  the  aforesaid  box  offices  only  13c? 

All  right,  then,  13  cents  out  of  one  billion,  five  hun- 
dred million  dollars  equals  $195,000,000. 

Now  if  the  studios  spent  only  $150,000,000  during 
that  time  there  is  $45,000,000  in  profits  lying  around 
loose  somewhere,  for  the  difference  between  $195,000,000 
and  $150,000,000  is  $45,000,000.  And  yet  the  studios 
are   hard   up. 

Heigh  !  Ho  !  Funny  how  a  little  item  like  $45,000,000 
can  be  misplaced. 


CONQUERS  THE  WORLD 

Pliny  Goodfriend  departed  via  Continental  Air  Lines, 
March  22,  for  New  York,  where  he  will  oufit  for  six 
months  to  the  upper  Amazon.  There  he  will  do  the 
camera  work  on  a  big  production  sponsored  by  a  well 
known  author  whose  name  for  the  present  may  not  be 
divulged.  The  locale  is  in  a  place  where  white  men  have 
never  yet  pushed  their  explorations.  Slowly  but  surely 
the  camerman  is  conquering  the  world. 


Please   mention  The    International    Photographer   when   corresponding  with   advertisers. 


Twenty-four 


T  h 


INTERNATIONAL  PHOTOGRAPH 


Max,  1933 


EASTMAN 
FILMS 


BRULATOI 


WHAT'S    WHAT! 


Published  Monthly  by  J.  E.  Brulatour,  Inc.,  Distributor;  Ea 


FOX 

With  resumption  of  production  at  the 
Fox  Western  Avenue  Studios,  under 
the  supervision  of  Mr.  Sol  Wurtzel,  and 
continued  heavy  schedule  at  Movietone 
City,  the  Fox  production  program  cur- 
rently tops  volume  consumption  of 
Eastman  Super-sensitive  Panchromatic 
negative   on   the   West   Coast. 

JOHNNY  SEITZ  is  turning  in  final 
scenes  on  the  Janet  Gaynor  picture, 
"Adorable,"  under  the  direction  of 
William  Dieterle.  Seitz  is  seconded  by 
Joe  McDonald,  with  Lou  Molino  and 
Eddie    Collins    as    assistants. 

LEE  GARMES  is  putting  the  finish- 
ing touches  to  the  Lillian  Harvey  pic- 
ture, "My  Lips  Betray,"  under  the  di- 
rection of  Jack  Blystone.  Associated 
with  Garmes  on  this  production  were 
Warren  Lynch,  Johnny  Schmitz,  Jockey 
Feindell  and  Stanley  Cortez  as  seconds, 
with  Warner  Cruze  and  H.  C.  Smith 
as   assistants. 

LOU  O'CONNELL  is  in  the  final 
production  shots  on  the  Frank  Craven 
production,  "Five  Cents  a  Glass."  Don 
Anderson  is  the  second  cameraman ; 
Harry  Daw  and  Russell  Hoover,  as- 
sistants. 

JAMES  WONC  HOWE,  assisted  by 
Paul  Lockwood  and  Harry  Webb,  is 
photographing  the  Spencer  Tracy  opus, 
"Power    and    Glory." 

ARTIE  MILLER  is  in  charge  of  the 
cameras  on  Dave  Butler's  current  pro- 
duction, "Hold  Me  Tight,"  starring 
Jimmy  Dunn.  Joe  La  Shelle  is  sec- 
ond cameraman,  and  Bill  Abbot  and  Al 
Lebovitch,   assistants. 

BOB  PLANCK  is  the  Number  One 
boy  on  the  Wurtzel  unit  at  the  West- 
wood  plant  photographing,  "It's  Great 
to   Be  Alive." 

HAL  MOHR,  who  topped  his  pre- 
vious fine  efforts  with  "State  Fair," 
is  turning  in  a  photographic  encore  in 
"I  Loved  You  Wednesday."  Bill  Skall 
and  Irving  Rosenberg  are  the  seconds, 
Bob  Surtees  and  Robert  Mack,  assist- 
ants. 

ERNIE  PALMER,  who  continues  to 
take  bows  on  "Cavalcade,"  has  started 
work  on  "Berkeley  Square,"  under  the 
direction  of  Frank  Lloyd.  Ernie  is 
seconded  by  Dave  Regan  and  Jake 
Badaracco,  and  assisted  by  Bud  Man- 
tino    and   Jack   Epstein. 


UNIVERSAL 


JOHNNY  HICKSON  is  on  another 
serial  and  has  associated  with  him  Bill 
Sickner  at  first  camera,  Buddy  Weiler. 
Carl  Meister  and  Charley  Crane,  as 
assistants.  Len  Galezio  is  doing  the 
air  stuff  with  Paul  Hill  assisting  him. 

LEN  POWERS  has  completed  an- 
other  Warren  Doane  comedy  entitled, 
"Their  First  Case."  (Wonder  wit*, 
kind  of  a  case?)  Jimmie  Home  u. 
rected,  and  the  assistant  cameramen 
were  Walter  Williams  and  Harold  Gra- 
ham. 

FRED  CAMPBELL,  formerly  in 
charge  of  the  Pathe  camera  department, 
is  now  holding  the  same  executive  po- 
sition at  Universal  where  he  is  ob- 
taining the  fullest  cooperation  of  all 
his  co-workers. 


M.G.M. 

RAY  JUNE  continues  to  turn  in  his 
best  brand  of  photography  on  the 
M.G.M.  production,  "When  Ladies 
Meet."  He  is  seconded  by  Les  White 
and   assisted   by   Wilbur    Bradley. 

OLLIE  MARSH  is  back  in  produc- 
tion with  Clarence  Brown  on  a  big 
aerial  epic.  "Night  Flight."  Associated 
with  Marsh  (on  the  ground  work)  are 
Fitzgerald  and  Meade,  and  on  the  air 
stuff,  Elmer  Dyer,  whose  activity  is 
reported  in  another  section  of  this  Bul- 
letin. 

HAL  ROSSON,  following  a  few  .lays' 
vacation,  has  resumed  work  with  Sam 
Wood  on  "Hold  Your  Man."  Rosson 
has  Dick  Wade  as  second  and  Ii£.rry 
Parkins    as    assistant. 

GREGG  TOLAND  and  CLYDE  DE 
VINNA  have  been  in  San  Francisco 
and  points  north  (as  far  as  Seattle) 
during  the  past  month,  making  inci- 
dental and  background  scenes  ior  the 
Mervyn  Le  Roy  M.G.M.  production. 
"Tugboat  Annie."  starring  Marie  Dicss- 
ler.  Jackson  Rose  and  Cooper  Smith 
are  also  on  the  photographic  staff  of 
this  production  and  Cecil  Wright  and 
Sam  Cohen  are  handling  the  assistant 
jobs. 

JAMES  VAN  TREES  has  at  last 
stepped  out  of  the  Warner  ranks  en  a 
loan  to  M.G.M.,  where  he  is  photo- 
graphing the  William  Wellman  produc- 
tion, "Midnight  Lady."  Jimmy  is  sec- 
onded by  his  regular  shadow,  Lou  Jen- 
nings,  and   assisted   by   Tom   Dowling. 


PARAMOUNT 

Past  month  has  been  very  slow  at 
this  studio  with  the  result  that  ten- 
nis, motor  boating  and  golf  have  claimed 
the  attention  of  ERNIE  HALLER, 
HENRY  SHARP,  VIC  MILNER, 
DAVE  ABEL,  MILTON  KRASNER. 
ARTHUR  MARTINELLI  and  ARCHIE 
STOUT. 

LEO  TOVER  continues  in  production 
on  "College  Humor,"  the  big  musical 
winch  is  being  directed  by  Wesley  Rug- 
gles.  Guy  Bennett  is  operating  the 
cameras,  and  Tommy  Morris  efficiently 
handling    the    assistant    spot. 

CHARLIE  LANG  is  off  on  another 
new  production,  "Gambling  Ship,"  un- 
der the  direction  of  Lucien  Gasnier. 
Bob  Pittack  is  the  second  cameraman 
and  Cliff  (Dapper  Dan)  Shirpser,  as- 
sistant. 

THE  BROTHERS  JENNINGS 
(GORDON  AND  DEV)  are  counting 
on  some  startling  photographic  results 
il'rough  the  high  speed  cameras  for  the 
Gasnier    production. 

FARCIOT  EDOUART  and  his  asso- 
ciates, Dewey  Wrigley.  Loyal  Griggs 
and  Al  Myers,  are  justifiably  proud  of 
their  combined  achievements  in  the 
Paramount  productions,  "The  Eagle  and 
the  Hawk,"  "International  House." 
"College  Humor"  and  "Gambling 
Ship." 


FORTY,  LOVE 

JACK  GUERIN,  the  always  gen- 
ial superintendent  of  Consolidated 
Lab.,  had  a  birthday  the  other  day 
and  Mrs.  Guerin  pulled  a  unique 
surprise  party  on  him.  She  invited 
exactly  20  couples  to  be  present  at 
their  home  to  yell  "SURPRISE!" 
Many   more   happy    birthdays,   Jack. 


EASTMAN  SUPERI 


~H 


H~ 


Sky  Shooting  Cinematographer  Provi 


e> 


We've  stood  firmly  on  the  set  or  lo- 
cation with  practically  every  man  who 
carries  a  card  of  659.  We've  thrilled 
and  chilled  and  laughed  and — well — 
we've  choked  up  a  bit  while  some  of 
the  intense  dramatic  scenes  were  being 
recorded  on  Eastman  Super-sensitive 
Panchromatic  negative.  We  love  the 
business  or  we  wouldn't  be  in  it.  We're 
always  and  under  all  conditions  and 
circumstances  a  part  of  it  and  we  re- 
spond to  a  rib-tickling  situation  and  a 
tear-jerker  alike — but  we  have  never 
clicked  so  deeply  as  we  did  at  those 
thrilling  seconds  of  tense  air  drama  in 
"Hell's    Angels." 

Dozens  of  Air  pictures  have  been  pro- 
duced. Most  of  them  great.  We've 
given  a  lot  of  thought  (and  respect) 
to  the  cameramen  who  have  been  re- 
sponsible for  the  photography — as  a 
shining    example,    we    present — 

Elmer    Dyer — 

An  unusual  photographer — an  unusual 
man — 

Dyer  brought  to  Hollywood  the  mo- 
tion pictures  of  Carlsbad  Caverns. 
These  pictures  were  made  hundreds  of 
feet  in  the  earth  and  marked  Dyer's 
first  experience  with  Eastman  Super- 
sensitive Negative.  Since  that  time  he 
has  exposed  more  than  a  million  feet 
of  this  same  great  film  among  the 
clouds. 

His  talks  and  lectures  before  tech- 
nical    groups     are     always      largely      at- 


THANKS,  GOODFR1END 


A  letter  reaches  us  from  PLINY 
GOODFRIEND,  who  is  en  route  on  a 
special  expedition  to  Central  America. 
The  letter   comes   from   New   York. 

"We  expect  to  leave  Easter  Sunday 
and  I  will  soon  be  exposing  Eastman 
Grayback  at  the  rate  of  speed  which 
it  deserves.  If  you  are  ever  fortunate 
enough  to  see  our  picture  you  will  prob- 
ably find  out  what  a  really  great  lati- 
tude   your    new    film    has. 

"Probably  no  cameraman  who  has 
ever  shot  this  fine  negative  has  made 
it  suffer  the  indignities  that  I  will  put 
it  through.  I  can't  blame  the  camera 
equipment  if  anything  goes  haywire  be- 
cause I  have  a  Mitchell,  an  Akeley 
and  a  new  mctor  driven  Eyemo.  Of 
course  the  cameras  and  myself  are  in- 
fallible, so  you  see  it  is  strictly  up  to 
the  film.  Also  I  must  admit  that  lab- 
oratories seldom  go  haywire,  so  I'm  put- 
ting the  whole  thing  right  in  your 
lap. 

"The  film  will  not  only  have  to  stand 
hot  and  cold  temperatures,  but  hot  and 
cold  exposures,  and  I  think  everything 
will  come  out  all  right  and  we  should 
bring  back  a   wow  of   a   picture. 

"Best  regards  to  the  gang.  Sincere- 
ly, Pliny." 


tended    and    he    never   overlook  m  i 
portunity  to  give  generous  crei  to  I 
film    medium    of    achievement. 
Dyer   has   just   completed  a 
to    Salt    Lake    City    and    Den\ 


he    "spotted"    locations    for   his 
M.G.M.     assignment,     "Night     i| 
which     is     being    directed    by     >rr' 
Brown. 

In    the   accompanying   picture  r« 
Dyer    dressed    like    Santa    Clat 
brother — woolens — chamois     and  »' 
leathers — but    even    with   this   B(  >' 
holstery    he    declares   that    the  o  «■ 
cuts     through     at     altitudes    ah  '    ' 
thousand    feet.      Certainly,   the    itfl 
doesn't   afford   the   same  degree     I 
dom    as    that    affected    by    the    u 
cyclists   of    Beverly   Hills  in  the, re- 
vogue. 

Note    the    position    of    the   ca  ra 


Please  mention  The  International   oto 


May,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Twenty-five 


BULLETIN 


EASTMAN 
FILMS 


BO-SH5EJE 


ims,  in  Cooperation  with  The  International  Photographer 


WHO'S    who: 


HITS  NEW  HIGH 


•H~ 


;lid  Chills  for  Industry  and  Himself 


j?ft    corner    of    the    picture. 

us  camera  Dyer  takes  his 
r  most   of    the  time   tolerates 

'ail  wash"  rated  at  about 
<|  and  twenty  miles  per  hour. 


himself  treading  air — grasping  for  sup- 
port and  his  camera  at  the  same  time — 
and — he   might   connect! 

Asked  his  greatest  difficulty  while 
actually   shooting   in  the   air,   Dyer   said: 

"See  that  camera  up  there — just  study 
its  position — assume  that  you've  got 
your  flying  legs  and  your  flying  eyes 
and  everything's  okay — but — even  up 
here  the  film  does  run  out — more  often, 
in  fact,  than  on  the  good  old  ground 
because  we  can't  take  a  chance  on 
missing  a  shot  and  the  motor  runs 
almost  constantly  while  we're  in  flight 
adjacent    our    'objective    plane.' 

"Well — now  to  change  magazines — she 
clicks  on  and  you  open  the  camera  and 
start  to  thread  up.  We're  ten  thousand 
feet  up — cruising  along  at  about  a  'yard' 
(hundred  miles  per  hours)  and  that  old 
propeller  is  shooting  an  air-wash  smack 
into  the  old  box.  Well,  just  try  to 
control  those  loops.  Oh,  boy!  This  is 
one  time  I  wish  Eastman  film  were 
less  pliable — but — finally  with  shielding 
the  old  box  with  the  body  and  making 
the  fingers  do  the  right  thing  at  the 
right  second,  we're  all  set  and  we  shut 
'er  up  and  turn  'er  over  and — there 
goes  another  roll  of   Super." 

Dyer  has  about  as  much  "air  time" 
to  his  credit  as  the  average  mail  pilot. 
He  has  had  but  one  serious  forced  land- 
ing— but  he's  still  here  and  he's  ten 
thousand  feet  above  us  as  this  is  being 
written — turning  it  out  on  "Night 
Flight!" 


1  must  be  secure — regard- 
:  ion  of  his  ship — whizzing 
i  ce  at  this  high  speed  he 
his  "objective  plane"  al- 
field  of  lens  and  focus. 
I]  that  there  are  a  few  pilots 
m  experienced  to  a  degree 
t  ut  his  own  mechanical  ma- 
1  the  camera  (tripod  head) 
]i,  to  "hold"  his  "objective 
y    in    banks    and     loops    un- 

'l.'.its  an  air  pocket — then — 

'  'thing  ! 

'■'0  fault  of   his  own   he   finds 


siecler  completes 


Al  Siegler  has  turned  in  the  tag 
scenes  on  "Dark  Waters"  at  Western 
Service  Sound  Studios  for  Maxwell 
Cohn.  This  is  a  special  for  release 
in  Canada.  Assisting  Siegier  were  Mike 
Walsh    and    Jim    Goss. 


COLUMBIA 


JOE  AUGUST  has  completed  the 
Victor  Schertsinger  feature,  "Cocktail 
Hour,"  with  Bebe  Daniels.  Henry  Freu- 
lich  was  the  second  man  and  Marcel 
Grand    and    Bob    Tobey    the    assistants. 

BENNY  KLINE  is  shooting  an  action 
picture  under  the  direction  of  Lambert 
Hillyer  and  starring  Chick  Sale  under 
the  tile,  "Full  Speed  Ahead."  F.  M. 
Brown  operates  the  camera.  Fred  Daw- 
son and  Jack  Russell  are  the  assistants. 

TEDDY  TETZLAFF  has  completed 
"Rules  for  Wives,"  which  was  directed 
by  Eddie  Buzzell.  Ted  had  Andre  Bar- 
latier  as  second  and  Jack  Anderson  and 
Al    Keller  as  assistants. 

JOE  WALKER  is  stadning  by  for 
starting  call  en  his  next  assignment, 
which   is   due   any   minute. 


WARNER  BROS.  -  FIRST 
NATIONAL 


Busy  Burbank  plant  has  at  last 
reached  the  long-promised  period  of  va- 
cation which  indicates  that  even  Fred 
Gage  and  Pete  Steele  may  be  in  a  posi- 
tion to  give  some  serious  thought  to  the 
first  Bobbv  Jones  series,  "How  to 
Break   a    Hundred." 

TONY  GAUDIO  cranked  up  the 
Cadillac   and   headed   for   Texas. 

GEORGE  BARNES,  accompanied  by 
Mrs.  Barnes  (Joan  Blondell)  also  goes 
for  the  auto  tour  thing,  heading  for 
New  York  City  by  way  of  New  Or- 
leans. 

ARTHUR  TODD  is  planting  flowers 
and  killing  snails  on  his  Westwood  es- 
tate when  he  is  not  making  16  M.M. 
shots   of   his  young  son. 

SID  HICKOX  is  trying  to  muscle 
in  on  Gage  and  Steele  on  the  screen 
study  of    Bobby  Jones. 

CHICK  McGILL  is  another  of  the 
clan  to  hit  the  highway  by  auto,  al- 
though another  studio  this  week  has 
sent  out  an  S.  O.  S.  calling  him  hack 
to    Hollywood. 

SOL  POLITO  is  taking  a  busman's 
holiday  and  doing .  some  serious  work 
with   his   Graflex. 

JIMMY  VAN  TREES  listened  to  Bill 
Wellman  and  went  along  over  to  M.G.M. 
for  one  production,  after  which  he  will 
spend  his  time  at  his  ranch  along  the 
Sespe  until  production  is  resumed  at 
Burbank. 

FRED  JACKMAN  has  blossomed  out 
in  a  new  yacht  and  has  promised  an 
early  week-end  trip  to  all  of  his  friends, 
who  have  turned  the  invitation  down 
fiat     when    Fred    said:    "No    mermaids." 


BRYAN  FOY  STUDIOS 


During  the  past  month  Joe  Valen- 
tine completed  his  fifth  feature  pro- 
duction, "Shall  We  Tell  Our  Chil- 
dren," for  Bryan  Foy  Productions. 
Willard  Mack  directed  and  acted  in  the 
story,  and  found  out  the  children  knew 
more  than  he  did.  Valentine  was  as- 
sisted  by   Walter   Rankin. 


TIFFANY 


ARTHUR  EDESON  had  to  leave  that 
charming  Lake  Malibu  Lake  cabin  and 
start  a  feature  for  Sam  Bischoff  at 
Tiffany.  "The  Big  Brain"  is  the  title 
of  the  picture.  George  Archainbaud  is 
directing.  Harry  Davis  is  operating  the 
camera.  Swede  Larson  and  Bert  Eason 
are  assisting. 

EDDIE  TIFFANY,  who  has  been  at 
this  studio  for  a  long  time,  looking  after 
the  mechanical  ends  of  the  cameras, 
etc.,  has  been  placed  in  charge  of  the 
camera  department,  and  we  add  our 
good   wishes  to  him,  too. 


IT'S  A  GIRL 


HENRY  GOLDFARB,  executive 
assistant  to  Michael  Leshing,  Fox 
West  Coast  Laboratory,  is  handing 
out  the  cigars  and  pulling  a  Pepso- 
dent  smile  while  he  tells  the  boys, 
"It's  a  girl."  The  newcomer  is  Num- 
ber One  in  the  Goldfarb  household. 
(Take  that  any  way  you  like.) 


RKO 

EDDIE  CRONJAGER,  having  fin- 
ished with  paint  brushes,  rakes,  hoes 
and  what-have-you  at  his  Malibu  Beach 
home,  is  back  at  the  Radio  plant  pho- 
tographing "Careless,"  which  is  being 
directed  by  William  Seiter.  Bob  De 
Grasse  is  taking  good  care  of  the  sec- 
ond cameraman's  duties,  with  George 
Diskant  ditto  with  assistant. 

ROY  HUNT  finished  "Emergency 
Call"  and  was  given  the  big  slap-on- 
the-back  by  the  studio  bosses  for  the 
splendid  job  on  his  photography.  Sec- 
ond cameraman  was  Eddie  Pyle,  and 
Jimmy   Daly,  assistant. 

EDDIE  LINDEN,  chief  cameraman 
on  "King  Kong"  for  Ernest  Schoedsack, 
is  again  selected  by  Mr.  Schoedsack  for 
photographic  responsibility  on  "Jambo- 
ree." Camera  staff  is  at  Catalina  on 
exteriors  at  this  time.  Second  men  are 
Eddie  Henderson  and  Eddie  Pyle.  with 
assistants,  Bill  Rhienhold  and  Jimmy 
Daly. 

NICK  MUSURACA  is  photograph- 
ing an  air  feature  entitled,  "Flying 
Circus,"  which  is  being  directed  by 
Russell  Birdwell.  Harry  Wild  handles 
the  cameras  and  Bill  Clothier  keeps 
busy   assisting. 

CHARLIE  ROSHER  is  photograph- 
ing his  favorite  star,  Constance  Ben- 
nett, in  "A  Bed  of  Roses."  Gregory 
La  Cava  is  directing;  Frank  Redman 
is  second  cameraman  and  Jack  Cooney, 
assistant. 

HENRY  CRONJAGER  was  selected 
by  Richard  Dix  as  chief  cameraman  for 
the  current  Richard  Dix  production, 
"The  Ad  Man."  It  has  been  some 
time  since  Henry  has  handled  a  pro- 
duction in  the  Big  League  and  we 
unite  with  all  his  good  friends  in  wish- 
ing him  top  success.  Henry  selected 
for  his  second  Joe  Biroc  and  as  assist- 
ant  Willard    Barth. 

BERT  GLENNON  finished  "Melody 
Cruise"  and  after  a  few  days'  rest, 
started  another  one  entitled.  "Morning 
Glory,"  which  sports  a  distinguished 
cast,  including  Katberine  Hepburne, 
Douglas  Fairbanks,  Jr.,  and  Adolpe 
Menjou.  Lowell  Sherman  is  directing. 
Russ  Metty  (the  aviator)  is  handling 
the  camera,  with  the  aide  assistance 
of    Charley    Burke. 

JACK  MACKENZIE  photographed  a 
Brock  comedy  under  the  direction  of 
Harry  Sweet,  "She  Done  Him  Right." 
Fred  Bentley  and  Joe  Biroc  were  the 
seconds  and  Bill  Clothier  and  Harold 
Wellman,    assistants. 

J.  O.  TAYLOR  is  locked  away  in 
seclusion,  making  special  secret  anima- 
tion sequence  for  "Jamboree,"  and  is 
being   ably    assisted    by    Clarence    Slifer. 

VERNE  WALKER  and  his  associates, 
Lynn  Dunn.  Cecil  Love  and  Cliff  Stine. 
are  working  on  some  most  unusual 
trick  prismatic  effects  in  "Melody 
Cruise." 


FAXON  FINISHES 


FAXON  DEAN  has  completed  an- 
other Western  for  Trem  Carr  (Mono- 
gram) with  Bob  Steele,  which  carries 
the  tag,  "Gallant  Fool."  Picture  was 
directed  by  Bradbury,  with  Guy  New- 
hard  assisting   Dean. 


1  ^responding  with  advertisers. 


This  companion  picture  to  the  Ozark  hill-hillie  youngster 
on  the  adjoining  page  is  of  a  rare  specimen  from  the  upper 
reaches  of  the  beautiful  White  River  of  Arkansas.  From 
the  Blue  Ridge  to  the  far-flung  breaks  of  the  Ozark  uplift 
there  is  none  to  equal  him.  Mr.  Jack  Fuqua  is  also  respon- 
sible  for    bringing   this    to    the    light    of    day. 

SONG  OF  THE  EAGLE 

HENRY  SHARPE 
•  Paramount  studio.  A  Charles  R.  Rogers  production 
written  by  K.  C.  Robinson  and  Willard  Mack;  director, 
Ralph  Murphy;  assistant,  Tommy  Atkins;  art  director, 
David  Carber;  first  cameraman,  Henry  Sharpe;  operative 
cameraman,  Fred  Mayer;  assistants,  Lloyd  Ahern  and 
John  Eckhardt;  recording  engineers,  V.  E.  Vernon  and 
E.  C.  Wisdom;  assistant,  C.  B.  Rayburn;  stills,  Elwood 
Bredell;  film  editor,  Joseph  Kane;  assistants,  Lynn  Har- 
rison and  John  Link;  chief  electrician,  Al  Holton;  chief 
grip,  Irving  Newmeyer;  chief  props,  William  Carr. 


I  LOVE  THAT  MAN 

MILT  R.  KRASNER 
•  Paramount  Studio.  A  Charles  R.  Rogers  production 
written  by  Gene  Towne,  Casey  Robinson  and  Graham 
Baker;  director,  Harry  Joe  Brown;  assistant  director, 
Raoul  Pagel;  art  director,  David  Garber;  first  cameraman, 
Milt  R.  Krasner;  operative  cameraman,  Harry  Hallenber- 
ger;  assistants,  Irving  Glassberg  and  Leo  Hughes;  stills, 
Elwood  Bredell  and  Adolph  Schafer;  recording  engineer, 
Philip  Wisdom;  assistant,  James  Miller;  film  editor,  Jos- 
eph Kane,  assistant,  H.  Pagel;  chief  electrician,  Roy  Rob- 
erts, chief  grip,  Walter  McCloud;  chief  props,  Charles 
McCormick,  assistant,  Earl  Swan. 


Men  Who  N 


By 
III  1 1>  BOVCE 


THI 


CAPTURED 

BARNEY  McCILL 
•  Warner  Bros.  First  National  Studio.  Written  by  Ed- 
ward Chodarov;  director,  Roy  Del  Ruth;  assistant  director, 
Frank  Shaw;  first  cameraman,  Barney  McGill;  recording 
engineer,  Dolph  Thomas;  film  editor,  William  Holmes; 
chief  electrician,  Larry  Kennedy,  chief  props,  Lloyd  Ed- 
wards. 

Cast  includes  Leslie  Howard,  Douglas  Fairbanks,  Jr., 
Paul  Lucas,  Margaret  Lindsay  and  Robert  Barrat. 


CARELESS 

EDWARD  CRONJAGER 
•  R-K-0  Studio — shooting.  Scenarist,  Maurine  Wat- 
kins;  director,  William  Seiter;  assistant  director,  J.  D. 
Starkey;  first  cameraman,  Ed.  Cronjager;  operative  cam- 
eraman, Robert  DeGrasse,  assistant,  George  Diskant; 
stills,  Alexander  Kahle;  recording  engineer,  Clem  Port- 
man;  chief  electrician,  G.  F.  Gilman;  chief  grip,  Jimmie 
Kirley;  props,  Kenny  Holmes;  film  editor,  Jimmie  Morley; 
assistant,  Lloyd  Young. 


FLYING  CIRCUS 
NICK  MUSURACA 

•  R-K-0  Studio — shooting.  Scenarists,  Morgan-Stevens; 
director,  Russell  Birdwell;  assistant,  Wally  Fox;  first 
cameraman,  Nick  Musuraca;  operative  cameraman,  Harry 
Wild;  assistants,  Willard  Barth  and  William  Clothier, 
stills,  Fred  Hendrickson  and  Oliver  Sigurdson;  recording 
engineer,  Denzil  Cutler;  chief  electrician,  Frank  Uecker; 
chief  grip,  Louis  Anderson;  props,  George  McGonigle; 
film  editor,  A.  Roberts;  assistant,  J.  Noreiga. 


VOLTAIRE 

TONY  GAUDIO 
•  Warner  Bros.  First  National  Studio.  Written  by  Paul 
Green  and  Maude  T.  Howell;  director,  John  Adolphi, 
asssitant  director,  Ben  Silvey;  art  director,  Anton  Grot; 
first  cameraman,  Tony  Gaudio;  operative  cameraman,  Al 
Greene;  assistant,  Carl  Guthrie;  stills,  George  Baxter; 
recording  engineer,  David  Forrect;  film  editor,  Owen 
Marks;  chief  electrician,  Charles  Alexander;  chief  grip, 
Glenn  Harris,  chief  props,  Martin  Hershey. 

Cast  includes  George  Arliss,  Doris  Kenyon,  Margaret 
Lindsay  and  Alan  Mowbray. 


HOLD  ME  TIGHT 
ARTHUR  MILLER 
•  Fox  Studio — shooting.  Scenarist,  Gladys  Lehman;  di- 
rector, David  Butler;  assistant,  Ed.  Schaumer;  first  cam- 
eraman, Arthur  Miller;  operative  cameraman,  Joe  La 
Shelle;  assistants,  L.  Abbott  and  Alfred  Lebovitz;  stills, 
Ray  Nolan;  sound,  G.  Leverett;  chief  electrician,  C.  Mc- 
Gowan;  chief  grip,  Frank  Pierson;  film  editor,  Irene 
Morra. 


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IE 

ovies  Move 


FULL  SPEED  AHEAD 

BEN  KLINE 
•  Columbia  Studio — shooting.  Scenarists,  Levinson- Mc- 
Coy; director,  Lambelt  Hillyer;  assistants,  McGough- 
Hicks;  first  cameraman,  Ben  Kline;  operative  cameraman, 
F.  M.  Browne;  assistants,  Fred  Dawson  and  Jack  Russell; 
stills,  Emmett  Schoenbaum;  recording  engineer,  Ernie 
Brands;  chief  electrician,  George  Hager;  chief  grip,  A. 
Becker;  props,  Charles  Cranucci;  film  editor,  C.  Havlick. 


COCKTAIL  HOUR 
JOE  AUGUST 
•  Columbia  Studio — shooting.  Scenarist,  J.  K.  McGuin- 
ness;  director,  V.  Schertzinger;  assistant,  C.  C.  Cole- 
man; first  cameraman,  Joe  August;  operative  cameraman, 
Henry  Freulich;  assistants,  Marcel  Grand  and  Robert 
Tobey;  stills,  Wm.  Fraker;  sound,  George  Cooper;  chief 
electrician,  Jimmie  Gunter;  chief  grip,  Eddie  Blaisdell; 
props,  George  Raign;  film  editor,  Jack  Dennis. 


PHANTOM  OF  THE  AIR 
JOHN  HICKSON 

•  Universal  Studio  —  shooting.  Scenarist,  Plymton 
Dickey;  director,  Ray  Taylor;  assistant,  Norman  Lacey; 
art  director,  Tommy  O'Neal;  cameramen,  John  Hickson, 
Wm.  Sickner,  J.  D.  Weiler,  Carl  Meister,  Charles  Crane; 
cameramen  on  air  sequences,  Leonard  T.  Galezio  and 
Paul  Hill;  stills,  Harry  Osborne;  recording  engineer,  C. 
Carroll;  chief  electrician,  Tommy  Valdez;  chief  grip,  L. 
Smith;  props,  Danny  Smith;  film  editors  Edward  Todd  and 
Alvin  Todd. 

MY  LIPS  BETRAY 
LEEGARMES 

•  Fox  Studio.  Play  by  Attila  De  Orbok,  screen  play  by 
Hans  Kraly  and  Jane  Storm;  director,  John  Blystone;  first 
cameraman,  Lee  Garmes;  operative  cameraman,  Warner 
Lynch,  John  Schmitz;  Jack  Fiendel;  assistants,  Warren 
Cruse  and  H.  C.  Smith;  stills,  Anthony  Ugrin;  recording 
engineer,  W.  W.  Lindsay,  Jr.;  film  editor,  Alex.  Troffey; 
assistant,  Moe  Kauffman;  chief  electrician,  Charles 
Henryson;  chief  grip,  Fred  Richter;  chief  props,  Duke 
Abrhams. 


42ND  STREET 
SOL  POLITO 
•  A  Warner  Bros.  First  National  production.  Based  on 
a  novel  by  Bradford  Ropes;  screen  play  by  Rian  James  and 
James  Seymour;  director,  Lloyd  Bacon;  assistant  director, 
E.  Hollingshead;  first  cameraman,  Sol  Polito;  operative 
cameraman,  Michael  Joyce,  assistant,  Speed  Mitchell; 
stills,  Scottie  Welborn,  Buddy  Longworth  and  George 
Baxter;  sound,  Dolph  Thomas;  film  editor,  Thomas  Pratt; 
chief  electrician,  George  Whittemore;  chief  grip,  Harold 
Ncyes. 

Featuring  Warner  Baxter  and  Bebe  Daniels. 


This  masterpiece  of  the  Ozarks  is  from  the  camera  of  Mr. 
Jack  Fuqua.  Tom  Sawyer  and  Huckleberry  Finn  rolled 
into  one  never  had  anything  on  this  ten-year-old  kid,  ac- 
cording to  Mr.  Fuqua.  He  was  a  perfect  actor  and  was  boss- 
ing the  other  native  actors  around  before  he  had  been  on 
the  job   two  days. 

JAMBOREE 

EDDIE  LINDEN 
•  R-K-0  Studio — shooting.  Scenarist,  Ruth  Rose;  direc- 
tor, E.  A.  Schoedesack;  assistant  director,  Ivan  Thomas; 
first  cameraman,  Eddie  Linden;  operative  cameramen, 
Eddie  Pyle  and  Edward  Henderson;  assistants,  Bill  Wm. 
Rheinhold  and  James  Daly;  stills,  Gaston  Longet;  record- 
ing engineer,  Earl  A.  Wolcott;  chief  electrician,  S.  H. 
Barton;  grip,  Tom  Clement;  assistant,  Pete  Bernard; 
props,  Gene  Rossi;  film  editor,  Ted  Cheesman;  assistant, 
H.  Berman. 

POWER  AND  THE  GLORY 

JAMES  HOWE 
9  Fox  Studio — shooting.  Scenarist,  Preston  Sturges;  di- 
rector, Wm.  K.  Howard;  assistant,  Horace  Haugh;  first 
cameraman,  James  Howe;  operative  cameraman,  Sid 
Wagner;  assistants,  Paul  Lockwood  and  Harry  Webb; 
stills,  Eugene  Kornman;  sound,  A.  W.  Protzman;  chief 
electrician,  Tom  Oullette;  chief  grip,  George  Carpentar; 
film  editor,  Paul  Weatherwax. 


BREED  OF  THE  BORDER 

FAXON  DEAN 
•  Trem  Carr  Studio.  A  Paul  Malvern  production,  writ- 
ten and  directed  by  Robert  Bradbury;  assistant  director, 
Harry  Jcnes;  art  director,  E.  R.  Hickson;  first  cameraman, 
Faxon  Dean;  assistant,  Guy  Newhardt;  stills,  Joe  Wal- 
ters; recording  engineer,  John  Stransky,  Jr.;  assistant, 
hrry  Roberts;  film  editor,  Carl  Pierson;  chief  electrician, 
Tex  Cox;  grip,  Bill  Smith,  cast,  Bob  Steele. 


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Twenty-eight 


The     INTERNATIONAL  PHOTOGRAPHER 


May,  1933 


loll/wCOD, 


Hollywood,  while  most  sophisticated  in  a  2  by  4 
manner  is  still  quite  lovable.  It  is  a  citified  metropolis 
with  an  overall  atmosphere  of  a  provincial  corn-belt  town. 
The  men  in  trying  to  be  different  and  the  women  with 
their  beautiful  though  impractical  looking  bodies,  as  well 
as  the  other  sublime  and  bizarre  details,  create  a  con- 
fusion in  the  aloof  observer ;  however,  it  all  blends  to 
make  the  picture  on  the  screen.  And  it  is  tolerated 
when  it  is  understood  that  people  the  world  over  pay 
money  to  see  these  things  on  the  screen. 


Even  so,  the  motion  picture  needs  less  of  lipstick  and 
monocles,  and  more  of  "Hi,  Si!"  with  the  big  grin. 


Did  you  know  that  practically  everyone  in  Holly- 
wood keeps  a  personal  scrap  book?  That's  dandy;  since 
they  keep  money  in  circulation.  Not  alone  do  the  books 
cost  money,  but  the  articles  pasted  in  the  books  usually 
cost  someone  quite  a  fortune. 


There  are  about  20,000  newcomers  interviewed  by 
Fred  Datig,  Paramount  Casting  Director,  each  year. 
These  people,  all  sizes  and  shapes,  come  to  the  film 
capital  in  an  effort  to  "crash  pictures."  Of  this  20,000, 
there  are  only  800  registered  as  showing  promise,  and 
the  other  19,200  are  turned  away.  And  of  this  800, 
200  can  not  be  found  by  the  time  a  day's  work  is  of- 
fered. The  600  who  do  finally  get  work  are  permitted 
to  join  the  already  17,000  that  are  registered  in  the 
studio  files.  Even  though  several  hundred  jobs  are  of- 
fered each  day,  this  vast  number  averages  less  than  one 
day's  work  in  a  month.  And  no  important  "discoveries" 
have  been  made  from  the  extra  ranks.  This  is  a  picture 
that  is  duplicated  in  all  the  studios,  so  you  had  better 
stay  home  and  dig  your  potatoes  before  the  frost  comes. 


Resolved  that,  all  "extras"  are  "Props"  but  not  all 
"props"  are  "Extras."  This  was  the  subject  matter  once 
of  a  lively  dispute  between  a  couple  of  old-timers  around 
their  General  Store  stove  in  Iowa.  Neither  knew  the 
difference,  and  both  liked  to  argue.  That  was  ten  years 
ago  and  they  haven't  spoken  since. 


The  first  picture  to  use  the  new  legal  beer  subse- 
quent to  midnight  April  6,  was  the  Paramount  version 
of  Theodore  Dreiser's  "Jennie  Gerhardt."  Upon  investi- 
gation, it  was  found  that  near  beer  could  not  be  found, 
so  the  beer  garden  scenes  in  this  picture  had  to  be  de- 
laved  until  real  beer  could  be  had. 


Ted  Cook,  the  champion  of  the  motion  picture,  who 
has  ever  and  anon  defended  the  industry  against  the  hyper- 
critical intelligentsia  and  other  bigots,  feels  that  the  in- 
dustry is  letting  him  down.  He,  and  others,  wonder  if 
it's  necessary  for  producers  to  portray  fiendishness  and 
unnecessary  cruelty  on  the  screen.  Such  things  incite  the 
inherent  human  barbarity  that  one  sees  so  often  in  eight 
year  old  children  when  at  play. 

Ted  Cook  is  distinguished  by  his  tuft  of  53  gray 
hairs  that  are  directly  above  his  forehead  in  his  other- 
wise dark  head  of  hair  and  by  his  knowledge  of  the 
difference  between  sense  and  nonsense. 


Did  you  know  that  often  the  beautiful  scenes  on 
the  screen  are  the  results  of  paintings  by  artists  who 
transfer  their  pictorial  ideal  to  a  sheet  of  glass?  This 
is  a  studio  process  that  few  of  the  laymen  know  about. 
It  consists  of  a  picture  painted  on  glass  with  part  of 
the  glass  remaining  clear  through  which  part  of  the  set 
is  seen  while  undesirable  portions  are  masked  out  by  the 
painting.  The  camera  photographs  both  the  painting  and 
the  picture  through  the  clear  portion  in  a  truly  beautiful 
effect. 


The   foreground   portion  of  a  glass  shot.     The  darkened   portion  is 
masked   according   to   the   required   lines   before   shooting. 


The  completed  glass  shot.     A  comparison  of  the  two  photos  shows 
the  portion   that  was  added   by  means  of  a   painting  on  glass. 


Please  mention  The   International   Photographer  when  corresponding  with   advertisers. 


May,  1933 


The    INTERNATIONAL    PHOTOGRAPH  E  R 


Twenty-nine 


In  downtown  Los  Angeles,  on  the 
evening  after  this  beer  arrived,  this 
golden  fluid  set  allow  human  kindness. 
People  were  children  again.  They 
pressed  their  noses  against  plate  glass 
windows  in  an  effort  to  watch  the 
customers  inside,  drinking.  And  when 
my  turn  came  to  get  inside,  the  gaiety 
was  punctuated  with  "Gesundheit" 
and  "Scholl,"  or  something  like  that. 
Everyone  is  humming  German  folk 
tunes.  And  in  the  morning  they  will 
go  to  work — without  feeling  the  need 
of  size  twelve  hats.     Hoo-ray! 


Remember  —  when  speed 
photography  was  un- 
known to  amateurs — and 
many  professionals? 

—When  night  photogra- 
phy was  limited  to  posed 
flashlight  pictures? 

—  When  precision  lenses 
were  seen  only  in  the  lab- 
oratories of  scientists? 


— When  lelephoto  lenses 
lucre  available  only  to  a 
few? 

—  When  a  camera  fan,  to 
be  "up-to-date" ,  needed  a 
wagon-load  of  expensive 
equipment? 

— The  LEIC.4  Camera 
has  made  these  all 
things  of  the  past! 


N.  B. — Ty  wants  his  readers  to 
know  that  he  will  gladly  answer  any 
questions  propounded  by  them — that 
is  if  they  are  asked  in  good  faith  and 
stick  closely  to  motion  pictures  and 
pepole  of  the  cinema. 


How  LEICA  Has  Created  a 

New  Era  in  Photography 


In  seeing  the  Warner  picture, 
"42nd  Street,"  the  other  night  there 
were  no  courtesies  extended  ;  all  had  to 
stand  in  the  unusually  long  lines  of 
hopeful  patrons  and  wait.  One  fel- 
low had  waited  so  long  that  he  took 
his  shoes  off  and  carried  them  in  his 
hands.  He  presented  a  comic  appear- 
ance with  his  overcoat  on  and  a  muf- 
fler around  his  neck,  carrying  his 
shoes.  And  to  complete  the  picture  his 
hat  was  askew.  Yes,  that  was  before 
beer  came  in ! 


Harry  Reynolds,  probably,  made 
one  of  the  most  complete  miniatures 
ever  made  for  pictures  when  he  fabri- 
cated the  Vincent  Lopez  orchestra 
and  ballroom  containing  thirty  danc- 
ing couples.  While  the  miniature  or- 
chestra players  each  manipulated  an 
instrument,  the  thirty  couples  danced 
a  waltz,  each  couple  doing  the  waltz 
steps  independently  of  the  other 
couples.  The  ballroom  was  18  by  8 
feet.  This  was  used  in  the  recent 
Paramount  "Big  Broadcast."  Imag- 
ine the  patience  and  mechanical  skill 

required  to  do  this,  and  the  effect  was      

so  complete  that  it  seemed  Mr.  Rey-      ^^^^^""^^^^ 
nolds  even  instilled  the  element  of  romance  into  the  scene, 
that  is  in  all  ballrooms. 


LEICA  Photography  dif- 
fers from  old-fashioned 
photographic  conceptions 
as  much  as  the  modern 
automobile  differs  from 
the  horse  and  buggy.  The 
LEICA  Camera  offers 
more  picture-taking  con- 
venience, speed,  accuracy,  and  versatility 
than  has  ever  before  been  thought  pos- 
sible. It  has  blazed  many  trails,  broken 
many  precedents.  It  was  the  first  pre- 
cision camera  to  be  built  small  enough 
and  light  enough  to  carry  in  the  pocket. 
It  was  the  first  precision  camera  to  sim- 
plify all  controls  for  greater  speed  and 
certainty  of  operation.  It  was  the  first 
precision  camera  to  adapt  lenses  of 
microscope  quality  to  photography.  It 
was  the  first  pocket  precision  camera 
designed  with  interchangeable  lenses,  in- 
cluding telephoto  and  wide  angle  lenses, 
and  high  speed  lenses  for  indoor  and 
night  photography.  It  was  the  first  pocket 
camera  with  a  built-in  range  finder 
coupled  with  lenses,  giving  correct  focus 
instantly,  without  guesswork.  It  was  the 
first  pocket  camera  equipped  with  a  focal- 
plane  shutter  of  standard  cloth  construc- 
tion, eliminating  danger  of  internal  reflec- 
tions at  high  speeds.  It  was  the  first 
"still"  camera  to  use  cinema  film,  giving 
the  photographer  the  advantage  of  the 
very  latest  refinements  in  cinema  film 
manufacture.  And  the  makers  of  the 
LEICA   Camera   were  the   first  to  offer   a 


complete  line  of  accessor- 
ies and  attachments  (now 
over  300!)  thus  opening 
the  entire  field  of  modern 
photographic  art  to  every 
LEICA  owner  at  a  great 
saving  in  cost. 
The  LEICA  Camera  takes 
up  to  36  pictures  on  a  single  roll  of  film. 
Sharp  negatives,  giving  perfect  enlarge- 
ments up  to  12x18  inches.  Shutter  speeds 
l/20th  to  HSOOtli  seconds  including  time 
exposures. 

A    New    and    Broader    Conception 
of    Service,    Too 

The  LEICA  purchaser  receives  a  2  year 
guarantee  certificate  with  camera. 
"LEICA  PHOTOGRAPHY"  an  interest- 
ing illustrated  monthly  bulletin  is  sent 
free  to  every  LEICA  owner.  LEICA 
Camera-Clubs  now  organized  in  many 
cities  throughout  the  country  helps  the 
LEICA  owner  to  get  the  most  out  of  his 
camera.  Lectures  and  demonstrations  by 
leading  experts  are  given  before  these 
clubs. 

Price  of  the  MODEL  D  LEICA,  with  50 
mm.  ELMAR  f:3.5  lens,  $92.50.  Write 
for  Free  Illustrated  Booklet  —  "Why 
Leica  ?" — also  new  booklet  describing  the 
new  STANDARD  LEICA,  at  $66.00. 


E.  Leitz,  Inc., 

60  East   10th   Street 


Dept.  292 
New  York 


The  Dunning  Process  shots  are  coming  back  stronger 
than  ever.  It  seems  the  projection  shot  has  been  tried 
and  found  limited  in  possibilities.  In  the  Joan  Craw- 
ford picture,  "Today  We  Live,"  which  is  being  made  at 
M-G-M,  there  are  forty-one  Dunning  shots.  In  this 
studio  alone,  Dunning  has  worked  on  five  different  pic- 
tures. Photographic  quality  is  the  feature  that  will 
bring  this  process  back  into  the  wide  use  it  enjoyed  a 
few  years  ago. 


EDDIE  LINDEN 

CHIEF  CINEMATOGRAPHER 

KING  KONG 


Please  mention  The   International   Photographer  when  corresponding  with   advertisers. 


Thirty 


T  h 


INTERNA!   1UNAL     PHOTOGRAPHER 


May,  193. 


(Continued  from  Page  17) 

imagine  scenery  from  hints  given  in  the  dialogue;  hence 
it  was  advisable  to  portray  as  few  scenes  as  possible. 
These  limitations  are  the  major  reason  for  that  unity 
which  gives  Greek  tragedy  its  admirable  concentration. 
And  for  the  same  reason  today,  the  motion  picture  due 
to  the  expeditious  mechanical  methods  and  picturized  tech- 
nique has  a  tendency  to  dilute  the  play,  or  to  go  into 
story  by-paths  in  an  ornate  spectacle. 

In  these  early  plays,  the  subject  matter  was  fixed 
by  the  religious  nature  of  the  drama.  The  early  cere- 
moniel  dances  were  designed  to  further  religious  pur- 
poses. And  since  death  is  so  prominent  a  part  of  all 
religions,  and  since  it  is  such  an  impressive  portion  of 
the  cycle  of  reproduction,  it  naturally  became  fixed  by 
religion  as  the  major  type  of  drama. 


A    series    of    different    masks    used    over    the    faces    of    the    actors    in 
the  tragic  days  of  ancient  Greece. 

Comedy,  too,  which  came  later,  also  sprang  from  re- 
ligion. The  Festivals  of  Dionysus,  who  was  the  god  of 
the  Theater,  as  well  as  of  wine  and  reproduction,  was 
the  forerunner  of  the  comedy  play.  Copious  drinking 
at  his  ceremonies  led  to  high  spirits  and  jesting.  Thus, 
due  to  the  attendant  ritual,  this  naturally  led  to  a  comedy 
ceremony,  while  the  more  serious  aspect  of  worship  was 
growing  into  tragedy. 

Aristophanes,  who  lived  about  450  to  380  B.  C, 
was  the  first  to  gain  fame  as  a  comic  writer.  He  made 
use  of  the  chorus,  and  his  actors  wrore  masks,  but  these 
masks  depicted  laughter  rather  than  the  grief  of  tragedy. 
Walterhouse  states  it  admirably  when  he  says:  "Aristo- 
phanes mingled  harsh  satire  and  coarse  burlesque  with 
poetry  as  delicate  as  Shelley's — a  mixture  fitting  for  the 
worship  of  the  wine  god.''  Having  come  into  conflict 
with  the  authorities  because  he  criticised  in  time  of  war, 
he  came  to  use  the  religious  motive  as  a  defense.  The 
characters  in  the  plays  he  wrote  after,  approximately, 
400  B.  C,  are  gods,  whose  very  human  statements  none 
could  censure.  It  is  of  interest  to  note  that  "Lysis- 
trata,"  written  by  Aristophanes,  wras  severely  criticised 
when  recently  reproduced. 

Comedy  continued  to  develop  long  after  the  tragic 
form  became  fixed.  Between  320  and  250  B.  C,  what 
is  called  the  "New  Comedy"  came  into  being.  In  this 
the  traditional  religious  influence  was  shaken  off.  1  be 
chorus  disappeared,  and  the  actors  increased  in  number. 
The  treatment  of  the  subject — the  daily  life  of  the  mid- 
dle class — was  as  modern  as  that  of  contemporary  Broad- 
way. The  chief  writer  of  the  New  Comedy  was  Me- 
nander. 

High  salaries,  as  well  as  temperament,  existed  as  the 
mode  for  actors  even  in  Greece.  Actors'  personalities, 
upon  which  they  must  commercialize,  has  changed  little 
with  the  passage  of  time.     In  Greece,  acting  was  an  hon- 


ored profession,  and  its  members  were  prominent  citi- 
zens. They  enjoyed  special  privileges,  such  as  military 
exemption  during  wars;  they  could  travel  without  pass- 
ports; and  they  could  not  be  arrested  for  ordinary  crimes. 
Many  of  these  privileges  were  brought  about  by  the 
union-alliance,  known  as  "The  Artists  of  Dionysus," 
which  was  formed  by  the  actors  for  the  purpose  of  pro- 
tecting their  rights  and  to  procure  higher  salaries. 

From  the  time  of  Andronicus,  who  wrote  in  the  third 
centurv  B.  C,  Roman  drama  consisted  of  translations 
of  the  Greek.  Plautus  (254?- 184  B.  C.)  and  Terrence 
(190-159  B.  C.)  excelled  in  the  translation  of  the  New- 
Comedy  for  the  Roman  theater.  Plautus,  in  particular, 
in  his  translations  added  a  local  Roman  color. 

The  theatrical  conditions  of  Rome  wrere  similar  to 
those  of  Greece.  A  curtain  wras  used,  however,  and 
there  was  some  scenery,  w'hich  usually  represented  three 
house  fronts.  Until  after  the  time  of  Terence,  actors 
wore  masks,  at  which  time  they  were  replaced  with 
make-up  and  a  conventional  costume  that  eliminated  the 
paddings  and  buskins  of  the  majestic  tragedy  actor. 

Despite  the  competition  of  such  spectacles  as  the  gladi- 
atorial combats  and  despite  the  edicts  of  the  early  Chris- 
tian church,  drama  persisted  until  313  A.  D.  Then  the 
art  which  sprang  from  one  religion  was  ended  by  an- 
other. Cbnstantine's  imperial  license  to  the  Christian 
religion  made  acting  both  unprofitable  and  a  dangerous 
vocation.  The  dramatic  forms  which  had  their  origin 
in  early  Greece  disappeared  until  after  the  Renaissance. 

What  more  is  the  motion  picture  than  an  outgrowth 
of  these  early  dramatic  forms?  All  the  arts  have  under- 
gone a  slow  change,  probably  the  least  changed  is  the 
drama.  It  is  true  that  due  to  mechanical  devices,  the 
motion  pictures  are  largely  presented  in  a  different  man- 
ner ;  but  the  audience  experiences  emotions  that  are 
parallel  to  those  of  the  early  audience  in  the  tent. 

Probably,  the  greater  change  in  the  technique  of  other 
arts  is  due  to  external  conditions  that  have  lulled  the 
human  imaginative  forces.  The  artist  on  canvas,  the 
sculptor  in  marble,  and  the  architect  all  bring  their  object 
to  a  cold  pause.  They  portray  life  in  a  frozen  moment ; 
and  their  success  in  their  medium  is  qualified  by  the 
imagination  inspired  in  their  public.  Drama,  particularly 
the  motion  picture  form,  is  a  personal  thing  writh  each 
member  of  the  audience,  and  their  imagination  has  as  a 
relief,  an  added  interest  due  to  the  lack  of  abstractions, 
that  are  in  other  arts.  These  abstractions  do  not  en- 
courage the  imitativeness,  hence  the  personal  interest,  to 
the  same  degree  as  is  encouraged  by  the  dramatic  art  in 
its  grasp  on  the  individual  during  the  transcending, 
pyramid-like  sequences.  Due  to  this  influence,  a  gocd 
actor  serves  humanity  with,  perhaps,  more  force  than  a 
priest  of  God ;  speaking  to  the  common  people  in  the 
international  language  of  the  common  people. 

Motion  pictures,  as  a  dramatic  art,  are  not  all  they 
should  be,  but  visualize  for  a  moment  another  Shake- 
speare behind  a  studio  spot-light  choosing  the  action. 
And  the  cameras  busily  recording  it.  They  are  an 
art  when  humanity  is  lighted.  Perhaps  out  of  the  mass 
of  pictures  made,  some  fewr  will  live  just  as  some  few 
pieces  of  literature  survive. 

[Appreciation  is  extended  to  George  T.  Walterhouse 
for  collaboration  in  preparation  of  this  article. — Editor  s 
Note.'] 


Please   mention  The   International    Photographer  when   corresponding   with   advertiser. 


May,  1933 


7  he     INTERNATIONAL     PHOTOGRAPHER 


Thirty-one 


FILTER  FACTORS 
L.TER      FACTORS     FOB      NORMAt      D*T1 
EXPOSURES   ON    STANDARD    WANOS    OF 
CHBOMAIIC    MOTION    PICTURE   FtU 


Jf 

.  DEPTH  OF  FltLO 
100  MM  LENS 

^ 

<—*■■* 

h  ■ 

s^ 

*^ 

1 

p 

This  is  the  second  installment  of  the  Cinematograher's 
Book  of  Tables  compiled  and  computed  by  Mr.  Fred  Wester- 
berg,  one  of  the  technical  editors  of  THE  INTERNATIONAL 
PHOTOGRAPHER. 


Cinematographer's 

BOOK  of 
TABLES 

By  BRED  WESTERBERG 


There  are  seven  more  installments  to  come,  concluding  with 
the  November  issue,  1933,  and  when  completed  the  tables  will 
constitute  a  handy  reference  guide  welcome  to  all  cinema- 
tographers,   professional   and    amateur. 

Take  note  that  the  tables  are  so  placed  in  the  magazine 
as  to  be  easily  cut  out  and  bound  into  a  small  pocket  ring 
book.  Cut  down  the  middle  of  page  31;  then  trim  top  and 
bottom  to  fit  your  cover;  punch  holes  to  fit  rings  on  inner  and 
outer  edges  of  magazine  pages  31  and  32.  When  all  tables 
have  been  bound  into  your  ring  book  the  pages  will  number 
from    1   to   32  inclusive  with  complete   index. 

The  accompanying  cut  is  of  a  Lefax  cover.  It  may  be 
purchased   from  dealers   at  75  cents. 


12 


FILTER  TRANSMISSION  GRAPHS 


Wratten  Light  Filters 


m 

60S 

2o<2 

,rO  T 

s  *~ 

25  2 

/og 

IvIOLEtI  BLUE.  Ib-G 

GREEN 

Y-G 

fEL 

OR 

R-0 

RED 

s 

400        440 


460       510 


550  575     600      630  6SO 


700 


No.   12.     Minus  Blue 


400 


440 


460       510 


550   575     600      630  C to 

No.  15.     C 


400         440  4--0       r->0  55.  '  ,"      6SO  6-jC 

No.  23A.     E  Red   (light) 

Data   by  Eastman  Kodak  Co.    Wratten   Filters.     1932  Edition. 


F-VALUES 

RELATIVE   BRIGHTNESS  OF   IMAGE  OBTAINED 
AT  VARIOUS  APERTURES 


Relative 

Brightness 

of 

Image 

F 

Value 

Relative 

Brightness 

of 

Image 

F 
Value 

Relative 

Brightness 

of 

Image 

F 

Value 

1 

16.00 

20 

3.58 

54 

2.18 

1.5 

13.06 

21 

3.49 

55 

2.16 

2 

11.31 

22 

3.41 

56 

2.14 

2.5 

10.12 

23 

3.34 

57 

2.12 

3 

9.24 

24 

3.26 

58 

2  in 

3.5 

8.55 

25 

3.20 

59 

2.08 

4 

8.00 

26 

3.14 

60 

2.07 

4.5 

7.54 

27 

3.08 

hi 

2.05 

5 

7.15     v 

28 

3.02 

62 

2.03 

5.5 

6.82 

29 

2.97 

63 

2.02 

6 

.i  i ; 

30 

2.92 

64 

2.00 

6.5 

6.27 

31 

2.87 

(,<-, 

1.97 

7 

6.05 

32 

2.83 

68 

1.94 

7.5 

5.84 

33 

2.79 

70 

1.91 

8 

5.66 

34 

2.74 

72 

1.89 

8.5 

5.  18 

35 

2.71 

74 

1.86 

9 

5.34 

36 

2.67 

76 

1.84 

9.5 

5.18 

37 

2.63 

78 

1.81 

10 

5.06 

38 

J  Mi 

80 

1.79 

10.5 

4.94 

39 

2.56 

82 

1.77 

11 

4.82 

40 

2.53 

84 

1.75 

11.5 

4.72 

41 

2.50 

86 

1.73 

12 

4.62 

42 

2.47 

88 

1.71 

12.5 

4.52 

43 

2.44 

90 

1.69 

13 

4.44 

44 

2.41 

92 

1.67 

13.5 

4.35 

45 

2.38 

94 

1.65 

14 

4.28 

46 

2.36 

96 

1.63 

14.5 

4.20 

47 

2.33 

98 

1.62 

15 

4.13 

48 

2.31 

100 

1.60 

15.5 

4.06 

49 

2.29 

110 

1.53 

16 

4.00 

50 

2.26 

120 

1.46 

17 

3.88 

51 

2.24 

128 

1.41 

18 

3.77 

52 

2  2  2 

200 

1.16 

19 

3.67 

53 

2.20 

256 

1.00 

Thirty-two 


T  I, 


INTERNATIONAL     PHOTOGRAPHER 


May,  1933 


"LOYALTY— PROGRESS— ART" 

John  Arnold,  recently  elected  president,  and  other 
officers  of  the  American  Society  of  Cinematographers  were 
installed  at  a  dinner  and  ceremonies  held  in  the  Bel-Air 
Country  Club  Monday  night,  April  17. 

The  event  celebrated  Mr.  Arnold's  third  election  to 
the  presidency  of  the  A.  S.  C,  a  well  merited  honor  to  a 
popular  man  and  an  efficient  cinematographer,  to  whom 
THE  INTERNATIONAL  PHOTOGRAPHER  ex- 
tends congratulations  and  best  wishes  for  a  successful  ad- 
ministration. This  includes  the  able  officers  elected  with 
him. 

E.  O.  Blackburn,  of  J.  E.  Brulatour,  Inc.,  was  host 
and  as  a  novelty  event,  Fred  Jackman  furnished  the  theme 
music  of  the  evening. 

Besides  Mr.  Arnold,  those  installed  were:  Victor  Mil- 
ner,  Charles  Clarke  and  Elmer  Dyer,  vice  presidents; 
George  Schneiderman,  treasurer,  and  William  Stull,  sec- 
retary. 

John  Arnold  for  many  years  has  been  chief  of  the 
camera  department  of  M-G-M  and  is  one  of  the  pioneer 
cameramen  of  the  motion  picture  industry. 


DEBRIE  SUPER  PARVO 

[The  following  telegram  explains  itself.  This  publication  has 
heard  much  favorable  expert  comment  on  the  Debrie  Super  Parvo, 
particularly  from  American  cameramen  returning  from  Europe. — Edi- 
tor's Note.] 

Editor,  International  Photographer,  April  19,  1933. 

1605  North  Cahuenga  Ave., 
Hollywood,   California. 

Among  the  newly  developed  motion  picture  apparatus  to  be 
exhibited  at  the  forthcoming  meeting  of  the  Society  of  Motion 
Picture  engineers  at  the  Hotel  Pennsylvania  next  week  will  be 
the  Andre  Debrie  Super  Parvo  Camera,  one  of  which  has  just 
arrived  at  the  office  of  Andre  Debrie,  Inc.,  No.  115  West  45th 
St.,  New  York  City.  The  Debrie  Super  Parvo  Camera  al- 
though only  slightly  larger  than  the  camera  that  was  employed 
in  the  days  of  silent  pictures,  is  absolutely  sound  proof  and 
can  be  operated  uncovered  within  three  feet  of  a  microphone. 
It  eliminates  the  necessity  of  employing  blimps,  bungalows  and 
other  cumbersome  coverings  that  are  required  in  other  types 
of  cameras  used  in  connection  with  the  recording  of  sound 
motion  pictures.  Now  in  use  in  a  number  of  European  studios 
the  Super  Parvo  is  said  to  be  giving  complete  satisfaction. 
Built-in  motor,  electric  anti-buckling  device  and  automatic 
stop  at  the  conclusion  of  a  dissolve  are  among  the  new  fea- 
tures. Mounted  on  a  newly  designed  friction-head  type  tripod 
the  Super  Parvo  can  be  moved  with  ease  to  meet  any  re- 
quirements. ANDRE    DEBRIE,    INC., 

115  West  45th  St.,   New  York  City. 


F- VALUES 


n 


O 

I- 

u 
< 

u_ 

Q£ 
LU 


< 

> 

o 


I- 
< 


o 


< 

> 


»_ 

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to 

o 

no 

-t 

■ 

^  ■""■ 

u~ 

w 

°r.j 

NO 

oo 

to 

r^ 

to 

o 

NO 

~+ 

to 

to 

cm 

cm 

rH 

r_; 

</) 

w 

O 

+-© 

rH 

rH 

no 

o. 

W\ 

rH 

OO 

VO 

*n 

-t 

to 

cm 

CM 

CM 

rH 

rH 

< 
u. 

Oi 

UJ 

NO 

o 

to 

oo 

to 

O 

no 

Tf 

_l 

to 

CM 

CM 

CM 

r^ 

-H 

U. 

=3 

o 

o 

U". 

co 

no 

oo 

to 

!>- 

to 

ON 

NO 

ct 

vo 

-r- 

to 

to 

<NJ 

CM 

,_, 

,_( 

< 

LL. 

> 

O 

**. 

cm 

oo 

"— ' 

1— < 

NO 

ON 

to 

l-H 

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VO 

UJ 

nj 

vo 

to 

rM 

rM 

INI 

h- 

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< 

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w 

a. 

5 

TJT 

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NO 

vr, 

NO 

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to 
to 

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fO 

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1- 

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T3 

CM 

u-i 

to 

NO 

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to 

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nO 

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t^. 

no 

u-1 

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to 

to 

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CM 

^ 

^ 

^ 

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cc 

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rH 

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to 

CM 

CM 

CM 

1-" 

rH 

UJ 

3 

< 

,_ 

> 

to 

CM 

o 

lO 

nO 

\D 

o 

CO 

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CO 

o 

NO 

«r 

1 

<j<M 

i-H 

CTn 

oo 

NO 

>y-i 

*+* 

-r- 

to 

CM 

CM 

CM 

^_, 

r_( 

u. 

,_ 

2° 

1-1 

r^ 

cm 

io 

u-i 

to 

no 

oo 

to 

r- 

CO 

Cv 

NO 

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to 

o 

on 

l-~ 

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m 

-t- 

to 

to 

CM 

CM 

,_} 

^ 

LL. 

w 

2^ 

T> 

r^ 

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cm 

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t^ 

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■>    O  — 

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CM 

N 

rj 

FILTER  TRANSMISSION  GRAPHS 


Wratten  Light  Filters 


m 

202 

•  *> 

1 

.5K 

.25% 

10% 

| VIOLET    BLUE.     B-G     GREEN  Y-G 

YEL 

OR 

RO 

RED 

ft 

400         440  460      SIO  SSO  S7S     600      630  6SO 

No.  25.     A  Tricolor  Red 


700 


400 


440 


460      SIO  SSO  S7S    600      630  6SO 

No.  47.     C5  Tricolor  Blue 


700 


m 

MR 

zo2 

To* 

ll 

f^m                                                                  EV 

-  *> 

H  ^'^r^ii^rf^j^i^ttf'" 

5»- 

.255 

I0# 

VIOLET 

BLUE 

B  G 

GREEN |y-G   YEL    OR     R-0     RED 

* 

400 

4 

40 

4 

30 

S 

IO 

SSO   S7S     600      €30  6SO             7f>t 

> 

No.  58.      B2  Tricolor  Creen 


Data  by  Eastman  Kodak  Co.    Wratten  Filters.    1932  Edition. 


May,  1933 


T  h 


INTERNATIONAL    PHOTOGRAPHER 


Thirty-three 


THE  FEARLESS  CAMERA  COMPANY  WISH  TO  ANNOUNCE 

The  completion  of  a   long  series  of  development  work   on   new  equipment.  This  new  equipment,  the  finest  of  its  kind   in   the  world,   is  now 

ready  for  marketing  and  is  offered  at  the  lowest  price   possible  consistent  with    the    highest    grade    workmanship    and    materials    used    in    its 

fabrication.     New  equipment  of  various  kinds  will  be  announced  each  month  as  was  the  policy  of  the   Fearless  Camera   Company   in  the  past. 
This  month  the 


Fearless  Camera  Company 

Announce 


THE 


FEARLESS  SIMPLEX  DOLLY 

Features: 


THE 


10. 
n. 

12. 


14. 
15. 

16. 


Built   low   with 

A    flat    base    mounted    on 

Ball-bearing    wheels   with 

Ball-bearing  steering  wheel 
support  that  may  be  ro- 
tated through 

360°  steering  wheel  rota- 
tion. 

Base  member  is  provided 
with  lamp  and  mike  carry- 
ing  sockets. 

Base  is  highly  finished  for 
cleanliness. 

Friction  Head  of  new  and 
improved  design. 

Lens  positions — in  blimp — 
ranging  from  25"  low  posi- 
tion to  74"  in  high  posi- 
tion. 

Lens  position  when  blimp 
is  not  used — 22"  to  71". 

Elevating  mechanism  of 
noiseless  hydraulic  type. 

Smooth  acting,  positive 
displacement,  rotary  hy- 
draulic pump  of  simplified 
design. 

Positive  locks — with  valve 
action — for  smooth  control 
as  head  is  lowered. 

Motor  drive — as  optional 
equipment. 

Automatic  Follow-Focus  of 
simplified  design  furnished 
at  extra  cost. 

Variable  height  High-Hat 
of  new  and  unique  design. 


FEARLESS  EDUCATIONAL  BLIMP 

Features: 


FEARLESS  SIMPLEX   DOLLY 
Price  complete  with  all  attachments 


$850 


FEARLESS    EDUCATIONAL   CAMERA    BLIMPS 
Manufactured  under  exclusive  license  with  Edu- 
cational   Studios.     Price   complete    with    Follow- 
Focus  and    sychronized   finder — shift  change   .    $600 


1.  The    finest    camera    silen- 
cing  blimp. 

2.  Light    in    weight. 

3.  Simple    in   construction. 

4.  Scientifically    designed. 

5.  Easily     operated     for     film 
loading. 

6.  Has    built-in    Follow-Focus 
of   improved   design. 

7.  Finder-Focus     synchronized 
with    Follow-Focus. 

8.  Felt   lined. 

9.  Rubber  camera  support. 

10.  Camera  leveling  device 
built-in. 

11.  Interior  of  blimp  can  be 
illuminated. 

12.  Can  be  used  on  any  stand- 
ard heavy  duty  tripod 
head. 

13.  Highest  quality  workman- 
ship. 

14.  Built  from  best  quality 
material. 

15.  The   cameraman's   choice. 


FEARLESS  CAMERA  COMPANY 


Phone 
OXford  4262 


8572  Santa   Monica  Blvd. 
Hollywood,  California 


Cable  Address 
Fear  Cameo. 


Fearless  equipment  is  sold  with  an  unconditional  guarantee  to  give  perfect  satisfaction — or  money  refunded. 

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Thirty-four 


The     INTERNATIONAL     PHOTOGRAPHER 


May,  1933 


The  Cine-Kodak  Special 

Eastman  Kodak  Company  Announces  a 
Miracle  in  a  1 6mm.  Motion  Picture  Camera 


Bob    Montgomery   with    his   Cine-Kodak 

The  Cine-Kodak  Special,  a  16-millimeter  motion  pic- 
ture camera  that  will  "do  everything"  and  then  a  few 
tricks  more,  has  heen  announced  by  the  Eastman  Kodak 
Company. 

The  Cine-Kodak  Special  will  be  introduced  because 
of  the  Eastman  Kodak  Company's  belief  that  10  years 
of  amateur  cinematography  have  prepared  the  way  for 
a  16-millimeter  camera  of  maximum  versatility.  The 
appeal  of  the  new  camera  will  probably  be  to  advanced 
amateur  movie  makers,  to  motion  picture  clubs,  to  engi- 
neers, to  manufacturers,  to  doctors,  to  laboratory  tech- 
nicians— classes  of  cinematographers  having  use  for  16- 
millimeter  equipment  with  a  professional  camera's  range 
of  abilities. 

Production  arrangements  provide  that  the  Cine- 
Kodak  Special  shall  be  precision-made  by  individual 
skilled  labor.  Fabrication  of  the  camera  will  be  entirely 
on  a  custom-made  basis,  which  allows  for  modifications 
when  any  special  requirements  present  themselves.  Al- 
though the  camera  is  in  itself  the  most  complete  16- 
millimeter  instrument  ever  built  commercially,  the  Cine- 
Kodak  Special  will  serve  in  many  cases  as  the  basic  model 
for  the  even  more  elaborate  custom-built  motion  picture 
camera  which  cinematographers  may  desire. 

The  basic  model  incorporates  provisions  for  double 
or  multiple  exposures,  dissolves,  slow  motion,  fades,  mask- 
ing, interchangeable  film  chambers,  variable  speed,  and 
framing  and  focusing  through  the  main  lens  system  of 
the  camera.  It  has  a  variable  shutter,  a  two-lens  turret, 
and  provision  for  either  spring  motor  drive,  hand 
cranking,  or  the  attachment  of  an  electric  motor  drive. 
Tn  addition  to  these  features  of  the  basic  model,  addi- 
tional equipment  or  alterations  will  on  special  order  be 
applied  to  the  camera  in  process  of  manufacture. 

With  the  advent  of  the  Cine-Kodak  Special,  viewers 
of   amateur   motion   picture   film   may  no   longer   be  sur- 


prised to  see  one  person  appearing  in  several  places  at 
once  on  the  screen,  to  see  all  the  possible  tricks  of  dis- 
solving and  fading  and  appearance  from  nowhere,  to  see 
Niagara  Falls  slowing  down  or  speeding  up  at  will  in- 
stead of  maintaining  its  accustomed  rate  of  fall,  to  see 
a  "long  shot"  dissolve  into  a  close-up  at  a  swing  of  the 
turret,  to  see  all  types  of  "animation,"  including  the 
appearance  of  animated  subjects  in  the  same  scenes  with 
living  subjects,  to  see  scenes  interestingly  masked,  to 
see  a  man's  legs  walk  out  from  under  him,  to  see  many 
slow  motion  effects,  to  see — as  the  Cine-Kodak  Special 
can  record  it — large  views  of  very  small  subjects  that 
were  only  an  inch  or  two  from  the  camera. 

Such  pictures  represent  the  Cine-Kodak  Special's  trick 
possibilities.  The  same  abilities,  however,  are  applicable 
also  when  the  camera  is  used  in  technology,  in  the 
analysis  of  athletic  form,  and  in  other  "serious"  ways. 

How  are  these  various  tricks  and  refinements  accom- 
plished? The  following  catalog  of  the  Cine-Kadok  Spe- 
cial's features  will  show.  (Again  it  should  be  mentioned 
that  these  features  are  those  of  the  basic  model,  exclusive 
of  any  that  may  be  built  in  to  any  movie  maker's  special 
order.) 

1.  Fades  are  made  possible  by  the  camera's  variable 
shutter.  This  shutter  may  be  adjusted  to  full  opening, 
one-half,  or  one-quarter,  or  closed.  The  ability  to  effect 
these  changes  while  the  camera  is  running  makes  fades, 
in  or  out,  possible. 

2.  Lap  dissolves  (the  overlapping  of  two  fades)  are 
made  possible  by  use  of  the  variable  shutter  together 
with  the  ability  of  the  camera  to  wind  back  the  film  for 
a  second  exposure. 

3-  Double  or  multiple  exposures  are  possible  because 
the  film  can  be  wound  back. 

4.  Interchangeable  chambers,  of  100-foot  or  200-foot 
capacity,  make  it  easy  to  shift  at  any  time  from  one  type 
of  film  to  another.  Without  finishing  out  a  roll,  it  is 
possible  to  change  in  a  moment  from  panchromatic  to 
Kodacolor  or  to  super-sensitive  panchromatic  by  substitut- 
ing a  chamber  loaded  with  the  other  type  of  film.  The 
ability  to  expose  200  feet  of  film  continuously  is  also  a 
marked  advantage.  The  chambers  are  interchangeable 
without  fogging  even  one  frame  of  film. 
(Continued  on  Page  40) 


The    same    person    shown    twice 

in  one  picture  is  a  commonplace 

for  the  Cine-Kodak  Special. 


By  using  the  reflex  finder  it  was 

possible  to  frame  and  focus  this 

scene  only  two  or  three  inches 

from  the  lens. 


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Mav,  1933 


T  h 


INTERNATIONAL    PHOTOGRAPHER 


Thirty-five 


16  mm. -QUESTIONS   and   ANSWERS-16  mm 


By  George  J.  Lancaster 


Question — At  frequent  intervals  I  noted  in  my  pro- 
jected picture  white  streaks  and  flashes  of  light  at  the 
sides  of  the  screen.     What  is  the  cause  of  this  condition? 

Answer — Light  fog,  which  probably  occurred  while 
vou  were  loading  or  unloading  the  camera  in  day  light. 
Be  more  careful;  evidently  the  roll  was  held  in  the  light 
too  long  allowing  the  light  to  sift  through  between  the 
reel  and  Him.  I  would  suggest  to  do  the  loading  or 
unloading  in  the  shade. 

Question — About  what  distance  should  I  place  the 
camera  to  get  a  good  close-up  ? 

Answer — Approximately  four  feet  would  be  a  good 
distance  if  you  are  using  the  f .  1.9  lens.  Precaution  is 
doublv  important  that  all  action  before  the  camera  should 
be  slower  and  deliberate;  in  focusing  be  more  accurate; 
use  a  tape  measure  for  correct  distance  and  set  the  lens 
at  the  proper  markings. 

Question — Which  filters  should  I  use  to  photograph 
cloud  effects? 

Answer — If  you  are  using  regular  panchromatic  film, 
the  series  of  "K"  filters,  numbering  1,  2  and  3  will  give 
satisfaction.  Under  ordinary  circumstances  the  "K"  1 
will  register  the  clouds  faintly.  The  ''K"  3  will  make 
them  stand  out  prominently,  and  if  you  want  to  emphasize 
the  clouds,  use  the  "G"  or  23-A.  These  last  two  filters 
will  over  correct  the  color  values  and  make  the  clouds 
stand  out  white,  against  a  darkened  sky.  Precaution 
should  be  given  to  the  exposures. 

Question — Often  times  I  have  noticed  in  professional 
pictures  the  characters  will  sometimes  walk  from  a  Long 
shot  or  full  figure  view-  right  up  to  the  camera  to  a 
close-up  and  still  be  in  focus.  How  is  that  done? — 
G.E.F. 

Answer — The  reason  why  this  is  so,  is  because  the 
cameraman's  assistant  changes  focus  during  the  taking  of 
the  scene.  An  amateur  can  also  obtain  the  same  results 
by  either  of  the  two  ways.  First,  by  having  the  camera 
on  a  tripod  so  that  he  will  be  relieved  of  the  necessity 
of  holding  it,  by  pre-arranging  his  action  so  that  it  will 
transpire  within  the  area  covered  by  the  lens  without 
having  to  pam,  or  move  the  camera.  This  will  allow 
the  operator  to  have  a  free  hand  and  also  to  stand  be- 
side the  camera  where  he  can  see  the  lens  markings.  As 
the  subject  moves  forward  he  can  change  the  distance 
indicator  on  the  lens  to  coincide  with  the  diminishing 
distance  as  the  subject  moves  forward.  The  second 
method  would  be  to  have  an  assistant.  This  latter  method 
would  be  necessary  in  case  where  no  tripod  is  available 
and  the  operator  had  to  hold  the  camera,  or  where  it 
>vould  be  necessary  for  the  operator  to  keep  his  eye  at 
the  finder  in  order  to  follow  motion.  Under  these  cir- 
cumstances the  assistant  changes  the  lens  focus  to  cor- 
respond with  the  distance.  When  the  objects  being  pho- 
tographed  are   less   than   five   or  six   feet   away   this  will 


4241 


RAY     MERCER 

Fades — -Dissolves — Wipeoffs 
SPECIAL  EFFECTS  —  MINIATURES 

Call  OLympia  8436  FOR  SERVICE 
Normal    Avenue  Hollywood,    Calif. 


require  a  good  eye  for  distance  and  also  some  practice 
with  the  lens.  1  would  not  recommend  this  operation, 
but  to  the  most  advanced  amateurs. 

Question — Dear  Mr.  Lancaster,  how  can  I  get  a  posi- 
tion in  the  studios  as  a  cameraman  or  as  an  assistant? 

Answer — My  dear  John:  You  got  me  there.  If  I 
knew  how  to  answer  that  question  at  this  writing  I 
would  be  considered  a  marvel.  I  would  like  to  know 
the  answer  myself.     Any  others? 

Question — 16-M.M.  Question  Box,  International 
Photographer.  Last  December  I  was  in  Yosemite  Park. 
Some  of  the  pictures  I  took  were  very  good,  while  others 
were  blurred  or  hazy.  They  were  not  out  of  focus  be- 
cause I  know  what  out  of  focus  looks  like  and  these 
were  different.  Can  you  enlighten  me  what  was  the 
cause  of  this  condition? 

Answer — I  am  unable  to  give  you  a  definite  answer 
without  seeing  the  pictures,  but  I  will  guess  that  the 
trouble  you  had  was  caused  by  moisture  condensing  on 
the  lens.  This  happens  to  many  of  the  photographers. 
You  probably  had  your  camera  in  a  warm  room  over 
night  and  in  the  morning  when  you  went  out  in  the 
cold  air  small  drops  of  water  collected  or  condensed  on 
the  glass  due  to  moisture  perspiration  or  fogging  that  so 
often  happens  to  those  who  wear  spectacles.  The  hazy 
scenes  were  most  likely  shot  while  the  lens  was  in  this 
condition.  Later  on  in  the  day  the  glass  became  accli- 
mated to  the  cold  and  no  more  moisture  collected.  From 
then  on  the  shots  you  took  were  clear. 

Question — What  is  the  difference  between  panchro- 
matic type  and  Type  K  film  ? 

Answer — Type  two  is  slightly  faster  than  regular 
panchromatic  and  has  a  softer  emulsion.  Type  K  (which 
stands  for  kryptocyanine)  is  especially  sensitive  to  red, 
making  it  ideally  suited  for  making  moonlight  effects  and 
night  scenes. 

Question — Overhearing  a  conversation  in  the  sixteen 
millimeter  shop  where  I  frequently  purchase  my  film 
and  have  my  developing  done,  the  proprietor  ordered  a 
thousand  feet  of  "dupe  stock."  I  thought  I  had  mas- 
tered all  the  names  of  the  films  on  the  market  until  I 
heard  the  word  "dupe." 

Answer — The  word  "dupe"  means  duplicating. 
"Stock"  is  a  professional  way  of  expressing  film.  "Dupe 
stock"  is  a  special  film  which  is  used  for  making  dupli- 
cates, such  as  making  a  negative  from  a  positive.  This 
film  has  a  very  slow  and  fine  grain  emulsion.  Its  speed 
is  so  slow  that  the  faster  type  is  only  751  •>  as  fast  as 
regular  cine  positive  film  and  the  slower  type  has  but 
20%  the  speed  of  positive.  Cine  positive  is  usually  about 
a  third  as  speedy  as  ordinary  negative  film. 
(Continued  on  Page  46) 


CRESCENT    BROKERAGE    CORP. 

Custave    A     Blumenreirer.    President 

INSURANCE    IN    ALL    ITS    BRANCHES 
SPECIAL   SERVICE   FOR   CAMERAMEN 

ALL    RISK   CAMERA    INSURANCE,   90c   per   $100 
20  per  cent  Saving  on   AUTO   INSURANCE 


Rolan    C.    Kennell,    Manager 
416    W.    8TH    ST.,    LOS   ANGELES 


TRINITY   8677 


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Thirty-six 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1933 


(Continued  from  Page  15) 
aviator  who  accompanied  Levine  on  his  flight  across  the 
Atlantic.  He  told  me  to  go  to  Holmes  Airport  and  get 
his  ship  ready  and  that  he  would  come  from  the  city  by 
taxi.  So  I  jumped  in  the  car  and  ran  over  to  the  airport 
and  again  started  to  push  planes  around.  By  this  time  it 
started  to  rain  and  we  all  got  drenched,  but  the  mechanics 
and  myself  kept  right  on  until  we  had  the  ship  ready  to  go. 

This  all  takes  time  and  we  had  the  motor  warmed  up 
by  six  fifteen  when  Mr.  Chamberlin  arrived.  We  looked 
over  some  maps  and  finally  laid  out  our  course  and  pre- 
pared to  leave.  We  used  no  heavy  clothes  which  we  were 
sorry  for  later  on  as  the  open  door  in  the  plane  caused  a 
draught  all  the  time. 

We  turned  up  our  coat  collars  and  took  off  in  about  the 
soupiest  weather  I  have  ever  flown  in  and  I  have  been  in 
some  bad  weather  since  my  first  flight  in  1915. 

Leaving  North  Beach  Airport,  on  Long  Island  Sound, 
where  we  went  for  gas,  we  headed  southeast  with  little 
or  no  visibility  and  about  a  two  hundred  foot  ceiling  and 
finally  hit  the  coast  line  around  Manhattan  Beach  passing 
over  the  breakwater  about  one  hundred  feet  altitude  and 
headed  south  southeast  to  pick  up  the  Jersey  Coast.  We 
were  flying  a  plane  of  Mr.  Chamberlin's  own  design, 
powered  with  the  old  reliable  Wright  J6  motor.  We 
were  both  silent  for  some  time.  I  sat  alongside  of  him 
and  rain  was  splashing  in  on  us.  We  could  just  about 
see  our  wing  tips  and  the  cold  gray  sea  below.  I  leaned 
over  in  order  to  be  heard  above  the  roar  of  the  motor 
and  shouted:  "This  sure  is  a  tough  day  for  flying."  All 
I  got  out  of  him  was  a  nod.  I  busied  myself  looking  at 
our  map  and  in  a  few  minutes  we  saw  the  coast  line  loom 
up.  We  stayed  low  and  close  to  try  and  find  our  loca- 
tion and  the  first  break  of  silence  from  Chamberlin  was 
to  tell  me  he  recognized  Asbury  Park,  N.  J.  ' 

From  that  time  on  Chamberlin  loosened  up  and  we 
conversed  quite  frequently  as  we  were  continually  looking 
out  both  sides  and  checking  the  good  old  Coast  Guard  Sta- 
tions that  are  every  ten  or  fifteen  miles  apart.  As  we  flew 
on  down  the  coast  we  finally  saw  Barnegat  Light,  our 
destination  on  the  south  course,  and  the  weather  was  still 
as  bad  as  when  we  left  if  not  worse,  as  it  was  thicker 
over  the  water. 


We  circled  Barnegat  Light  twice  and  then  Chamberlin 
settled  himself  and  looked  at  his  watch  as  we  started  to 
head  east.  Our  motor  was  performing  beautifully  and 
he  set  it  at  1650  R.P.M.  and  we  were  winging  our  way 
due  east  one  hundred  miles  per  hour,  visibility  poor  and 
about  one  hundred  foot  ceiling;  at  times  no  visibility,  and 
after  half  an  hour  flying,  we  were  about  fifty  miles  off 
shore. 

On  account  of  the  lack  of  visibility,  we  could  see 
nothing.  We  cruised  around  there  for  about  half  an 
hour  and  covered  quite  an  area,  but  we  felt  we  could  do 
no  more  there  and  then  turned  our  ship  west  again  for 
about  forty  minutes  as  we  were  bucking  a  northwest  wind 
and  took  more  time  in  reaching  the  shore  line  again.  I 
am  sure  we  both  realized  the  hazard  of  this  kind  of  flying, 
but  neither  one  wanted  to  comment  on  it.  We  also  knew 
that  we  were  not  alone  flying  there  and  with  fog  so  thick 
we  had  to  strain  our  eyes  to  look  out  for  other  ships.  We 
passed  one  plane  only  twenty  feet  off  our  left  wing  going 
the  other  way.  I  was  on  the  right  and  did  not  see  it  and 
Chamberlin  did  not  tell  me  until  we  had  landed  and  were 
having  breakfast.  Possibly  he  did  not  want  to  cause  me 
to  worry.  Finally  the  shore  line  came  into  view  again 
and  we  were  south  of  Barnegat  and  headed  north.  After 
talking  it  over  we  decided  to  go  to  the  Naval  Air  Station 
at  Lakehurst. 

After  locating  Toms  River  we  followed  the  highway 
to  the  air  station  and  had  about  seventy-five  feet  of  ceil- 
ing. It  was  getting  thicker,  so  thick  that  we  were  on  top 
of  the  big  hangar  about  two  hundred  feet  away  going 
straight  for  it  and  had  to  pull  up  to  avoid  it.  I  sure  felt 
relieved  when  we  finally  landed.  After  putting  a  break- 
fast of  ham  and  eggs  and  navy  coffee  under  our  belts,  Ave 
looked  for  information  and  decided  to  wait  for  a  break  in 
the  weather.  Up  to  that  time  we  had  put  in  about  three 
hours  of  real  tough  flying. 

We  ambled  into  the  hangar  and  came  onto  a  group  of 
navy  fliers.  This  group  we  joined ;  several  of  them  recog- 
nized Chamberlin  and  one  of  the  pilots  asked  us  if  we 
saw  him  out  about  fifteen  miles  from  Barnegat.  Natur- 
ally Ave  said:  "No."  Well  he  told  us  Ave  passed  directly 
over  him  going  the  opposite  direction  not  more  than  thirty 
feet  above. 

I  Avas  glad  I  had  the  pleasure  of  meeting  that  particu- 


ROY    DAVIDGE 

FILM   LABORATORIES 


••• 


An  Exclusive  "Daily"  Laboratory 


©©• 


Quality  and   Service 

67  0  1-6715     SANTA     MONICA     BOULEVARD 

GRanite    310  S 


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May,  1933 


T  h 


INTERNATIONAL    PHOTOGRAPHER 


Thirty-seven 


lar  pilot  in  the  hangar  instead  of  meeting  him  fifteen  miles 
off  shore.  The  only  navy  ships  that  were  allowed  to  go 
out  in  that  weather  were  the  ships  equipped  with  radio. 
We  bade  our  group  adieu  and  went  to  the  communication 
department  in  hope  of  getting  some  late  news  of  the  dis- 
aster. The  place  was  very  quiet,  officers  going  about  their 
work  solemnly  and  quietly  so  we  went  to  the  Y.  M.  C.  A. 
in  order  to  get  a  phone  to  the  New  York  office  to  find  out 
what  news  they  had  there  as  we  could  get  no  information 
at  the  communication  office.  There  at  the  Y  the  station 
chaplain  has  his  headquarters  and  I  saw  the  real  tragic 
side  of  the  disaster — Wives  of  the  men,  brothers,  sisters, 
mothers  and  fathers  of  the  dear  ones  who  were  aboard  the 
ill-fated  ship.  Many  of  them  were  weak  and  exhausted 
from  crying,  faces  flushed  and  eyes  red  and  swollen. 
Many  had  to  receive  medical  attention.  A  real  heart 
rending  sight  and  we  were  relieved  when  we  had  to  leave 
the  place. 

Out  in  the  open  we  were  told  the  J  ship  was  going 
to  take  off  for  a  searching  flight  and  that  we  were  to  take 
off  and  stick  close  to  it  in  event  that  they  were  successful 
in  finding  the  wreck.  So  we  waited  until  the  J  ship  was 
well  on  its  way  as  we  could  catch  it  before  it  reached  the 
coast  and  then  follow  it.  Just  before  we  took  off  we 
received  a  report  that  a  boat  had  found  the  wreck  and  was 
towing  it  to  Atlantic  City  and  that  we  were  to  go  out, 
get  it  landing  at  Atlantic  City  and  then  fly  our  film  to 
New  York. 

By  this  time  it  looked  a  little  better.  The  ceiling  had 
raised  to  about  three  hundred  and  visibility  was  better,  so 
we  shoved  off  and  headed  out  to  sea  again.  Down  near 
Atlantic  City  we  saw  some  small  boats,  the  first  sign 
of  life  we  had  seen  all  day.  They  were  all  heading  out  to 
sea  so  we  altered  our  course  and  followed  the  boats  and  a 
little  later  we  saw  two  Coast  Guard  boats  and  out  about 
thirty-five  miles  we  could  see  through  the  haze  a  larger 
boat  which  turned  out  to  be  the  cruiser  Portland.  We 
circled  and  they  were  flashing  us  a  signal  in  code,  but 
neither  Chamberlin  nor  I  could  read  it  so  we  circled  a 
couple  of  times  and  started  to  search  more  territory,  al- 
though it  looked  as  if  they  had  a  diver  over  the  side  and 
one  of  the  smaller  boats  looked  as  if  it  were  dragging. 
After  a  search  of  another  half  hour  we  headed  for  Atlantic 
City  and  found  nothing.  At  Atlantic  City  airport  it 
looked  like  a  convention  and  air  meet  combined,  the 
greatest  activity  that  irport  has  ever  seen.  Army,  navy, 
civilian  planes  of  all  makes  were  assembled  there.  About 
forty  or  fifty  planes  were  taking  part  in  the  search. 

By  now  the  tail  end  of  the  storm  was  breaking  and  it 
cleared  in  the  west.  The  Paramount  man  in  charge  of 
the  operations  at  Atlantic  City  had  phoned  the  office  and 
Chamberlin  and  I  were  instructed  to  fly  again  out  to  sea 
and  photograph  the  boats  that  were  there  and  any  activity 
that  I  could  get.  We  gassed  up  and  again  headed  east 
for  the  third  time.  I  was  to  return  to  Atlantic  City,  pick 
up  the  rest  of  the  film  and  take  it  on  to  New  York.  Al- 
though it  was  clearing  fast  on  the  shore,  out  thirty-five 
miles  it  was  still  dark  and  cloudy.  We  made  our  shots 
and  returned  as  instructed  and  on  landing  our  representa- 
tive rushed  over  and  asked  me  if  I  saw  the  wreck  of  the 
J  ship,  the  smaller  non-rigid  airship.  We  came  in  from 
the  south  so  we  did  not  see  it. 

Without  shutting  off  the  motor  we  took  off  again  and 
located  the  wreck  of  the  J  ship  and  made  some  shots  and 
proceeded  back  to  New  York.  Landing  at  the  Holmes 
airport  again  about  5:30  P.  M.  we  put  our  plane  in  the 
hangar  and  rushed  the  film  to  the  office. 

On   our   way   over    to   New   York   we   had    our   first 


chance  to  relax  as  we  had  accomplished  all  that  was 
humanly  possible  to  do  under  the  most  trying  conditions. 
I  noticed  that  Chamberlin  looked  tired  and  I  know  I  was. 
It's  a  long  way  from  4:00  A.  M.  to  5:30  P.  M.  The 
combination  of  bad  weather,  straining  every  nerve  in  the 
body,  and  covering  several  hundred  miles  over  an  angry 
ocean  in  a  little  single  motored  land  plane  to  me  was  some- 
what of  a  new  and  trying  experience. 

But  to  Chamberlin,  a  veteran  of  ocean  flying,  it  was 
only  another  flight.  The  manner  in  which  he  so  master- 
fully handled  every  situation  only  proves  to  me  the  great 
flier  that  he  is.  I  also  felt  that  his  determination  in  such 
a  long  and  diligent  search  was  the  possibility  that  he  might 
be  helpful  in  aiding  those  unfortunate  fellow  aviators,  as 
I  believe  we  covered  more  area  than  any  of  the  other 
planes  that  participated  in  the  search. 

I  was  glad  to  get  home  and  get  some  sleep  that  I 
needed  and  hope  that  I  will  never  be  aboard  a  ship  and 
hear  those  four  words  that  mean  such  a  tremendous  loss 
to  our  Navy  and  to  aviation:  "STAND  BY  FOR 
CRASH." 


WILLIAMS 
SHOTS 


Patented 


New 

DOUBLE  MATTING 
PROCESS 


IMPROVED  BY 
COMPLETE 
AUTOMATIC 
LABORATORY 
EQUIPMENT 


Telephone   OX  ford    1611 

1111  SANTA  MONICA  BOULEVARD 
HOLLYWOOD 


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Ml* 


WILLIS  OIPII 


Upper  Left — Men   working   behind  set  on   high-speed   shot,  showing  how  water  is  agitated  and  the  animal  is  moved  by  wire  controls. 

Upper  Right — Shooting  a  high-speed  shot.  The  animal  here  seen  was  made  by  Marcel  Delgado  who  makes  the  O'Brien  miniatures. 
Note  the  spraying  water. 

Lower  Left — The  artist's  conception  of  the  scene. 

Lower  Right — The  completed  shot.  Note  how  closely  it  matches  with  the  artist's  conception.  The  foreground  water  was  matted  and 
real  water  put  in.  The  large  tree  and  bank  are  miniature,  as  is  the  animal.  The  trees  and  foliage  behind  are  painted  on  glass  and  backing, 
while  they  are  put  into  the  miniature  by  projection,  this  having  been  taken  on  a   full  size  set  sometime  before. 

Oval  in  Center — King  Kong  and  Willis  O'Brien.  This  head  of  a  gigantic  ape  was  made  by  Mr.  O'Brien  for  the  picture  "King  Kong." 
This  head  was  controlled  by  men  within  the  head.  The  internal  mechanism  was  so  devised  that  the  lips  would  twitch,  the  tongue  move,  eyes 
roll,   head   move,  and   in   fact  do  everything,  even   to   roaring,  that  a   real  ape  would  do. 


I  Willis  O'Brien,  the  author  of  the  following  article,  has  been  con- 
nected with  the  technical  phase  of  motion  pictures  for  twenty  years. 
Applying  his  talents  for  Edison  in  the  early  days,  to  his  present  con- 
nection with  R.K.O  Studios,  he  has  been  a  cogent  accessory  to  the 
development  of  the  miniature  and  trick  shot  and  its  unquestionable 
place  in  the  motion  picture  of  today.  He  is  a  recognized  authority 
on  prehistoric  animals  and  well  known  for  his  artistic  ability.  THE 
LOST  WORLD  and  KING  KONG  were  made  possible  only  because  of 
his  technical  and  artistic  ability  and  they  stand  as  pictorial  monu- 
ments to   his  genius. — Editor's    Note.  I 

In  previous  articles  there  has  been  so  much  misinform- 
ation presented  relative  to  the  methods  used  in  obtaining 
effects  shots  (which  do  add  immeasurably  to  the  scope  and 
general  possibilities  of  the  motion  picture),  that  I  believe 
a  short  description  of  the  work  as  it  is  actually  carried  on 
might  prove  of  interest. 

The  completed  shot  represents  a  combination  of  ap- 
plied talents  creating  an  ultimate  picture  or  impression 
that,  when  well  done  is  beautiful  and  conclusive.  The 
dramatic  value  of  the  setting — its  lighting  and  construc- 
tion— are  all  necessary  elements  that  must  be  studied  and 
worked  out  prior  to  the  consideration  of  the  mechanical 
agencies  to  be  applied. 

A  scene  that  flashes  before  your  eyes  on  the  screen  for 
a  few  seconds  may  have  required  several  weeks  of  concen- 
trated preparation  and  work.  Often  a  day's  work  of  25 
feet  of  finished  film  is  shown  in  about  j :!  of  a  minute  on 
the  screen.  In  the  making  of  "KING  KONG"  a  detailed 
sketch  was  made  for  each  set.  The  artist  created  a  pic- 
ture or  illustration  of  that  certain  bit  of  action.  This 
sketch  would  necessarily  have  to  be  complete  in  all  detail 
— the  comparative  sizes  of  people  and  animals,  their  ac- 
tions, the  dramatic  value  of  the  setting  and  its  lighting. 


Each  scene  was  planned  as  a  single  picture — a  dra- 
matic conception  in  black  and  white.  Continuity  sketches 
were  made  combining  these  larger  sketches  in  their  correct 
sequence,  so  that  the  protraction  of  the  story  would  be 
kept,  the  whole,  as  well  as  details,  receiving  an  infinite 
amount  of  study  and  research. 

Then  the  best  or  necessary  means  to  duplicate  this 
conception  wTas  worked  out.  It  might  be  a  miniature  set 
with  the  characters  or  people  being  projected  into  a  part 
of  it.  The  practical  requirements  necessary  for  the  work- 
ing of  miniature  animals  might  be  necessary  to  consider. 
The  advisability  of  using  glass  paintings,  or,  perhaps  mat- 
ting the  lower  part  of  the  set  so  as  to  use  conventionally 
photographed  foreground  must  be  taken  into  account.  All 
these  and  many  more  possible  requirements  must  be  con- 
sidered. 

After  deciding  the  means  to  be  used,  the  layout  or 
construction  plans  were  drawn  and  detailed,  even  to  the 
exact  position  of  the  camera  and  the  placing  of  people 
and  animals.  This  work  is  done  by  Carrol  Shephird.  If 
the  people  were  to  be  projected  or  matted  in  the  set,  a 
complete  drawing  for  that  part  of  the  set  would  be  neces- 
sary, so  that  they  would  take  their  place  in  the  miniature 
in  the  correct  perspective  and  create  a  convincing  picture. 
In  mam  instances  of  a  composite  shot,  a  full  size  set  with 
people  would  be  shot  a  month  or  so  before  the  miniature 
of  which  it  would  become  a  part,  thus  necessitating  exact- 
ing layouts  and  camera  setups. 

The  layouts  are  conceived  entirely  from  the  sketch 
so  that  the  shot  would  be  an  exact  reproduction  of  the 
artist's  conception.  Much  research  was  necessary  so  as 
to   obtain  correct  reproductions  of  every  detail. 


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rill      EFFECT     SHOTS 


When  the  plans  were  ready  the  set  or  sets  were  put 
into  work.  Expert  craftsmen  carefully  built  the  neces- 
sary units.  It  might  be  a  combination  miniature  set  with 
glass  paintings  and  projected  images,  the  sketch  artists 
painting  the  glasses  and  backings  themselves,  and  in  many 
instances  having  the  original  sketch  projected  on  the  glass 
to  serve  as  a  guide  for  the  glass  artist.  When  the  set  is 
finished  the  cameraman  and  electrician  light  the  set  from 
the  sketch. 

Then  tests  were  made  until  the  required  and  desired 
results  were  obtained,  the  final  picture  being  a  practical 
setting  and  exact  reproduction  of  the  artist's  conception. 

From  the  foregoing  it  can  easily  be  seen  that  the  mini- 
ature technician  cannot  bring  his  set  to  the  screen  single- 
handed.  It  is  fundamentally  an  artist's  conception  but  re- 
quires the  united  efforts  of  many  craftsman,  its  success 
depending  entirely  upon  the  combination  of  artistic,  pho- 
tographic and  mechanical  effects,  each  person  being  a 
specialist  in  his  held  but  also  having  a  general  knowledge 
of  the  whole. 

When  making  KING  KONG  it  was  necessary  to 
have  a  large  staff  of  experienced  men  to  carry  on  the  work. 
A  group  of  men  were  kept  busy  building  and  repairing 
the  animals  or  executing  any  mechanical  necessity  that 
was  required.  Another  group  built  the  miniatures,  which 
included  a  New  York  Elevated  Railway  recreated  in  de- 
tail, and  jungle  settings  on  a  tropical  island.  Mario  Lar- 
rinag  and  Byron  Crabbe  made  the  sketches  and  later 
painted  the  backings  and  glasses  for  the  sets  after  the  min- 
iatures were  drawn  up  and  put  to  work.  Besides  these 
men,  others  were  necessary  for  the  actual  working  of  the 
miniature. 

Experience  is  the  only  teacher  of  the  various  treat- 
ments required  to  obtain  the  desired  effects.     Each   new 


set  is  an  individual  problem  and  requires  separate  treat- 
ment. There  is  no  set  rule  or  method  by  which  you  can 
classify  all  miniatures.  The  scale  and  size  must  be  in- 
dividually determined. 

The  miniature  of  today  is  a  much  more  convincing  and 
effective  medium  than  it  was  a  few  years  ago.  The  intro- 
duction of  real  people  into  the  miniature  (by  process, 
matte  or  projection)  and  the  addition  of  sound  have  all 
helped  considerably.  Many  people  pride  themselves  on 
being  able  to  tell  a  miniature  shot  on  the  screen.  A  well- 
executed  miniature  cannot  be  detected,  except  by  the  ex- 
pert himself.  Miniatures  are  very  often  shot  at  high 
speed,  that  is  from  four  to  eight  times  normal  speed.  This 
is  always  done  when  shooting  water,  as  the  scale  and  illu- 
sion cannot  be  brought  about  except  by  the  use  of  the 
high  speed  camera. 

Miniatures  and  so-called  trick  shots  are  not  a  medium 
used  to  fool  the  public,  but  rather  a  means  of  obtaining  a 
better  or  otherwise  impossible  angle  to  further  the  com- 
pleteness of  the  story  and  often  is  used  as  the  only  pos- 
sible solution  to  get  the  desired  effect.  The  average  pic- 
ture has  a  few.  The  Hollywood  Herald  called  KING 
KONG  "the  most  sensational  exhibition  of  camera  tricks 
in  the  history  of  motion  pictures."  It  was  probably  the 
extreme  case  because  of  its  impossibility  without  them. 
New  ideas  and  new  combinations  of  older  processes  were 
used.  Miniature  animals,  combined  with  the  projection  of 
people  on  the  miniature  set,  created  a  scene  that  was  con- 
vincing, not  for  the  purpose  of  fooling  the  picture-goer, 
but  to  give  something  new  and  formerly  impossible.  I 
believe  the  public  has  come  to  realize  and  appreciate  the 
true  creative  ability  required  in  the  conception  and  execu- 
tion of  these  shots  so  as  to  obtain  the  maximum  in  artistic 
and  realistic  effects. 


RECEIVES  HIGH  HONOR 

"How  Movies  Are  Made,"  a  novelty  one  reel  short 
directed  by  Ralph  Staub,  for  Columbia  Pictures,  has 
been  named  as  one  of  the  films  to  be  shown  during  the 
World's  Fair  at  Chicago  this  summer. 

As  this  short  depicts  the  daily  routine  of  studio  life, 
from  the  time  a  story  is  purchased  by  a  movie  concern, 
taking  one  through  each  department  until  the  finished 
product  is  shown  on  the  screen,  it  should  give  the  visitors 


a  fair  idea  of  studio  life  that  they  otherwise  would  not 
have  a  chance  to  see. 

Ralph  Staub,  producer,  director,  cameraman,  editor 
and  actor  of  "How  Movies  Are  Made,"  spent  consider- 
able time  gathering  this  material,  as  it  required  special 
appointments  to  obtain  scenes  of  both  the  sound  and 
recording  and  film  developing  departments  in  action ; 
not  to  mention  the  drafting  shop,  prop,  wardrobe,  elec- 
trical, wardrobe  and  other  crafts  that  are  included  in 
the  novel  short. 


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Forty 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1933 


CINE-KODAK  (Continued) 

5.  A  positively-acting  mechanism  for  making  single 
pictures  permits  animation,  laboratory  "growth  studies," 
speeded-action  scenes,  and  various  tricks. 

6.  A  separate  single-picture  shaft  for  an  electric 
motor  drive  is  useful  for  time  and  growth  studies,  or 
for  experimental  sound  work.  Another  shaft  permits 
the  connection  of  an  electric  motor  to  the  camera  for 
continuous  operation. 

7.  The  Cine-Kodak  Special  has  a  slot  for  the  in- 
sertion of  masks,  and  a  set  of  simple  masks  will  be  sup- 
plied with  the  camera.  Circular  masks,  oval  masks,  and 
others  of  more  elaborate  shapes,  are  useful  for  certain 
desired  effects  on  the  screen. 

8.  Half-masks,  which  blank  out  one  side  of  the  film 
or  the  other,  permit  the  same  person  to  appear  twice  in 
one  picture  when  the  winding-back  feature  is  used  to 
produce  a  double  exposure  on  a  single  length  of  Him. 
Animated  and  human  subjects,  as  a  matter  of  fact,  can 
thus  appear  together  in  one  scene.  By  the  use  of  hori- 
zontal half-masks  the  bottom  or  the  top  of  the  picture 
similarly  may  be  blanked  out. 

9.  A  great  variety  of  tricks  and  stunts  are  made 
possible  by  combinations  of  masks,  dissolves,  and  reversing, 
for  double,  triple  and  multiple  exposures. 

10.  Almost  40  feet  of  film  can  be  "shot"  at  a  wind- 
ing. An  audible  signal  warns  when  the  spring  is  nearly 
wound  and  when  it  is  nearly  run  down. 

11.  The  hand-cranking  feature  of  the  camera  per- 
mits the  filming  to  be  carried  on  when  the  spring  motor 
runs  down,  thus  letting  an  entire  film  be  shot  without 
stopping. 


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12.  The  Cine-Kodak  Special  possesses  a  turret  head 
for  two  lenses.  Lenses  are  quickly  interchangeable  on 
the  turret  head,  which  will  accommodate  the  various 
lenses  that  are  available  for  the  Cine-Kodak  Special. 

13.  A  reflex  finder,  which  cuts  in  on  the  main  lens 
system  of  the  camera,  thus  shows  the  image  actually 
formed  by  the  taking  lens.  By  the  use  of  this  finder, 
both  the  exact  picture  field  and  the  precise  focus  may 
be  obtained,  even  in  such  extreme  close-up  position  as 
when  the  camera  is  only  an  inch  or  two  from  the  object 
to  be  photographed.  Such  an  extreme  close-up  necessi- 
tates the  use  of  proper  supplementary  lenses.  Backed 
film  as  well  as  clear-base  film  can  be  used  without  hin- 
dering this  finder's  operation. 

14.  The  camera  is  also  equipped  with  the  usual 
direct  view  finder. 

15.  The  speeds  of  the  Cine-Kodak  Special  range 
from  8  to  64  frames  a  second,  in  the  following  gradua- 
tions: 8,   16,  24,  32,  64. 

16.  There  is  a  cushioned  stopping  mechanism  for 
high  speeds. 

1 7.  There  are  two  film  meters.  One,  governed  by 
the  diameter  of  the  roll  of  film,  is  for  indication  of  the 
footage  left  for  exposure  in  the  film  chamber.  The 
other,  geared  and  marked  in  individual  feet,  is  intended 
as  a  guide  in  connection  with  the  winding-back  feature. 

18.  The  variable  shutter  is  useful  not  only  for  fades 
and  dissolves  but  also  as  an  additional  exposure  control. 
It  is  valuable  for  producing  sharp  images  of  fast-moving 
objecst.  It  can  be  used  in  place  of  a  neutral  density 
filter  to  cut  down  the  light  in  Kodacolor  filming. 

19.  Several  safety  features  prevent  many  mistakes 
and  make  operation  as  simple  as  possible. 

The  engineers  who  designed  the  Cine-Kodak  Special 
consider  its  most  important  innovations  perhaps  to  be: 
the  eight-frame  shaft  (moving  the  film  eight  frames  to 
one  turn  of  the  crank,  for  winding  back  or  for  hand 
cranking)  ;  the  one-frame  shaft  (for  special  single-frame 
work  such  as  growth  studies  or  for  driving  the  camera 
in  synchronism  with  experimental  laboratory  equipment)  ; 
the  variable  shutter ;  the  removable  film  chamber ;  and 
the  reflex  finder. 

Simultaneously  with  the  Cine-Kodak  Special,  the  Cine- 
Kodak  Tripod  will  become  available,  designed  for  the 
Special  but  useful  also  for  other  16-millimeter  cameras 
and  still  cameras.  Unusually  light  in  weight  and  com- 
pact, it  is  extremely  rigid  and  easy  to  adjust.  Horizontal 
and  vertical  and  diagonal  panoramas  can  be  made  with 
it.  Furthermore,  a  motion  picture  camera  attached  to 
the  Cine-Kodak  Tripod  can  be  pointed  straight  up  or 
straight  down — a  tripod  feature  not  ordinarily  found. 

Although  essentially  a  tripod-operated  camera,  the 
Special  can  be  hand  held  for  the  making  of  many  shots. 
The  Cine-Kodak  Special  is  not,  however,  intended  for 
the  requirements  of  every-day  movie  making.  The  other 
Cine-Kodaks  of  the  Eastman  line  are  considered  sufficient- 
ly versatile  to  meet  the  requirements  of  all  but  those  ama- 
teur cinematographers  or  experimenters  who  wish  to 
specialize  in  some  type  of  advanced  cinematography. 

A  1-inch  f.1.9  Kodak  Anastigmat  lens  will  be  sup- 
plied with  the  Cine-Kodak  Special  unless  a  special  order 
indicates  that  the  substitution  of  another  lens  is  desired. 
In  addition  to  this  lens,  others  directly  available  are  the 
15-millimeter  f.2.7  wide-angle  lens,  the  2-inch  f .3.5  lens, 
and  the  3-inch,  43/2-inch,  and  6-inch  telephoto  lenses. 
Other  desired  focal  lengths  can  be  adapted  to  the  Special. 
(Concluded  on  Page  41 ) 


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May,  1933 


T  h 


INTERNATIONAL    PHOTOGRAPHER 


Forty-one 


Deliveries  of  the  Cine-Kodak  Special  have  recently 
begun.  Production  will  continue  as  rapidly  as  the  indi- 
vidual workmanship  methods  of  the  Eastman  instrument 
shop,  in  which  the  Special  is  being  fabricated,  permit. 


the     picture.) 
No    setting 


A  (J    3     D     U     f     C      Q 


Cine-Kodak  Special  With  100-Foot  Film  Chamber. 

A.  Eight-frame    Shaft. 

For  winding  film  backwards  for  dissolves  and  multiple 
exposure  work.  Also  for  normal  operation  when  hand 
cranking  is  desired,  or  for  continuing  when  the  motor 
runs   down. 

B.  One-frame    Shaft. 

For  special  single-frame  work  such  as  growth  studies. 
Camera  can  also  be  driven  by  this  shaft  for  syn- 
chronism   with    experimental    laboratory    equipment. 

C.  Detachable   Hand    Crank. 

Fits    either   of    the    two    shafts. 

D.  Single    Frame    Release. 

For   animation    and    ordinary    single-frame    work. 

E.  Variable   Shutter   Lever. 

Camera  can  be  operated  with  shutter  closed;  quarter-open, 
half-open,  or  full  open.  Variable  shutter  also  can  be 
gradually  closed  or  opened  while  camera  is  running, 
for  fades  and  dissolves. 

F.  Motor   Crank. 

Almost  40  feet  of  film  with  one  winding.  Bell  signals 
when  motor  is  nearly  wound  and  when  it  has  neared 
end   of   run. 

G.  Regular  Exposure   Button. 

Stopping    mechanism    is    "cushioned"    for    high    speeds. 
H.     Regular   Film    Meter. 

At     rear    of     camera.       (Does    not    show 

Operates    on    diameter    of    roll    of     film, 
required. 
I.      Gear-driven   Film    Meter. 

Very  accurate.      Requires   setting. 
J.       Camera   Speed    Dial. 

Range:   8  to  64  frames  a   second. 
K.     Removable    Film    Chamber. 

Contains  pull-down  mechanism,  gate,  spindles,  and  regular 
film  counter.  Chamber  is  interchangeable  with  other 
100-foot  or  200-foot  chambers.  One  chamber  may  be 
kept  loaded  with  Kodacolor,  another  with  panchro- 
matic film,  etc. 
L.     Aperture-closing    Shutter. 

Closes  chamber  aperture  so  that  no  film  is  fogged  when 
chamber  is  removed.  Fool-proofed  so  that  chamber 
can  not  be  removed  without  closing  this  shutter. 
Also,  it  must  be  open  for  the  camera  to  run.  (The 
shutter  button  is  hidden  in  the  picture.) 
M.      Chamber   Release    Lever. 

For   detaching  film  chamber. 
N.     Direct   Finder. 

Usual  eye-level  type,   attached  to  lens. 
O.     Reflex    Finder. 

Taking-lens    provides    image    on    ground    glass,    showing    ex- 
act   field    and    focus    that    will    be    on    film.       Built-in 
magnifying   glass    enlarges    image   for   focussing. 
P.     Reflex   Finder   Button. 

Opens    reflex    finder.       Closes    automatically    when     camera 
is   started. 
Q.     Turret   Head. 
R.     Interchangeable    Lenses. 
S.     Simplified   Exposure   Guide. 
T.     Mask   Slot. 

Special    masks    can    be    inserted    before   aperture    to    provide 
unusual    picture   shapes.      Half-masks    can    be    used    for 
double  exposure   work. 
TJ.     Drive    Connections. 

For  attaching  electric  drive  to  one-frame  shaft.  Useful 
for  special  laboratory  work.  Remote  control  also 
attaches  to  these   connections. 


25  mm.  ADAPTERS! 

For  MITCHELL,  BELL  &  HOWELL  finders, 
complete  $20 

Actual  field  of  view  approximately  22  mm. 
Slips  over  front  shade.  No  changes  to  finder. 
State  micrometer  outside  diameter  of  shade. 
We  machine  adapter  to  fit.  Size  of  adapter  2"  by 
2yi"  long.  No  refocus.  50  mm.  Matte  just  right. 
MA|OR  STUDIOS   NOW   USING 

Magnifying  Adapters  (same  as  above  but  for  long 
focus    lenses),    complete $20 

Focusing  microscope,  20X  magnification,  wiry 
sharp,  shows  more  than  full  frame  image,  erect 
and  correct  right  and  left.  Fits  all  Bell  &  How- 
ell cameras,  clears  Cinemotor,  etc.,  large  eye- 
piece, soft  rubber  cup,  no  machining.  Screws  in 
place  of  prism.  See  the  picture  as  you'll  get 
it.    Complete $35 

Multiple  image  prisms  (2"  dia.)  8  to  set $50 

Multiple  image  prisms  (2"  dia.)  singly $2  up 

Elongating  distortion  lens  (in  mount) $35 

Distortion  lens  (faint  effect) $35 

Geared   revolving   mounts    (use    crank)    for   all    of 

above  trick  work,  to  order  only $20  up 

Distorting  and  front  silver  mirrors,  large  diminishing 

Lenses,  Prisms,  etc.,  carried  in  stock. 

Special  optical  systems,  all  kinds,  at  low  prices. 

The   above   is    NEW   merchandise    (as   used   in 
major  studios.) 

THESE  PRICES  ARE  LESS  THAN  HALF 

Cash  With  Orders.  All  Lenses  Guaranteed. 

"CINEMA  OPTICS" 
LIEBSCHER  OPTICAL  COMPANY 

SEVENTY-SEVEN   TEN   SANTA   MONICA   BLVD. 

HOLLYWOOD,  CALIFORNIA 

CLadstone  6603  Reg.  Cable  Address  "LIEBCO" 


Do  you  want  to  fly? 

Classes  Now  Form  my 

See  ROY  KLAFFKI 

And  Save  Money 

Phone:  HEmpstead  1128 
1605  N.  Cahuenga  Ave.        Hollywood,  Calif. 


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Forty-tu'o 


The    INTERNATIONAL    PHOTOGRAPHER 


May,  1933 


O  Ft AXO  RJj° 


REPORT  OF  THE  COMMITTEE  ON  THE  CARE 
AND  DEVELOPMENT  OF  FILM 

( Reprinted  by  request  from  the  Journal  of  the  Society 
of  Motion  Picture  Engineers,  No.  3,  Vol.  20,  March, 
1933.) 

PART  II. 

Sensitometric  control  is  used  as  a  third  method  of 
controlling  the  development  of  negatives.  Sensitometric 
strips  are  inserted  at  frequent  intervals  to  determine  pre- 
cisely the  contrast  of  development  and  the  density  ob- 
tained from  a  given  exposure.  These  factors  are  main- 
tained constant  by  varying  the  time  of  development  or 
by  increasing  the  rate  of  flow  of  additional  or  fresh  de- 
veloper into  the  circulating  system.  The  usual  practice, 
followed  when  the  contrast  or  density  is  found  to  have 
changed  appreciably,  is  to  vary,  first,  the  time  of  develop- 
ment. This  correction,  which  causes  immediate  results, 
can  be  realized  either  by  varying  the  speed  of  the  ma- 
chine or  by  changing  the  length  of  the  film  in  the  de- 
veloper. This  second  method  of  making  the  correction 
consists  in  varying  either  the  lengths  of  the  loops  of  film 
in  the  developer,  or  in  changing  the  number  of  loops. 
The  rate  of  flow  of  additional  or  fresh  developer  is  then 
adjusted  so  that  the  developer  soon  returns  to  its  normal 
strength.  The  machine  is  then  readjusted  for  normal 
operation. 

Due  to  the  numerous  adverse  conditions  that  a  camera- 
man must  continually  face,  it  is  necessary  that  the  labora- 
tory assist  as  much  as  possible  toward  obtaining  a  good 
negative.  While  it  is  not  very  desirable,  in  order  to 
obtain  perfect  negatives,  to  have  to  compensate  for  ex- 
cessive or  insufficient  exposure,  it  is  possible  and  often 
practicable  to  compensate  for  excessive  or  insufficient 
contrast.  Thus,  in  a  laboratory  in  which  the  sampling 
method  is  used,  it  is  frequently  possible  to  match  approx- 
imately negatives  that  have  been  exposed  under  different 
lighting  conditions.  For  very  flat  lighting,  the  develop- 
ment is  increased ;  and  for  very  contrasty  lighting,  the 
development  is  decreased.  Of  course,  the  negative  devel- 
opment must  not  be  increased  to  such  an  extent  as  to  per- 
mit the  negative  grain  to  become  objectionable.  Extreme 
care  must  be  taken  at  the  laboratory  to  interpret  correctly 
the  lighting  effects  desired  by  the  cameraman  and  director. 
The  cameraman  should  alwys  be  advised  of  any  variation 
made  in  his  favor  to  aid  in  future  lighting. 

Although  positive  emulsions  are  used  for  variable  den- 
sity sound  negatives,  they  are  usually  developed  in  a 
negative  bath.  This  is  a  low  gamma  bath,  which  per- 
mits a  reasonable  developing  time  for  the  desired  low 
contrasts  of  0.40  to  0.55.  An  exception  to  this  occurs 
when  developing  negatives  recorded  by  the  flashing  lamp, 
in  which  case  the  records  are  frequently  developed  with 


negative  development  tends  to  correct  the  distortion  due 
to  the  under  exposure.  The  volume  level  of  the  signal 
on  the  print  also  increases  with  the  negative  develop- 
ment. 

In  variable  width  records  it  is  highly  desirable  to 
develop  the  negative  to  the  full  extent  if  the  maximum 
volume  is  to  be  obtained.  Frequently  a  special  high 
gamma  developer  is  employed,  and  gammas  as  high  as 
3.0  are  found. 

The  usual  bath  employed  in  developing  prints  is  of 
the  type  employing  monomethyl-para-aminophenol  sulfate 
and  hydroquinone.  The  desired  contrast  of  development 
varies  from  1.80  to  2.20.  The  permissible  variation  dur- 
ing operation  is  approximately  five  per  cent.  It  is  ex- 
tremely important  that  the  density  obtained  in  the  posi- 
tive bath  after  a  given  exposure  remain  constant.  Fre- 
quently orders  come  to  the  laboratory  for  reprints  oi 
negatives  that  have  been  timed  several  weeks,  or  even 
months,  previously.  If  originally  the  bath  had  been 
properly  maintained  and  if  the  new  bath  is  made  to  match 
the  original  bath  properly,  it  becomes  possible  to  use  the 
old  printing  cards  that  indicate  the  proper  printing  step 
for  each  negative  scene.  If,  on  the  other  hand,  the 
strength  of  the  original  bath  had  been  allowed  to  vary, 
the  negatives  made  in  later  baths  would  require  retim- 
ing for  all  reprints  and  the  timer  would  never  be  cer- 
tain of  his  results. 

Sensitometric  exposures  are  usually  employed  to 
check  the  contrast  and  density  obtained  in  the  positive 
bath.  However,  a  print  made  from  a  standard  negative 
and  a  standard  printer  is  also  used  as  an  additional 
visual  check. 

Positive  developing  machines  are  usually  constructed 
to  run  at  higher  speeds  than  negative  developing  ma- 
chines. The  printed  film  is  not  as  valuable  as  the  nega- 
tive, and  in  case  of  damage  it  can  easily  be  replaced.  Due 
to  the  brevity  of  time  between  completing  the  photo- 
graphing of  a  picture  and  releasing  it,  it  is  usually  neces- 
sary to  operate  the  positive  machines  at  high  speeds  in 
order  to  adhere  to  the  laboratory's  schedule. 

The  average  speed  of  the  positive  machines  is  about 
110  feet  per  minute.  Some  laboratories  develop  as  much 
as  150  feet  of  film  per  minute,  while  others  develop  as 
little  as  80  feet  per  minute.  The  temperature  of  the  bath 
is  maintained  constant  within  a  degree.  The  average 
operating  temperature  is  about  66°F.  The  time  of  de- 
velopment varies  from  three  and  a  half  to  eight  minutes, 
depending  upon  conditions. 

D.       FIXING 

Most  laboratories  use  an  acid  or  a  chrome  alum  fixing 
bath.  An  acid  bath  must  be  watched  so  as  to  guard 
against  precipitation,  which  may  cause  an  undesirable  de- 
posit on  the  film.  In  general  practice,  the  fixing  solu- 
tion is  neither  mechanically  circulated  nor  thermostatical- 
ly  controlled.      The   temperature   of   the   room   and   the 


the  regular  prints  to  a  gamma  of  2.0  to  2.2.     This  high 

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The    INTERNATIONAL    PHOTOGRAPHER 


Forty-three 


proximity  of  the  washing  tanks  are 
sufficient  to  maintain  the  temperature 
below  68°F.  When  the  temperature 
is  allowed  to  exceed  70°F.,  the  grain 
of  the  film  increases  and  sulfur  di- 
oxide may  be  released.  The  motion  of 
the  film  through  the  solution  causes 
sufficient  agitation  for  proper  fixing. 

The  strength  of  the  fixing  bath  is 
checked  by  noting  the  point  in  the 
machine  at  which  the  film  becomes 
clear.  When  this  point  approaches 
the  vicinity  of  the  wash  tanks,  the 
solution  is  strengthened  by  replacing 
some  of  it  with  fresh  solution. 

The  average  time  of  fixing  negative 
film  varies  from  8  to  12  minutes.  Sev- 
eral minutes  less  are  sufficient  for  fix- 
ing positives. 

E.     WASHING 

Wash  water  is  usually  obtained  di- 
rectly from  the  main  supply.  In 
some  instances  during  warm  seasons, 
some  rough  method  of  cooling  may  be 
required.  Normally,  however,  the 
temperature  of  the  tap  water  does  not 
exceed  70°F.,  which  is  satisfactory  for 
washing.  The  water  flows  continu- 
ously from  the  main  into  the  wash 
tanks,  and  thence  to  the  drain. 

A  chemical  test  is  frequently  em- 
ployed to  determine  whether  the  film 
has  been  sufficiently  washed.  The 
drippings  from  the  film  can  easily  be 
tested  for  the  presence  of  hypo  by  add- 
ing a  solution  of  potassium  carbonate 
and  potassium  permanganate  in  water. 
A  greenish  yellow  color  results  when 
hypo  is  present.  The  average  time  of 
washing  negative  film  varies  from  10 
to  15  minutes.  Several  minutes  less  of 
washing  are  sufficient  for  positive  film. 

F.     DRYING 

Since  the  universal  adoption  of  ma- 
chine methods  of  developing  film,  the 
drum  method  of  drying  is  no  longer 
used.  By  the  modern  methods,  film  is 
dried  in  cabinets  through  which  con- 
ditioned air  circulates.  The  relative 
humidity  of  the  air  is  maintained  at 
approximately  40  per  cent,  at  a  tem- 
perature of  about  73°F.  In  some  in- 
stances, when  the  machines  are  re- 
quired to  operate  at  maximum  capa- 
city, temperatures  as  high  as  110 °F. 
are  necessary  in  order  to  be  sure  that 
the  film  becomes  sufficiently  dry. 
However,  it  is  considered  poor  prac- 
tice to  operate  under  such  conditions, 
85°F.  being  supposedly  the  optimal 
temperature  for  drying. 

The  rate  of  flow  of  air  required  for 
complete  drying  depends  upon  the 
construction  of  the  cabinets,  the  posi- 


tion of  the  baffles,  and  other  variables. 
An  operator  constantly  checks  the 
drying  of  the  film  by  inspecting  the 
curl  of  the  film  through  the  glass 
doors  of  the  drying  cabinets. 

G.     CONDITIONING 

Laboratories  have  found  it  neces- 
sary during  the  last  few  years  to  be 
equipped  with  high-grade  air  condi- 
tioning systems.  All  dust  particles 
must  be  removed  from  the  air  admit- 


ted to  the  developing,  printing,  and 
assembling  rooms,  and  particularly 
from  the  air  forced  through  the  dry- 
ing cabinets.  The  temperature  and 
humidity  of  the  air  in  the  drying  cab- 
inets are  also  maintained  constant. 
Automatic  temperature  and  humidity 
controls  are  installed  in  order  to  main- 
tain the  proper  drying  conditions  re- 
gardless of  the  exterior  atmospheric 
conditions. 

(Continued  on  Page  47) 


EVERYTHING  PHOTOGRAPHIC 

for  Professional  and  Amateur 

New  and  used.     Bought,  sold,  rented 

and  repaired.     Camera  Silencing. 

Send  for  Bargain  Catalogue 


Hollywood  Camera  Exchange 


1600  Cahuenga  Blvd",   Hollywood 
Tel;  CL  2507  .  HO  9431 
Cable  Address:  HOcame* 

Open  8  a.  m.  to  10  p.  m. 


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Kamera 

By    J.    HENRY    Si!  1  M 


Kiddie    Kars 

Review  of  the  Various  —  bulators  Contrived  by 
Studio  Genius  to  Take  the  Cameras  for  a  Ride 


From  low  gear  to  high  gear  would  be  the  correct 
definition  of  the  above  illustration.  Since  the  inception 
of  the  blimp  for  camera  silencing  the  moving  picture  in- 
dustry has  had  a  problem  in  securing  the  proper  under- 
carriage favorable  for  production.  During  the  past  year 
there  has  been  a  definite  series  of  improvements,  mechan- 
izing and  simplifying,  endeavoring  to  secure  undercar- 
riage equipment  that  will  give  the  cameraman  every  ad- 
vantage for  efficient  operation. 

As  an  illustration  consider  the  problems  that  con- 
fronted Fox  Siudio.  Camera  crews  were  assigned  tripod 
on  wheels  for  normal  stationary  set-ups,  baby  tripod  or 
high-hat  for  low  set-ups  and  a  dolly  for  moving  shots, 
for  each  individual  camera.  The  need  for  a  single  unit 
combining  the  virtues  of  the  aforesaid  equipment  for 
efficient  operation  was  recognized  by  E.  W.  Butcher, 
production  manager. 

The  problem  was  placed  in  the  hands  of  G.  J.  Fischer, 
camera  department  head.  With  ideas  and  suggestions 
from  Cameramen  Arthur  Miller,  Ernest  Palmer,  Lee 
Garmes,  John  Seitz,  Hal  Mohr,  George  Schneiderman, 
L.  W.  O'Connell  and  Sol  Halprin,  co-ordinated  and  de- 
signed by  Grover  Laube,  camera  technician  and  his  staff, 
resulted  in  the  Fox  Velocilator,  illustrated  herewith,  that 
has  a  free  range  of  height  of  26  inches  low  to  a  78-inch 
high  lens  center  measurement  within  the  blimp. 

This  height  movement  can  function  with  variable 
speeds  during  a  dolly  shot.  Free  head  combined  with 
a  quick  adjustable  traveling  device  in  close  proximity 
with  the  camera  blimp  ;  lined  for  sensitivity  and  freedom 
for  operating  camera,  it  is  very  rigid  and  steady  due  to 
the  use  of  a  four  wheel  carriage. 


It  can  be  rotated  or  steered  in  any  direction  as  the 
wheels  are  turnably  mounted.  At  the  same  time  it  can 
pass  through  a  33-inch  doorway  or  operate  close  in  a  cor- 
ner and  weighs  only  350  pounds.  As  the  blimp  and 
camera  can  be  left  at  all  times  in  an  extreme  high  or 
low  set-up   the   Velocilator   safety   factor   is   self-evident. 

After  seeing  the  Fox  Velocilator  in  operation  on  Di- 
rector John  Blystone's  Picture,  "My  Lips  Betray,"  with 
Lee  Garmes  as  chief  cinematographer,  I  congratulate  Fox 
Studio  on  this  advancement  of  an  economical,  efficient 
and  distinctive  blimp  undercarriage  unit. 

Another  improvement  is  the  under  carriage  made  by 
the  Paramount  Studio.  In  this  case  Virgil  Miller,  head 
of  the  camera  department,  saw  the  need  of  a  flexible 
under  carriage  and  put  the  problem  to  W.  F.  Rudolph, 
in  charge  of  the  precision  machine  shop,  who  suggested 
a  miniature  refinement  of  their  large  camera  crane.  The 
plan  being  O.  K.  the  result  was  the  baby  boom,  as  illus- 
trated  (Page  45). 

It  is  an  extremely  popular  innovation  and  is  perhaps 
the  busiest  piece  of  equipment  on  the  lot.  Its  mechanical 
principle  is  different  from  the  Fox  Velocilator  as  can 
readily  be  seen.  The  lens  height  within  a  blimp  meas- 
ures when  low,  36  inches  from  the  floor,  when  high  9 
feet  6  inches.  It  is  designed  for  either  "sync"  or  sound. 
It  is  absolutely  silent.  The  platform  carries  both  camera- 
man and  assistant.  There  are  three  controllable  circular 
movements;  first,  the  boom  swings  in  a  complete  circle; 
second,  the  platform  itself  revolves  180  degrees,  con- 
trolled by  the  cameraman's  feet;  and  third,  the  manual 
panning  and  tilting  of  the  camera  itself.     It  can  also  be 


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May,  1933 


The     INTERNATIONAL     PHOTOGRAPHER 


Forty-five 


locked  permanently  in  any  position. 
When  desired  to  go  through  a  narrow- 
doorway,  a  new  set  of  axles  can  be 
exchanged  within  ten  minutes,  reduc- 
ing the  width  to  28  inches ! 

As  can  be  seen,  the  Baby  Boom  is  a 
great  time  saver,  as  its  flexibility  al- 
lows it  to  take  the  place  of  varied  tri- 
pod equipment. 

Nearly  a  year  ago  the  Bell  &  How- 
ell Company  produced  the  "Rotambu- 


Phone  CLadstone  4151 

HOLLYWOOD 
STATE  BANK 

The     only     Bank     in     the     Industrial 

District     of     Hollywood     under 

State   Supervision 

Santa     Monica     Boulevard    at 
Highland    Avenue 


Something  New  and  Belter  in 

SOUND 

A  Quartz  Optical  Unit  for  Va- 
riable   Density    Recording    and 
Reproducing 

Designed  to  focus  a  fine  line  of 

light  some  distance  away  from 

film,     thus     avoiding    trouble 

from  dust. 

C.  C.  MINOR 


GR.  7331 


1806  Whitley  Ave. 
Hollywood 


lator,"  which  again  shows  a  distinct 
improvement  over  the  older  tripod. 
Its  principle,  also,  is  different  from 
the  aforementioned  devices.  Its  base 
consists  of  a  three-wheel  chassis,  with 
a  circular  platform  and  a  vertical 
cylindrical  camera  mount.  The  plat- 
form and  all,  revolves  by  a  hydraulic 
mechanism  controlled  by  the  camera- 
man's feet  as  he  is  seated  in  comfort 
on  an  adjustab'e  seat.  The  vertical 
rise  and  fall  of  the  camera  on  the 
cylinder  is  controlled  by  a  vertical 
worm,  which  can  be  cranked  by  an 
assistant,  with  the  crank  placed  either 
by  the  camera  head  or  on  the  base  of 
the  cylinder. 

The  pan  and  tilt  movements  are 
manual  and  controlled  by  a  positive 
and  silent  hydraulic  resistance.  It  also 
is  comp'etely  silent  and  will  efficiently 
bear  either  an  open  camera  or  the 
heaviest  and  bulkiest  blimp  now  in 
use. 

Coincidentally  the  M-G-M  Studio 
also  constructed  their  Rotambulator 
with  practically  the  same  physical  ap- 
pearance as  the  Bell  &  Howell,  but 
with  the  mechanism  controlled  by  a 
wheel,  gear  and  belt  system  cranked 
by  hand.  It  is  a  very  practical  and 
popular  device  at  the  studio  and  ac- 
cording to  John  Arnold,  head  of  the 
camera  department,  does  all  but  fry 
an  egg.  More  definite  data  relative  to 
the  Rotambulator  will  be  forthcoming 
in  the  next  issue. 


The   INTERNATIONAL 

PHOTOGRAPHER 

$2.00  a  Year 

Only  a  Little  While  Longer 


RICHTER'S 

COMPLETE  PHOTO  SERVICE 

16  mm.     -:-     35  mm. 

DEVELOPING   AND    PRINTING 

REDUCTION  PRINTING 

COMPLETE  TITLE  DEPARTMENT 

7901  Santa  Monica  Blvd. 
OXford  2092  Hollywood,  Calif. 


HOWARD 

ANDERSON 

Special  Effects 

Culver  City  3021 

EARL   HAYS  PRESS 

PRINTED  INSERTS 

The  most  complete  library  of 

foreign   research   material   in 

the    industry. 

NEW    ADDRESS 

6510  Santa   Monica  Bivd. 

Near  Wilcox  Ave. 
Phone:  HOIlywood   9591 


IIVTERS 


FrafaR  Mwo^H  mi  NqUttMs  »  fayMnt- 

r^SMUII-  DufUVireCBS  irM  marry  »(bir  tirrtts. 

Ask  your  dealer,  or  write  to 

GEORGE  H.SCHEIBE 

ORIGINATOR  OF  EFFECT  FILTERS 


WE  WANT 

35mm.,  travel,  fight,  thrill  and  curiosity 
films,  from  all  parts  of  the  earth  and  un- 
usual and  interesting  films  depicting  the 
life  and  habits  of  Asiatic  peoples  as  well 
as  others. 

Send  us  description  and  length  of  subject. 
Cash  will  be  remitted  for  any  subject 
accepted. 

We  have  for  sale  negative  and  positive 
short   ends,   both   Eastman   and   Du   Pont. 

Continental  Film-Craft,   Inc. 

1611     Cosmo    Street  Hollywood,    Calif. 


MORGANS 
Camera    Shop 

Headquarters  for 

Leica  Cameras 

ENLARGING  —  FINE  GRAIN 

FINISHING 

PHOTO  SUPPLIES 

6305  Sunset  Blvd.  Hollywood 


Please  mention  The  International   Photographer  when  corresponding  with  advertisers. 


forty -six 


T  h 


INTERNATIONAL    PHOTOGRAPHER 


May,  1933 


INTERNATIONAL 

CLASSIFIED  ADVERTISING 

Brings    results — Rates    45    cents    per   line — minimum   charge    one 

dollar     per     insertion.       For     Rent — For     Sale — Wanted — For 

Exchange,  etc. 

FOR  SALE  AND  RENT— CAMERAS 

FOR  SALE  OR  RENT — Mitchell  and  Bell  cv  Howell  silenced  cameras, 
follow  focus.  Pan  lenses,  free  head,  corrected  new  aperture.  Akeley, 
Da  Brie,  Pathe,  Universal,  Prevost,  Willart,  De  Vry,  Eyemo,  Sept, 
Leica.  Motors,  printers  lighting  equipment.  Also  every  variety  of 
16  mm.  and  still  cameras  and  projectors.  Everything  photographic 
bought,  sold,  rented  and  repaired.  Send  for  our  bargain  catalogue. 
Open  S  A.M.  to  Id  T.M.  Hollywood  Camera  Exchange,  1600  Cahuenga 
Blvd.  Phone  GLadstone  2507.  HOllywood  9431.  Cable  address 
Hocamex. 

FOR  SALE  OR  TRADE 

MITCHELL  CAMERA  complete  with  speed  movement,  all  built-in 
features.  25  mm,  35  mm,  50  mm,  75  mm,  matched  Astro  Tachar  lenses, 
mounted  on  turret,  also  4^4  Heliar  lens  Mitchell  mounted,  2  tripod 
heads,  free  and  tilt,  six  400  foot,  two  1000  foot  magazines,  high  hat,  also 
Bell  &  Howell  camera  complete.  Address  Mervyn  Freeman,  1960  South 
Vermont   Ave.,    Los   Angeles,    Calif.      Phone:     REpublic   3171. 

WIFE  SAYS,  "YOU  CAN'T  KEEP  THE  BEER  COLD  WITH  A 
CAMERA" — Will  sell  or  trade,  DEBRIE  Camera,  6  magazines,  2  inch 
and  6  inch  Cook  lenses — carrying  cases,  for  Electric  Refrigerator,  Elec- 
tric Washing  Machine  or  Electric  Ironer.  Box  15,  Erickson,  c/o  Inter- 
national   Photographer,   Hollywood,   Calif. 

FOR  SALE— CAMERAS 

DEBRIE  SLOW  MOTION  CAMERA  OUTFIT— like  new.  Also 
four  Universal*.  Tripods,  extra  lenses,  magazines.  Cash  bargains.  Mrs. 
Clarence    P..    Kunev.    Palace    Hotel.    Cincinnati.    Ohi<i. 

SILENT  BELL  &  HOWELL.  40-50-75  F  3.5  lenses;  Fearless  move- 
ment; Sunshade;  Matte  Box;  two  400-ft.  magazines;  B.  &  H.  tripod; 
carrying  cases.  Price  $750.  Art  Reeves,  645  No.  Martel  Ave.,  Holly- 
wood.  

LEICA  CAMERAS;  new  and  second-hand;  fine  grain  enlarging;  photo 
supplies,    etc.      Morgan's    Camera   Shop,    6305    Sunset    Blvd.,    Hollywood. 

FOR   RENT— CAMERAS 

TWO  THOROUGHLY  silenced  Mitchell  cameras.  Follow  focus  device. 
Pan  Astro  lenses,  Freehead — 1000  ft.  magazines.  J.  R.  Lockwood,  523 
No.    Orange    St.,   Glendale.      Douglas   3361-W. 

WANTED  TO   BUY— CAMERAS 

AKELEY     OR    DEBRIE    complete    outfit— must    be    bargain.      GRanite 

66"S    i  a-   care    Itnernational    Photographer. 

BELL  &  HOWELL  late  model  35  mm.  camera — suitable  for  trick 
work — and  in  first  class  condition.  Must  be  cheap  for  cash.  Send  all 
particulars  to  Box  105 — The  International  Photographer. 
MITCHELL  CAMERA,  fully  equipped.  Must  be  cheap  for  cash.  State 
camera  number  and  give  list  of  equipment  and  price.  Box  110 — The 
International   Photographer. 

FOR  SALE  OR   RENT— MISCCELLANEOUS 

MITCHELL  MOTOR— 1000  ft.  Mitchell  magazines.  T.  R.  Lockwood, 
Glendale.      Douglas   3361-W. 

ONE  SET  of  4  inch  condensing  lenses  in  mount.  First  class  condition. 
Box    120 — The   International    Photographer. 

BUYERS  READ  these  classified  advertisements  as  you  are  now  doing. 
If  you  have  something  for  sale  or  exchange — advertise  it  in  these  col- 
umns. THE  INTERNATIONAL  PHOTOGRAPHER.  1605  No. 
Cahuenga   Ave.,    Hollywood. 


CAMERA  REPAIRING 


BELL  &  HOWELL  cameras  with  old  type  shuttles  silenced,  $150. 
Hollywood  Motion  Picture  Equipment  Co.,  645  No.  Martel  Ave., 
Hollywood. 


MACHINE  SHOPS 


PRECISION  WORK— Motion  Picture  Machinery.  Special  film  sprock- 
ets made.  Austin  Tool  &  Machine  Co.,  1081  N.  Wilton.  GLadstone 
4006. 


FOR  SALE— LIGHTS 


CRECO,    24-inch    Standard    Studio   incandescent    lights,    also    18-inch    Arc 
Mutes.      Box    10A,    International    Photographer. 

STANDARD  STUDIO  80-amp.  Rotary  Spotlights;  good  condition.     Box 
10B,    International    Photographer. 


WATCHMAKER 


SPECIALIZING  in  Swiss  and  American  watches.  Stop  Watches.  Only- 
high   class   workmanship.    Harold  Reid,   6248   Santa   Monica    Blvd. 

THE  INTERNATIONAL  PROJECTIONIST 

THE  INTERNATIONAL  PROJECTIONIST,  a  monthly  magazine 
published  in  the  interests  of  the  projectionist.  Interesting,  instructive. 
Yearly  subscription  U.  S.  and  possessions,  $2  ;  foreign  countries,  $2.50. 
James  J.   Finn    Publishing   Corp.,   1   West   47th   St.,   New   York. 


DEVRY  RECORDING  OUTFIT 

(Continued  from  Page  8) 
reduction  is  accomplished  with  no  loss  of  efficiency ;  on 
the  contrary,  there  is  a  definite  gain  in  efficiency. 

The  DeVry  amplifier  with  its  new  B  Power  Supply 
Unit  banishes  15  cumbersome  dry  "B"  batteries.  No  "C" 
battery  is  needed. 

The  complete  DeVry  recording  outfit  needs  only  a 
12  volt  storage  battery  for  all  current  required,  so  that 
either  out  in  the  field  or  in  the  studio,  it  is  independent 
of  line  current,  and  assures  a  uniform  supply. 

It  is  entirely  possible  for  the  owner  of  a  DeVry 
recording  outfit  to  clip  on  to  his  own  automobile  bat- 
tery— if  it  is  12  volts  or  to  two  ordinary  6  volt  bat- 
teries. So  small  is  the  current  consumption  that  the  bat- 
tery will  furnish  sufficient  current  for  two  hours  con- 
tinuous recording — and  can  readily  be  recharged  from  a 
city  lighting  current  with  a  small  battery  charger. 


16  mm.  QUESTIONS  AND  ANSWERS 

( Continued  from  Page  35) 

Question — How  much  larger  does  a  six  inch  lens  yield 
than  a  two  inche  lens? 

Answer — Three  times  larger. 

Question — How  much  faster  is  the  F.1.5  lens  than 
the  F.3.5? 

Answer — 5.44  times  faster. 

Question — Can  you  give  me  the  actual  exposures  that 
rotary  shutter  gives  when  the  camera  operates  at  normal 
speed,  sixteen  exposures  per  second  ? 

Answer — 


Degrees  of 

Fraction  of 

Shutter  Opening 

Second  Exposure 

180    -    -    - 

-     1 /32nd 

140     -     -    - 

-     l/41st 

120    -    -    - 

-      l/52nd 

100    -    -    - 

-     l/64th 

90    -    -    - 

-      l/72nd 

60    -    -    - 

-     1/1 15th 

45     -     -     - 

-      1 /192nd 

30    -    -    - 

-     l/288th 

20    -    -    - 

-     l/576th 

10    -    -    - 

-     1/H52nd. 

POSITION  WANTED 


EXPERIENCED  SPECIAL  EFFECTS  CAMERAMAN  at  liberty 
wants  to  connect  with  small  production  company.  Can  add  real  produc- 
tion value  to  your  pictures — many  years  experience  in  charge  of  trick 
departments  in  Hollywood  Studios.  Box  100 — The  International  Pho- 
toeranher. 


FINANCIAL   BACKING  WANTED 


CAMERAMAN  of  world-wide  experience  wants  responsible  party  to 
finance  series  of  pictures  to  be  made  in  South  Sea  Islands ;  has  own 
equipment,  stories,  etc.  ;  excellent  opportunity ;  best  of  references.  Box 
99,    International    Photographer. 


HALL— FOR  RENT 


THE  PARAVAL  DANCE  CLUB  Ballroom.  Cardroom,  and  Kitchen— 
Completely  Equipped — Aavailable  certain  days  or  evenings.  For  informa- 
tion.  Call   MO.    18414. 


MISCELLANEOUS 


SELL  YOUR  STILLS.  Get  into  print.  Stamp  brings  you  "Sample 
List  IOTP"  giving  subjects  immediately  wanted  hundred  magazines,  news- 
papers, syndicates,  etc.,  also  all  photographic  contests.  Authors  Shop, 
Drawer    1916,    Baltimore.    Md. 

THE  INTERNATIONAL  PHOTOGRAPHER 

SPECIAL  OFFER  for  limited  time  only.  One  year  of  12  issues  for 
$2.  The  most  instructive  and  interesting  magazine  published  on  the 
making  of  motion  pictures.  The  International  Photographer,  1605 
Cahuenga    Ave.,    Hollywood,    California. 


TAILORING 


KROZEK-BRASEC   TAILORS,   highest   class   tailoring   only.      12   years 
this   location.      Still    believing   in   good   work.      6236    Santa   Monica    Blvd. 


Please   mention  The   International   Photographer  when  corresponding  with  advertisers. 


May,  1933 


The    INTERNATIONAL     PHOTOGRAPHER 


Forty-seven 


THE  LABORATORY 

(Continued  from  Page  43) 
The  temperature  and  humidity  of  the 
air  in  some  of  the  laboratory  work- 
rooms are  also  controlled  ;  particularly 
in  the  printing  room,  where  a  relative 
humidity  of  65  to  70  per  cent,  at  a 
temperature  of  approximately  70°F., 
is  maintained  in  order  to  prevent  the 
static  discharges  that  sometimes  occur 
when  exposing  raw  emulsions. 

The  cycle  of  air  conditioning  is 
roughly  as  follows:  Air  is  admitted 
through  a  vent  into  a  heating  cham- 
ber. After  a  suitable  adjustment  of 
the  temperature,  it  is  mixed  with  the 
air  that  is  being  recirculated.  It  is 
then  forced  through  an  automatic  fil- 
ter into  the  water  spray  chamber, 
where  the  air  is  washed  and  given  the 
proper  temperature  and  humidity. 
The  air  is  drawn  from  this  chamber, 
forced  into  the  ducts,  and  distributed. 
In   addition    to   this   air   conditioning 


CINEX  TESTING   MACHINES 
CINEX   POLISHING   MACHINES 

BARSAM-TOLLAR 
Mechanical  Works 

7239    Santa     Monica    Blvd. 
Phone  CRanite  9707  Hollywood,  California 


D 

P. 

G. 

Floyd  Jackmaii 

DENTIST 

Men 

iber  Local   No.  659 

706 

II, 

»llywood    First    National 

Bldp. 

Ho 

lywood   Blvd.   at    Highland 

Ave. 

(.l.i.l-i. .,i.     7507 

Hours . 

9 

to 

5                iii'l    by    App 

lintment 

Arrcraft  Screen  Service 

"TITLES" 


16   mm.    -   35    mm. 

6610  Santa    Monica    Blvd. 
Phone  HOIIywood  9875  Hollywood.  Calif. 


TO   THE 
CAMERAMAN 

We  Can  Supply  First  Class 

NEGATIVE  SHORT 

ENDS 

KINEMA  KRAFTS 
KOMPANY 

6510  Selma  Ave.,  Hollywood,  Calif. 

Phone:   GL.   0276 

A.  Gabbani  H.  Higueret 

Members  of  Local  659 


unit,  a  heating  system  and  a  refriger- 
ating unit  are  also  required. 

(Concluded  in  June  issue) 

STILL-MAN    UP-TO-DATE 


This  war-like  looking  gentleman 
happens  to  be  Shirley  Vance  Martin, 
but  he  might  as  well  be  any  of  the 
still-men  for  an  opportunity  to  do  his 
stuff  on  the  set. 


OUR  COVER  FOR  MAY 

Robert  W.  Coburn,  still-man  of 
Local  659,  is  responsible  for  the  pic- 
ture on  the  cover. 

It  is  a  shot  of  a  working  scene  from 
the  production  "Bed  of  Roses,"  star- 
ring the  gorgeous  Constance  Bennett, 
with  Joel  McCrae  as  leading  man. 

The  picture  is  directed  by  Gregory 
LaCava,  assisted  by  Eddie  Kelley. 
Chief  cameraman  is  Charles  Rosher 
with  Jeff  Gibbons,  second. 

The  man  in  the  water,  making  fog, 
is  Redman,  powder-man  of  R-rv-O, 
and  he  is  doing  a  good  job  of  it. 

This  is  a  fine  example  of  a  still 
showing  a  camera  crew  at  work  on 
actual  production. 

Note  the  microphone  depending 
from  the  end  of  the  boom  above  and 
to  the  left  of  Miss  Bennett. 


CRAGAR 


CO    R    PORAT    I    ON,    l_TD 

PRECISION 

ENGINEERING 

OUR    EQUIPMENT    IS   THE 
FINEST   OBTAINABLE 

Arrangements    Can    Be    Made    to    Rent 
Machines  and  Space. 

940   NORTH   ORANGE   DRIVE 
HOLLYWOOD    1626 


30%    to    60%    CASH    SAVINGS 

on    16    mm.    and    35    mm. 

Cameras,  Projectors 

and  Accessories 

Write  for  Bass  Bargaingram.  Specify 
size  of  apparatus  interested  in.  For 
over   22   years    Value   Leaders   of   the 

nation. 
Your  copy  is  ready.    Write  for  it. 

BASS  CAMERA  CO. 

179  W.   Madison  St.  Chicago,   III. 


WANTED  — 

35  mm.  DUPLEX 
PRINTER 

RICHTERS  PHOTO  SERVICE 
OXford  2092 


FOR    RENT   OR   SALE 
Silent    and    Speed 

MITCHELL  CAMERAS 

Follow  focus.  Also  new  Mitchell  motors, 
extra  1000  foot  magazines,  motor  adapters, 
baby  tripod.  25-35  mm.  and  long  focus 
lenses;    Mitchell  gear  box. 

B.  B.  RAY,  YOrk  4553 


FOR    RENT 

MITCHELL  CAMERA 

Silenced    and    Rebuilt    by    Mitchell 

Adapted   for   Multicolor  and   Dunning 

Process 

35   mm;    50  mm;    75   mm;    105   mm 

Pan    Tachars    Lenses 

Mitchell    Motor  Gear    Box 

D.   B.    KEYES,   Wyoming   6139 


W.  A.  SICKNER 

FIRST  CAMERAMAN 

COMPLETE   .IKE LEY 

EQUIPMENT 

CRestview  7255  CLadstone   5083 

HEmpstead    1128 


/^. 


o 

<:> 

:::0oo^o^O:::0^o^o^0^Ow^c<0^0' 

Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


u 

0 
0 

0 


o 


Alvin  Wyckoff   1 


I  orty-eight 


T  h 


INTERNATIONAL    PHOTOGRAPHER 


May,  1933 


OlSGCMS 


INVESTIGATION  CALLED  OFF 

,  gy£§fti§j|  % 


-(S>£iJ£;  'ttofay. 


This  study  in  still  life  s/iozvs  the  "lame  ducks"  still  wait- 
ing for  something  to  happen  in  Washington.  Three  "dumb 
clucks"  can  be  seen  in  the  background.  A  camera  like  a  Leica 
ivas  used  to  get  this  shot  and  is  called  the  Candoo  instead  of 
the  Candid  Camera.     Not  a   better  camera   but  better  English. 

A  bill  was  presented  in  Congress  recently  calling  for 
an  investigation  of  the  Motion  Picture  Industry.  Its 
passage  looked  favorable  until  it  came  time  to  appoint  the 
committee. 

So  many  different  departments  of  the  government  are 
connected  with  motion  pictures,  that,  shortly  after  the 
introduction  of  this  bill,  the  entire  District  of  Columbia 
was  getting  ready  to  leave  for  Hollywood. 

All  the  members  of  both  houses  were  anxious  to  serve 
on  this  committee  as  well  as  their  secretaries  and  relatives. 
The  Army,  Navy  and  Marines  were  concerned.  All  the 
ambassadors  and  consuls  claimed  they  should  be  there  to 
represent  the  subjects  of  their  countries.  The  Supreme 
Court  justices,  Prohibition  and  Internal  Revenue  De- 
partments, Secretaries  of  Labor,  Commerce  and  Interior 
Departments  were  anxious  to  serve  their  country.  The 
Customs,  Immigration,  Forestry,  Indian,  River  and  Har- 
bors, Treasury,  Post  Office,  Tariff,  Federal  Reserve  and 
Veterans  Bureau  were  a  few  more  departments  that  ex- 
pected to  make  the  trip. 

We  have  a  very  good  Congress  this  session  and  they 
realized  that  an  exodus  of  this  size  was  not  practical  so 
they  called  the  investigation  off,  and  voted  for  beer  in  the 
House  restaurant.  Meantime,  there  was  the  "lame  duck" 
situation  staring  them  in  the  face.  Why  not  send  them 
out  to  the  coast  and  see  if  they  could  find  out  anything 
about  pictures.  Various  people  have  been  trying  to  do  this 
for  years  and  there  might  be  a  possibility  that  one  of  the 
"lame  ducks"  would  succeed.  At  least  they  all  have 
beards,  as  you  can  see  by  the  above  picture,  (due  to  the 
fact  they  can  no  longer  use  the  free  barber  service  at  the 
Capitol)  and  as  beards  will  be  in  demand  this  summer 
they  might  get  work  in  the  studios. 

A  wire  to  your  Congressman  would  be  appreciated  by 
the  Telegraph  Companies,  but  warn  them  if  they  come 
to  bring  their  lunch  as  things  are  not  as  "hot"  in  the 
studios  sa  the  weather  man  would  have  you  believe. 


WHY  NOT? 

The  studios  cut  their  employees  wages  50%  and  then 
permitted  them  to  look  at  their  books. 

Why   don't   those   employees   take   a   50%    raise   and 

show  their  books  to  the  studios. 

*     *     * 

Mickey  Whalen  reports,  that  on  location  recently, 
they  had  been  held  up  with  shooting  for  sometime  on 
account  of  technical  trouble.  An  old  gentleman  had  been 
waiting  to  see  them  shoot  the  scene,  but  grew  impatient 
and  walked  over  and  asked  Whalen : 

"How  long  before  you  will  make  this  picture?" 

"About  two  weeks,"  replied  Mickey. 

"I  can't  wait  that  long,"  sighed  the  old  man  and  got 
in  his  car  and  drove  off. 


EPITUFF 

Here  rests  a  script  clerk, 
Got  fresh  with  her  director. 
He  reported  it  to  the  office, 
And  it  darned  near  wrecked  her. 


DO  YOU  KNOW 

That  Fred  Campbell  is  now  in  charge  of  the  camera 
department  at  Universal. 

That  Ernie  Crockett  has  returned  from  a  trip  to 
South  America. 

That  Buddy  Williams  has  been  in  forty-seven  coun- 
tries and  the  first  time  he  ever  saw  snow  was  on  the  Mo- 
jave  Desert. 

That  Henry  Girard  was  a  piano  accompanist  on  the 
Orpheum  Circuit. 

That  Guy  Bennett  attended  Stanford.  Still  has  his 
belt  buckle  with  Stanford  on  it. 

That  Frank  Titus  was  a  pharmacist.  That  he  can 
still  fill  'em. 

That  Bob  Martin,  Phil  Tannura,  Glen  McWilliams 
and  wives  held  a  reunion  in  London  recently.  It  is  pre- 
sumed drinks  were  served  without  fear  of  being  arrested 
or  poisoned. 

That  Paul  Perry  and  Len  Roos  are  in  Sumatra  for 
Universal. 

That  Wally  Wallace  started  with  the  Edison  Co.  in 
1912  as  a  "chield"  actor  and  4  years  later  he  was  "dis- 
covered" and  put  in  the  camera  department. 

That  the  Satyr  Book  Shop  on  Vine  Street  has  the  lat- 
est copies  of  foreign  photographic  books  including  "Das 
Deutsche  Licht  Bild."   Ask  for  Miss  Jarrett,   (nice  bild). 

That  Los  Angeles  County  recently  passed  a  rat  proof- 
ing ordinance.     I  wonder  if  this  will  apply  to  the  studios. 

That  when  Bert  Glennon  photographed  the  Ten  Com- 
mandments he  had  a  system  of  signals  that  his  electricians 
understood  and  could  light  a  set  by  the  sign  language. 

That  John  Arnold  was  re-elected  President  of  the 
A.  S.  C.   * 

That  Fred  Kaiffer  was  a  major  in  the  Mexican  army. 

That  if  the  new  Super  Speed  Films  were  available  at 
that  time  they  would  have  made  him  a  general. 


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J^hen  1 5000  of  a  dew  drop 


is  a 


FLOOD 


%  WATER  vapor  is  present  in  every  bit  of 
air  we  breathe.  Ordinarily,  we  cannot  see  it,  cannot 
feel  it.  Yet  inside  a  lamp  bulb,  General  Electric 
scientists  found  that  mere  traces  of  this  invisible  water 
vapor  become  as  destructive  as  a  mighty  flood! 

For,  water  vapor  hastens  evaporation  of  the  lamp 
filament;  it  speeds  the  blackening  of  the  bulb;  and 
brings  a  corresponding  loss  of  light  and  lamp  life.  The 
presence  of  even  1  part  of  water  vapor  in  100,000  parts 
of  the  efficiency-increasing  gas  with  which  Edison 
MAZDA  lamps  are  filled,  means  trouble! 

To  guard  against  this  destructive  force,  General  Elec- 
tric takes  extreme  caution.  The  "filling"  gas  is  specially 
dried;  every  bulb  is  washed  out  with  dry  gas  several 
times  before  it  is  sealed  in ;  and  water-absorbing  chemi- 
cals are  left  within  the  bulb.  That  is  why  a  single  drop 
of  dew  contains  more  water  vapor  than  5,000  Edison 
Mazda  lamps  of  the  size  most  commonly  used  in  motion 
picture  work. 

Such  microscopic  carefulness  is  typical  of  General 
Electric's  efforts  to  produce  the  best  lamps  for  your 
needs  .  .  .  from  "set"  lighting  to  special  "process"  work. 
General  Electric  Company,  Nela  Park,  Cleveland,  O. 

EDISON  MAZDA  LAMPS 


GENERAL 


ELECTRIC 


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PHOTOGRAPHER 

MOTION   PICTURE    ARTS   AND    CRAFTS 

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INTERNATIONAL 
PHOTO  GRAPHE  R 

MOTION   PICTURE  ARTS  AND  CRAFTS 


Vol.  5 


HOLLYWOOD,  CALIFORNIA,  JUNE,   1933 


No.  5 


Howard  E.  Hurd,  Publisher's  Agent 

Silas  Edgar  Snyder,  Editor 

Ira  Hoke,  Associate  Editor 

Edward  T.  Estabrook,  Manager 

Lewis  W.  Physioc,  Fred  Westerberg,  Technical  Editors 

John  Corydon  Hill,  Art  Editor 

A  Monthly  Publication    Dedicated   to   the   Advancement   of  Cinematography   in   All 

Its  Branches;    Professional  and   Amateur;    Photography;   Laboratory  and   Processing, 

Film   Editing,  Sound  Recording,  Projection,  Pictorialists. 


THE  COVER— WILLIAM  THOMAS,  Paramount 

ON  LOCATION    IN   CEYLON        ---------      2&  3 

Wilky,  Perry  and  Shackelford 

CINEMATOGRAPHIC    COMPOSITION  -------       4 

By  Eugene  J.  Cour 

EVOLUTION   OF  THE  MOTION   CAMERA        ------       6 

By  Earl  Theisen 

SOME  OBSERVATIONS  ON  PSYCHOLOGICAL  FACTORS,  Etc.       -     10 
By  Curtis  R.  Haupt,  Ph.D. 

S.  M.  P.  E.  SEES  MOTION  PICTURES  IN  RELIEF    -----     12 
By  P.  B.  Findley 

FILM  FAKERS— AN  EDITORIAL       ---------     16 

MAMMES    INVENTIONS        -----------     17 

THE  NEWSREEL  WORLD     -----------     is 

By  Ray  Fernstrom 

THE  CINEMATOGRAPHY  OF  NATURE      -------     19 

By  Geoffrey  Hodson 

BRULATOUR  BULLETIN      -         -       - -       -    24  &  25 

TEK-NIK    TOWNE  -----------    28  &  29 

ON    THE    FIRING    LINE        -----------     32 

By  Helen  Boyce 

CINEMATOGRAPHERS  BOOK  OF  TABLES       -       -       -       -       -    33  &  34 
By  Fred   Westerberg 

OUT   OF   FOCUS         - -       -     46 

By  Otto  Focus 

The    International    Photographer    is    published    monthly    in    Hollywood    by    Local    659, 
I.  A.  T.  S.  E.  and  M.  P.  M.  O.  of  the  United  States  and  Canada 

Entered    as    second    class    matter    Sept.    30,    1930,    at    the    Post    Office    at    Los    Angeles, 
California,  under  the  act  of   March  3,   1879. 

Copyright    1933    by    Local    659,    I.  A.  T.  S.  E.    and    M.  P.  M.  O.    of    the    United    States 

and  Canada 

Office    of    publication,    1605    North    Cahuenga    Avenue,    Hollywood,    California 

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Subscription    Rates — United    States   and   Canada,    $3    a   year.      Single   copies,    25    cents. 

This   Magazine   represents  the  entire   personnel  of  photographers  now  engaged   in 

professional  production  of  motion  pictures  in  the  United  States  and  Canada.     Thus 

THE  INTERNATIONAL  PHOTOGRAPHER  becomes  the  voice  of  the   Entire  Craft, 

covering  a  field  that  reaches  from  coast  to  coast  across  North  America. 

Printed  in  the  U.  S.  A.  at  Hollywood,  California 


COMING  UP 

FOR   OUR 

JULY  EDITION 

THE  HISTORY  AND  APPLICATION 
OF  FILTERS  IN  CINEMATOG- 
RAPHY 

Part  I. 

By  Emery  Huse  and  Ned  Van  Buren 

• 

CINEMATOGRAPHIC 

COMPOSITION 

Part  II. 

By   Eugene   J.   Cour 

"WHAT'S  HOLDING  US  UP" 

A   Picture-Log  by  Otto   Phocus 

• 

Earl  Theisen,  Honorary  Curator,  L.  A.  Mu- 
seum, will  contribute  a  delightful  sketch  of 
Charlie  Chaplin  to  be  followed  in  August  and 
September  by  "The  History  of  Projection" 
and  "The  History  of  Studio  Lighting." 
• 

TELEVISION 

An  interview  with  Harry  R.  Lubcke,  Director 

of   Television    of    the    Don    Lee    Broadcasting 

Company. 

• 

*      THE  CHEMISTRY  OF  DE- 
VELOPMENT 

A  Story  of  the  Lab.  Tanks 
By  Warren  S.  Transue 


Shooting  above  the  clouds  with  filters  and 
the  wonderful  results  obtained  with  Infra  D 
film. 

By  Elmer  Dyer,  Ace  Air  Cinematographer 


OUR  COVER  FOR  |UNE 
This     interesting    picture    shows    some     of    the 
equipment   used    in   picture   production. 

Doomed  to  horrible  torture!  One  of  the  most 
dramatic  and  heart-rending  scenes  in  Paramount's 
Roman  spectacle,  "The  Sign  of  the  Cross,"  is  the 
torture  scene  in  which  Tommy  Conlon  is  made 
to  confess.  In  this  scene  Tommy  is  shown  as 
being  dragged  to  the  dungeon  at  the  orders  of 
Ian  Keith.  Cecil  B.  DeMille,  director,  is  seated 
on  camera  crane  with  the  cameraman.  First  ca- 
meraman. Karl  Struss;  operative  cameraman, 
George  Clemens  and  Fred  Westerberg;  assistants. 
Fleet  Southcott  and  Paul  Cable;  stills,  William 
Thomas. 


80 


SERVICE  .ENGRAVING  CQ 


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On  Location 


Cuy  Wilky 

Out  of  the  twenty  or  more  cameramen  now  trotting 
the  globe  from  the  ice-bound  Arctic  to  the  South  Seas 
and  from  the  Amazon  to  the  Indian  Archipelago,  L. 
Guy  Wilky  has  returned  safe  and  sound  after  a  six 
months'  sojourn  on  the  magic  island  of  Ceylon. 

Mr.  Wilky  left  Hollywood  October  21,  1932,  with 
a  Continental  Films  unit,  headed  by  Thomas  White,  in- 
dependent producer,  to  film  a  story  of  jungle  lore,  with 
real  natives  and  real  wild  animals,  a  story  written  by 
Mr.  White  himself. 

Paul  Perry  accompanied  the  expedition  as  color 
cameraman  while  Mr.  Wilky  did  the  black  and  white 
art  work.  The  former  remained  in  the  Orient  to  finish 
another  camera  job   in   association   with   Mr.   Len   Roos. 

Mr.  Wilky,  known  affectionately  as  Guy  throughout 
the  motion  picture  industry,  returned  home  leisurely 
stopping  along  the  way  to  look  over  China  and  Japan 
in  spite  of  wars  and  warnings. 

The  locale  of  Mr.  White's  activities  was  a  small 
town  named  Balongoda,  about  90  miles  from  Colombo, 
the  metropolis  and  principal  sea-port  of  Ceylon,  a  place 
on  the  edge  of  the  jungle  where  a  very  beautiful  old 
estate,  owned  by  a  Singalese  potentate,  was  placed  at 
the  disposal  of  the  movie  folk. 

Here  was  an  immense  bungalow  with  all  modern 
conveniences  and  a  full  complement  of  skilled  servitors, 
among  whom  was  a  chef  who  could  cook  real  American 
meals  and  plenty  of  them,  so  that  our  wandering  camera- 
men were  spared  the  ordeals  of  eatin'  'em  alive.  An 
interpreter   was   also   among   those   present    and    Messrs. 


In  Ceylon 


Wilky,  Perry  and  White  were  able  to  make  the  wild 
animals  understand  what  they  were  expected  to  do.  By 
this  simple  means,  never  before  employed  in  any  picture, 
the  jungle  beasts  turned  in  the  finest  performance  on 
record. 

The  camera  equipment  comprised  three  Bell  &  Howell 
cameras  and  Mr.  Wilky's  Leica,  with  which  latter  all 
the  stills  were  shot — and  they  were  a  fine  lot  of  stills, 
as  please  note  selection  herewith. 

The  cameramen  built  their  own  laboratory,  using 
well  water  filtered  through  cheese  cloth  and  they  had 
little  trouble  handling  the  film  except  for  the  humidity 
which  made  drying  a  tedious  task. 

Their  laboratory  experience  convinced  Messrs.  Wilky 
and  Perry  that  the  most  satisfactory  program  for  handling 
film  in  the  tropics  is  to  make  daily  tests,  dry  it  thor- 
oughly, seal  in  wax,  solder  in  cans  and  rush  to  the  labora- 
tory at  the  home  studio,  the  drying  being  the  essential 
consideration  to  look  out  for — otherwise  the  deadly  mil- 
dew will  attack  and  ruin  the  image. 

Eastman  and  Dupont  film  were  both  used  on  this 
big  job  and  the  photography  is  something  to  be  proud 
of — the  scenery  at  the  location  being  unusual  and  adding 
greatly  to  the  picture  value  of  the  film. 

Only  natives  were  cast  in  the  picture  and  a  glance 
at  the  stills  accompanying  this  yarn  will  give  evidence 
that  the  native  Singalese  have  a  charm  all  their  own 
and,  according  to  Mr.  Wilky,  they  are  not  by  any  means 
the  worst  actors  in  the  world. 

The  thirty  foot  python  whose  graceful  folds  festoon 


Left  to  right — upper — Oscar,  the  30  foot  python,  was  a  useful 
and  decorative  member  of  the  cast.  .  .  .  Mr.  Wilky  tuning  up  for 
the  day's  work  (note  the  Van  Dyke  acquired  in  Ceylon).  .  .  .  The 
leading  lady,  a  pensive  and  charming  child  who  could  really  act. 
.   .    .    Director   White's   script   "girl";   also   one   of   the    actors.    .    .   . 


Setting  the  reflectors  (note  temporary  tramway  for  dolly  shots). 
Lower — mother  and  son  taking  their  daily  in  the  cameramen's  pri- 
vate plunge.  .  .  .  Mahout  Wilky  going  for  his  evening  ride  in  the 
jungle  (note  chain  of  elephant's  wrist  watch).  .  .  .  Water  buffalo, 
the  most   important  beasts  of  burden   in   Ceylon. 


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June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


the  teakwood  tree  in  another  still  is  a  handsome  devil 
in  his  own  peculiar  way  and  harmless  unless  one  tries 
to  use  him  as  a  bracelet  for  one's  wrist  watch.  And  he's 
useful,  too.  Vermin  do  not  thrive  in  his  vicinity.  He 
is  really  an  excellent  substitute  for  a  house  cat. 

Three  months  in  Ceylon,  notwithstanding  their  com- 
fortable living  conditions,  was  enough  for  our  globe- 
trotters and  they  sailed  for  home  April  1 1  last,  as  before 
stated. 

The  pleasure  of  their  sojourn  was  enhanced  by  fre- 
quent visits  to  Kandy,  the  old  capital  of  Ceylon ;  to 
Colombo,  the  great  sea-port ;  to  the  wonderful  Buddhist 
temples  and  to  the  famous  ruins  of  the  old  civilizations, 
but  these  may  be  the  subjects  of  another  story  if  Mr. 
Wilky  can  keep  his  mind  off  Japan  and  its  manifold 
charms  long  enough  to  tell  us. 

At  any  rate  he  has  painted  a  wonderful  black  and 
white  picture  of  Nippon  and  the  Nipponese  which  will 
be  forthcoming  in  the  near  future. 


Paul  Perry,  who  accompanied  L.  Guy  Wilky  to 
Ceylon  whither  they  went  to  photograph  Tom  White's 
latest  opus,  writes  from  Batavia,  Java,  to  Charles  P. 
Boyle  that  he  is  well  and  getting  a  great  kick  out  of  life 
in  and  around  the  Straits  Settlements. 

Since  he  and  Mr.  Wilky  separated  at  Ceylon  Mr. 
Perry  has  visited  Siam,  Borneo,  Bali,  Sumatra,  Indo- 
China  and  is  now  helping  Len  Roos  and  Chet  Bennett 
up  in  the  interior  of  Java  where  they  went  to  photo- 
graph a  magnificent  celebration  staged  by  the  Sultan  of 
Solo,  a  powerful  native  potentate,  in  honor  of  the  mar- 
riage of  his  daughter. 

The  picture  is  to  constitute  a  record  to  be  left  to 
the  Sultan's  children  and  the  only  white  men  to  be 
present  are  Perry,  Roos  and  Bennett,  who  have  been 
ordered  to  report  for  duty  in  full  evening  dress  and  high 
hats.     Imagine  this  regalia  plus  the  tropical  heat. 

Mr.  Perry  reports  the  existence  of  a  cameramen's 
union  in  Java  —  "Dutch  Indo-China  Photographic 
Union" — comprised  entirely  of  Chinese.  He  will  return 
to  Hollywood  in  the  near  future. 


IN  THE     LONG  PIG' 
COUNTRY 


^  ^ 


Paul    Perry 


J.  B.  Shackelford,  famous  for 
his  scientific  cinematographic 
expeditions  into  the  Gobi  Desert 
with  Mr.  Chapman  Andrews, 
writes  to  Jack  Jasper  from 
Samarai,  Island  of  Papua,  New 
Guinea,  that  he  is  flirting  with 
the  wild  women,  head  hunters 
and  cannibals  in  this  country 
where  "long  pig"  —  roasted 
white  man — is  not  an  unusual 
dish. 

Shack's  headquarters  down  there  in  the  Indian  Archi- 
pelago has  been  a  65-ton  ketch-rigged  schooner  with 
semi-Diesel  engines,  fitted  by  Shack's  ingenuity  with 
laboratory,  ice  machine,  electric  lights,  etc. 

At  time  of  writing  Mr.  Shackelford  had  a  lot  of 
film  in  the  bag  and  was  heading  for  the  Fiji  Islands. 

The  expedition  is  sending  its  film  to  Roy  Davidge 
Laboratories  right  here  in  Hollywood. 

Mr.  Shackelford  hopes  to  be  heading  for  home  late 
in  June  or  July. 

•      •      •      • 

In  this  connection  it  may  be  stated  that  in  the  June 
issue  of  The  National  Geographic  Magazine,  under  the 
title,  "Explorations  in  the  Gobi  Desert,"  is  an  article  by 
Roy  Chapman  Andrews  who  led  the  now  famous  expedi- 
tions into  this  wonderful  land.  This  article  is  enriched 
by  51  photographs  taken  by  Mr.  Shackelford,  official 
photographer  of  all  the  Andrews  expeditions  and  never 
in  any  publication  has  there  appeared  anything  finer  in 
this  particular  art. 


TO  ENGLAND 

Edward  Cronjager  has  been  signed  to  photograph  the 
Jeanette  McDonald-Herbert  Marshall  picture,  "The 
Queen,"  which  is  to  'be  produced  in  England. 


Left  to  right — upper — the  old  gag — waiting  for  light.  .  .  .  Note 
Paul  Perry  sitting  under  his  camera.  .  .  .  The  assistant  cameraman — 
attire  strictly  up  to  date — Hollywood  take  notice.  .  .  .  L.  Guy  Wilky 
with  his  Bell  &  Howell  on  location  in  Ceylon.  .  .  .  The  maidens  of 
the  village   on   their  daily  job   of   pounding   out   the   rice.   .   .    .   The 


vampire  bat.  Note  his  airplane-like  wings.  He  sees  his  world  always 
upside  down.  .  .  .  Lower — a  giant  land  lizard,  friendly  and  useful 
about  the  house;  protected  by  law.  ...  A  small  Tamil  miss  all 
dolled  up  for  Sunday  School.  Isn't  she  the  candy?  .  .  .  Mother 
and  Dad  on  a  quiet  evening  in  January.     A  rare  photograph. 


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Four 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


Cinematographic 
Composition 


By 
EUGENE  J,  COUR 


An  Outline  of  the  Application  of  Dynamic 
Symmetry  to  Notion  Picture  Composition 


[Mr.  Cour  is  famous  as  the  publisher  of  Cinema  Crafts,  Chicago; 
also  Cinema  Crafts  Year  Book  and  Directory.  He  is  a  technical 
writer  on  all  cinematographic  matters  and  is  in  every  way  qualified 
to  handle  this  somewhat  difficult  subject  just  now  attracting  great 
attention  among  the  more  serious  minded  masters  of  the  camera. — 
Editor's  Note.] 

(Pre-release   of  an   article   that  -will  appear  with   the   pictorial  section   of 
Cinema  Crafts   Year  Book  for  1933) 

PART  I. 

The  successful  motion  picture  must,  within  the  scope 
of  the  celluloid  ribbon  that  connects  the  main  title  to  the 
end  title,  present  to  the  audience — within  the  confines 
of  the  visual  screen — a  world  complete  within  itself. 

When  the  motion  picture  is  broken  down  into  the 
individual  scenes  that  have  been  photographed  by  the 
master  cinematographer  each  scene  becomes — to  para- 
phrase a  principle  of  art— A  WORLD  IN  MINIA- 
TURE WITHIN  ITSELF. 

To  emphasize  this  idea  we  will  allow  this  principle 
as  above  to  bring  us  up  with  a  bang  in  opposition  to  the 
much  abused  tilt,  pan  and  camera  crane  shots  that  not 
only  ignore  the  good  taste  and  dictates  of  good  composi- 
tion, but  upset  the  basic  principles  of  good  dramatic 
technique. 

May  we  not  first  present  a  bit  of  dramatic  comment 
for  the  benefit  of  that  type  of  director  whose  only  stock 
in  trade  is  a  good  memory,  viz : 

"The  clash  in  a  dramatic  issue  is  not  of  circumstances, 
but  of  the  aims  of  CONTENDING  WILLS.  ' 

"In  drama  or  farce  what  we  ask  of  the  theatre  is 
the  spectacle  of  a  WILL  striving  towards  a  goal." 

"The  real  play  is  the  open  conflict  and  all  preliminary 
circumstances  are  just  'stalling'  unless  they  are  necessary 
to  the  intelligibility  of  the  action  proper." 

"Audiences  are  interested  more  in  the  characters  that 
ACT  than  in  those  that  are  ACTED  upon." 

"In  most  moving  camera  shots  not  only  the  characters, 
but  the  plot  as  well,  are  being  acted  upon.  Such  scenes 
are  fragmentary  and  literally  stop  the  show  to  give  the 
camera,  camera  crane  and  mechanics  back  of  the  scenes 
the  center  of  the  stage  in  the  face  of  the  cinematographers' 
axiom,  'Art  consists  in  hiding  art.'  " 

Yes,  of  course,  there  are  uses  for  the  moving  camera. 
These  uses  are  well  defined  and  can  be  stated  as  those 
scenes  in  which  the  camera  is  moved  to  maintain  the 
spectacle  of  a  WILL  striving  towards  a  goal  that  can- 
not be  limited  to  a  fixed  camera  angle. 

In  such  cases  we  do  not  violate  the  principles  of  com- 
position or  dramatic  technique.  In  fact  the  moving 
camera  in  such  cases  is  adhering  to  the  principle  of  keep- 
ing the  struggle  of  contending  wills  within  the  limits  of 
the  screen  and  the  screen  as  a  world  complete  within 
itself. 

Those  producers  who  are  trusting  to  a  rabbit's  foot 

PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRA 


and  the  director  who  is  depending  upon  a  good  memory, 
might  to  advantage  consult  the  cinematographer.  It  is 
accepted  that  the  motion  picture  is  something  new  on 
the  horizon.  But  it  is  subject  to  the  rules  of  the  fine 
arts  that  are  as  old  as  history. 

The  cinematographers',  "A  world  in  miniature  within 
itself,"  is  a  minute  area  that  is  measured  in  thousandths 
of  an  inch.  The  standard  projection  aperture  adopted 
by  the  Academy  of  Motion  Picture  Arts  and  Sciences 
measures  .600  x  .825  of  an  inch.  Within  this  tiny  rec- 
tangle of  the  motion  picture  film  the  story  of  the  written 
or  spoken  word  is  translated  into  the  languge  of  the 
movies. 

While  on  this  subject  of  the  cinematographers'  frac- 
tional rectangle  we  might  point  out  that  the  dimensions 
adopted  as  a  standard  were  evidently  influenced  more  by 
the  theatre  architect  and  projectionist  than  by  the  more 
important  principles  of  pictorial  composition  upon  which 
the  audience  appeal  of  the  picture  is  to  a  great  extent 
based. 

A  projection  aperture  of  . 600"  x. 849";  .583"  x 
.825" ;  .590"  x  .835"  or  any  rectangle  of  the  proportion 
of  1:1.4142  would  have  presented  the  cinematographer 
with  an  exact  ROOT  TWO  rectangle  of  Dynamic  Pro- 
portions. However,  this  error  of  proportion  may  be 
passed  and  for  the  moment  the  subject  of  Dynamic  Sym- 
metry. 

Due  to  conventions  and  the  adopted  standards  of 
the  motion  picture,  the  cinematographer  must  present  his 
photographic  composition  within  the  bounds  of  a  fixed, 
horizontal  rectangle  closely  approximating  ROOT  TWO 
proportions. 

Pearce  says:  "A  picture,  as  far  as  composition  is  con- 
cerned, is  a  decoration  first.  If  it  is  not  a  work  reveal- 
ing interesting  pattern,  if  it  is  not  an  aesthetic  joy  'to 
look  upon'  then  it  fails  in  what  should  be  its  essential 
quality." 

The  pictorial  composition  is  a  pattern  of  dark  to  light 
areas.  The  distribution  of  tone  in  the  composition  is  the 
means  to  a  sense  of  BALANCE  in  the  PATTERN. 
We  may  secure  the  feeling  of  pictorial  satisfaction  with- 
out the  aid  of  form  or  gradation  by  means  of  the  DIS- 


Figure    1  Figure  2 

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The      INTERNATIONAL      PHOTOGRAPHER 


Five 


TRIBUTION  of  an  unbalanced  dark  and  light  area. 
In  Fig.  1  we  have  a  ROOT  TWO  rectangle  with  un- 
balanced tonal  areas.  In  Fig.  2,  the  same  rectangle  with 
the  dark  and  light  areas  BALANCED  and  giving  a  satis- 
factory PATTERN  without  form  or  gradation. 

The  figures  shown  rather  suggest  a  form  of  distribu- 
tion common  to  the  photographic  crafts,  more  often  mis- 
used than  properly  used,  that  is,  the  breaking  up  of  an 
overbalanced  "hot"  sky  with  the  silhouetted  branches  and 
leaves  of  a  tree. 

Now  let  us  try  our  previous  example  of  unbalanced 
dark  and  light  areas  with  the  addition  of  FORM.  We 
have  here  the  suggestion  of  the  draped  branch  and 
leaves  without  a  deadly  or  monotonous  convention.  Fig. 
3  is  a  ROOT  TWO  rectangle  with  unbalanced  light  and 
dark  areas.  Fig.  4  gives  us  DISTRIBUTION,  BAL- 
ANCE, PATTERN  and  FORM  combined. 


the  black  or  the  white  areas.  We  again  refer  you  to  the 
same  distribution  as  previously  shown  in  Fig.  2.  This 
time  we  refer  to  the  scale  or  progressive  descent.  In 
Fig.  9  we  have  the  progressive  descent  of  the  black  areas. 
In  Fig.   10  of  the  white  areas. 

In  this  we  not  only  achieve  UNITY,  but  begin  to 
realize  the  RHYTHMIC  relation  of  area  to  area,  which 
is  SCALE. 

The  quantity  of  dark  and  light  and  the  range  of  tone 
in  our  pattern  determine  its  dramatic  quality.  When 
the  tones  are  widely  separated,  with  the  areas  of  dark 
and  light  equal  and  a  considerable  proportion  of  the  areas 
arranged  to  be  at  these  extremes  of  light  and  dark,  we 
find  that  tone  achieves  its  maximum  vitality  and  its  most 
dramatic  quality. 

An  arrangement  of  tone  in  which  the  darks  pre- 
dominate, although  the  tones  are  far  apart  in  range,  tend 
to  the  solemn,  tragic  and  eerie  in  character — though  it 
must  be  admitted  that  many  master  painters  have  em- 
ployed this  tone  theme  successfully  in  portraiture. 

When  the  tones  of  a  pattern  are  not  far  apart  and 
the  general  effect  of  the  tone  theme  is  light,  then  tonal 


Figure  3 


Figure   4 


In  the  same  tempo  we  may  effect  an  INTER- 
CHANGE of  the  tones  of  unbalanced  light  and  dark 
areas  for  DISTRIBUTION  tending  to  BALANCE 
the  PATTERN  and  FORM  combination  and  satisfy 
the  principles  of  composition.  Figs.  5  and  6  and  Figs. 
7  and  8  present  opposite  conditions. 


Figure   9 


Figure   10 


vitality  is  sacrificed  for  other  qualities  more  desired  to 
gain  contours,  interesting  form  and  delicate  texture. 
Strong  darks  introduced  into  a  pattern  of  such  delicacy 
destroys  the  repose  and  delicate  theme. 

We  have  come  pretty  close  to  introducing  gradation 
into  our  pattern  and  it  might  be  fitting  to  offer  a  rule 
governing  the  relation  of  gradation  to  area:  "When 
gradation  is  given  to  -a  pattern  the  amount  or  range  of 
the  gradation  should  be  proportionate  to  the  area." 

That  is,  if  a  picture  consists  of  two  equal  portions, 
the  gradation  of  each  portion  should  be  equal.  On  the 
other  hand  if  a  picture  consist  of  two  unequal  spaces,  the 
larger  area  should  be  gradated  more  than  the  smaller 
area. 

Very  small  patches  in  a  given  composition  could  re- 
main nearly  flat  whilst  the  larger  areas  might  receive 
a  considerable  gradation.  If  this  law  is  not  obeyed  a 
small  over-gradated  area  will  rob  the  rest  of  the  picture 
by  monopolizing  the  attention.  The  general  vitality  of 
the  composition  would  be  weakened  and  the  unity  dis- 
persed. 

The  center  of  interest  in  our  pattern  must  be  gained 
by  strength  of  tone,  by  form,  or  by  the  natural  sym- 
metrical relation  of  areas,  either  singly  or  in  combination 
and  NOT  BY  ANY  ILLOGICAL  TREATMENT. 
We  will  find,  regardless  of  our  principles  that  the  boss 
principle  rests  in  the  fact  that  the  center  of  interest  in 
our  pattern  lies  at  the  point  in  which  our  STRONGEST 
CONTRAST  occurs. 

Let  us  keep  this  point  of  strongest  contrast  in  mind 
when  we  apply  the  principles  of  Dynamic  Symmetry. 
As  we  have  pointed  out  before,  the  cinematographer.and 
Figure  6  Figure  8  (Continued  on   Page  42) 

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Figure  5  Figure  7 

Continuing  with  the  idea  of  a  composition  as  a  PAT- 
TERN, DESIGN  or  DECORATION  first  we  must 
present  a  scheme  of  distribution  that  is  not  only  pleas- 
ing, but  one  that  preserves  UNITY.  It  is  our  idea  to 
understand  first  the  functions  of  the  dark  and  light  areas. 
Our  black  and  white  areas  without  any  intermediate 
tones  create  a  condition  of  extreme  contrast  that  it  is 
difficult  to  harmonize.  In  fact  it  can  only  be  achieved 
by  a  descending  scale  of  areas.  There  must  be  a  pro- 
gressive descent  from  the  largest  to  the  smallest  of  either 


^~" 


The     INTERNATIONAL  PHOTOGRAPHER 

EVOLUTION  of  the 

Notion  Camera 

I  IB  I    THEISEN 

Honorary  Curator  of  Motion  Pictures,  Los  Angeles  Museum 


"Camera!"  bellowed  the  director  through  the  mega- 
phone of  yesteryear. 

Now  that  galvanic  command  is  issued  in  the  sub- 
dued manner  of  a  person  who  has  learned  much.  Many 
foibles,  besides  the  megaphone,  have  passed  with  time. 
The  first  motion  cameras,  for  the  most  part,  were  pon- 
derous affairs  and  they  had  many  gadgets  here  and  there 
about  them  that  were  as  useful  to  the  camera  as  an 
executive's  third  and  fourth  cousins  about  the  studio 
today. 

So,  as  the  motion  picture  grew  and  evolved  ever 
varying  demands  were  made  up  the  makers  of  pictures 
and,  to  satisfy  this  demand,  it  seems  that  every  man, 
whether  social  registerite  or  truck  driver,  who  saw  the 
interior  of  a  camera,  immediately  went  home  and  tried 
to  devise  one  of  his  own.  There  are  records  of  a  camera 
improvised  from  a  prune  box  and  a  tomato  can,  with 
a  film  sprocket  made  of  a  spool  and  carpet  tacks ;  an- 
other that  cost  a  fortune  and  years  of  experimentation  ; 
and  still  another  man  devised  a  camera  upon  which  he 
placed  a  solid  gold  name  plate. 

These  and  many  others  were  made  only  to  be  dis- 
carded. Some  saw  many  years  of  use  and  were  inci- 
dental to  the  growth  of  the  motion  picture.  As  Lyman 
Broening  has  said:  "Mr.  Heinz  originated  fify-seven 
varieties  of  pickles,  while  the  fathers  of  the  motion  pic- 
ture  devised  the  same   number   of  cameras." 

Between  the  years  of  1910  and  1917  alone  the  patent 
office  gazettes  list  twenty-one  different  cameras  that  were 
patented.  And,  with  one  exception,  these  cameras  have 
been  relegated  to  the  limbo  where  such  things  are  as- 
signed. Perhaps  they  still  abound  in  a  place  where  there 
are  megaphones  and  where  all  pictures  still  have  the  hero 
chasing  the  be-mustached  villian. 

Even  though  that  be  all  part  of  the  past  the  spirits 
of  these  things  are  the  tradition  of  the  movies,  and  they 
served  as  a  foundation  upon  which  the  industry  has 
built. 

The  granddaddy  of  all  cameras  was  the  Edison  Kine- 
tograph.  That  was  a  camera !  It  was  so  large  that  it 
never  left  the  studio,  in  fact,  if  it  should  have  been 
necessary  to  take  it  to  a  "location,"  a  day  would  have 
been  set  aside  to  move  it.  Before  it  at  the  Edison  "Black 
Maria"  studio  was  laid  all  sorts  of  stories  during  the 
time  that  pictures  were  learning  to  move.  The  Kineto- 
graph  was  patented  on  August  31,  1897,  as  No.  589,168, 
from  an  application  filed  on  August  24,  1891.  It  had 
a  Geneva  movement. 

The  Edison  camera  was  not  the  first  camera.  P.  J.  C. 
Janssen,  in  1874,  made  a  photographic  gun  that  was 
designed  to  take  a  series  of  pictures  on  a  glass  plate. 
He  devised  the  gun  so  as  to  photograph  the  transit  of 
the  planets  and  for  other  astromonical  purposes.  Marey 
later  devised  another  gun  camera  that  he  used  for  photo- 
graphing motion.  Both  these  cameras  had  a  pawl  inter- 
mittent. And  they  were  both  the  ancestors  of  the  mod- 
ern Bell  &  Howell  and  the  Mitchell. 


Another  camera  that  greatly  influenced  motion  pic- 
ture history  was  the  Lumiere  Cinematograph.  It  was 
introduced  at  a  time  when  the  pictures  that  moved  were 
just  a  novelty  and  had  not  yet  attained  the  ability  of 
telling  stories.  Prior  to  the  coming  of  the  Cinemato- 
graph pictures  consisted  of  forty-foot  bits  of  nonsense 
of  which  people  quickly  tired.  Now,  due  to  the  small 
compact  size  of  the  camera,  it  could  be  taken  about. 
It  could  go  to  the  story  rather  than  the  story  come 
to  it.  The  Lumiere  Brothers  set  about  photographing 
scenes  and  events  of  topical  interest  quite  after  the 
manner  of  newsreelers  today.  Everything  was  pictur- 
ized  from  far  and  near.  This  gave  a  new  stimulii  to 
the  waning  life  of  the  then  foundling  motion  picture 
industry. 

The    Cinematograph    was    a    printer,    projector    and 


Lumiere  camera,  showing   its  use  as  a   projector.     This  was  one 
of    the    most    practical    of    the    early    cameras,    in    that    it    was   light 
in  weight  and  was  a  camera,  printer  and  projector  combined.     First 
used   in   1895.      (Courtesy  Leo  C.  Young.) 


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Seven 


camera,  combined  all  in  one  and  had  an  harmonic  cam 
movement.  It  was  about  the  size  of  a  cigar  box  and 
weighed  less  than  ten  pounds,  whereas  the  Biograph  with 
its  massive  motor  batteries  weighed  near  400.  The 
cameraman  with  a  Cinematograph  was  indeed  a  favored 
person  and  he  was  aware  of  his  importance.  He  never 
left  the  camera  out  of  his  sight — it  sat  under  his  chair 
at  banquets,  and  on  his  lap  when  he  was  courtin' — be- 
cause others  wanted  to  take  pictures.  The  maxim  of 
"getting  the  picture"  had  already  been  born  and  those 
with  large  cameras  were  handicapped,  and  they  were  not 
above  stealing  to  serve  the  cause. 

Plagiarism  was  not  a  sin,  yet ;  nor  was  it  frowned 
upon.  If  a  Lumiere  print,  which  had  only  one  perfora- 
tion to  the  frame,  could  be  borrowed  it  was  immediately 
duped  to  the  Edison  standard  of  four  perforations  so  that 
it  might  be  sold  for  the  American  projectors. 

There  are  examples  of  the  French  film  of  this  early 
period  at  the  Los  Angeles  Museum  showing  them  to 
have  been  reperforated  as  well  as  duped.  On  one  oc- 
casion the  Lumiere's  hoped  to  sell  some  pictures  so  they 
sent  several  films  to  the  American  distributors  who  made 
duplicates  and  then  the  originals  were  returned  with  a 
notation  saying  they  could  not  be  run  on  American  pro- 
jectors. These,  and  many  other  incidents  serve  to  indi- 
cate the  quality  and  value  of  the  picture  taking  ability 
of  the  Cinematograph.  Its  first  public  showing  was  held 
in  Paris  on  March  22,  1895. 

The  next  camera — important  in  film  tradition — first 
made  in  the  fall  of  1896 — was  the  Biograph.  It  was  a 
ponderous  device  with  an  intermittent  friction  movement 
perforators,  an  assortment  of  controls  for  this  and  that 
and  enough  lumber,  screws  and  bolts  to  house  and  hold  it 
together.     It  had  to  be  held  together,  too! 

G.  W.  "Billy"  Bitzer,  the  dean  of  cameramen,  says 
it  photographed  at  the  rate  of  320  feet  per  minute,  in 
contrast  to  the  present  rate  of  90  feet.  This  great  speed 
was  due  to  the  large  size  of  the  Biograph  picture  frame, 
which  was  nine  times  larger  in  area  than  standard  film. 
And,  even  though  traveling  at  this  great  speed,  it  also 
perforated  the  film  as  it  was  photographed.  Due  to 
Edison  controlling  the  perforation  patents  the  Biograph 
perforated  its  own  stock  irregularly  along  the  edge ;  since 


> 


Pathe  and  Ned  Van  Buren,  as  cameramen  photographing  a  pic- 
ture directed  by  Eddie  Collins  at  Lasky's.  Pauline  Frederick  and 
Thomas  Meighan  are  in  the  background. 

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The  first  Biograph  camera,  from  a  picture  in  the  Scientific 
American  of  April  17,  1897,  showing  it  photographing  the  Empire 
State   Express. 

the  Edison  patent  specified  regularly  spaced  perforations. 

Can  you  imagine  one  of  these  early  Biograph  cameras 
setting  on  a  tripod  of  metal  gas  pipe  tubing?  Both 
Joseph  Mason  and  "Billy"  Bitzer  traveled  over  Europe, 
before  1900  on  location  with  one  of  these  cameras. 

Skipping  over  the  years  to  early  in  1908  when  the 
"Patents  Company"  was  formed,  we  find  the  motion 
picture  well  on  its  way,  with  a  company  formed  to  pro- 
duce pictures  around  everyone  fortunate  enough  to  own 
a  camera.  The  "Patents  Company"  was  a  group  of  main 
producers  who  pooled  their  patents  as  a  means  of  pro- 
tection against  the  "Independents,"  who,  after  a  manner 
of  their  own,  had  acquired  a  camera  and  were  busily 
making  pictures  and  infringing  others'  patents.  The 
Patents  Group,  through  patents,  controlled  all  the  neces- 
sities of  making  pictures ;  and  as  they  would  not  rent, 
lease  or  sell  the  use  of  their  patents  a  most  unfortunate 
and  embarrassing  situation  was  created  for  the  Independ- 
ents. These  determined  and  struggling  producers,  with 
limited  capital,  were  forced  into  a  sort  of  "bootlegging" 
business.  And,  as  the  Patents  Company  control  did  not 
extend  to  Europe,  cameras  were  imported  from  England 
and  France.  The  Moy,  Williamson,  Gaumont,  DeBrie, 
Prevost  and  Pathe  were  some  of  the  cameras  imported. 
None  of  these  cameras  could  be  used  in  their  original 
state,  since  the  Patents  Company  officials  and  their  de- 
tectives knew  exactly  what  was  inside  of  every  model  and 
every  model  infringed  one  of  the  many  patents  they 
held.  If  a  detective  saw  an  infringing  camera,  imme- 
diately a  court  injunction  would  put  a  stop  to  its  use. 
Since  the  cameras  were  the  very  life  of  the  Independents, 
only  loyal  and  trusted  employes  were  permitted  to  handle 
the  camera.  No  treasure  was  more  carefully  guarded 
and  many  cameramen  actually  took  their  cameras  to  bed 
with  them.  At  least  Lyman  Broening  found  is  neces- 
sary to  do  so. 

Bobby  Newhard  recalls  that  while  working  with  Fred 
Halshoffer  at  the  West  Coast  Studio,  on  Glendale  Boule- 
vard, of  the  New  York  Motion  Picture  Company,  the 
covered  camera  car  was  backed  up  each  morning  to  the 
office  door.  The  safe  was  then  carefully  unlocked  and 
the  camera  sneaked  into  the  waiting  car  to  be  whisked 
to  location  in  Griffith  Park.  It  was  the  period  of  per- 
secution and  strong  arm  methods  when  everyone  spent 
a  large  portion  of  his  time  in  looking  over  his  shoulder. 

In  many  instances  cameras  were  encased  in  armor- 
plated  boxes  and  the  door  carefully  padlocked  so  the  pry- 
ing eyes  of  detectives  might  not  see  the  mechanism.  For 
the  same  reason  the  cameraman  had  to  load   the  maga- 

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Eight 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


zines  in  the  studio  dark  room.  Since  the  magazines  only 
held  two  hundred  feet  of  film  the  locations  were  chosen 
as  near  the  studio  dark  room  as  possible. 

The  cameraman  was  harassed  on  all  sides.  He  was 
bribed,  threatened  with  jail,  and  "gumshoed"  by  detec- 
tives at  every  crank  turn,  until  artful  dodging  came 
foremost  and  photography,  secondary.  One  fatal  peek 
by  the  enemy  and  he  had  to  substitute  the  camera  he  was 
using  for  some  other  style  or  make.  Switching  cameras 
became  a  necessity,  or  pastime,  three  or  four  being  put 
into  use  in  a  single  day. 


Jack  Fuqua  with  an  Erne- 
mann  camera  photographing 
the  John  Bunny  Comedies 
in    1915. 


Some  independents  made  their  own  cameras,  which 
were  nothing  more  than  dummies.  They  had  a  beater 
movement  which  was  easy  to  make,  although  they  could 
not  take  a  steady  picture.  These  dummy  cameras  were 
kept  about  the  studio  to  show  to  the  Patents  Company 
official.  That  and  only  that  was  their  purpose;  they 
never  took  a  picture. 

David  Horsley,  one  of  the  foremost  of  the  Independ- 
ents, had  such  a  camera  that  he  called  his  "Battleship," 
since  the  camera  in  action  sounded  like  a  ship  in  battle 
and  it  was  used  in  his  battles  to  remain  in  the  film  busi- 
ness. He  relates  how  some  Patents  attorneys,  the  court, 
jury  and  all,  came  to  his  studio  one  day  to  inspect  his 
camera  while  in  operation.  But  Horsley  was  clever. 
He  gravely  set  up  his  dummy  camera  to  face  his  stage ; 
while  one  of  his  assistants  set  up  his  real  camera — one 
that  infringed — in  the  next  room  and  focused  it  through 
a  small  hole  upon  the  same  scene  from  the  same  angle. 
After  the  scene  was  completed  the  assistant  hurried  the 
film  into  the  darkroom,  while  Horsley  delayed  for  time, 
after  which  he  took  the  dummy  camera  into  the  dark- 
room to  unload.  Of  course,  a  court  attache  followed, 
but  that  did  not  hinder  Horsley  from  substituting  under 
cover  of  the  subdued  darkroom  light,  the  film  from  the 
real  camera  for  that  of  the  useless  dummy. 

Later  in  court,  after  the  film  was  shown  as  a  steady 
picture,  the  amazed  attorney,  who  knew  the  "Battleship" 
could  not  take  a  picture,  leaned  over  and  whispered  to 
Horsley,  "Somebody  here  is  lying." 

Horsley  answered,  "It's  me,  but  it's  you  that  must 
prove  it." 

While  this  "reign  of  terror"  was  going  on,  there  was 
another  move  afoot  that  was  to  greatly  influence  screen 
history.  That  was  the  organization  of  the  Bell  &  How- 
ell Company  which  was  formed  on  January  1,  1907,  for 
the  purpose  of  making  a  standardized  precision  apparatus 
for  the  motion  picture.  Don  Bell's  introduction  to  pic- 
tures had  been  many  years  earlier,  when  he  became  a 
projectionist  on  an  Amet  Magniscope  that  George  Spoor 
used  in  his  theatre.  This  led  to  the  Kinedrone  projector. 
The  first  models  made  early  in  1898  were  remodeled 
from  the  Optiscope.     The  Optiscopes  were  designed  by 


Don  Bell,  later,  in  improving  and  remodeling  the  Kine- 
drone, met  Albert  Howell,  who  at  that  time  was  with 
the  Crary  Machine  Works  where  the  parts  of  the  new 
Kinedrone  were  made. 

Upon  the  formation  of  the  Bell  &  Howell  Company, 
they  made  a  camera  of  the  box  model  type.  It  sold  in 
the  winter  of  1908  to  the  Spoor-Essanay.  This  was  fol- 
lowed with  a  second  that  sold  to  the  Kalem  Company. 
In  the  meantime  these  two  men  had  designed  a  printer 
and  a  perforator.  Late  in  1909  their  first  metal  camera 
was  finished.  It  had  outside  magazines  and  was  of  the 
design  that  since  has  been  universally  adopted.  Jackson 
J.  Rose,  then  of  the  Essanay,  and  George  Hollister,  of 
Kalem,  both  used  the  Bell  &  Howell  metal  model  when 
it  was  first  introduced.  Bobby  Newhard  was  another 
who  was  privileged  to  operate  an  early  B&H.  He 
proudly  recalls  something  that  is  not  done  by  camera- 
men now.  This  camera,  with  a  400  foot  magazine, 
dropped  into  the  lake  above  Twin  Rocks.  He  recovered 
the  camera,  took  the  film  into  the  darkroom  and  care- 
fully, inch  by  inch,  unrolled  the  wet  film.  He  saved 
it.  Now  comes  the  interesting  part.  He  poured  the 
water  out  of  the  camera  and  took  it  apart  to  oil,  which 
was  fine  of  him ;  but  he  was  two  days  getting  it  back 
together.  You  see  he  never  had  one  apart  before.  Hence- 
forth, in  the  morning  before  starting  the  day's  work, 
while  other  cameramen  were  tightening  this  screw  or 
that  nut,  accompanied  with  a  wise  look  for  the  impres- 
sion it  would  make  upon  the  observers,  "Bobby"  was 
satisfied  with  oiling  his  camera  and  giving  it  a  shake 
to  see  if  things  were  well  with  it.  And  to  this  fact,  that 
he  did  not  tinker  with  his  camera,  he  attributes  his  suc- 
cess as  a  cameraman. 

Ira  Morgan,  by  his  intimate  friends  called  "Joe," 
started  in  1907  with  the  Enterprise  Optical  Company. 
He  used  a  Gaumont  camera.  This  camera  had  a  beater 
movement  and  a  bicycle  chain  for  a  drive.  Although  far 
from  a  perfect  camera  it  was  light  and  could  be  carried 
about,  particularly  it  was  well  adapted  to  follow  the 
inevitable  chase  that  was  a  part  of  all  pictures  during 
the  nickelodeon  days  of  the  industry.  It  was  a  period 
when  the  introductions  for  all  pictures  led  to  a  chase. 
With  Westerns  the  sheriff  and  posse  chased  the  villian 
about  the  hills,  and  with  dramer-rs  it  was  a  chase  up 
and  down  alleys,  between  the  hero,  or  a  cop,  and  the 
villian.  And  usually,  they  ended  with  the  villian  having 
a  black  eye  and  the  hero  and  heroine  starting  on  their 
way  to  be  happy  ever  after.  Imagine  "Joe,"  our  camera- 
man, with  his  clattering  beater  Gaumont,  frantically  fol- 
lowing to  "get"  his  chase. 

"Joe"  Morgan  later  went  to  the  American  Film  Com- 
pany at  Niles,  where  he  used  a  Bell  &  Howell  camera. 


Jackson  J.  Rose  and  the  first 
all-metal  Bell  &  Howell  at 
the  Essanay. 


MacMillan   and   sold    by   Sears   and    Roebuck    in    1898. 

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June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Nine 


Left  to  right — upper.  The  first  Bell  &  Howell  of  the  Box  Type, 
first  made  in  the  winter  of  1907-03.  .  .  .  Pathe  camera,  with  the 
dean  of  cameramen,  "Billy"  Bitzer,  and  D.  W.  Griffith  directly  be- 
hind him.  .  .  .  Lubin  camera  and  a  cameraman  of  1910.  Note  the 
reversed  cap.  A  cameraman  wasn't  a  cameraman  in  those  days  if 
he   didn't    wear    his   cap    backwards.    .    .    .    Lower — Caumont    Beater 

Here  he  photographed  "Broncho  Billy"  Anderson  in  as 
many  as  six  pictures  in  seven  days.  They  were  single 
reelers,  as  were  most  pictures.  Imagine  photographing 
six  complete  pictures  in  that  length  of  time. 

L.  Guy  Wilky  was  in  the  meantime,  with  Lubin, 
making  "Westerns."  Their  company,  under  Romaine 
Fielding,  traveled  about  the  western  states  on  location. 
They  carried  an  interior  set  with  them,  which  they  set 
up  when  needed.  These  interior  sets  were  as  a  rule  a 
cabin.  They  were  composed  of  six  pieces  of  "flats,"  with 
the  furniture  painted  on  the  walls.  Joe  Morgan  in- 
forms us  that  the  cabin  carried  out  for  the  "Broncho 
Billy"  westerns  had  chairs  and  even  a  sink,  painted  on 
the  walls  of  the  canvas  cabin.  This  was  done  to  elimi- 
nate as  much  luggage  as  possible.  These  cabins  did  not 
have  roofs,  since  sunlight  was  still  used  in  making  all 
pictures.  Muslin  was  stretched  over  the  top  of  the  walls 
as  a  diffuser.  Artificial  light — the  famous  Kleig  arcs  that 
looked  like  the  enclosed  street  cars — did  not  become  popu- 


Reggie   Lyons   with   his 
Vitagraph  camera. 


PLEASE  MENTION   THE  INTERNATIONAL  PHOTOGR 


camera  of  1902.  It  is  opened  up  for  loading.  .  .  .  Selig  Polyscope 
camera  with  E.  John  Sherman  and  Eddie  Kull,  the  latter  of  whom 
was  a  Selig  cameraman  in  1907.  .  .  .  Shooting  a  scene  at  the  Essanay 
in  1912.  Both  are  Bell  &  Howell  cameras.  Jackson  J.  Rose  is  in 
the  foreground  with  his  sleeves  rolled  up. 

lar  until  about  1912,  although  Biograph  had  used  Cooper- 
Hewitt  Mercury  lamps  as  early  as  1904. 

During  this  time  a  large  part  of  the  film  had  to  be 
remade  by  many  of  the  cameramen.  They  had  to  de- 
pend upon  the  sunlight,  which  was  never  the  same ;  ex- 
posure meters  had  not  as  yet  come  into  use.  Eddie  Kull, 
while  working  with  the  Selig  Polyscope  Company  in 
1907,  started  to  use  one.  His  film  density  was  so  con- 
stant as  a  result  that  meters  came  into  use.  Kull  fur- 
ther deserves  credit  for  the  introduction  of  the  lap  dis- 
solve as  it  is  known  today.  When  he  first  started  as  a 
cameraman  a  dissolve  was  made  from  one  scene  to  an- 
other by  having  the  actors  standing  in  a  frozen  pose 
while  the  entire  set  was  changed  to  the  next  scene. 

For  example,  if  the  scene  was  to  change  from  an 
interior  to  an  exterior  the  actors  would  go  through  the 
necessary  action  for  the  interior.  When  they  came  to  the 
end  of  the  required  action,  they  would  stand  frozen-like, 
hardly  daring  to  breathe,  while  the  set  was  removed  from 
around  them  and  grass  matts  substituted  for  the  interior 
carpets.  This  left  them  in  the  open  ready  to  continue 
with  the  exterior  scene. 

In  1912  Eddie  Kull  made  the  grand-daddy  of  today's 
lap  dissolves  with  the  improved  model  of  the  Selig 
Polyscope  made  at  that  time.  This  was  a  continuous 
belt  camera  that  could  run  backward  or  forward. 

The  micrometer  mounts  for  motion  picture  lenses  were 

first  used  about  1908.     Before  that  practically  all  movie 

lenses  were  of  the  fixed  focus  variety.     Fades  were  made 

by  closing  the  iris  diaphragm  that  was  between  the  lenses. 

(Continued  on  Page  42) 

APHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


Ten 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


Some  Observations  on  Psyehologieal 

Factors  Which  Govern  the  Perception  of 

Three  Dimensional  Relief 

By  CURTIS  R.  HAUPT,  Ph.D.,  Department  of  Physics,  Pomona  College 


The  writer  has  recently  described1  a  new  method 
of  adding  depth  to  motion  pictures.  This  method,  known 
as  the  Natural  Vision  process,  is  the  first  commercially 
practicable  technique  employing  standard  equipment  for 
taking  and  projecting  the  pictures. 

Although  in  certain  respects  the  Natural  Vision  pro- 
cess is  similar  to  the  older  methods  of  producing  Stereo- 
scopic Pictures,  there  are  several  important  differences. 
These  differences  make  the  method  commercially  ap- 
plicable. 

If  one  were  to  analyze  the  method  critically  from 
the  standpoint  of  the  older  theories  of  Stereoscopic  Vision, 
one  would  come  to  the  conclusion  that  the  process  could 
not  possibly  be  successful  in  producing  stereoscopic  re- 
lief. Therefore,  when  one  views  these  pictures  on  the 
theater  screen,  one  is  amazed  to  find  that  the  objects  stand 
out  in  beautiful  three  dimensional  relief  similar  to  that 
obtained  by  the  eyes  in  normal  vision. 

We  are  forced  to  conclude,  then,  not  that  the  older 
theories  are  incorrect  but  that  the  story  they  tell  is  an 
incomplete  one  and  that  other  factors  enter  into  the  per- 
ception of  stereoscopic  depth  which  have  never  before 
been  recognized. 

Inasmuch  as  this  is  true,  it  occurs  to  the  writer  to 
emphasize  the  points  of  difference  between  the  old  and 
the  new  methods  and  to  call  attention  to  the  psychological 
factors  arising  therefrom.  This  discussion  is  by  no  means 
a  complete  survey  of  the  problem.  It  is  hoped  that  a 
comprehensive  treatment  of  all  the  psychological  factors 
can  be  made,  after  the  completion  of  a  series  of  experi- 
ments soon  to  be  started. 

The  first  important  difference  between  the  old  meth- 
ods and  the  Natural  Vision  process  lies  in  the  magnitude 
of  the  displacement  which  the  camera  receives  between 
successive  panels.  As  has  been  pointed  out  by  the  writer,2 
former  methods  have  all  held  to  the  mathematical  re- 
quirement that  for  true  stereoscopic  representation  the 
displacement  distance  must  be  equal  to  the  inter-pupillary 
separation. 

Since  the  inter-pupillary  distance  is  about  two  and  one- 
half  inches,  one  is  practically  forced  to  employ  the  double 
camera,  with  proportionate  increase  in  the  cost  and  in- 
convenience of  making  the  pictures.  The  mathematical 
requirement,  however,  does  not  take  into  account  psy- 
chological factors.  One  becomes  cognizant  of  the  im- 
portance of  such  factors  upon  seeing  these  pictures  pro- 
jected with  a  degree  of  relief  seemingly  much  overdrawn 
and  exaggerated. 

Before  attempting  explanation,  it  must  be  remem- 
bered that  the  relationship  of  an  observer  to  a  given  scene 
in  nature  must  be  essentially  different  from  his  relation- 


international   Photographer,   May,   1933. 
International    Photographer,    May,    1933. 

PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGR. 


ship  toward  that  identical  view  as  presented  upon  a 
theater  screen.  In  normal  everyday  experience,  we  are 
conscious  of  being  a  part  of  the  multiplicity  of  objects 
which  surround  us  on  every  side.  For  us  space  is  con- 
tinuous. It  has  no  sharp  boundaries.  Tactual  contacts 
with  objects  constantly  give  us  the  sense  of  solidity.  We 
feel  the  pressure  of  the  chair  which  is  supporting  us.  The 
chair  is  in  solid  contact  with  the  floor.  The  floor  is  in  con- 
tact with  the  table  which  is  in  front  of  us.  We  can 
reach  out  and  touch  the  table.  The  table  is  in  contact 
with  a  wall.  The  wall  contains  a  window  through  which 
we  see  various  objects  in  the  world  out  of  doors.  If 
we  move  our  position  to  the  side,  various  objects  outside, 
which  previously  could  not  be  seen,  come  into  view  while 
others  disappear.  We  are  thus  led  to  conclude  that  out- 
door space  continues  beyond  the  limits  put  upon  our  field 
of  view  by  the  boundaries  of  the  window.  Moreover, 
experience  has  taught  us  that,  by  moving  ourselves 
through  a  similar  opening  called  a  door  and  thence  to 
any  point  in  the  spatial  domain  previously  viewed,  we 
can  verify  the  existence  of  those  objects  in  the  space  of 
which  we  are  a  part. 

Our  concepts  of  the  size  and  extent  of  objects  seen 
in  everyday  vision  are  modified  by  actual  contacts  and  by 
the  memory  of  such  contacts  that  have  occurred  in  past 
experience.  Memory  also  plays  an  important  part  in 
bringing  to  our  consciousness  the  reality  of  space. 

Let  us  now  consider  why  the  stereoscopic  effect  ob- 
tained on  the  theater  screen  may  be  considerably  different 
from  that  obtained  by  an  observer  located  at  the  point 
where  the  picture  was  taken.  In  the  latter  case  the 
observer  is  assured  of  the  reality  of  the  space  in  which 
the  objects  being  filmed  are  located  and  that,  as  noted 
above,  he  is  a  part  of  that  space.  The  theater  patron, 
on  the  other  hand,  is  consciously  or  unconsciously  aware 
that  the  action  which  he  sees  on  the  screen  goes  on  in  a 
space  apart  from  his  own.  He  cannot  reach  out  and 
pick  a  flower  from  the  garden  which  is  projected  with 
such  realism  on  the  screen.  He  assumes  a  discontinuity 
in  space.  The  sense  of  balance  in  perception  of  space 
reality  is  overthrown  because  of  the  lack  of  information 
gained  through  tactual  experience.  Moreover,  the  screen, 
with  its  definite  sharp  boundaries,  is  a  poor  substitute  for 
the  unlimited  space  through  which  our  eyes  can  move 
in  everyday  seeing. 

In  ordinary  perception,  even  though  we  do  not  move 
the  eyes  or  head,  we  are  conscious  of  a  field  of  view 
which  is  limited  in  extent  and  yet  which  has  indefinite 
boundaries.  Though  objects  in  the  center  of  this  field 
are  plainly  seen,  our  visual  apprehension  of  other  ob- 
jects becomes  progressively  vague  the  farther  they  lie 
from   the   center.      The   theater   screen    has   an   aspect  of 

PHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Eleven 


unreality  because  of  its  sharp  boundaries.  Looking  at 
a  screen  does  not  convey  the  impression  of  looking  out 
of  a  window.  If  we  change  our  positions  while  watch- 
ing the  screen,  new  parts  of  the  field  do  not  come  into 
view  at  the  edges.  The  aspect  of  unreality  is  further 
accentuated  by  the  fact  that  the  boundaries  of  the  screen 
constitute  a  sharp  cut  off  between  light  and  dark  re- 
gions. The  theater  itself  must  be  kept  dark  and  this 
sensation  of  being  surrounded  by  darkness,  with  a  definite 
rectangular  area  straight  ahead  in  which  vividly  illumi- 
nated moving  objects  appear,  is  contrary  to  everyday  ex- 
perience. 

It  is  not  surprising,  then,  that  when  we  remove  the 
factors  of  actual  or  possible  tactual  contacts  and  take 
away  the  knowledge  of  continuity  in  space,  as  we  do  in 
the  theater,  that  the  one  remaining  factor — stereoscopic 
imager}' — occupies  an  undue  proportion  of  the  attention 
and  we  see  objects  standing  out  in  three  dimensional  space 
with  a  relief  far  transcending  reality. 

It  is  evident,  then,  that  while  we  cannot  give  all 
the  desirable  aspects  of  reality  to  our  stereoscopic  motion 
picture,  we  can  obtain  a  much  better  approximation  to 
normal  vision  by  decreasing  the  displacement  of  the 
camera  between  panels.  The  approximate  amount  of  dis- 
placement can  only  be  found  by  trial. 

In  Natural  Vision  motion  pictures  it  is  found  that 
surprisingly  small  displacements  (on  the  order  of  0.1 
to  0.05  inches)  will  give  about  the  same  relief  as  is 
obtained  in  normal  vision.  The  amount  of  the  displace- 
ment is  so  small  that  one  wonders  whether  the  degree 
of  stereoscopic  relief  apparent  can  all  be  due  to  the  lack 


of  the  balancing  factors  of  tactual  contact,  continuity  in 
space,  etc.,  which  were  mentioned  above.  There  is  no 
experimental  evidence  which  will  answer  this  question. 
We  can  only  state  that  there  may  possibly  be  other  in- 
fluences of  a  psychological  character  which  tend  to  in- 
crease the  amount  of  depth  seen  in  the  pictures. 

Although  it  is  surprising  to  find  that  very  small  dis- 
placements of  the  camera  give  stereoscopic  relief,  it  is 
still  more  amazing  to  know  that  it  is  possible  to  devise 
a  method  which  does  not  require  any  mechanical  or 
optical  device  to  separate  the  images  thrown  on  the  screen 
from  successive  panels  so  that  only  one  eye  will  function 
at  a  time.  Natural  Vision  films  do,  however,  give  three 
dimensional  pictures  without  the  use  of  any  mechanical 
or  optical  device  mounted  in  front  of  the  eyes,  thus 
demonstrating  a  new  psychological  property  of  the  eyes 
not  hitherto  suspected. 

As  mentioned  previously,3  the  eyes  themselves  seem 
able  to  separate  the  images  by  some  kind  of  selective 
mechanism,  provided  the  displacements  on  the  screen  are 
not  too  great.  It  is  impossible  without  further  experi- 
mentation to  say  just  what  the  basis  of  this  mechanism 
is  or  how  the  selective  process  functions.  It  seems  rea- 
sonable to  suppose  that  experience  plays  an  important 
part.  We  are  accustomed  to  seeing  objects  in  three  di- 
mensions in  everyday  life.  When  the  images  of  such 
objects  are  projected  on  the  theater  screen,  the  eyes  tend 
to  see  them  in  the  natural  manner,  in  relief. 

It  has  been  shown  mathematically  in  the  previous  dis- 
cussion4  that    in   the   Natural   Vision   system   two  sets  of 

1  &<  International   Photographer,    May,   1933. 

(Continued  on  Page  22) 


Solve  it  with  the  Motor-Driven 


EYEMO 


"Portability  with  the  Eyemo  35  mm.  hand  camera 
means  not  mere  "mobility"  but  real  pick-up-and- 
carry  portability.  Where  you've  a  problem  that  re- 
quires constant  sound  speed  of  24  frames  and  the  plac- 
ing of  a  camera  in  impossible  places  or  carrying  it 
impossible  distances — then  that's  the  job  for  the  Eyemo. 

The  Eyemo  has  seven  precisely  governed  film  speeds, 
three-lens  turret,  variable  viewfinder,  Cooke  47  mm. 
F2.5  lens,  100  foot  film  capacity,  and  both  built-in 
spring  motor  and  hand-crank  drives.  12-  or  110-volt 
electric  motor  and  200-  or  400-foot  magazine,  as  illus- 
trated, may  be  had.     Write  for  full  details. 

BELL  &  HOWELL 

1849  Larchmont  Ave.,  Chicago;  11  West  42nd  St.,  New  York; 

716  North  La  Brea  Ave.,  Hollywood;  320  Regent  St.,  London 

(B  8c  H  Ltd.)   Est.  1907. 


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-»<.. 


Twelve 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


S.  M.  P.  E.  SEES  MOTION 
PICTURES  IN  RELIEF 

By  P.  B.  FINDLEY 


The  projection  of  motion  pictures  in  relief,  visible  to 
a  group  of  observers  occupying  a  wide  range  of  positions 
with  respect  to  the  screen,  but  demanding  no  special 
spectacles  or  other  apparatus  at  the  eyes,  was  demon- 
strated on  an  experimental  scale  to  the  Society  of  Motion 
Picture  Engineers  on  April  27,  by  Dr.  Herbert  E.  Ives, 
of  Bell  Telephone  Laboratories,  New  York. 

This  extension  of   Dr.   Ives'   three-dimensional   work 


Dr.   Ives  with  the  projector  and  screen  he  has  developed  for  showing 
motion  pictures  in   relief. 

from  still  pictures  to  motion  does  not  employ  the  con- 
ventional celluloid  film,  but  harks  back  to  a  toy  which 
the  older  generation  will  remember  in  which  a  series  of 
pictures  are  mounted  on  a  revolving  wheel. 

Although  the  action  lasts  only  a  couple  of  seconds 
before  it  repeats,  the  spectator  sees  a  true  motion  picture 
which  has  all  the  depth  and  roundness  of  a  stereoscope 
view.  The  cumbersome  wheel  is  thus  far  essential,  ac- 
cording to  Dr.  Ives,  because  of  the  high  degree  of  ac- 
curacy of  position  needed  to  project  the  pictures  on  a 
special  screen  and  serves  to  emphasize  his  caution  that 
commercial  application  seems  remote. 

To  understand  Dr.  Ives'  latest  development,  one 
must  first  recall  that  seeing  anything  steroscopically  means 
that  one  sees  it  with  each  eye  from  a  different  view- 
point. The  brain  then  interprets  the  slight  differences 
in  the  two  retinal  images  as  meaning  that  the  scene  has 
depth.  In  the  familiar  parlor  stereoscope,  each  eye  sees 
a  different  photograph,  the  pair  having  been  taken  initially 
through  cameras  about  three  inches  apart.  If  motion  pic- 
tures are  taken  in  a  similar  manner,  and  viewed  in  such 
a  way  that  each  eye  sees  only  the  picture  meant  for  it, 
there  will  be  an  illusion  of  depth  in  the  picture. 

So  far,  the  successful  methods  of  doing  this  have 
involved  the  projection  of  the  pictures  alternately  or  in 
two  complimentary  colors  for  the  two  eyes,  and  either  a 
rotating  shutter  in  front  of  each  person  or  a  pair  of 
spectacles,  colored  red  and  green,  to  prevent  the  eyes 
seeing  any  but  the  appropriate  picture.  Dr.  Ives'  de- 
velopments break  away  from  using  anything  on  or  near 
the  beholder ;  the  optical  apparatus  ends  at  the  screen. 

This  screen  is  one  of  the  basic  elements  of  the  sys- 
tem.    It  is  made  up  of  vertical  glass  rods,  about  a  quarter- 


inch  wide,  and  ground  to  accurate  cylindrical  curvature 
at  front  and  rear.  The  curvature  of  the  front  face  of 
each  rod  is  such  that  rays  of  light  starting  from  an 
elemental  segment  of  the  rear  face  are  refracted  in  a 
narrow  parallel  beam  toward  the  observer. 

By  impressing  successive  elements  of  the  picture,  in 
the  form  of  vertical  lines,  on  the  back  of  successive  rods, 
the  whole  picture  is  built  up  for  the  observer.  The 
picture  on  each  successive  element  of  a  rod  is  refracted 
in  a  slightly  different  direction,  so  that  the  two  eyes  of 
each  observer  will  see  different  pictures  as  built  up  by 
two  different  series  of  picture  elements.  Since  these  two 
pictures  are  appropriate  for  left  and  right  eyes  respectively, 
a  stereoscopic  image  is  seen. 

To  place  the  picture  elements  on  the  rear  surfaces  of 
the  rods,  the  latter  are  given  a  frosted  finish,  and  a  lan- 
tern slide  is  projected  on  them.  Making  this  slide  is, 
however,  a  difficult  proposition.  Since  the  ultimate  spec- 
tators, if  there  be  any  considerable  number  of  them,  will 
probably  be  spread  over  an  angle  of  thirty  degrees  on 
each  side  of  the  auditorium,  or  a  total  angle  of  sixty 
degrees,  the  original  picture  has  to  be  made  from  a  series 
of  viewpoints  extending  over  an  arc  of  sixty  degrees 
around  the  object. 

One  way  to  do  this  would  be  to  take  a  series  of 
pictures,  either  successively  by  a  single  camera,  or  simul- 
taneously by  a  group  of  cameras  arranged  along  the  arc 
of  a  circle  and  pointing  toward  the  object  at  that  circle's 
center.      These   schemes   are,    however,   cumbersome   and 


The   projected   relief  picture  as  viewed   from   the  front  and 
from  one  side. 

expensive.      It    is    desirable    to   make    the    pictures    with 
apparatus  employing  a  single  photographic  exposure. 

In  order  to  accomplish  this,  Dr.  Ives  had  recourse  to 

a  concave  mirror  four  feet  in  diameter.     Light  rays  from 

the  object   placed  at  the   focus  of  the  mirror  would  be 

reflected  back  to  a  focus  at  their  origin  were  it  not  for 

(Continued  on  Page  46) 


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-0U\ 


Ray  Rennahan,  Chief 
Cameraman  who  was 
responsible  for  the 
unusually  beautiful 
Technicolor  Photog- 
raphy on  the  "Wax 
Museum." 


Till    WONDERS  OF  PICTURES   IN  THE  MAKING 


This  still  is  a  shot  taken  during  the  filming  of  "Mystery  of 
the  Wax  Museum."  The  setting  is  the  interior  of  the  horror  cham- 
ber where  the  bodies  are  embalmed  and  made  into  wax  figures. 
The  tank  in  the  foreground  is  where  the  wax  is  boiled. 

The  camera  is  mounted  on  a  boom  to  get  a  close-up  of  the 
monster  'At  will  i  bringing  in  the  body  of  the  heavy  (Edwin  Max- 
well) at  the  top  of  the  stairs  and  follow  him  down  to  the  boiling 
vat — then  dolly  back  to  a  full  long  shot  showing  the  entire  room 
and  mechanism,  without  a  cut  in  the  film.  Due  to  camera  not  being 
in  blimp,  concentrator  mike  is  being  used.  It  is  in  the  right  fore- 
ground and  has  a  peephole  through  the  center  by  which  it  is  focused 
on  the  actors,  with  Jimmie  Thompson,  the  master  peeper  standing  by. 

The  numerous  pipes  and  tubes  around  the  set  are  Cooper 
Hewitt  and  Neon  tubes  to  use  as  source  of  light  for  the  color  light 
effects    used    in    this    sequence.      The    scene    where    Fay    Wray    is 


about  to  be  made  into  a  statue  of  Marie  Antoinette  by  Lionel 
Atwill,  and  is  saved  by  Allen  Vincent,  is  particularly  interesting  due 
to  dimming  the  natural  light  and  using  projected  color  lights. 

The  work  of  Arthur  Edmund  Carew  as  the  dope  fiend  is  out- 
standing and  Monica  Bannister  as  the  figure  of  Joan  of  Arc  is  ex- 
ceedingly beautiful.  Clenda  Farrell  and  Matt  McHugh  furnish  the 
comedy  and   love   interest. 

It  is  photographed  in  Technicolor  by  Warner  Bros. -First  Na- 
tional. Directed  by  Michael  Curtiz,  photographed  by  Ray  Rennehan, 
art  direction   by  Anton   Grot. 

Assistant  directors,  Frank  Shaw  and  Leet  Katz;  second  camera- 
man, Roy  Musgrave;  camera  assistants,  Thad  Brooks,  Floyd  Lee; 
sound  recording,  Everett  Brown  and  Jimmie  Thompson;  chief  elec- 
trician,   Claude    Hutchison;    props,    Limey    Plue;    grip,    Chuck    David. 


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Fourteen 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


ORATORJtZ 


REPORT  OF  THE  COMMITTEE  ON  THE  CARE 
AND  DEVELOPMENT  OF  FILM 

(Reprinted  by  request  from  the  Journal  of  the  Society 
of  Motion  Picture  Engineers,  No.  3,  Vol.  20,  March, 
1933.) 

PART  III. 

(Continued  from   May  Issue) 

H.      CUTTING 

After  being  properly  dried,  the  sound  and  picture 
negatives  are  cut  into  single  takes  and  properly  marked 
for  printing.  The  marks  are  so  made  as  to  compensate 
for  the  approximate  15-inch  displacement  required  by  the 
projector  for  synchronized  reproduction. 

A  complete  list  of  all  takes  is  submitted  to  the  labora- 
tory by  the  cameraman.  This  list  aids  the  cutter  in  as- 
sembling and  marking  the  film,  and  furnishes  advice  to 
the  laboratory  as  to  which  negatives  are  to  be  printed. 
Numerous  takes  are  spoiled,  due  to  improper  action, 
which  are  not  printed.  Rush  prints  of  all  desirable  takes 
are  usually  made  immediately  following  the  negative  de- 
velopment to  permit  screening  by  the  director  on  the  day 
following  the  photographing.  After  screening,  the  rush 
prints  are  handed  to  the  positive  cutter,  who  cuts,  as- 
sembles, and  selects  the  scenes  as  advised  by  the  director. 
After  all  the  scenes  have  been  photographed  and  the 
rush  prints  have  been  cut  and  assembled  into  a  com- 
plete print  satisfactory  to  the  director,  the  print  is  handed 
to  the  negative  cutters,  who  cut  and  assemble  the  sound 
negative  to  match  the  rush  print.  A  complete  new  sample 
print  is  then  made,  which  is  cut  and  re-assembled  until 
the  director  and  producers  are  completely  satisfied.  The 
negative  is  again  cut  to  match  the  corrected  print,  and 
a  second  sample  print  is  produced.  Titles,  fades,  musical 
accompaniment,  and  extraneous  sounds  are  all  added  be- 
fore the  second  sample  is  printed.  If  the  second  sample 
is  entirely  satisfactory,  the  picture  is  ready  for  release 
printing. 

Producing  companies  usually  have  a  production  labora- 
tory in  the  vicinity  of  the  studio  and  a  release  laboratory 
at  the  distribution  center.  The  second  sample  print  is 
sent  immediately  upon  completion  to  the  release  labora- 
tory, together  with  the  sound  and  picture  negatives.  This 
permits  the  distributing  officials  to  inspect  the  picture 
before  making  the  release  prints. 

I.      PRINTING 

The  negatives  can  be  timed  and  the  proper  printer 
step  on  which  to  expose  a  given  negative  can  be  de- 
termined by  inspecting  the  negative.  An  experienced 
timer  can  determine  the  step  on  which  the  negative 
should  be  exposed  in  order  to  obtain  a  high  quality  print 
simply  by  inspecting  the  density  of  the  negative.  How- 
ever, most  laboratories  use  an  exposing  device,  either  for 

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the  purpose  of  checking  the  timer  or  for  use  in  emergen- 
cies. Such  a  device  is  so  constructed  as  to  obtain  simul- 
taneously a  series  of  exposures  that  match,  respectively, 
points  over  the  entire  printer  scale.  Thus,  a  negative 
can  be  timed  by  printing  in  such  a  device,  and  developing, 
this  short  sample  strip.  The  proper  step  can  then  be 
easily  determined  by  inspection.  As  was  mentioned  in 
connection  with  the  developer,  the  timer  must  also  be 
advised  of  the  lighting  effects  in  the  picture  that  the 
cameraman  is  attempting  to  obtain. 

Most  negatives,  notwithstanding  the  careful  handling 
in  air  conditioned  rooms,  require  a  thorough  cleaning  be- 
fore printing.  Several  simple  cleaning  devices  have  been 
tried  and  some  are  still  in  use.  Most  negatives,  how- 
ever, are  still  cleaned  by  hand  with  carbon  tetrachloride. 
Both  sides  of  the  film  are  firmly  wiped  with  a  saturated 
pad  of  velvet  or  some  other  soft  cloth.  As  the  vapor 
of  carbon  tetrachloride  is  unpleasant,  drafts  are  provided. 
The  vapor  is  heavier  than  air,  so  down  drafts  are  recom- 
mended. The  frequency  of  cleaning  necessary  during 
printing  depends  upon  the  maintenance  of  the  rooms  and 
machines.  Usually  the  negatives  are  cleaned  after  a 
dozen  prints  have  been  made. 

In  some  laboratories,  the  printers  are  fitted  with  suc- 
tion devices  for  cleaning  the  raw  stock.  Dust  particles 
or  any  other  particles  that  might  have  been  deposited 
upon  the  emulsion  are  removed.  The  illumination  of 
the  modern  printing  room  is  more  than  sufficient  for 
efficient  machine  operation.  Properly  filtered  light,  and 
white  walls,  can  provide  satisfactory  uniform  illumina- 
tion without  fear  of  fogging. 

Two  types  of  printers  are  employed  in  picture  print- 
ing: step  printers  and  continuous  printers.  The  labora- 
tories using  step  printers  claim  that,  due  to  the  better 
contact,  the  definition  obtained  on  such  printers  is  supe- 
rior to  that  obtained  on  continuous  printers.  Those 
using  continuous  printers  may  or  may  not  admit  this 
advantage  of  the  step  printer,  but  they  state  that  the  in- 
creased speed  and  the  ability  to  print  either  sound  or 
picture  more  than  compensate  for  a  small  loss  of  defini- 
tion. Step  printers  run  at  rates  varying  from  20  to  70 
feet  of  film  per  minute.  The  number  of  breaks,  the 
damage  caused  by  a  break,  and  the  wear  and  tear  on  the 
negative  increase  with  the  speed  of  printing. 

Approximately  half  the  laboratories  have  adapted 
their  printers  to  permit  the  simultaneous  printing  of 
sound  and  picture  films.  This  requires  a  second  print- 
ing aperture  and  light  source,  as  well  as  additional  inci- 
dental equipment.  Some  few  machines  have  been  modified 
to  permit  forward  and  backward  printing. 

For  newsreels,  both  picture  and  sound  are  printed 
on  continuous  machines.  Usually  the  picture  is  printed 
first,  the  sound  being  properly  displaced  and  printed  after 
rewinding.  The  newsreel  negative  is  cut  into  lengths  of 
approximately  one  hundred  feet.     This  permits  a  number 

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June,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Fifteen 


of   printing  machines   to   be   used,   and   considerably   de- 
creases the  time  of  printing. 

J.       DUPLICATING 

Many  methods  of  duplicating  can  be  found  in  prac- 
tice. Special  duplicating  stocks  have  been  manufactured 
to  aid  the  laboratories  to  produce  duplicate  negatives 
that  are  exact  replicas  of  the  original  negatives. 

A  positive  emulsion  with  a  lavender  base  is  most 
commonly  used  for  master  positives.  The  colored  base 
serves  to  identify  the  emulsion,  and  acts  as  a  filter  when 
the  duplicate  negative  is  exposed. 

A  special  negative  duplicating  emulsion  is  made,  which 
incorporates  a  yellow  dye.  The  effect  of  the  dye  is  to 
retard  the  penetration  of  the  light  and  to  cause  the  image 
to  be  maintained  on  the  surface  of  the  emulsion. 

In  some  instances,  regular  positive  stock  is  used  for 
both  master  positives  and  duplicate  negatives,  whereas 
in  other  laboratories  the  duplicate  negative  emulsion  is 
used  for  both  purposes.  When  the  identical  emulsion  is 
used  for  master  positives  and  duplicate  negatives,  it  re- 
ceives equal  development  in  each  case.  Since  the  develop- 
ment gamma  product  of  the  master  positive  and  the 
duplicate  negative  should  lie  in  the  range  0.90  to  1.00 
in  order  to  reproduce  correctly  the  original  negative,  the 
respective  development  gammas  are   approximately   0.95. 

The  latest  experimental  results  indicate  that  the  high- 
est quality  duplicates  are  obtained  by  using  the  lavender 
duplicating  positive  and  the  yellow-dyed  duplicating 
negative.  The  former  is  developed  in  a  positive  bath  to 
a  gamma  of  1.80  to  1.90,  and  the  latter  is  developed  in 
a  borax  negative  bath  to  a  gamma  of  0.50  to  0.60. 

In  picture  duplicating,  step  printers  are  frequently 
used.  Fast  printing  is  unnecessary,  and  losses  of  definition 
are  cumulative.  Excellent  duplicates  have  been  obtained, 
however,  on  both  step  and  continuous  printers. 

Sound  records  can  be  successfully  duplicated  in  the 
same  manner  as  a  picture.  Many  companies  prefer  to 
re-record   the  sound,   as  a  small   percentage   of   the   high 


frequencies  is  lost  in  printing,  due  to  poor  contact  and 
slippage.  In  re-recording,  it  is  possible  to  equalize  any 
desired  portion  of  the  frequency  range. 

K.       SEASONING 

Numerous  systems  are  advocated  for  treating  release 
prints  chemically  or  physically  in  order  to  increase  the 
life  of  the  prints  and  eliminate  projection  difficulties. 
When  new  prints  are  projected  there  is  a  strong  tendency 
for  the  emulsion  to  deposit  on  the  tension  shoes  or  aper- 
ture plate  of  the  projector.  The  result  is  that  abnormal 
forces  are  caused  to  act  on  the  perforations,  and  the  film 
may  be  seriously  damaged.  As  this  difficulty  disappears 
after  the  print  has  been  projected  several  times,  it  is 
desirable  to  treat  the  new  prints  by  some  method  that 
will  give  them  the  same  characteristics  as  prints  that 
have  been  projected  a  number  of  times. 

In  one  system  the  gelatin  is  caused  to  swell,  thus  per- 
mitting to  be  introduced  into  it  substances  that  harden 
the  surface  and  cause  a  glossy  finish.  After  receiving 
such  a  treatment  the  film  is  supposed  to  be  able  to 
resist  successfully  any  normal  mechanical  attacks.  This 
method  of  seasoning  requires  special  laboratory  equipment, 
or  the  film  must  be  sent  to  a  seasoning  laboratory.  Sev- 
eral other  systems,  claimed  to  effect  the  same  results,  in- 
volve a  patented  solution  which  is  added  to  the  fixing 
bath. 

Although  some  of  these  systems  appear  to  have  merit, 
most  of  the  laboratories  are  content  with  edge  waxing 
and  buffing.  Sometimes  the  buffing  is  omitted,  the  edge 
waxing  being  done  automatically  as  the  film  emerges 
from   the   drying  cabinets. 

R.  F.  Nicholson,  Chairman;  R.  C.  Hubbard, 
Vice-Chairman;  J.  Crabtree,  J.  I.  Crab- 
tree,  C.  Dreher,  R.  M.  Evans,  D.  E. 
Hyndman,  C.  L.  Lootens,  K.  MacIl- 
vain,  D.  MacKenzie,  R.  F.  Mitchell, 
H.  Rubin,  W.  Schmidt,  V.  B.  Sease, 
J.  H.  Spray. 


ROY    DAVIDGE 

FILM   LABORATORIES 

••• 

An  Exclusive  "Daily"  Laboratory 


«•• 


Quality  and   Service 

6701-6715     SANTA     MONICA     BOULEVARD 

G R a n i t e    310  8 


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Sixteen 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


Film  Fakers 


Not  so  many  years  ago  the  nature  fakers  became  so 
pestiferous  and  so  bold  in  their  fakeries  that  a  President 
of  the  United  States,  one  Theodore  Roosevelt,  himself, 
found  it  necessary  to  seize  his  big  stick  and  go  after  them. 

They  had  become  so  bold  that  they  defied  even  the 
university  professors  and  the  most  celebrated  naturalists 
of  the  day,  until  the  unsuspecting  readers  of  their  Mun- 
chausenismic  screeds  began  to  believe  that  zoology  was 
a  nine  days'  wonder  and  natural  history  a  nightmare. 

T.  R.  used  his  big  stick  in  his  own  inimitable  and 
efficient  style,  until  there  wasn't  a  single  nature  liar  left 
in  the  United  States. 

T.  R.  is  gone,  but  in  these  days  there  is  another  great 
Roosevelt  in  the  Presidency  whose  big  stick  may  have 
to  be  invoked  to  stop  the  film  fakers  of  the  motion  picture 
business. 

Special  processing,  "trick"  photography,  marvels  of 
lighting,  miracles  of  camera  handling,  dextrous  cutting, 
artful  technique,  etc. — these  are  part  and  parcel  of  the 
legitimate  production  of  pictures,  but  the  deliberate  jug- 
gling of  film  scrap  to  make  it  appear  as  something  that 
it  is  not ,  and  that  it  ivas  not  intended  to  be,  is  a  quality 
of  false  practice  that  is  sooner  or  later  going  to  get  the 
pictures  in  bad  faith  with  the  pix  public.  A  case  in  point 
has  just  come  to  view. 

Several  years  ago  Herford  Tynes  Cowling,  interna- 
tionally famous  as  a  cameraman,  whose  standing  in  all 
parts  of  the  globe  both  as  an  artist  and  a  gentleman  is 
ace  high,  was  circumnavigating  the  earth  shooting  travel 
pictures  in  places  off  the  beaten  track  of  tourists. 

He  procured  an  amazing  footage  of  negative  that  is 
as  good  now  as  in  the  days  when  it  was  made  and,  to 
get  it,  Mr.  Cowling  made  certain  representations  to  the 
government  of  India  where  he  was  well  known  because 
of  his  former  connection  with  Burton  Holmes. 

Among  other  commitments  was  a  promise  that  the 
film  made  in  India  should  be  used  only  as  a  Geographic 
and  Travel  picture  and  not  in  any  other  way. 

Many  other  American  cameramen  have  followed  in 
Mr.  Cowling's  footsteps  and  they  have  won  a  fine  stand- 
ing with  the  Oriental  governments  by  keeping  their 
promises,  but  this  latest  development  menaces  their  repu- 
tation for  good  faith  and  bans  are  threatened  to  be  placed 
upon  them  because  of  the  alleged  misuse  of  the  film 
shot  by  Mr.  Cowling  which  was  incorporated  in  a  re- 
cently released  picture  entitled,  "India  Speaks,"  of  which 
Variety  says  in  part:  .  .  .  "It  turns  out  to  be  just  a 
wearisome  80  minutes  of  travelog,  irritatingly  interrupted 
by  indifferent  acting  in  phoney  dramatic  scenes." 

Mr.  Cowling  is  greatly  incensed  about  the  handling  of 
his  film.  He  says  he  had  a  contract  insuring  him  screen 
and  press  publicity  as  the  photographer  and  the  best  they 
gave  him  was  third  place  credit  on  screen  and  nothing 
in  the  literature. 

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He  declares  that  no  one  is  able  to  tell  whether  the 
picture  is  intended  to  be  a  travel  picture  or  a  photo-play. 
If  the  former  it  is  all  wrong;  if  the  latter  then  why  the 
maps  used  in  screening? 

He  continues:  "They  have  taken  scenes  made  in 
Burma,  Java,  Sumatra  and  other  places  and  put  them  in 
Tibet  and  India  with  no  regard  for  geographic  truth. 
They  turned  my  tiger  shot  into  a  lion  shot,  then  faked 
a  fight  between  a  lion  and  a  tiger." 

Mr.  Cowling  has  appealed  to  the  Federal  Trade 
Commission  and  the  Hays  Organization  to  stop  the 
showing  of  his  film  material  in  any  way  except  for  the 
purpose  it  was  made — a  travel  picture. 

The  producers  of  "India  Speaks"  contend  that  Mr. 
Cowling  was  "only  a  cameraman,"  and  that  he  subse- 
quently sold  his  right  to  the  material  in  question,  but 
Mr.  Cowling  answers  that  he  was  the  producer — that  he 
sold  the  film  in  the  same  way  that  an  author  sells  a 
book,  since  he  was  the  author  of  a  filmed  travel-story 
and  that  no  one  has  a  right  to  "fake"  other  material  and 
put  it  in  with  his  any  more  than  such  person  has  a  right 
to  change  a  book — except,  of  course,  if  the  material 
put  in  was  justified  to  present  an  authentic  screen  story. 

This  picture  has  met  with  unfavorable  comment  by 
all  New  York  critics,  according  to  Mr.  Cowling,  and  it 
is  generally  bemoaned  that  the  film  was  not  released  as 
a  straight  travel-geographic  without  hokum. 

This  mistreatment  of  Mr.  Cowling  is  the  concern  of 
every  other  cameraman  in  the  industry.  The  integrity 
of  the  cameraman  must  be  preserved.  The  International 
Photographers  of  the  Motion  Picture  Industry  are  op- 
posed to  the  forced  repudiation  of  promises  and  will 
invoke  all  their  powers  to  stop  such  practice. 


WELCOME    FAXON 

Fifteen-fifteen  is  going  to  be  a  lucky  number  on  Ca- 
huenga  Boulevard  pretty  soon.  Keep  your  eye  on  it  and 
watch  its  transformation,  for  there's  something  doing 
there  that  will  interest  cameramen  and  all  persons  inter- 
ested in  photographic  supplies.  It  will  be  the  home  of 
the  New  Deal — the  Square  Deal,  and  the  man  back  of 
it  is  none  else  than  Faxon  M.  Dean,  first  class  cinema- 
tographer  and  expert  in  photographic  equipment.  Yes, 
Mr.  Faxon  Dean  is  going  into  business  and  he  carries 
with  him  into  the  new  enterprise  not  only  the  back- 
ground of  a  fine  integrity,  but  also  that  of  a  professional 
career  that  is  a  credit  to  the  entire  industry. 

Further  announcements  will  be  made  in  these  col- 
umns. 


The   INTERNATIONAL   PHOTOGRAPHER 
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June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Seventeen 


RAY    MAMMES'    INVENTIONS 


M-G-M  Studio  recently  patented  two  processes  in- 
vented by  Ray  Mammes,  formerly  head  of  the  Mammes 
Department  at  that  studio.  One  of  these  is  a  "composite 
reduction  process"  and  the  other  a  "reversible  matt," 
which  latter  is  also  used  in  other  methods  of  making  com- 
posite shots. 

Mammes  first  perfected  this  composite  reduction  pro- 
cess and  successfully  used  it  in  "The  Trail  of  '98,"  there- 
by saving  many  thousands  of  dollars  to  the  producers. 

This  process  enables  any  studio  to  use  in  current  pro- 
ductions any  stock  shot  which  would  be  either  impossible 
to  duplicate  or  impractical  because  of  the  expense  in- 
volved. 

The  illustration  shows  a  hydraulic  mine  in  full  opera- 
tion, reduced  to  one-quarter  or  any  size  desired,  the  set 
action  in  the  foreground,  both  joined  together  by  paint- 
ing. 

Mammes,  a  graduate  of  the  Chicago  Art  Institute, 
has  spent  fifteen  years  making  painting  and  trick  pho- 
tographic shots.  The  well  known  M-G-M  Lion  trade 
mark  is  the  result  of  his  ingenuity,  he  conceiving  the 
idea  to  paint  the  trade  mark  on  a  large  glass,  with 
"Yuma"  back  of  the  glass,  in  a  clear  space  provided 
for  his  head,  which  made  it  possible  to  shoot  the  whole 
title  with  one  exposure,  thereby  preventing  the  weaving 
movement,  present  in  all  double  exposures  in  those  days. 

He  was  one  of  the  first  to  use  the  triple  exposure, 
employing  real  scenery  instead  of  paintings,  when  a  pro- 
duction required  a  number  of  shots  with  the  same  back- 
ground. The  first  exposures  were  made  of  the  action 
in  the  studio,  the  background  was  matted  out  on  each 
scene,  then  Mammes  took  this  same  negative  to  the 
mountains  or  desert  and  double  exposed  the  desired  back- 
ground in  its  allotted  space,  then  returning  to  the  studio 


Full  screen   shot  of  a   hydraulic 
mine  in  Alaska. 


Cabin  set  at  studio.  Dotted 
area  represents  space  where 
the  hydraulic  mine  shot,  re- 
duced to  that  size,  is  to  be 
placed. 


Painting    to    fill    the    area    be- 
tween   cabin    set    and    reduced 
hydraulic  mine  shot. 


Completed    picture    showing 
composite     of     all     three     ex- 
posures. 


triple  exposed  a  painting,  which  ingeniously  joined  to- 
gether the  first  two  scenes.  Thus,  sets  on  the  back  lot 
appeared  to  be  photographed  in  the  Yosemite,  Glacier 
Park  or  some  other  place  of  scenic  splendor. 

Mammes  has  put  many  real  rivers  under  prop  bridges 
by  this  method. 

Since  he  made  his  bag  of  tricks  available  to  all  pro- 
ducers, the  M-G-M  "Studio  has  given  its  permission  for 
him  to  use  any  of  the  many  processes  invented  by  him 
and  patented  by  the  studio  during  the  many  years  he 
was  under  exclusive  contract  with  them. 


\\ 


ARTREEVES 


11 


DEPENDABLE  SOUND  RECORDING  AND  LABORATORY  EQUIPMENT 

Demandez  nos  brochures  illustrees  et  instructions  en  francais. 
Sirvanse  pedirnos  el  catalogo  ilustrado  y  detalles  en  vuestro  idioma. 


Phone:  WYoming  4501 


Representative 

MOVIE   CAMERA   CO. 

Bombay,   India 


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The  NEWSREEL  WORLD 


Ray   Fernstrom 

THE  INDISPENSABLE  DE  VRY 

Have  you  ever  stopped  to  consider  the  growing  de- 
pendence on  this  practical  little  box  in  modern  news- 
reel  work  ?  There  is  perhaps  no  camera  with  more  odd 
jobs  to  do.  It  does  more  magic  tricks  than  even  the 
newsreel  camera  and  sound  men  themselves,  in  fact  there 
is  no  question  that  it  has  saved  the  lives  of  at  least  a  few 
men.  Who  would  dare  stick  his  neck  where  the  De  Vry 
is  often  placed,  close  to  onrushing  race  care,  horses, 
trains,  or  in  the  nozzle  of  sixteen  inch  guns? 

Whenever  you  see  scenes  taken  from  the  ends  of 
wings  in  air  pictures  you  can  always  be  sure  it  was  a 
De  Vry  job.  These  oblong  cameras  strap  so  easily  to 
almost  any  surface  and  can  readily  be  started  by  wire 
from  the  cockpit.  Parachute  jumpers  have  leaped  into 
space  with  De  Vrys,  recording  in  film  the  rapid  descent 
and  sudden  jerk  as  the  chutes  opened.  When  once  a 
newsreel  wished  to  show  a  plane  spinning  to  earth  in 
a  crash  a  little  black  box  strapped  to  the  tail  showed 
exactly  how  the  pilot  would  have  felt  had  he  not  jumped 
with  his  umbrella  before  the  dive.  Believe  it  or  not, 
that  same  one  inch  lens  is  still  doing  business  at  the  old 
stand. 

Speaking  of  one  inch  lenses,  the  Paramount  News 
boys  here  in  California  surely  made  a  pip  of  an  under 
water  camera  out  of  a  De  Vry.  They  simply  made  a 
camera  shaped  bag  out  of  balloon  fabric — a  sort  of  rub- 
ber cloth  that  is  both  pliable  and  watertight.  On  the 
closed  end  they  cemented  a  circular  piece  of  opitical 
glass  with  a  metal  rim  for  the  one  inch  lens  to  shoot 
through.  That,  my  friends,  is  their  under  water  camera. 
To  use  it  the  camera  is  merely  slid  into  its  case,  the 
end  of  the  bag  rolled  over  with  air  excluded  and  the 
rolled  over  piece  taped  with  ordinary  film  tape.  As  a 
precautionary  measure  the  glass  also  is  taped  to  the  front 
of  the  lens  securely.  Releasing  the  trigger  is  accom- 
plished through  the  flexibility  of  the  cloth.  The  one 
incher  pointed  in  the  general  direction  of  the  subject  is 
bound  to  connect,  even  without  a  finder. 

Once  another  ingenious  newsreeler  desired  a  projec- 
tile's eye  view  as  it  passed  through  the  nozzle  of  a  Big 
Bertha.  Here  the  De  Vry  was  let  slide  down  the  inside 
of  the  cannon  with  the  barrel's  rifling  giving  it  the  illusion 
of  spinning.  What  a  thrill  that  shot  gives  cut  into  a 
navy  gunfire  story. 

So  here's  to  a  reel  trouper,  the  little  De  Vry,  the 
newsreelers'  pal. 

WHY  NOT  ZOOM  THE   NEWS? 

If  ever  a  couple  of  lenses  came  in  handy  in  the  old 
one  lens  days,  so  does  one  lens  now  replace  the  great 
collection  we  carry  today  in  newsreel  work.  The  new 
zoom  lens  that  you  saw  advertised  in  last  month's  IN- 
TERNATIONAL PHOTOGRAPHER  acts  as  if  it 
were  made  to  order  for  us  newsreel  men  who  have  long 
wished  we  had  something  to  save  us  from  changing  lenses 
in  the  middle  of  a  swell  shot.  This  baby  zooms  from 
40  mm.  to  six  inch  with  a  turn  of  the  crank  while  you 
shoot — back  and  forth  from  close-up  to  long  shot  while 


By 
RAY   FERNSTROM 

(All   Rights   Reserved) 

some  man  talks,  whose  every  word  you  want  to  catch 
and  yet  shift  lenses.  The  elements  inside  of  it  take  care 
of  sharp  constant  focus  through  its  entire  range.  Here's 
hoping  some  newsreeler  kicks  through  with  a  shot  soon 
using  one  of  these  marvels.  They  are  handled  by  Bell 
&  Howell  and  go  by  the  name  of  Cooke  VARO. 

Imagine  a  baseball  or  football  game  where  you  can 
shift  from  a  close  shot  to  a  scene  of  the  whole  field  while 
the  action  is  also  spreading  out,  then  back  to  a  close-up 
of  the  guy  who  is  the  center  of  action.  Why,  this  one 
lens  can  change  the  whole  method  of  newsreel  coverage. 
Go  to  it  and  our  hat  is  off  to  the  first  newsreel  to  use 
it,  for  that  reel  will  pass  a  milestone  in  newsreel  history. 

While  on  the  subject  of  lenses  did  you  know  that 
Mitchell  Camera  Company  is  now  offering  an  Astro  lens 
with  the  enormous  speed  of  F:0.95?  Isn't  this  news  for 
newsreelers?  Picture  the  stuff  that  this  window  should  get 
on  news  stuff  where  the  light  is  nil  and  no  more  al- 
lowed. I  don't  know  much  about  this  one  yet,  but  it 
sure  calls  for  investigation  immediately.  I  can  say  this, 
though,  that  any  lens  made  that  fast  and  sold  by  Mitchell 
should  be  in  the  hands  of  all  news  shooters  who,  more 
than  any  others,  have  the  occasion  for  such  a  lens  to 
show  its  stuff. 

POSTAGE  STAMP  MIKE 

Yes,  sir,  that  is  what  I  said  and  what  I  saw  in  a 
recent  issue  of  Paramount  News.  I  asked  Marshall  Mac- 
Carroll  about  it  and  he  tells  me  it  was  sponsored  by  their 
Los  Angeles  and  New  York  units.  He  says  it  is  only 
a  quarter  of  an  inch  thick,  the  size  of  a  three  cent  stamp 
and  is  made  of  a  piece  of  Rochelle  Salt  Crystal.  He 
adds  that  it  is  not  subject  to  temperature,  humidity  or 
pressure  changes  and  is  the  invention  of  a  fellow  named 
Brush.  For  the  benefit  of  fellows  desiring  one  they 
are  on  the  market.  Great  work,  Brush.  Now  please 
invent  a  little  lightweight  sound  camera  for  the  news- 
reel  bovs  about  the  size  of  a  Contax. 


With  this  issue  of  The  International  Photographer  the 
writer  says  good-bye  to  California.  Henceforth  my  ad- 
dress will  be  somewhere  in  Europe. 

Yesterday  I  sat  through  eight  reels  of  the  latest  news- 
reels.  The  forward  strides  made  by  the  newsreel  men  in 
photography  was  very  noticeable  and  this,  despite  the  fact 
that  a  news  man  has  to  be  his  own  story  writer,  director, 
script  clerk  and  supervisor.  It  just  goes  to  show  how  cap- 
able our  newsreelmen  really  are  and  how  worthy  of  credit. 

I  regret  to  say  that  you  newsreelers  have  not  yet  tried 
the  5N5  for  your  scenes  where  the  light  is  extremely  con- 
trasty.  Take  for  example  the  baseball  coverage.  Part  of 
the  field  is  in  deep  shadow  and  part  in  bright  sunlight. 
There  is  a  perfect  condition  for  the  5N5.  With  this  filter 
you  will  cut  down  the  contrast  and  have  a  much  better 
balanced  exposure  throughout  your  field.  Try  it  just 
once  and  watch  the  results.  You'll  never  cover  that  kind 
of  a  scene  again  without  it. 

(Continued  on  Page  21) 


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June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Nineteen 


Cinematography  of  Nature 

(The  Rationale  of  the  Akashic  Records) 

By  GEOFFREY  HODSON,  Author  of  "The  Science  of  Seership",  Etc. 


[Mr.  Geoffrey  Hodson  is  an  English  writer  and  lecturer  of  inter- 
national reputation.  He  has  but  recently  completed  a  protracted 
engagement  in  Los  Angeles,  Hollywood  and  Clendale  under  the  aus- 
pices of  the  Southern  California  Federation  of  Theosophical  Lodges. 
During  this  period  he  delivered  upward  of  forty  lectures  to  large 
audiences  and  at  the  same  time  conducted  classes  of  instruction  in 
occult  subjects.  About  the  first  day  of  May  Mr.  Hodson  was  called 
to  San  Diego  to  deliver  a  series  of  lectures  after  which  he  will  em- 
bark for  a  two  years'  lecture  tour  around  the  world.  His  amazing 
contribution  to  this  periodical,  herewith  most  gratefully  acknowledged, 
will  be  food  for  thought  among  the  researchers  into  the  realm  of  the 
unseen. — Editor's  note.] 

Photography  has  been  the  author's  hobby  since  boy- 
hood ;  his  interest  can,  therefore,  be  easily  imagined  in 
the  discovery  in  an  occult  book  of  a  statement  of  the 
existence  in  nature  of  permanent,  depth,  motion  pictures 
of  every  event  in  history.  The  idea  was  immediately 
followed  up,  further  study  revealing  that,  according  to 
occult  teachings,  there  exists  in  nature  a  fifth  principle, 
or  element,  in  addition  to  the  known  four  of  earth,  water, 
air  and  fire.  To  this,  the  queer  sounding  name  of  "akash" 
is  given.  This  substance,  which  is  super-physical,  is 
said  to  be  electrical  in  its  nature,  and  therein  lies  the 
germ  of  the  particular  idea  upon  which  the  author  has 
often  pondered  and  wishes  to  bring  out  in   this  article. 

First,  more  about  the  akash.  This  substance  is  credited 
with  peculiar  properties,  chief  among  which  is  one  that 
resembles  that  of  photographic  emulsion.  According  to 
occult  science  akash  constitutes  an  inexhaustible  supply 
of  super-physical  photographic  film  upon  which  is  auto- 
matically and  indelibly  imprinted  every  event  as  it  occurs. 
All  that  has  ever  happened  from  the  dawn  of  creation 
down  to  the  present  time  is  recorded  in  this  film  library 
of  nature,  the  Akashic  Records. 

If  this  be  true,  and  the  author  has  come  to  believe 
that  it  is,  it  means  that  the  actual  facts  of  history  can 
be  recovered ;  that  the  suicide  of  Cleopatra  in  Egypt, 
the  landing  of  Julius  Caesar  in  England  and  of  Columbus 
and  the  Pilgrim  Fathers  in  America,  for  example,  can 
still  be  observed  by  appropriate  methods. 

This  astounding  conception  opens  up  all  kinds  of  in- 
teresting possibilities  and  is  a  starting  point  for  fascinat- 
ing speculation.  If  for  example — and  here  is  the  cen- 
tral idea  of  this  article — akash  is  electrical  in  its  nature, 
even  though  as  yet  invisible  as  is  electricity  itself,  why 
should  it  not  be  possible  to  contact  the  records  and  to 
transform  the  super-physical  energy  of  which  they  con- 
sist through  some  specially  designed  and  sufficiently  sensi- 
tive rheostat,  stepping  it  down  to  physical  voltages,  so 
that  the  records  could  be  projected  on  to  a  screen? 

History  at  school  would  then  be  very  different  from 
the  long  and  dull  series  of  dates  and  lists  of  kings,  battles 
and  treaties  which  constituted  so  much  of  history  study 
for  most  of  us  who  are  now  grown  up.  Students  would 
see  and  hear  the  events  of  the  past,  just  as  they  are 
now  seeing  motion  picture  news  reels. 

Granted,  a  strict  censorship  of  the  projected  Akashic 

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Records  would  be  necessary,  that  considerable  cutting 
and  editing  would  be  required  and  that  some  form  of 
language  translation  be  needed ;  but  if  this  theory  be- 
came practice,  history  would  be  a  living  study  and  dead 
language  come  to  life  again.  So  also  with  geology, 
archeology,  ethnology  and  almost  every  other  branch  of 
science ;  in  fact  the  educational  possibilities  alone  are  al- 
most limitless  to  say  nothing  of  the  entertainment  value 
of  the  idea. 

That  this  is  not  mere  speculation  alone  appears  in  the 
further  statement  to  be  found  in  the  occult  literature 
to  which  the  author  has  access,  chiefly  that  of  the  Theo- 
sophical Society,  that  there  resides  in  man  the  power  to 
read  these  records ;  that  some  few  have  developed  it,  large 
numbers  of  people  possessing  the  power  without  being 
aware  of  the  fact.  The  faculty  known  as  psychometry 
enables  a  sensitive  person  holding  an  object  in  his  hand 
to  see  before  his  mental  eye  a  series  of  pictures  either 
of  the  owner  of  the  object  or  of  the  place  whence  it 
came  or  of  events  connected  with  its  history.  This  is 
explained  by  the  existence  of  Akashic  Records  and  the 
psychometrist's  power  to  read  them. 

According  to  occult  teachings  every  object  carries 
about  with  it  its  complete  life  history,  electrically  recorded 
on  its  surrounding  akash.  Once  definitely  observed  by 
the  modern  scientist  and  inventor,  the  physical  projection 
of  the  Records  might  well  become  a  fact. 

Since  his  discovery  some  twenty  years  ago  of  these 
and  other  occult  conceptions,  the  author  has  himself  ex- 
perimented in  this  direction.  As  a  result  of  following  the 
practices  enjoined,  he  has  succeeded  in  developing  within 
certain  limits,  powers  of  extended  vision  and  hearing. 
These  have  enabled  him  to  test  for  himself  the  truth 
or  otherwise  of  many  of  the  teachings  of  occult  science, 
among  them,  those  concerning  the  existence  of  the 
Akashic  Records. 

At  the  risk  of  straining  the  credulity  of  the  practical 
minded  readers  of  this  magazine  he  ventures  to  state 
that  he  has  succeeded  in  seeing  clairvoyantly  events  both 
of  the  near  and  distant  past  and  in  hearing  the  sounds 
which  accompanied  them.  He  has  even  demonstrated 
this  power  under  the  strictest  scientific  tests.  He  was 
recently  taken  by  the  internationally  known  archeologist, 
Dr.  Robert  Gilder,  discoverer  of  the  house  sites  of  the 
Nebraska  Cultural  Man,  to  an  excavation  near  Omaha, 
Nebraska.  Without  the  slightest  foreknowledge  of  the 
subject  or  of  the  place  to  which  he  was  taken,  he  accu- 
rately described  the  type  of  humans  that  once  lived  there, 
the  shape  of  the  house,  position  of  doorway  and  the 
existence  and  method  of  employment  of  certain  bone  im- 
plements which,  unknown  to  him,  had  already  been  dis- 
covered at  that  place  and  were  in  the  Archeologist  Mu- 
seum. 

He  also  gave  exactly  the  period  of  the  civilization, 
which   was   5,000  years  old,   as  revealed  by  lime  accre- 

APHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


7  wenty 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


tions  and  other  evidence.  He  mentions  this  not  in  the 
least  to  extol  his  own  small  gift,  but  to  show  that  he 
has  given  to  the  subject  of  this  article  some  considerable 
attention  and  has  reasons  which  are  sound  to  him  for 
promulgating  the  ideas  which  it  contains. 

The  experience  of  reading  the  records  of  the  past  is 
something  like  that  of  watching  a  cinema  performance, 
yet  different.  The  observer  is  not  external  to  the  scene, 
but  is  present  at  the  time  and  place  of  the  events  he  is 
witnessing.  He  does  not  watch  a  series  of  two  dimen- 
sional photographs,  but  sees  the  events  themselves,  hears 
the  typical  sounds  and  sights  of  the  period  and  place, 
and  may  even  experience  the  climatic  conditions. 

The  writer  has,  for  example,  actually  heard  the  sounds 
of  the  streets  of  ancient  Egypt,  the  rustle  of  sandaled 
feet,  the  cries  of  men  to  beasts  of  burden,  the  sonorous 
chanting  and  strange  music  of  the  lyre  of  religious  pro- 
cessions. He  has  also  witnessed  in  ancient  temples 
strange  ceremonies,  many  of  them  resembling  modern 
Mason:  y,  with  officers  similarly  placed  and  signs  and 
symbols  known  to  members  of  the  craft  in  modern  days. 

Is  such  a  statement  entirely  unbelievable  in  these  days 
when  the  physicist  and  astronomer  are  so  rapidly  push- 
ing their  way  into  the  unseen  world,  are  studying  and 
measuring  invisible  energies?  Sir  James  Jeans,  the  British 
astronomer,  avers  his  belief  in  the  existence  of  a  major 
mind,  of  a  thought  process  behind  the  universe,  geo- 
metrical in  character.  Professor  Arthur  Compton,  of 
Chicago,  states  his  belief  in  a  "directive  intelligence"  in 
nature,  guiding  all  natural  processes.  Is  it,  therefore, 
going  too  far  to  postulate  a  memory  of  nature,  a  record 
of  all  events  existing  within  the  directing  major  mind  ? 
This  is  definitely  implied  in  the  idea  of  the  existence  of 
the  Akashic  Records. 

The  possibility  of  tapping  this  memory  may  not  be 
so  remote  as  at  first  one  might  think.  The  author  has 
seen  electrical  devices  capable  of  measuring  the  wave 
length  of  the  organs  of  the  body  and  of  their  invisible 
emanations,  both  in  health  and  disease.  He  has  heard 
the  great  Indian  scientist,  Sir  Jagadish  Chandra  Bose, 
describe  his  experiments  in  detecting  and  measuring  the 
heartbeat  of  plants,  their  reactions  to  poisons  and  stimuli. 


Camera  Angles — Elissa  Landi,  exotic  Fox  star,  poses  on  a  camera 
crane  between  scenes  in  the  spectacular  Dance  of  the  Maidens  ballet 
set  of  "I  Loved  You  Wednesday,"  in  which  she  shares  star  honors 
with  Warner  Baxter.  Miss  Landi  has  the  role  of  a  ballerina  in  this 
opera. 


From  London  comes  the  recent  news  of  the  inven- 
tion of  an  instrument  capable  of  determining  from  a 
photograph  whether  the  subject  is  still  alive  or  has  died 
since  the  picture  was  taken.  Mr.  E.  S.  Shrapnell-Smith, 
British  scientist,  who  has  experimented  with  more  than 
700  photographs  states  that  the  instrument  is  able  to 
detect  the  movement  of  life  waves,  fixed  upon  the  photo- 
graph when  it  is  taken  and  which  die  with  the  subject. 
He  further  states  that  in  his  opinion  the  human  brain 
emits  a  distinct  type  of  wave,  which  affects  the  photo- 
graphic plate  as  do  light  rays.  He  further  claims  to  be 
able  to  measure  the  life  waves  which  show  lively  move- 
ment if  the  subject  is  still  alive,  but  none  if  dead. 

To  the  author  this  is  quite  credible  and  understand- 
able. He  has  seen  and  practiced  experiments  in  thought 
transference  which  demonstrated  beyond  all  doubt  that 
thought  is  an  energy  transferable  from  one  mind  to  an- 
other. The  infectious  nature  of  emotion,  which  among 
other  things  explains  crowd  psychology,  further  suggests 
that  invisible  forces  do  exist  and  can  be  transferred  from 
one  organism  to  another. 

The  many  volumes  of  the  Proceedings  of  the  Society 
for  Psychical  Research  contain  records  of  large  numbers 
of  attested  cases  of  clairvoyance,  clairaudience  and  other 
abnormal  powers.  Occult  literature  supplements  these 
with  logical  explanations  of  the  rationale  of  such  powers. 
Its  pronouncements  are  definitely  more  easy  of  accept- 
ance in  these  days  of  the  detection  and  measurement  of 
Cosmic  Rays  entirely  invisible  to  normal  sight,  of  the 
common  use  of  the  unseen  Hertzian  waves  in  broadcast- 
ing, as  also  of  electricity,  itself  an  invisible  force.  He 
is  a  bold  man  today  who  places  a  purely  physical  limi- 
tation upon  the  possible  achievements  of  science. 

Co-operation  between  occult  and  physical  scientists 
will,  in  the  author's  opinion,  be  used  in  researches  of 
the  near  future.  He  is  himself  already  at  work  in  this 
field  in  conjunction  with  medical  scientists  in  the  diag- 
nosis of  disease  and  with  qualified  physicists.  He  be- 
lieves that  the  time  is  near  at  hand  when  the  division 
between  occult  and  physical  science  will  disappear  and  the 
trained  occult  investigator  be  at  work  in  the  laboratory 
of  the  physical  scientist. 

One  of  the  early  results  to  be  expected  from  such 
co-operation  would  be  the  re-writing  of  history  from 
a  study  of  the  Akashic  Records.  Later  might  come  their 
projection  upon  a  screen. 


DUPONT  SCORES 

Wes  Smith,  of  the  famous  house  of  Smith  &  Aller, 
distributors  of  Dupont  films,  is  enthusiastic  about  the 
picture,  "Thunder  Over  Mexico,"  recently  completed  by 
the  famous  Russian  director,  Eisenstein.  There  are  some 
forty  miles  of  Dupont  film  in  this  great  opus  and  Mr. 
Smith  is  pardonably  proud  of  the  photography. 


PHOTOGRAPHY  AT  ITS  BEST 

Warner  Bros,  and  Mervyn  LeRoy  are  to  be  compli- 
mented on  the  technically  perfect  details  of  "Gold  Dig- 
gers of  1933." 

It  is  a  gorgeously  mounted  musical.  The  photography 
does  more  than  its  share  toward  making  this  picture  a 
magnificent  production. 

Great  credit  is  due  Sol  Polito  for  the  masterful  way 
in  which  this  picture  is  photographed. 


June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Tzventy-one 


THE  NEWSREEL  WORLD 

(Continued  from  Page  18) 

The  same  goes  for  those  big  closeups  of  people.  Half 
a  man's  face  is  burned  up  with  light  and  the  other  half 
shaded.  Why  not  use  the  5N5  just  once  on  such  shots? 
Just  one  trial  and  I  am  certain  you  will  always  take  the 
trouble  of  using  it  again.    Allow  three  full  stops. 

In  mentioning  filters  may  I  refer  you  to  Fred  Wester- 
berg's  perfect  charts  for  cinematographers  now  current  in 
The  International  Photographer.  There  you  will  find  the 
most  complete  dope  on  filters,  lenses,  film,  etc.  I  have 
never  found  a  more  useful  collection.  It  is  one  that  should 
be  in  the  possession  of  everyone  even  remotely  interested 
in  photography. 

The  newsreel  gang  seems  pleased  with  my  recommend- 
ation on  the  good  ole  23A.  The  pictorial  quality  of  the 
recent  issues  of  the  newsreels,  proves  the  value  of  this 
corking  filter.  Some  of  the  boys  wanted  even  more  con- 
trast and  some  less.  The  25A  is  more  contrasty  and  the 
G15  a  little  less.  Use  the  same  allowance  on  G15,  but  a 
little  more  on  the  25A,  say  half  a  stop.  You'll  find  an 
allowance,  in  use,  that  suits  your  personal  taste. 

The  ole  guard  has  a  motto  on  filters  that  is  all  wrong: 
"When  in  doubt  do  not  use  a  filter."  I  say:  "When  in 
doubt,  use  an  AERO  2."     Try  it  and  see. 

NEW  MOVIE  MAGAZINE,  one  of  the  largest  fan 
publications,  on  sale  at  all  Woolworth  stores,  is  running  a 
poll  of  the  year's  best  pictures.  It  is  the  first  to  list  awards 
to  newsreels.  Here  is  a  chance  for  credit.  If  you  chaps 
try  to  improve  your  photography  your  chances  are  better 
for  an  award.  The  possibility  is  that  the  award  will  be 
made  on  a  story  that  was  covered  by  all  reels.  One 
man  may  have  better  photography  in  his  scenes  and,  there- 
fore, take  the  edge  away  from  some  guy  who  didn't  take 
the  trouble  to  filter  his  stuff.  If  you  fellers  take  this 
stuff  of  mine  seriously  just  once  you  will  be  enthusiastic 


users  of  filters  from  now  on. 

Agfa  negative,  I  see  by  Fred  Westerberg's  chart,  is 
more  sensitive  to  reds  than  the  others.  Why  don't  some 
of  you  fellers  try  this  negative  with  a  23A  on  some  air 
stuff  and  give  me  the  dope  for  the  magazine.  I  have  not 
tried  this  negative  for  some  time,  but  I  used  thousands  of 
feet  in  Europe.  On  my  journey  abroad  I'll  use  some 
AGFA  and  keep  you  posted  on  what  I  find.  It  will  be 
fun  trying  the  different  negatives  under  varying  condi- 
tions. The  findings  should  be  of  service  to  you  all.  Won't 
you  drop  us  a  line,  at  this  magazine? 

PERSONAL    NOTES 

Here's  credit  to  one  of  the  Army's  best  camera  pilots 
who  has  done  nobly  for  us  newsreel  men  for  ages,  Lieut. 
M.  Kaye.  Kaye  and  Lieut.  Goddard  have  done  more 
newsreel  cameramen  piloting  than  any  other  men  in  the 
United  States  Army  Air  Corps. 

Lieut.  Kaye  has  just  been  put  in  charge  of  all  pho- 
tography at  March  Field  during  the  giant  combined 
Army  air  maneuvers.  Al  Brick,  of  Fox  Movietonews, 
has  just  brought  me  the  news  from  there  where  he's 
been  stowing  plane  stuff  in  his  black  coffee  can.  Good 
old  Kaye  is  the  favorite  of  all  Pacific  newsmen  when 
it  comes  to  their  shooting  Army  air  scenes.  Kaye  has 
a  favorite  shot  he  always  gives  the  gang,  known  as  the 
"Kaye  ristofer,"  a  tight  bank  over  the  action  that  keeps 
the  subject  smack  in  the  lens  without  any  wing  tips,  etc. 

Greetings  and  salutes,  Brother  Kaye,  and  happy 
landings! 

And  now,  au  revoir,  friends.  I  do  not  know  where 
I  shall  write  next  month's  sheet  from,  but  it  will  be  in 
here.  I  leave  soon  to  join  Universal  Newsreel's  foreign 
legion  and  I  hope  to  find  much  newsy  stuff  for  them 
and  you.  In  the  meantime,  address  all  communications 
to  the  Editor. 


Lining  up  for  a  shot  on   "College   Humor,"   Paramount  Studio.     The   most  modern 
equipment  such  as  this  large  camera  crane  is  used  to  get  the  effects  neces- 
sary to  the  modern   motion   picture.     Wesley   Ruggles,  who  directed   that 
masterpiece,   "Cimmaron,"    is   seated   at   the   top   of   the   crane   with 
Guy    Bennett,   operative   cameraman,   and   Tom    Morris,   assistant, 
handling   the   camera.     The   operator   of  the   crane   is   Tom 
Hadley,  at  the  extreme  right  of  the  picture.     Note  the 
telephone    system    between    him   and    the   director, 
who    transmits    instructions    as    to    where    the 
crane  is  to  be  panned.    The  chief  camera- 
man, Leo  Tover,  was  busy  elsewhere 
when    this    striking    picture    was 
shot  by   Mack   Elliott. 


Twenty-two 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


LOCATIONS  BY  AIR 

Elmer  Dyer's  scent  for  location  is  so  keen  that  on 
Director  Clarence  Brown's  great  picture,  "Night  Flight," 
Mr.  Dyer  was  sent  out  by  M-G-M  to  find  some  moun- 
tains that  look  like  the  Andes.  He  went  via  air,  accom- 
panied by  a  pilot  and,  after  only  eight  days,  returned  to  the 
home  roost  with  just  what  the  producer  and  director 
wanted.  The  locations  selected  were  in  the  vicinity  of 
Long's  Peak,  Pike's  Peak  and  Manitou.  So  excellent 
were  Mr.  Dyer's  aerial  shots  that  many  were  used  for 
backgrounds,  thus  making  the  cost  of  the  trip  to  the 
studio  practically  nil. 


WHY,  SID! 

Sid  Hickox  is  home  from  a  piscatorial  peregrination  to 
the  Sierras.  He  caught  all  the  trout  allowed  by  law 
besides  discovering  a  pool  where  no  white  man  but  him- 
self has  ever  been.  The  fish  are  so  thick  there  that  they 
have  learned  to  holler  "move  over!" 


COME  AND  GET  'EM 


E.  Leitz,  Inc.,  New  York,  manufacturers  of  Leica 
camera,  have  sent  to  THE  INTERNATIONAL  PHO- 
TOGRAPHER a  forty  page  booklet  on  developing, 
printing  and  enlarging  Leica  pictures.  It  is  chock  full 
of  photographic  lore  and  every  Leica  owner  should  have 
one.  So  long  as  they  last  they  may  be  had  by  calling 
at  the  office  of  THE  INTERNATIONAL  PHOTOG- 
RAPHER, 1605  North  Cahuenga  Avenue,  Hollywood, 
or  by  writing  to  the  publisher,  60  East  10th  Street,  New 
York. 


THREE  DIMENSION— 

(Continued  from  Page  11) 
images  are  possible.  One  set  is  located  behind  and  the 
other  set  is  situated  in  front  of  the  screen.  Since  it  is 
apparent  that  only  one  set  is  chosen,  the  writer  has  sug- 
gested that,  due  to  the  tendency  of  the  eyes  to  fixate  on 
points  behind  a  picture,  the  set  of  images  behind  the 
screen  is  the  one  chosen. 

The  sensation  of  a  third  dimension  is  dependent  upon 
this  process  of  fusion  together  with  the  proper  selection 
of  images  as  already  mentioned.  The  eyes  will  not  per- 
form these  functions  unless  the  images  are  projected  in 
rapid  sequence.  That  this  is  so  can  be  demonstrated 
not  only  by  projecting  two  panels  of  the  film  simulta- 
neously, but  by  the  simple  experiment  of  ruling  two 
parallel  lines  close  together  on  a  piece  of  paper,  holding 
the  paper  at  some  distance  from  the  eyes  and  attempting 
to  fuse  the  images  so  as  to  see  only  one  line.  It  will 
be  found  that  this  cannot  be  done.  These  facts  are  of 
great  psychological  significance,  but  with  the  present  im- 
perfect state  of  our  knowledge  it  is  impossible  to  give 
an  explanation  of  them. 

The  incompleteness  of  the  foregoing  discussion  ren- 
ders it  unsatisfactory.  Much  careful  experimentation  re- 
mains to  be  done.  The  present  aim  of  the  writer,  how- 
ever, is  to  draw  attention  to  new  and  important  psycho- 
logical phenomena  involved  in  this  new  method  of  project- 
ing moving  pictures. 

The  writer  desires  to  express  his  thanks  to  Mr.  Ram- 
say L.  Harris  of  the  Norton  School  in  Claremont,  for 
correcting  the  manuscript  and  to  Dr.  Robert  S.  Ellis 
of  the  Psychology  Department  and  Dr.  Wesley  G.  Leigh- 
ton  of  the  Chemistry  Department  at  Pomona  College  for 
their  helpful  suggestions. 


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PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


June,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Twenty-three 


NEW  PROJECTOR  FOR  BACKGROUND 
PROCESS  SHOTS 

By  J.  Henry  Kruse 
William   Neumann,   who   has   contributed   many  me- 
chanical improvements  to  the  motion  picture  industry,  has 


No.  4  —  The  inventor, 
William  Neumann,  and 
rear  view  of  projector 
and  method  of  mounting 
shutter. 


invented  a  special  process  projector  for  background  pro- 
jection shots.  We  have  heard  very  enthusiastic  com- 
ments on  it  by  the  few  who  have  been  fortunate  enough 
to  see  it  in  operation.  The  new  projector  has  many 
interesting  improvements  which  eliminate  some  of  the  bad 
features  of  this  particular  and  important  process. 

There  have  been  many  contributary  factors  which 
have  made  this  process  practical  and  possible,  one  of 
which  was  the  increased  film  speed. 

The  first  mention  of  the  background  projection  pro- 
cess, according  to  our  records,  was  printed  in  the  Ger- 
man magazine  "Kinotechnick" — 1919,  No.  2,  page  10 — 
which  described  a  stop  motion  method.  Shooting  at  nor- 
mal speed  was  described  in  the  book  "Trickfilm,"  Vol. 
2 — "Verlaglichtbildbihne,"   published  in   Berlin   in    1927. 

The  Fox  Film  Corporation  in  1929  conducted  ex- 
tensive experiments  with  the  view  of  perfecting  this 
process  and  making  it  adaptable  to  modern  production 
methods.  Immediately  all  major  film  studios  realized 
its  value  and  set  out  individually  to  perfect  a  like  process 
for  their  own  use.  After  four  years  the  projection  back- 
ground process  has  become  a  vital  factor  in  production, 
saving  thousands  of  dollars  for  its  users. 

While  all  studios  have  been  reasonably  successful, 
they  still  had  one  problem  which  caused  considerable 
trouble.  That  was  a  certain  amount  of  unsteadiness, 
due  to  the  type  of  projectors  used,  often  necessitating  re- 
takes. 

Not  realizing  what  caused  this  trouble — the  camera, 
printer,  projector  and  film  perforations  were  successively 
blamed,  when,  as  a  matter  of  fact  the  difficulty  was  found 
to  be  irregular  perforations ;  each  machine,  camera, 
printer  and  projector  using  a  different  perforation  hole, 
thereby  causing  lack  of  register  and  subsequent  unsteady 
projection. 

William  Neumann  was  one  of  the  first  to  realize  that 
this  trouble  could  be  overcome  by  constructing  a  special 
projector  and  using  the  same  perforation  holes  as  the 
camera  and  printer. 


The  improvement  was  immediately  noticed — the  pic- 
ture was  steady. 

After  further  experiments  Neumann  has  constructed 
the  very  ingenious  machine  which  is  herewith  illustrated. 
It  is  of  very  compact  construction,  being  only  24  inches 
high,  sturdily  and  lightly  built,  and  easily  portable.  It 
can  be  used  with  any  type  of  high  intensity  arc  lamp 
house. 

One  of  its  principal  features  is  the  use  of  the  Bell  & 
Howell  camera  movement,  well  known  for  its  register 
perfection. 

Auxiliary  movements  are  interchangeable,  making  it 
possible  to  photograph  the  original  scene  with  either  Bell 
&  Howell  or  Mitchell  cameras.    Threading  the  projector 


No.   3 — Front   view   of    projector    showing   Western    Electric    syn- 
chronous motor  built-in  as  an  integral  part. 


is  speeded  up  by  its  unusual  simplicity  of  movement  and 
sprocket  arrangement,  all  parts  being  readily  accessible. 
A  Western  Electric  camera  motor,  with  a  mechanical 
synchronizing  device,  is  an  integral  part  of  the  projector, 
thereby  simplifying  the  synchronization  of  projector  and 
camera  with  a  notice- 
able saving  of  time. 
Another  important 
feature  is  its  safety 
heat  factor,  all  without 
the  aid  of  either  air  or 
a  water  cooling  system. 
The  writer  is  of  the 
opinion  that  the  use  of 
this  projector  will  sub- 
stantially improve  the 
quality  of  projection 
background  processes. 


No.  1 — Detail  view  of  back- 
ground     projector     showing 
Bell     &     Howell     movement 
with  film    in   position. 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


EASTMAN 
FILMS 


BRULATOII 


WHAT'S    what: 


Published  Monthly  by  J.  E.  Brulatour,  Inc.,  Distributors] 


EULL  STEAM  AHEAD!   ™eyi» 
EOR  PRODUCTION 


Majors — Minors — Independents  Launching  1933-4  Programs  With 
Record   Schedules — Many   Cameramen  Assigned 


— "What  is  so  rare  as  a  day  in  June" 
- — when  the  old  phone  starts  ringing  and 
a  voice  at  the  other  end  wants  to  know 
"are   you  working?" 

— Following  a  heart-breaking  period  of 
inactivity,  Hollywood  is  shaking  off  its 
dust  and  rubbing  its  eyes  and  awaken- 
ing to  the  fact  that  "we  gotta  make 
pictures." 

A  leading  trade  paper  carries  a  fea- 
ture story  under  the  feature  head — 
"Film  Famine  Brings  June  Revival 
Flood." 

That   was   inevitable. 

Box  offices  all  over  the  country  have 
reflected  the  general  uptrend  of  better 
business  and  public  confidence.  Pic- 
tures are  better — entertainment  value  is 
much  higher  and  the  grosses  are  keep- 
ing  step   with  the   thermometer. 

Producers  are  wide  awake  to  the  situa- 
tion. They're  too  smart  to  allow  this 
increased  business  to  lag.  Progressive 
and  alert,  they  are  swinging  into  a  pro- 
duction program  on  heaviest  schedules 
in  three  years. 

During  the  lull  they  have  wisely  bol- 
stered their  story  departments  and  are 
ready  for  the  gun  with  a  flock  of  com- 
pleted scripts  which  will  carry  peak 
production  well  into  the  autumn  months. 
There'll  be  no  unnecessary  delays  for 
scripts.  Directors  are  assigned.  Casts 
are  all  set  and  technical  staffs  are  be- 
ing assigned  right  and  left.  Last  week 
in  May  brought  definite  deals  to  more 
than  a  score  of  first  cameramen  (AND 
salary)  dates  determined  for  early 
June. 

Discussing  the  situation  with  top  exec 
of  a  major  plant,  we  were  told — "We 
have  twenty-six  scripts  completed  and 
ready  to  shoot.  Last  spring  we  thought 
we  were  hitting  the  ball  when  at  times 
we  had  five  units  shooting  film  simul- 
taneously but  by  the  last  week  in  June 
we'll  have  seven,  and  perhaps  eight  or 
nine  units  shooting  at  the  same  time  and 
while  later  this  may  drop  to  an  average 
of  six,  it  is  my  belief  that  we  will  gen- 
erally hold  this  pace  in  production  until 
late  fall.  You  will  be  interested  in 
knowing  that  we  have  reached  an 
agreement  with  four  of  the  best  camera- 
men in  the  business  and  we  are  now 
negotiating  with  a  half  dozen  others. 
I  will  not  feel  comfortable  until  I 
have  at  least  eight  men  definitely  en- 
gaged. We  hear  a  lot  of  chatter  about 
an  over-supply  of  cameramen  but  cer- 
tainly we  haven''  found  this  to  be  true 
now  while  we're  I  ying  to  line  up  our 
camera  crew  for  next  season.  After  all, 
you  must  bear  in  mind  that  without 
cameramen,  we  can't  make  pictures." 

Another  major  studio  has  a  set  pro- 
duction schedule  whereby  they  expect  to 
have  at  least  eight  pictures  actually  in 
production  by  the  last  week  in  June.  In 
the  past  six  months  the  average  num- 
ber of  units  shooting  at  one  time  at  this 
plant    has   been    three. 

An  executive  at  still  another  studio 
declared — "While  we  have  had  no  shut- 
down period  this  spring,  we  realize  that 
we  must  step  up  our  production  if  we 
are  to  successfully  compete  in  the  mar- 
ket this  fall  and  winter.  Because  we 
have  been  constantly  in  production  we 
are  not  in  the  same  position  as  some 
other   studios   as   regards   stories.      How- 


ever, we  have  added  about  fifteen  writ- 
ers to  our  staff  during  the  past  two 
months  and  we  confidently  expect  to 
get  under  way  not  later  than  June 
twenty-fifth  when  we  hope  to  have  nine 
pictures  either  in  actual  production  or 
ready  to  start.  Our  program  calls  for 
completion  of  thirty-one  pictures  be- 
tween now  and   December  first." 

Independents  have  arranged  sale  and 
distribution  on  an  increased  scale.  Most 
important  move  of  the  month  is  Mono- 
gram (Trem  Carr)  who  has  moved  bag 
and  baggage  to  Metropolitan  Sound 
Studios  where  an  enlarged  program 
swings  into  action  with  the  first  week  in 
June. 

Other  important  deals  are  pending  in 
the  ranks  of  the  independents  with  rum- 
ors that  one  of  the  most  important  of 
the  group  will  shortly  take  over  the 
Pathe  plant  in  Culver  City  where  a 
score  of  productions  are  anticipated  be- 
tween this  time  and  the  close  of  the 
year. 

The  newly  formed  Twentieth  Century 
Productions  (  D  a  r  r  y  1  Zanuck-Joseph 
Schenck)  promises  plenty  of  action  at 
United  Artists.  On  the  same  lot  Samuel 
Goldwyn  will  produce  his  usual  splendid 
program. 

Camera ! 


UNIVERSAL 


GEORGE  ROBINSON  is  shooting 
that  very  funny  team  of  ZaZu  Pitts  and 
Slim  Summerville  in  "Salt  Water." 
William  Wyler  is  the  Director.  Al 
Jones,  the  Babe  Ruth  of  San  Fernando 
Valley,  is  operating  the  camera.  Paul 
Hill  is  the  assistant.  Many  of  the  ex- 
terior scenes  were  photographed  by  Rob- 
inson in  and  around  the  water  front  at 
San   Francisco. 

Incidentally,  JOHN  FULTON,  in 
charge  of  the  miniature  trick  effects  and 
projection  background  department,  went 
to  Frisco  to  do  some  of  his  work  on 
this  picture  too.  His  assistant,  Bill 
Heckler,   accompanied   him. 

JACKSON  ROSE  finished  his  work 
at  M.G.M.  and  started  the  following 
morning  with  Universal.  He  is  now 
shooting  "In  The  Money,"  a  race  track 
picture,  starring  Lew  Ayers — which  is 
being  directed  by  Murray  Roth.  Dick 
Fryer  is  operating  the  camera  Bill  Dodds 
is  the  assistant. 

LEN  POWERS  has  just  finished  an- 
other of  the  Warren  Doane  comedies 
"Gleason's  New  Deal,"  being  directed 
by  James  Horn.  Walter  Williams  as- 
sisted  Len. 

CHARLES  STUMAR  has  been  shoot- 
ing tests   for  his   next   assignment   here. 

JERRY  ASH,  now  the  undisputed 
heavyweight  champion  since  KARL 
FREUND  hied  to  New  York,  is  stand- 
ing bv  ready  to  start. 

JOHNNY  HICKSON  is  scheduled 
to  start  another  serial  in  a  few  days,  the 
new   version   of  "The   Perils  of  Pauline." 

TFD  McCORD  is  doing  the  second  of 
the  Ken  Maynard  series  "The  Fiddlin' 
Buccaroo."  We  had  the  privilege  of  sit- 
ting in  the  projection  room  and  seeing  a 
few  davs'  work.  Those  rocks  around 
Lone  Pine  have  been  photographed  many 
times  but  we'll  bet  anyone  a  new  straw 
hat  that  they  have  never  been  more 
artistically     reproduced     on     the     screen. 


Joe  Novak,  the  veteran  Akeley  operator, 
is  associated  with  Ted ;  so  are  John  Mac- 
Burnie  and   Bill   Charney,  as  assistants. 


ADMIRAL  PICTURES 


ARTHUR  EDESON  has  finished 
"The  Big  Brain"  and  hurried  back  to 
his    Malibu    Lake    cabin. 

NORBERT  BRODINE  is  shooting 
"Deluge"  which  promises  to  have  some 
very  unusual  photography.  Harry  Davis 
is  the  second  cameraman ;  Johnny  Eck- 
art  and  Bert  Eason  are  the  assistants. 
NED  MANN  is  doing  all  the  minia- 
ture and  special  effects  and  has  with 
him   BILLY   WILLIAMS'. 


PHYSIOC  RETURNS 
TO  CAMERA 


LOU  PHYSIOC,  who  has  been  giv- 
ing some  time  and  attention  to  a  re- 
cently formed  commercial  laboratory  or- 
ganization, has  returned  to  the  camera 
for  C.   C.   Burr  at  Educational  Studios. 


HALLER  TO  NEW  YORK 


ERNEST  HALLER  has  gone  to  New 
York  City  where  he  will  photograph  the 
production   "Emperor  Jones." 

HALLER  was  negotiating  with  one 
of  the  local  major  studios  at  the  time 
the  call  came  for  the  "Emperor  Jones" 
assignment,  and  it  is  expected  that  he 
will  return  here  immediately  the  Eastern 
production  is  completed. 


EDDIE  CRONJAGER  FLITS 


EDDIE  CRONJAGER.  who  h  a  s 
been  a  feature  fixture  of  the  RKO  cam- 
era staff  during  the  past  several  years, 
has  temporarily  departed  his  home  lot 
in  favor  of  Europe  where  he  will  photo- 
graph  Teannette  McDonald. 

CRONJAGER  left  Hollywood  by 
plane  last  Tuesday  and  sailed  for  Liver- 
pool Saturday  aboard  the  Liner  Bremen. 

While  his  present  assignment  is  for 
but  one  picture,  it  is  an  easy  guess  that 
the  Britishers  will  use  a  lot  of  high- 
powered  persuasion  in  an  attempt  to 
have  Eddie  remain  with  them  for  addi- 
tional  productions. 


PARAMOUNT 


After  several  weeks  of  swishing  about 
the  bounding  main,  VIC  (Around  the 
Horn)  MILNER.  has  gone  into  produc- 
tion with  Steve  Roberts.  Picture  titled 
"One  Sunday  Afternoon."  Milner  is 
seconded  by  Bill  Meller  and  assisted^  by 
Guy  Roe.  P.  S. — (Milner  has  also  just 
purchased  a  new  landgoing  chariot  called 
a  Ford  V8). 

Our  old  friend,  GIL  WARRENTON, 
is  in  production  with  Norman  McCloud 
shooting  "Mama  Loves  Papa,"  a  comedy 
drama  featuring  Wesley  Ruggles.  War- 
renton  is  seconded  by  Ernie  Lazlo  and 
assisted  by  Timmv  King. 

CHARLES  LANG  has  finished  pro- 
duction with  Gasnier  on  "Gambling 
Ship."     Lang  was  seconded  as  usual  by 


Bob  Pittack  and  assisted  by  Clil 
ser. 

LEO  TOVER,  who  seems  t 
favorite  at  both  RKO  and  Par 
finished  production  with  Rug| 
"College  Humor,"  and  has  been  i  i 
to  Mae  West's  new  picture  "J 
Angel."  Hey,  hey,  you're  tellin; 
Tover  is  generally  aided  at  the 
by   Guy   Bennett  and  Tom  Morr 

FARCIOT   EDOUARD,  the 
of   the   trick  department,   has  bee 
tioning    in    Yosemite    and    other1 
north  and  northeast.     He  returnee; 
studio  last  week. 

Paramount  has  been  going  vers 
for  the  past  month,  but  is  now  p 
one  of  the  biggest  production  s( 
to  be  seen  here  for  many  months 


PETERSON  ON  LOCA 


GUS  PETERSON  is  in  Y 
National  Park  on  location  wner 
photographing  the  first  of  a  se 
productions  being  made  by  Arv 
strom  for  Paramount  release. 

Unit  is  working  out  of  the  Me 
tan   Sound  S'tudios. 

At  the  same  plant,  DWIGHT 
REN  cranked  off  a  couple  of  L 
comedies  during  the  past  month. 


RKO 


ROY  HUNT  is  photograph"' 
Harding  in  "Double  Harness"  « 
being  directed  by  John  Cromwi 
the  camera  we  find  Eddie  Pyte  '• 
assistant  is   Timmv   Daly. 

HENRY   CRONJAGER  just 


BULLETIN 


EASTMAN 
FILMS 


8o--n.pt.ic3- 


is,  in  Cooperation  with  The  International  Photographer 


who's  who: 


'  Dix  in  "The  Public  Be 
,  Eslick  was  the  second  man 
e  was  the  assistant. 
(SURACA  has  started  a  pic- 
i  is  favorite  director,  Otto 
tad  Line  Hunters,"  a  story 
I  cameraman's  experiences, 
pry  interesting.  The  very 
'fficient  Harry  Wild  is  the 
ilmd  Willie    Barth    is    assist- 

IKENZIE  just  finished  an- 

sj  Liner"  comedy  which  was 
'leorge  Stevens.  Joe  Biroc 
flamera  and  George  Diskant 
ije  of  the  assisting. 
:|imodore"  CHARLEY 
I  w.  Yep,  he  has  gone  and 
ft — so  having  just  finished 
1  Bennett  in  "A  Bed  of 
{ nt  out  on  the  ocean  for  a 
is  before  starting  with  Bill 
laming  Gold"  which  he  is 
'i  before  the  next  Constance 
jre.  Associated  with  Rosher, 
fink  Redman  at  second  and 
f  assisting. 

CENNON  has  finished  his 
Lung  Glory"  with  the  dy- 
ssllepburn,  and  is  standing 
Kt  assignment.  Associated 
\re  Russ  Metty,  operating 
Kiert  solos  now.  After  his 
'jhe  disappeared  and  his 
™t  a  loss  to  understand  the 
ilJnarley  Burke  was  the  as- 
fhe  picture — not  on  the 
it,  tally,  Bert  has  passed  with 
sjd  is  now  a  regular  private 
r,  been  ok'd  by  the  Depart- 
°.  lerce. 

N  NDRTOT  finished  "Bond- 
tj  and  then   forgot   all   about 


WARNERS    NEW 

CAMERA    CHIEF 


CHARLIE  GLOUNER,  who  has 
been  the  operating  and  contact  executive 
for  cameramen  at  Universal  Studios  for 
many  years  and  who  resigned  that  post 
with  the  suspension  of  production  at 
Universal  earlier  this  spring,  has  been 
appointed  by  William  Koenig  as  execu- 
tive in  charge  of  the  camera  department 
of  the  Warner-First  National  Studios  at 
Burl  tank. 

GLOUNER  entered  into  his  new  dut- 
ies late  in  May,  and  is  making  several 
changes  in  the  loading  rooms  and  film 
offices  preparatory  to  start  of  the  War- 
ner production  program,  which  is  sched- 
uled to  get  under  way  around  June  10th 
to    15th. 

GLOUNER  has  a  host  of  friends  in 
the  members  of  659,  all  of  whom  will  be 
very  glad  to  learn  of  his  appointment 
and  also  give  him  a  helping  hand  to  the 
success   of   his   department. 


the  picture  business  for  a  while.  It  was 
easy  to  forget  too  while  quail  hunting, 
fishing,  and  swimming  in  Mexico,  but 
now  he  is  back  at  RKO  shooting  "The 
Death  Watch,"  a  nice  photographic  as- 
signment which  is  being  directed  by  Irv- 
ing Pichel.  Handling  the  camera  is  Joe 
Biroc  and  Charley  (new  papa)  Bohny  is 
the  assistant. 

J.  O.  TAYLOR  and  EDDIE  LIN- 
DEN remain  behind  closed  doors  on  an- 
other of  their  animated  epics — "King 
Kong  Jr."  who  will  cavort  in  "Jam- 
boree." 

VERNE  WALKER,  in  charge  of  the 
projection  background  department,  is 
another  of  the  camera  clan  who  now 
owns  a  boat — what  a  fleet  we  could  get 
together. 

COLUMBIA 


BENNIE  KLINE  is  shooting  "The 
Wrecker,"  a  story  concerning — as  the 
title  implies — the  happenings  of  a  build- 
ing wrecking  man,  played  by  Jack  Holt 
— the  love  interest  by  Genevieve  Tobin. 
Al  Rogell  is  directing.  F.  M.  Browne 
continues  to  operate  the  camera  for  Ben 
while  Jack  Russell  keeps  pretty  busy  as 
assistant. 

JOE  WALKER  and  FRANK  CA- 
PRA  are  together,  as  usual,  on  "Ma- 
dame La  Gimp"  or  possibly  they  will 
call  it  "Apple  Annie."  May  Robson 
and  Warren  Williams  play  the  leading 
roles.  Andre  Barlatier  is  the  operating 
cameraman  —  while  Mike  Walsh  and 
George   Kelley   diligentlv   assist. 

TEDDY  TETZLAFF  has  not  been 
terribly  busy  at  the  studio  lately,  but 
he  has  been  busy  building  a  new  hillside 
home. 

RALPH  STAUB,  the  writer,  produ- 
cer-director cameraman,  is  now  directing 
a  two-reel  comedv  entitled  "Design  for 
Leaving."  BYRON  HASKINS  is  the 
first  cameraman.  Jack  Kauffman  and 
Jim   Goss  are  the  assistants. 

Byron  has  kept  busy  since  the  Warner 
shut-down.  He  also  photographed  a 
picture  at  Educational  for  Duncan  Mans- 
field  called    "Strings." 


M.G.M. 

LEN  SMITH,  the  mighty  slugger  of 
the  fairways,  has  departed  for  a  two- 
months  sojourn  in  Alaska.  Len  took 
along  Paul  Vogel,  Al  Schwings  and  Bill 
Fox,  all  to  help  him  boost  the  cameras 
over  the  frozen   wastes. 

CLYDE  DE  VINNA.  the  No.  1  trav- 
eling man  of  the  M.G.M.  Studio,  is  in 
Louisana  splashing  about  in  the  marshes 
and  bayous  making  scenes  for  "Louisiana 
Lou,"  a  forthcoming  Browning  picture. 
Bill  Snyder,  Bob  Hoak  and  Cecil 
Wright  are  helping  Clyde  grind  out  the 
Eastman  grayback  and  fight  off  the  ever 
present  and  justly  famous  Louisana  mos- 
quitos. 


STEINCAMP  OFFERS 
PROCESS  SERVICE 


Former   Fox   Camera   Executive    Completes 

Organization — Efjuipment  Specially 

Constructed 


WILLIAM  STEINCAMP,  for  many 
years  executive  in  the  camera  depart- 
ment at  the  Fox  Studios,  has  stepped 
out  in  his  own  business  venture  with 
prospects  of  rendering  a  valuable  service 
to  the  producers,  and  at  the  same  time 
building  up  a  business  which  should 
bring   him   good   financial   returns. 

New  company  carries  the  tag  Syncro 
Composite  Process  with  technical  and 
administrative  headquarters  at  the  Metro- 
politan  Sound   Studios  in   Hollywood. 

Service  offered  embraces  composite 
projection  shots  and  composite  stereop- 
ticon  shots. 

It  is  the  plan  of  the  new  company  to 
cater  particularly  to  the  independent 
producers  who  do  not  maintain  their  own 
process  departments. 

Special  equipment  has  been  constructed 
and  assembled  under  the  personal  super- 
vision of  George  T.  Teague,  chief  of  the 
Technical  Division,  who  was  also  form- 
erly identified  with  the  Trick  and  Effects 
Department  of  the  Fox  Studios.  Equip- 
ment is  constructed  for  rock  steady  pro- 
jection, with  the  base  for  projector  head, 
lamp,  etc.,  of  special  design  to  permit 
maximum  efficiency  toward  this  end. 

A  special  translucent  screen  of  cellu- 
lose acetate  composition  is  mounted  in 
his  specially  designed  wood  frame. 

In  discussing  his  new  company  and  its 
service,   Mr.   Steincamp  said  : 

"It  is  very  evident  that  there  is  a 
large  field  among  the  independents  for 
this   type  of  service.      It   will  be  our  en- 


deavor to  deliver  to  the  producer  a  qual- 
ity product  at  a  reasonable  price  which 
will  permit  its  use  broadly.  Once  the 
producer  learns  what  he  can  do  with  this 
process  and  what  we  can  do  for  him,  and 
that  it  is  available  for  him  in  top  qual- 
ity, at  top  speed,  and  at  this  minimum 
cost,  we  believe  he  will  take  advantage 
of  its  possibilities  and  we  feel  confident 
that,  with  our  long  years  of  experience 
in  this  business  and  our  desire  and  inten- 
tion of  building  and  maintaining  a  per- 
manent service  of  this  type,  we  shall 
meet  the  success  at  which  we  are  point- 
ing." 

"'Because  of  our  experience  in  this 
line  of  work,  we  offer  our  services  in 
consultation  with  the  producer  without 
obligation  implied  or  otherwise.  In 
other  words,  the  producer  can  tell  us 
what  he  wants,  what  he  hopes  to  obtain, 
and  we  will  gladly  co-operate  with  him  in 
building  his  plans,  and  then  immediately 
we  shall  be  able  to  tell  him  whether  it 
can  be  done  to  everybody's  satisfaction, 
and  exactly  how  much  it  will  cost.  We 
believe  that  not  only  we,  but  the  pro- 
ducers as  well,  will  profit  through  the 
good  experience  which  has  guided  us  in 
building  our  equipment  with  which  we 
hope  to  enhance  the  visual  and  enter- 
tainment quality  of  many  productions 
where,  heretofore,  this  service  was  not 
available  at  a  low  cost." 

We  unite  with  others  in  the  circle  of 
friends  of  Mr.  Steincamp  and  Mr. 
Teague  in  giving  them  a  friendly  pat  on 
the   back   and   wishing  them   good   luck. 


OLLIE  MARSH  continues  produc- 
tion on  "Nite  Flite"  with  Clarence 
Brown.  Marsh,  as  usual,  is  seconded 
by  Eddie  Fitzgerald  and  assisted  by 
Kyme   Meade. 

CHARLES  MARSHALL,  who  has 
done  a  lot  of  very  fine  work  for  M.G.M. 
on  many  of  their  aerial  productions,  has 
been  added  to  the  staff  on  "Nite  Flite." 
Marshall  has  been  in  Denver,  Colorado, 
for  several  weeks  making  some  very  in- 
teresting cloud  shots  for  the  production. 

HAL  ROSSON,  one  of  the  finest 
photographers  that  ever  played  golf,  is 
photographing  "Hold  Your  Man"  being 
directed  by  Sam  Wood.  Rosson  is  sec- 
onded by  that  very  popular  boy,  Les 
White,  who  has  so  ably  assisted  such 
men  as  Garmes  and  June  in  many  of 
their  efforts.  The  assistant  is  Harry 
Parkins,  which  rounds  out  a  very  able 
camera   crew. 

RAY  JUNE  has  finished  his  work  on 
"When  Ladies  Meet",  and  has  been  as- 
signed to  a  new  production  which  goes 
into  work  as  we  go  to  press.  (Accord- 
ing to  all  advices,  the  photography  on 
"When   Ladies   Meet"   is  outstanding). 


FOX 


BOB  PLANCK  is  working  on  his 
second  picture  for  Wurtzel,  "Life  In  The 
Raw,"  directed  by  Lou  King — Planck 
clicking  well  with  the  Wurtzel  organi- 
zation. He  is  seconded  by  A.  Arling 
and  assisted  by  R.   Sherman. 

GEORGE  SCHNEIDERMAN.  who 
has  been  receiving  many  compliments 
for  his  work  in  "Pilgrimage"  is  photo- 
graphing    "Arizona     To     Broadway,"     a 


Tinling  picture  starring  Jimmie  Dunn 
and  Joan  Bennett.  S'chneiderman  has 
Curt  Fetters,  J.  Gordon  and  Lou  Kun- 
kel  on  his  staff. 

ARTIE  MILLER  is  in  production 
with  McFadden  on  "The  Man  Who 
Dared."  Miller  was  incapacitated  for  a 
few  days  but  is  back  on  the  job  now. 
He  got  caught  between  the  camera  bun- 
galow and  the  set  and  lost  one  of  his 
ribs.  Artie  is  seconded  by  Joe  La  Shelle 
and  assisted  by  Bill  Abbott  and  Milton 
Gold. 

ERNIE  PALMER  continues  produc- 
tion with  Frank  Lloyd  on  "Berkeley 
Square"  pronounced  in  the  usual  inimi- 
table English  manner,  "Barclay."  Pal- 
mer's crew  consists  of  Dave  Regan  and 
Joe  Badaracco  at  the  cameras,  and  Bud 
Manners  and  Jack  Epstein  holding  the 
slates. 

HAL  MOHR  has  leaped  into  produc- 
tion with  Dieferle  on  a  picture  entitled 
"The  Devil's  In  Love."  Mohr's  staff 
includes  Sol  Halperin,  Joe  McDonald,  R. 
Surtees,  and   E.   Collins. 

JAMES  WONG  HOWE,  Bill  How- 
ard's favorite  cameraman,  has  finished 
"Power  And  Glory"  and  is  standing  by 
for  a   new  assignment. 

JOHNNY  SEITZ  is  preparing  to 
shoot  the  new  Janet  Gaynor  picture 
which  will  be  directed  by  Harry  Lach- 
man.  Seitz  has  been  in  Monterey,  and 
other  points  north,  looking  over  loca- 
tions. 


PERRY  UP  AGAIN 


HARRY  PERRY,  the  aerial  camera- 
man, did  quite  a  bit  of  cloud  shooting 
for  the  RKO  picture  "Flying  Circus." 
He  was  assisted  by   Rod  Tolmie. 


Twenty-six 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


ALL-PURPOSE   PERSONAL   MOTION   CAMERA 

An  all-purpose  personal  movie  camera  at  a  moderate 
price  has  just  been  announced  by  Bell  &  Howell.  This 
camera,   the  Filmo   70-F,   has   four  indicated  film  speeds 

and  is  equipped  with  a 
Cooke  one-inch  F.1.5  lens 
and  a  216  degree  shutter, 
giving  it  six  and  one-half 
times  the  speed  of  ordi- 
nary F.1.5  cameras.  The 
F.1.5  lens  is  fine  for  Ko- 
dacolor,  also,  which  means 
color  pictures  without  ad- 
ditional lens  expense. 

The  four  indicated 
speeds  are  half  (8),  nor- 
mal (lb),  sound  (24), 
and  super  (64)  speed. 
This  is  the  first  time  that 
super  speed  has  been  at- 
tainable in  combination 
with  other  speeds  in  any  Filmo  camera,  except  the  tur- 
ret head  model.  This  will  be  particularly  advantageous 
for  golfers  who  desire  to  make  slow-motion  pictures  of 
their  game  with  a  moderate  priced  camera  which  they 
can  also  use  for  ordinary  movie  making.  The  super 
speed  feature  will  be  just  the  thing  for  football,  base- 
ball, tennis,  and  other  sports,  too,  and  for  taking  indus- 
trial pictures,  as,  for  example,  time  and  motion  study 
shots. 

The  24  speed  is  for  films  which  are  later  to  be  syn- 


chronized  with   sound,    and    for   pams   and    scenes   from 
moving  automobiles  and  trains. 

The  high  speed  of  the  lens  and  shutter  combination 
permits  taking  pictures  indoors  with  a  minimum  of  light, 
or  outdoors  at  super  speed  even  in  poor  light.  Of  course, 
the  F.1.5  lens  is  instantly  interchangeable  with  other 
special  purpose  lenses. 


EVEN  IN  AFRICA 


W^: 


-       * 


■WW 


The  gentleman  shown  here,  absorbed,  apparently,  in  the  perusal 
of  a  copy  of  THE  INTERNATIONAL  PHOTOGRAPHER,  is  our 
English  brother,  J.  E.  Rogers.  The  interested  gallery  in  the  back- 
found  suggests  that  Mr.  Rogers  is  somewhere  in  the  neighborhood 
of  the  Cold  Coast,  West  Africa.  In  fact,  he  is  at  Oyoke,  wherever 
that  is.  He  recently  subscribed  for  THE  INTERNATIONAL  PHO- 
TOGRAPHER for   two  years.     Thanks,   Mr.  Rogers! 


The  Neumann  Process  Projector 

for  PROJECTION  BACKGROUNDS 


(  Patent  Pending) 


Absolutely  Steady 
Using  Bell  &  Howell  Fixed  Pins 


Compact — Portable 
Attachable  to  any  Lamp-House 


Built-in  Western  Electric 
Synchronous  Motor 


Special  Construction  Insures 
Less  Heat  on  Film 


nvwoPodone9548  WILLIAM  NEUMANN  sSfoSc* 


HOIIyw 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


June,  1933 


The       INTERNATIONAL       PHOTOGRAPHER 


Twenty-seven 


a  Century  of  Progress 


Activity  in  the  Hollywood  Studio  at  A  Century  of 
Progress — Chicago's  1933  World's  Fair,  is  to  be  con- 
tinuous every  day  of  the  Fair  from  10  o'clock  in  the 
morning  until  late  into  the  night. 

Announcement  was  made  recently  that  RCA  Insti- 
tutes, Inc.,  will  take  charge  of  the  sound  motion  pic- 
ture studio  being  erected  in  the  Hollywood  development 
at  the  south  end  of  Northerly  Island.  Talking  pictures, 
news-reels   and  full   length   screen   plays  will   be   filmed. 

J.  D.  Keener,  sound  engineer,  will  be  technical  di- 
rector of  the  World's  Fair's  Hollywood,  and  will  have 
the  assistance  of  graduates  and  students  of  the  RCA  In- 
stitutes. Students  will  be  assigned  in  regular  shifts  cer- 
tain days  each  week  to  the  Hollywood  studio. 

Burton  Holmes  Films,  Inc.,  official  World's  Fair  mo- 
tion  picture  photographers,   will   install   and   operate   the 


latest  sound  recording  equipment  of  the  Radio  Corpora- 
tion of  America  in  the  Hollywood  studio. 

Among  the  productions  to  be  filmed  on  the  World's 
Fair  movie  lot  will  be  a  series  of  short  subjects  to  be 
developed  under  the  direction  of  Miss  Dorothy  Deere  of 
Cinegram  Productions.  These  will  have  a  Chicago  back- 
ground, some  of  them  using  the  Exposition  grounds 
as  locale. 

During  the  summer  and  fall,  news  reels  will  make 
Hollywood  their  headquarters  for  the  filming  of  various 
celebrities  who  will  visit  the  Exposition. 

The  studio  will  have  a  sixty  foot  stage,  separated  from 
the  audience  by  a  glass  partition  through  which  the 
action,  filming  and  sound  recording  work  can  be  wit- 
nessed. Surrounding  the  studio  will  be  a  number  of 
outdoor  sets,  where  amateurs  may  bring  their  own  cameras 
and  "shoot"  scenes  of  their  own  selection. 


Electricity's  wizardry  will  be  unfolded  in  this  semi-circular  build- 
ing on  Northerly  Island  at  "A  Century  of  Progress" — Chicago's  great 
international  exposition.  Embellished  with  hanging  gardens,  electric 
cascades  and  fountains,  gilded  pylons  and  paved  terraces  the  Elec- 
trical Building  is  the  last  word   in  modern  architectural   phantasy.      It 


will  house  exhibits  portraying  the  generation,  distribution  and  utili- 
zation of  electricity.  In  the  Communications  Building,  adjoining  it 
on  the  north,  will  be  shown  exhibits  of  telephone  and  telegraphic 
communication.     Raymond  Hood  of  New  York  is  the  architect. 


BEN  REYNOLDS 

Ben  Reynolds  is  chief  cameraman  on  Paramount's 
"Man  of  the  Forest,"  with  Henry  Hathaway  directing. 
The  greater  part  of  this  picture  is  to  be  made  on  loca- 
tion. Harry  Merland  is  operative  cameraman  with  Rob- 
ert Rhea  and  Russell  Harlan  assisting.  Reynolds  will  be 
remembered  as  photographing  some  of  the  greatest  pic- 
tures to  reach  the  screen — "Foolish  Wives,"  "Greed," 
and  many  others.  This  team  of  Hathaway-Reynolds  will 
no  doubt  turn  out  a  real  picture. 


"LURE  OF  THE  LAKE" 

A  Multi-color  scenic  picture  entitled,  "Lure  of  the 
Lake,"  depicting  the  natural  charms  of  the  Lake  of  the 
Ozarks,  in  Missouri,  is  being  scored  with  "High  Fidelity" 
sound  at  the  411  Fifth  Avenue  recording  studios  of  the 
RCA  Victor  Company.  The  musical  synchronization  is 
being  done  by  Erno  Rapee  and  his  orchestra,  and  the 
explanatory  remarks  by  Milton  Cross,  noted  radio  an- 
nouncer. "Lure  of  the  Lake"  was  supervised  and  di- 
rected by  Alvin  Wvckoff. 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


Twenty-eight 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


I1K-NIKIOVS1 


E.  0.  RETURNS  (?) 

Edward  O.  Blackburn,  West  Coast  manager  of  J.  E. 
Brulatour,  Inc.,  distributers  of  Eastman  film,  has  re- 
turned from  a  hunting  trip  into  the  northwest. 


WESTERN  ELECTRIC  INSTALLS 

Western  Electric  has  installed  a  wide  range  recording 
system  in  the  Eastern  Sound  Studios,  New  York,  accord- 
ing to  T.  Keithe  Glennan,  general  manager. 


A  NEW  LEICA 

Cliff  Thomas  of   the   Hollywood   Camera  Exchange 
is  showing  a  new  chromium  Leica  camera.     It  is  a  beauty. 


HYMENEAL 

Mr.  and  Mrs.  Harry  Merland  were  married  at  Agua 
Caliente,  May  14,  1933.  The  groom  is  a  member  of 
Virgil  Miller's  model  camera  department  at  Paramount. 
The  bride,  Miss  Mildred  Curry,  was  for  some  time  em- 
ployed in  the  San  Jose  office  of  the  Fox  Company. 


"SHOOT  THE  WORKS" 

Carl  Freund,  whose  exceptional  ability  as  a  camera- 
man, has  been  recognized  throughout  the  world,  is  in 
New  York  to  direct  "Shoot  the  Works,"  in  association 
with  Monty  Brice.  Stanley  Bergerman,  who  has  made 
an  excellent  reputation  as  a  supervisor,  will  handle  this 
production. 


IN  COLOR 

Duke  Green,  that  well  known  glob-trotting,  Techni- 
color cameraman,  is  on  his  way  to  the  Island  of  Bali  with 
Marquis  de  la  Falaise  de  la  Coudray,  known  in  Holly- 
wood as  "Hank,"  who  will  direct,  and  Gaston  Glass, 
assistant  director  and  business  manager. 

This  is  the  first  time  a  Technicolor  camera  has  been 
carried  into  the  South  Seas  and  with  the  new  improved 
process  the  results  should  be  magnificent.  Here  is  one 
subject  where  Technicolor  will  excel,  that  of  picturing 
the  natives  in  their  colorful  surroundings. 


BY  NORMAN  WILKY,  ACE   12 

"King  Kong"  chased  "Goona-Goona"  down  "42nd 
Street"  where  "Tarzan"  put  "King  Kong"  into  "The 
Big  Cage."  "Goona-Goona"  saw  her  "Lawyer  Man," 
who  was  a  "Mind  Reader."  They  had  "Dinner  at 
Eight"  when  he  got  "Strictly  Personal,"  so  "She  Done 
Him  Wrong."  She  went  back  to  "Tarzan,"  who  said, 
"Be  Mine  Tonight,"  and  then  "They  Had  to  Get  Mar- 
ried." Then  came  "The  Blessed  Event,"  after  which 
they  told  "A  Bedtime  Story."  "Blondie  Johnson"  looked 
"Through  the  Keyhole"  and  saw  "Chandu,  the  Magician" 
getting  "Strictly  Personal"  with  "Frisco  Jenny."  He 
said,  "Be  Mine  Tonight,"  but  she  said  that  would  be 
"The  Crime  of  the  Century,"  so  they  had   "Dinner  at 


PROMOTED 

Recently  promoted  to  head  all  shorts  produced  on 
the  Columbia  pictures  lot,  Ralph  Staub,  director-producer 
of  Screen  Snapshots,  is  assembling  his  first  comedy  unit, 
which  will  consist  of  a  comedy  writer,  dialog  writer, 
gagmen  and  trick  cameraman.  Each  two-reeler  will  be 
headed  by  a  cast  of  all-star  stage  and  screen  players.  The 
best  talent  available  will  be  used  in  an  effort  to  produce 
something  new  along  comedy  lines.  Harry  Cohn,  presi- 
dent of  Columbia  Pictures  Corporation,  made  the  pro- 
motion of  Staub  because  of  the  latter's  seven  years'  fine 
record  at  the  Columbia  West  Coast  Studios. 


MAXFACO 

An  important  department  of  the  Max  Factor  Com- 
pany is  that  of  hair-lace  pieces  developed  by  and  under 
the  supervision  of  Percy  and  Ernest  Westmore.  Extraor- 
dinary results  have  been  attained  by  their  use.  The  strik- 
ing feature  of  these  hair  pieces  is  their  naturalness.  Their 
use  enables  the  cameraman  to  give  full  scope  to  his  artistry 
as  he  is  not  handicapped  by  any  artificial  appearing  hair- 
dress. 

Three  recent  outstanding  productions  in  which  these 
hair  pieces  were  used  are  "Voltaire,"  Warner  First  Na- 
tional production;  "Berkeley  Square,"  Jesse  L.  Lasky 
production  for  Fox,  and  "The  American,"  a  Sol  Wurtzel 
production  for  Fox. 


STEINMAN 

A  great  portion  of  the  success  of  the  United  States 
Navy's  aerial  survey  of  southeastern  Alaska  has  been 
attributed  to  the  special  developing  outfits  constructed 
for  the  detachment  by  R.  P.  Steinman,  of  Los  Angeles. 
The  Steinman  System  proved  highly  satisfactory  for  the 
handling  of  the  aerial  mapping  film  and  greatly  expedited 
the  turning  out  of  the  developed  negatives.  No  loss  of 
film  or  mishaps  of  any  nature  were  experienced  in  the 
development  of  the  film  and  the  department  for  which 
the  survey  was  made  saw  the  Steinman  developing  out- 
fits in  use  and  expressed  their  enthusiastic  satisfaction  as 
to  the  results  obtained. 


SCREEN  CRAFT  PROD. 

Bernard  B.  Ray,  member  of  INTERNATIONAL 
PHOTOGRAPHERS,  Hollywood,  has  organized  the 
Screen  Craft  Productions,  with  Al  Alt  as  supervisor  and 
Sammy  Katzman  as  production  manager,  to  produce  a 
series  of  all-star  features. 

The  first  picture,  "His  Private  Secretary,"  was  pho- 
tographed by  Abe  Schultz,  pioneer  cinematographer,  sec- 
onded by  J.  Henry  Kruse,  International  news-hound. 
Phil  Whitman,  ex-cameraman,  directed.  Camera  knowl- 
edge was  abundant  and  the  result  is  a  clean  cut,  enter- 
taining production. 

"Benny"  is  not  without  knowledge  of  the  perils  of 
the  game.  He  is  perhaps  the  youngest  pioneer  of  them 
all.  His  experience  dates  back  to  D.  W.  Griffith's  Bio- 
graph  Company  in  1911,  as  laboratory  man,  14  years  of 
age.  He  has  been  through  the  gamut  of  cutting,  edit- 
ing, photographing,  directing — and  now  producing. 


Eight,"  which  cost  him  a  "Silver  Dollar.' 

PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


June,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Twenty-nine 


Allied  Industries  of  the  Cinema  In  Hollywood 
and  the  Men  Who  Operate  Them 


GREEN  PROJECTION  SCREEN 

Ray  Smalhvood,  of  the  United  Process  Shots,  claims 
to  have  the  only  green  toned,  transparent  projection 
screen,  whereby  direct  complimentary  front  light  can  be 
used  on  foreground  objects  without  casting  any  photo- 
graphable  shadow  on  the  screen.  Mr.  Smallwood  as- 
serts that  this  enables  the  cameraman  to  have  full  liberty 
in  lighting  the  foreground  action,  and  furthermore,  that 
an  actor  can  be  placed  against  the  screen  and  still  be  fully 
illuminated. 


FILTER  EXPERT 

George  Scheibe,  well  known  filter  expert,  has  devised 
a  special  graduated  diffusing  screen.  It  is  a  screen  ap- 
proximately 8  inches  long  and  the  standard  widths ; 
graduated  from  clear  glass  on  one  end  to  diffused  on  the 
other  end. 

By  using  this  special  diffuser  it  is  possible,  in  making 
a  dolly  shot,  to  start  with  a  large  head  close-up,  using 
the  proper  diffusion  and  as  the  dolly  is  drawn  back  for 
a  full  set  shot  the  special  diffuser  is  slid  by  the  lens,  per- 
mitting a  sharp  clear  negative  of  the  long  shot  or  vice 
versa. 

By  using  this  same  idea  Mr.  Scheibe  has  also  made 
a  fog  filter  and  a  daylight-to-night  effect  filter,  used  in 
the  same  way. 


THE  LARGEST  ON  EARTH 

Sidney  Saunders,  who  originated  the  Cellulose  Screen 
now  being  successfully  used  for  projection  background 
work  by  R-K-O,  M-G-M  and  Fox,  is  now  making  the 
largest  screen  of  this  type  in  the  world.  It  measures  24 
by  34  feet.  The  weight  of  this  screen  will  be  approxi- 
mately 80  pounds. 

Mr.  Saunders  has  discovered  certain  ingredients  which 
prevent  the  Cellulose  Screen  from  drying  out  and  crack- 
ing, thus  insuring  longer  life.  Tests  have  shown  that  by 
the  use  of  this  screen  greater  brilliancy  and  definition 
are  attained.  The  fact  that  the  Cellulose  Screen  is  not 
subject  to  breaking,  as  is  glass,  should  certainly  recom- 
mend it  from  an  economic  point  of  view  if  from  no  other. 

In  the  making  of  these  screens  Steve  Rez  has  been 
associated  with  Sidney  Saunders. 


A.  OF  M.  P.  A.  &  S. 

Enrollment  of  28  stars  and  featured  players  in  the 
Actors  Branch  of  the  Academy  during  the  past  month 
has  brought  the  total  membership  of  the  Academy  to 
nearly  a  thousand  and  firmly  established  the  actors  as 
the  largest  of  five  creative  branches  who  make  up  the 
organization.  The  current  membership  list  of  the 
Academy  shows  the  958  total  membership  grouped  ap- 
proximately as  follows:  200  Stars  and  Featured  Players, 
100  Free  Lance  and  Supporting  Players,  100  Directors, 
140  Production  Executives,  120  Screen  Writers,  55  As- 
sistant Directors,  40  Art  Directors,  80  Sound  Tech- 
nicians, 50  First  Cinematographers  and  Laboratory  Tech- 
nicians, 15  Film  Editors,  30  Equipment  and  Theatre 
Technical  Executives,  and  25  Special  Members. 

PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGR 


SHORT  ENDS 

Eleven  years  ago  Fred  C.  Dawes  pioneered  the  sell- 
ing of  short  ends.  He  has  recently  opened  new  head- 
quarters at  1442  Beachwood  Drive.  All  film  handled 
by  him  is  carefully  tested  before  it  is  sold. 


SCREEN  MAGIC 

Ray  Mercer  has  achieved  by  a  new  process  the  diffi- 
cult art  of  matching  the  original  negative  in  duplica- 
tion ;  also  he  has  created  several  new  effects  that  have 
never  been  used  to  date.  Mercer's  patent  machines  for 
making  fades  by  after  treatment,  making  dissolves  and 
special  effects  and  duping  stock  scenes  for  effects  and 
miniatures,  are  the  only  ones  of  their  kind  in  the  world. 

Also  he  has  perfected  a  revolving  camera  stand  for 
rocking  and  upside  down  scenes.  This  can  be  obtained 
from  him  at  any  time. 

And  in  addition  to  all  this,  Mr.  Mercer  has  made  a 
lens  to  cover  36  images  at  one  time,  giving  full  images 
of  one  subject  36  times  on  the  screen,  affording  dizzy 
effects  and  visions  shots  of  all  kinds. 


MICROSCOPIC  PICTURES 

The  making  of  microscopic  motion  pictures  has  been 
greatly  simplified  by  an  attachment  developed  for  use 
with  a  Bell  &  Howell  16  mm.  motion  picture  camera 
and  any  ordinary  microscope.  The  device  consists  of  a 
horizontal  tube  mounting  a  split-beam  prism  which  de- 
flects about  90  per  cent  of  the  available  photographic 
light  in  a  parallel  ray,  into  the  regular  standard  one-inch 
F.3.5  camera  lens,  which  remains  set  at  infinity.  The 
remainder  of  the  light  passes  up  the  microscope  tube, 
set  at  160  mm.,  over  which  fits  a  finder-sleeve  fitted  with 
a  mask  which  shows  the  user  the  limits  of  the  field  being 
photographed  by  the  camera.  This  reduced  amount  of 
light  reaching  the  eye  makes  it  easy  to  observe  the  object 
that  is  being  photographed  and  to  keep  it  in  sharp  focus 
by  means  of  the  fine  adjustment  of  the  microscope  itself. 
The  third  part  of  the  accessory  set-up  is  an  adjustable 
camera  stand  that  raises  and  lowers  the  camera  to  the 
exact  height  made  necessary  by  the  particular  job  under 
the  microscope  objective.  It  is  heavy  enough  to  hold 
the  camera  rigid  and  parallel  to  the  microscope  tube. 
Adjustment  is  greatly  simplified  and  results  equal  those 
obtained  by  much  more  extensive  apparatus,  especially 
at  the  lower  powers. 


Complete  cine  microscopy  outfit  set  up  for  operation.  Note 
split  beam  prism  fitted  between  microscope  objective  and  the  main 
tube  with  horizontal  tube  to  camera. 

\PHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


2500  Pix  a  Second 

A  special  telegram  from  New  York  to  Hearst  papers 
dated  May  20,  adds  the  following  interesting  chapter  to 
the  technical  history  of  motion  picture  photography.  The 
message  carries  no  names  of  the  producers  and  inventors 
of  this  new  camera : 

NEW  YORK,  May  20.— A  portable  superspeed 
camera,  which  takes  2500  pictures  a  second  and  can  pho- 
tograph objects  moving  with  the  rapidity  of  a  cannon 
projectile,  has  been  demonstrated  here. 

The  camera,  operating  at  125  times  the  speed  of  a 
normal  motion  picture  camera,  has  no  shutter  and  the 
film  runs  continuously  instead  of  being  stopped  for  each 
"frame."  One  hundred  feet  of  film,  which  usually  runs 
in  four  minutes,  speeds  through  this  camera  in  two  and 
a  half  seconds. 

JVorks  in  Any  Light 

It  differs  from  anything  previously  made  by  taking 
its  pictures  in  ordinary  light,  either  daylight  or  artificial. 
Lights  flashing  hundreds  of  thousands  of  times  a  second 
have  been  the  only  means  of  taking  such  pictures  here- 
tofore. 

An  electric  timer  is  part  of  the  apparatus,  and  the  time 
used  on  the  object  photographed  is  recorded  in  minutes, 
seconds  and  hundredths  of  seconds  on  the  same  strip  of 
film  as  the  pictures. 

Motion  pictures  taken  with  the  new  development 
prove  conclusively  that  the  eye  is  faster  than  the  hand. 
They  showed  the  hand  is  not  removed  from  a  burning 
cigarette  until  26-100ths  of  a  seconds  after  the  cigaret 
begins  to  burn,  whereas  the  eye  is  closed  13-100ths  of 
a  second  after  a  brilliant  light  is  flashed  before  it. 

They  showed  also  that  a  wing  requires  ll-I00ths  of 
a  second. 

Reveals  Machine  Defects 

In  practical  application  the  timing  system  is  said  to 
provide  an  entirely  new  opportunity  for  the  study  of  ex- 
treme speed  motions,  such  as  the  valve  spring  and  tappet 
mechanism  in  gasoline  engines.  The  flexure  of  an  air- 
plane propeller  at  full  speed  may  be  shown  and  studied. 

The  slightest  aberration  in  machine  operation  can 
thus  be  shown  and  defects  in  newly  designed  machines 
caught  at  the  beginning,  it  is  claimed. 


Reading  from  top  to  bottom: 

Showing  the  new  silent  Bell  b  Howell  camera  on  production 
at  RKO  studio.  The  camera  blimp  in  the  foreground  shows  the 
method  now  universally  used  in  all  studios  to  silence  the  camera 
noise.  A.  S.  Howell,  chief  engineer  of  the  Bell  &  Howell  Company, 
and  Joseph  Dubray,  manager  of  Hollywood  Bell  &  Howell  plant,  in 
foreground.  Picture  shows  Edward  Cronjager,  chief  cameraman; 
Joseph  Biroc,  operative  cameraman;  Willard  Barth,  assistant;  Paul 
Bristol  and  Tom  East,  electricians;  Earl  Wolcott  and  Harold  Stine, 
sound   men. 

"Here's  how  I'd  do  it" — and  Lowell  Sherman  gives  Mae  West 
his  version  of  how  a  scene  for  her  first  Paramount  starring  picture, 
"She  Done  Him  Wrong,"  should  be  handled.  Charles  Lang,  chief 
cameraman;  stills,  Elwood   Bredell. 

"Uptown  New  York"— at  California  Tiffany  Studios.  This  view 
shows  how  camera  crane  is  used,  doing  away  with  the  time  it  takes 
to  set  up  parallels,  etc.  Those  in  the  picture  are  Leon  Waycoff 
and  Shirley  Gray  (on  steps);  Victor  Schertzinger,  director;  Norbert 
Brodine,  cameraman,  on  crane;  Johnny  Echard,  assistant;  Joe  Ben- 
son, grip,  operating  crane;  Don  Donaldson,  gaffer;  Alf  Burton,  motor 
man  (sound);  Gilbert  Pollack,  "mike"  man;  Noel  Mason,  assistant 
director;  Charles  Henley,  head  prop;  Bert  Eason,  assistant  camera- 
man.    Still  by  Roman   Freulich. 

Synthetic  Fog— Ernest  Schoedsack   (in  chair)   directs  Leslie  Banks 
and  Steve  Clemente   in  a  scene  from  "The   Most  Dangerous  Game, 
new   RKO   picture.     Arranged   through   the   courtesy  of   Perry  Leiber, 
head  of   RKO  publicity.     This  unusual   still   by  Gaston   Longet  shows 
action. 


What's  Doing  Abroad 

By  Phil  Tannura 

The  sun  beat  its  welcome  rays  on  London  during  the 
month  of  March  for  the  high  percentage  of  156  hours — 
nothing  like  that  has  happened  since  1907,  and  maybe 
the  natives  haven't  raved  about  it !  Unknowns  become 
acquainted,  old  honky-tonks  in  the  village  didn't  hesi- 
tate a  minute  to  tell  you  about  it,  the  girls  moon  about 
it  to  their  sweeties — all  in  all  there  was  a  hot  time  for  all. 

Did  the  English  producers  make  hay  while  the  sun 
was  shining?  Of  course  not — they  sat  in  their  well 
known  leather  chairs  wishing  for  an  exterior  story.  They 
got  one  in  the  rainy  season  and  tried  to  put  it  over  in 
the  studio.  Not  only  Americans  yearn  for  the  English 
countryside,  but  the  natives  themselves  cry  for  it.  A 
recent  American  picture  photographed  real  English  scen- 
ery with  more  realism  than  they  can  get  on  the  actual 
location. 

With  all  this  sunshine  and  lull  in  production  1  scooted 
off  to  see  some  of  the  lovely  scenery  and  old-time  castles. 
Hampton  Court  won  the  toss-up  for  my  presence — the 
castle  with  a  thousand  chimneys,  the  largest  of  royal 
palaces  in  England,  built  of  red  brick  and  aged  to  the 
Hollywood  degree,  bounded  on  every  side  but  one  by  the 
Thames  River. 

It  has  over  900  apartments.  Every  archway,  every 
nook,  every  corner  is  a  cameraman's  delight  for  composi- 
tion. The  old  vines  are  a  picture  to  look  at.  As  you 
enter  the  trophy  room  with  all  its  guns  and  swords  your 
eyes  pop  out — rooms  occupied  by  past  kings  are  quite  a 
treat;  but  the  private  guest  room — what  thoughts  run 
through  your  head  as  you  visualize  yourself  in  that  period. 
Many  damsels  came  through  those  doors  and  man}'  went 
out  to  the  gallows. 

After  feasting  my  eyes  on  all  the  old  paintings  and 
tapestry  I  was  in  a  hurry  to  see  the  wine  cellar.  Boot- 
leggers and  modern  liquor  dealers  had  nothing  on  the 
old  boys  of  the  past.  What  a  grand  time  the  six-fifty- 
( Continued  on  Page  37) 


Reading  from  top  to  bottom:  Work  is  play — or  so  it  seems — 
for  here  we  have  Alice  White,  as  petite  and  vivacious  as  ever,  do- 
ing a  scene  with  C.  Aubrey  Smith  in  Paramount's  "Luxury  Liner." 
That's  Director  Lothar  Mendes  sitting  by  the  camera.  First  camera- 
man, Victor  Milner;  operative  cameraman,  Bill  Mellor;  assistant, 
Guy   Roe;   stills,   William   Thomas. 

Bill  Daniels  explains  the  rotoambulator  to  Victor  Fleming  on 
"The  White  Sister"  set,  while  Edward  Arnold,  Louise  C.  Hale  and 
Helen  Hayes  look  on  from  a  distance.  This  new  type  of  camera 
carriage  is  meeting  with  considerable  success  on  the  M-C-M   lot. 

Behind  the  Scenes.  This  Goldberg-like  contraption  was  built 
especially  for  use  in  Mary  Pickford's  new  United  Artists  picture, 
"Secrets,"  to  film  what  is  known  as  a  "traveling  shot."  A  close-up 
in  motion  had  to  be  made  of  Mary  Pickford  waltzing  with  Herbert 
Evans,  so  the  camera  was  mounted  on  a  rubber-tired  platform  on 
which  Miss  Pickford  and  Evans  danced.  A  special  scaffolding  was 
built  to  hold  lights,  one  of  which  can  be  seen  above  and  behind 
Mr.  Evans.  Also  note  the  "nigger"  or  black  shield  which  prevents 
this  light  shining  in  the  lens  of  the  camera.  Frank  Borzage,  direc- 
tor, perches  on  the  scaffolding  back  of  this  lamp.  Behind  Borzage 
is  the  sound  man  with  the  microphone  tied  to  a  bamboo  pole,  which 
he  steadies  above  the  dancers,  so  as  to  properly  record  their  voices. 
Kneeling  near  Miss  Pickford  on  the  platform  is  Ray  June,  chief 
cameraman,  studying  the  scene  through  a  blue  glass  to  make  sure 
of  the  proper  lighting.  On  the  floor  behind  Lord  Hurley  (Evans) 
are  other  players  dancing  as  this  strange  conveyance  is  wheeled 
slowly  along  by  the  "grips."  Charles  Cline,  "head  grip,"  is  steer- 
ing, W.  ].  McClellan,  "Gaffer"  (in  light  trousers  and  leather  jacket) 
leans  forward  back  of  grip  on  right  front  wheel,  studying  his  lights. 
Behind   him    is  his  "juicer"  crew. 

"Morning  Glory" — Director  Lowell  Sherman;  star,  Kathleen  Hep- 
burn; principal   player,   Doug  Fairbanks,   Jr. ;  Adolpe   Menjou. 

First  cameraman,  Bert  Glennon;  operative  cameraman,  Russ 
Metty;   assistant,   Charles    Burke;   stills,   Oliver   Sigurdson. 

A  good  close-up  of  the  United  Artists  camera  crane  showing 
the  detail  of  control  by  the  camera  operator. 


Thirty-two 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


AUDIO     DYNAMICS 

DOES  THE  SLOGAN   "CUT  WASTE  FIRST" 
FIND  ITS  ANSWER  HERE? 

By  ROBERT  LOTHAR  KENDALL 

(President,  Kendall   &  Dassevdle,  Inc.) 

How  often,  in  the  dear  old  days  when  A.  T.  and  T. 
was  above  two  hundred  and  even  the  poor  man  could 
nonchalantly  throw  a  goldfish  to  his  cat,  have  you  peered 
through  one  of  your  observation  ports  and  remarked  to 
your  fellow-projectionist:  "See  them  four  balcony  front 
rows?     Packed  solid!     My  week's  wages,  kid!" 

But  in  these  more  careful  times,  when  the  same  house 
is  playing  to  two-bit  tops,  your  boss  takes  a  good  hard 
look  at  every  expense  to  be  able  to  give  his  patrons  "the 
best  show  in  town"  and  still  refrain  from  dipping  his 
pen  into  vermillion. 

The  time  was  when  he  laid  twenty-four  bucks  on 
the  line  for  p.  e.  cell  instead  of  the  price  of  an  ordinary 
tube,  little  knowing  that  its  actual  manufacturing  cost 
was  less  than  a  dollar ! 

Those  were  the  days  the  equipment  manufacturers' 
service  engineers  were  actually  being  paid  to  make  weekly 
sales  calls  and  load  up  the  "spare"  cabinet  with  "essen- 
tial" parts  and  gadgets  no  end. 

All  this  is  now  changed.  The  watchword  throughout 
the  entire  theatre  plant  now  is:  "Cut  Waste  First!" 

Most  of  this  waste  curtailment  shouting  is  directed 
at  your  booth.  You  are  instructed  to  burn  your  carbons 
shorter,  keep  you  cement  covered,  take  care  of  your 
mirrors  and  condensers,  kill  your  exciter  when  the  pro- 
jector is  idle,  rack  your  empty  house  reels  to  prevent 
damage  and  get  the  last  possible  hour's  duty  from  every 
cell  and  tube. 

Ironically  enough,  this  also  carries  a  joker.  That 
joker  is  to  keep  a  perfect  picture  on  the  sheet  at  all 
times  and  deliver  maximum  sound  performance  to  every 
seated  patron. 

Granted,  you  are  in  the  booth  and  have  only  the 
monitor  to  judge  your  sound  by.  If  you  deliver  the  best 
that  is  in  the  equipment  to  the  stage  speakers  you  have 
performed  your  duty.  The  rest?  Well,  that's  up  to 
your  boss.  He's  responsible  for  the  sound  in  the  audi- 
torium. If  you  follow  his  "one  up"  and  "two  down" 
signals  faithfully  he  can  ask  no  more  of  you. 

If   you   happen   to   be   comparatively   a   newcomer   in 


W       EVERYTHING      ^ 

W  PHOTOGRAPHIC^ 

KV 

gTc] 

W     for  Professional  and  Amateur    * 

'     New  and  used.  Bought,  sold, 

rented    and    repaired. 

Camera  Silencing.   Send 

Mm*-1  *ZT 

k       for  Bargain  Catalogue 

[c 

W'*m 

^k           Hollywood  Camera               A 
J^L                    Exchange                     At 

Filkl 

^L       1600  Cahuenga  Blvd.        AW 

c^    ^^ 

■  '^^^B 

^L                 Hollywood                A^tm 

^L          HOIIywd365l           a\M 

■  IfAl 

^k      Cable  Address:       iU 

ralal 

^L        HOcamex         ^H 

wM     & 

^k           Open           m\ 

^&      8  a  m   to    ^H 

n        ^   io  p.m.  A\ 

PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRA 


your  profession  you've  probably  read  up  a  great  deal  on 
recording  technique  and  a  single  glance  at  your  film 
as  you  receive  it  for  the  day's  run  shows  you  whether 
or  not  your  show  is  going  to  be  a  "smooth"  one  or  if 
you  can  expect  to  be  set  crazy  with  buzzer  signals 
during  the  run. 

"It's  in  the  film,"  is  a  poor  excuse,  not  only  from 
you,  but  also  from  the  exhibitor  when  patrons  squawk 
loud  and  long. 

Every  smart  exhibitor  knows  that  his  present  stage 
set-up  is  inadequate  to  accommodate  "wide-range,"  "high- 
est fidelity"  and  other  recording  improvements. 

Heretofore,  the  universal  "cure"  for  all  sound  and 
acoustic  ailments  was  to  "pad"  the  house.  This  form 
of  "treatment"  was,  is  and  always  will  be  an  expensive 
and  illogical  procedure,  since,  it  is  in  95  per  cent  of  the 
cases  absolutely  unnecessary  and  in  many  cases  actually 
harmful  in  its  deadening  qualities  in  those  sections  of 
a  house  where  added  brilliance  is  badly  needed. 

The  exhibition  end  of  motion  pictures,  like  most  in- 
dustries, is  now  going  through  a  period  of  stagnation 
and  the  quicker  it  "snaps  out  of  it,"  the  better  it  will 
be  for  all  of  us  who  depend  upon  it  for  our  livelihood. 

Sound  today  is  just  as  important  as  it  was  five  years 
ago  and  the  public  has  become  more  critical  of  its  per- 
formance. The  exhibitor  has  to  "deliver"  or  lose  his 
patrons  to  his  opposition. 

Since  "padding"  is  not  his  answer  to  all  his  sound 
troubles,  he  must  look  about  and  see  what  his  fellow- 
exhibitors  are  doing.  Obviously,  the  equipment  manu- 
facturers' advice  and  recommendations  (those  still  in  the 
"padding"  trance)  are  of  little  value  to  him.  He  must 
call  in  specialists,  men  who  have  devoted  years  to  study 
and  research  in  one  particular  field,  that  of  acoustics  in 
relation  to  projected  sound,  now  known  as  the  study 
and  application  of  Audio-Dynamics,  as  a  means  of  im- 
mediate and  adequate  relief. 

True,  with  several  thousand  men  walking  the  streets 
and  more  being  let  out  every  day,  apparently  the  woods 
are  full  of  acoustic  "experts,"  ready  and  willing  to  ex- 
tract the  dollars  from  the  pockets  of  gullible  exhibitors. 

Once  the  idea  of  improving  his  sound  has  presented 
itself,  the  really  smart  exhibitor  checks  up  to  make  fairly 
certain,  if  not  definite,  that  the  proposed  service  will 
actually  perform  to  his  entire  satisfaction. 

These  seven  checking  points  should  constitute  his 
buying  policy: 

"Is  it  better  than  'padding'?" 

"Is  it  necessary  in  my  house?" 

"Is  it  beneficial?" 

"Is  it  practical?" 

"Is  it  desirable?" 

"Is  it  economical  ?" 

"Is  it  attractive  from  a  box-office  standpoint?" 

If  the  proposed  service  can  yield  affirmative  answers 
to  this  analysis,  the  exhibitor  should  be  ready  and  will- 
ing to  sign  on  the  dotted  line  before  the  mad  rush  begins 
and  he  is  forced  to  wait  his  turn  like  he  was  five  years 
ago  to  wire  his  house  with  the  best  equipment  available. 

The  author  trusts  that  the  above  remarks  will  not 
cause  offense  to  those  in  the  industry  who  fear  a  pen 
"spanking,"  but  will  tend  to  drive  home  the  fact  that 
in  this  great  business,  game,  adventure  or  whatever  it 
is,  nothing  stands  still — "he  who  fails  to  progress  today 
is  forgotten  tomorrow." 

PHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


June,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Thirty-three 


FtlTI  ft  FACTORS 
HLTER     FACTORS     FOR      NORMAl      DAYLIGHT 

EXPOSURES    ON    STANDARD    MANOS    OF    PAN- 
CHROMATIC  MOTION   PICTURE  FILM              ,      _, 

-  DEPTH  Of  FIELD 
100  MM  LENS 

1 

""""'"""'V."^*"'"  "  "'" 

^ 

This  is  the  third  installment  of  the  Cinematographer's 
Book  of  Tables  compiled  and  computed  by  Mr.  Fred  Wester- 
berg,  one  of  the  technical  editors  of  THE  INTERNATIONAL 
PHOTOGRAPHER. 


Cinematographer's 

BOOK  of 
TABLES 

By  FRED  WESTERBERG 

There  are  several  more  installments  to  come,  concluding 
with  the  November  issue,  1933,  and  when  completed  the  tables 
will  constitute  a  handy  reference  guide  welcome  to  all  cinema- 
tographers,  professional  and  amateur. 

Take  note  that  the  tables  are  so  placed  in  the  magazine 
as  to  be  easily  cut  out  and  bound  into  a  small  pocket  ring 
book.  Cut  down  the  middle  of  page  33;  then  trim  top  and 
bottom  to  fit  your  cover;  punch  holes  to  fit  rings  on  inner  and 
outer  edges  of  magazine  pages  33  and  34.  When  all  tables 
have  been  bound  into  your  ring  book  the  pages  will  number 
from   1   to   32  inclusive  with  complete  index. 

The  accompanying  cut  is  of  a  Lefax  cover.  It  may  be 
purchased  from  dealers  at  75  cents. 


18 


ANCLE  OF  VIEW 

35  mm.  FILM 

ANCLE  OF  VIEW  AND  SIZE  OF  FIELD  EMBRACED 

BY  LENSES  OF  VARIOUS   FOCAL   LENGTHS. 


Distance 
in 

Feet 

to 

Subject 

ANCLE  OF  VIEW  WHEN 

FOCUSED  AT  INFINITY 

35  mm.  Lens 

40  mm.  Lens 

50 

nm.  Lens 

75  mm.  Lens 

Vert 
cal 

Ang 

c 

Hori- 
zontal 
Angle 

Vert 
cal 

Ang 

- 
e 

Hori- 
zontal 
Angle 

Vert 

cal 

Ang 

c 

Hori- 
zontal 
Angle 

Verti- 
cal 
Angle 

Hori- 
zontal 
Angle 

25.8 

° 

35.0° 

22.7 

• 

30.8° 

18.3 

° 

25.0° 

12.2° 

16.7° 

r 

eight  and 

Width 

of  Subject 

in  Feet  included 

in  Picture 

1 

.41  by      .56 

.35  by       .48 

.2 

'by       .37 

.16  by       .22 

2 

.86  by     1.19 

.75  by     1.04 

.60  by      .82 

.38  by       .52 

3 

1.34  by     1.84 

1.16  by     1.60 

.92 

by     1.26 

.59  by       .81 

4 

1.80  by    2.48 

1.55  by     2.14 

1.23  by     1.70 

.80  by     1.10 

5 

2.3 

by     3.1 

2.0 

by     2.7 

1.5 

by     2.1 

1.0    by     1.4 

6 

2.8 

by     3.8 

2.4 

by     3.3 

1.9 

by     2.6 

1.2    by     1.7 

7 

3.2 

by     4.4 

2.8 

by    3.8 

2.3 

by    3.1 

1.5     by     2.0 

8 

3.7 

by     5.0 

3.2 

by     4.4 

2.6 

by     3.6 

1.7     by     2.3 

9 

4.2 

by     5.7 

3.6 

by     5.0 

2.9 

by     4.0 

1.9     by     2.6 

10 

4.6 

by     6.3 

4.0 

by     5.5 

3.2 

by     4.4 

2.1     by     2.9 

11 

5.0 

by     ',.•> 

4.4 

by    6.1 

3.5 

by     4.8 

2.3     by     3.2 

12 

5.5 

by     7.6 

4.8 

by    6.6 

3.8 

by     5.3 

2.5     by     3.5 

13 

6.0 

by     8.2 

5.2 

by     7.1 

4.2 

by     5.7 

2.8     by     3.8 

14 

6.4 

by     8.8 

5.6 

by     7.7 

4.5 

by     6.2 

3.0     by     4.1 

15 

6.9 

by     9.5 

6.0 

by     8.2 

4.8 

by     6.6 

3.2     by     4.3 

16 

7.3 

by   10.0 

6.4 

by     8.8 

5.2 

by     7.1 

3.4     by     4.6 

17 

7.8 

by  10.7 

6.8 

by     9.4 

5.5 

by    7.5 

3.6    by     4.9 

18 

8.2 

by  11.4 

7.2 

by  10.0 

5.8 

by    8.0 

3.8    by    5.2 

19 

8.7 

by  12.0 

7.6 

by  10.5 

6.1 

by     8.4 

4.0     by     5.5 

20 

9.2 

by  12.6 

8.0 

by  11.0 

6.4 

by     8.8 

4.2    by     5.8 

25 

11.4 

by  15.8 

10.0 

by  13.7 

8.0 

by  11.0 

5.3     by     7.3 

30 

13.7 

by  19.0 

12.0 

by  16.5 

9.6 

by  13.2 

6.3    by     8.7 

35 

16.0 

by  22.0 

14.0 

by  19.2 

11.2 

by  15.4 

7.2    by  10.0 

40 

18.4 

by  25.2 

16.0 

by  22.0 

12.8 

by  17.7 

8.4    by  11.6 

45 

20.7 

by  28.5 

18.0 

by  24.7 

14.6 

by  20.0 

9.4     by  13.0 

50 

23.0 

by  31.5 

20.0 

by  27.4 

16.0 

by  22.0 

10.6    by  14.5 

60 

27.5 

by  38.0 

24.0 

by  33.0 

19.0 

by  26.0 

12.6    by  17.4 

70 

32.0 

by  44.0 

28.0 

by  38.0 

22.5 

by  31.0 

5.0    by  20.5 

80 

37.0 

by  50.5 

32.0 

by  44.0 

25.5 

by  35.0 

'7.0    by  23.3 

90 

41.0 

by  57.0 

36.0 

by  50.0 

29.0 

by  40.0 

19.0    by  26.0 

100 

46.0 

by  63.0 

40.0 

by  55.0 

32.0 

by  44.0 

21.0    by  29.0 

lens 


Based  on  standard  sound  film  aperture  .631    by  .868  of  an   inch. 
Figures  for  25  mm.  lens  approximately  twice  as  great  as  for  50  mm. 


DEPTH  OF  FIELD 
75  mm.  LENS 


Figures  for   100  mm.   lens  approximately  one-half  as  great  as  for  50 
mm.  lens. 


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Thirty-four 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


ON  THE  FIRING  LINE 


By  HELEN  BOYCE 


PARAMOUNT  STUDIO 

Virgil  Miller,  Head  of  Camera  Dept. 

"College  Humor.''  Producer,  William  LeBaron.  From  the  novel 
"Bachelor  of  Arts"  by  Dean  Fales;  screenplay,  Butler  and  Benyon; 
director,  Wesley  Ruggles;  assistant  director,  Paul  Jones;  first  camera- 
man, Leo  Tover;  operative  cameraman,  Guy  Bennett;  assistant,  Thomas 
Morris;  stills,  Mac  Elliott;  recording  engineer,  M.  M.  Paggi;  film  editor, 
Hugh  Bennett;  art  director,  Hans  Dreier;  chief  electrician,  Roy  Rob- 
erts;   chief    grip,    Andy    Durkus;    chief    prop,    Lou   Asher. 

Cast:  Bing  Crosby,  Jack  Oakie,  Burns  and  Allen,  Richard  Arlen, 
Lona   Andrie,    Mary    Kornman. 

•  •        #        • 

"The  Song  of  Songs."  Producer,  Paramount  Productions,  Inc.; 
screenplay,  Samuel  Hoffenstein ;  director,  Rouben  Mamoulian;  assistant 
director,  Robert  Lee;  first  cameraman,  Victor  Milner;  operative  camera- 
man, William  Mellar;  assistant,  Guy  Roe;  stills,  Don  English;  record- 
ing engineer,  Harry  Mills;  film  editor,  Otho  Lovering;  art  director, 
Hans  Dreier;  chief  electrician,  Fred  Geiger;  chief  grip,  Kenneth  De- 
Land;   chief   prop,   Joe   Youngermaz. 

Cast:     Marlene    Dietrich,    Ahearne,    Atwill   and    Skipworth. 

•  •       •       • 

"Jennie  Gerhardt."  Producer,  B.  P.  Schulberg;  screenplay,  Lauren 
and  Partos;  director,  Maurice  Gering;  assistant  director,  Art  Jacob- 
son;  first  cameraman,  Leon  Shamroy;  operative  cameraman,  Fred 
Mayer;  assistant.  Milton  Bridenbecker ;  stills.  William  Walling,  Jr.; 
recording  engineer,  J.  A.  Goodrich;  film  editor.  Jane  Loring;  art  direc- 
tor, Hans  Dreier;  chief  electrician,  Karl  Gotham;  chief  grip,  Bince 
Bratton;   chief    prop,   Oren   Hagland. 

Cast:  Sylvia  Sydney,  H.  B.  Warner,  Cook,  Arnold,  Carter,  Col- 
lins. 


FOX  STUDIO 

C.  J.  Fischer,  Head  of  Camera  Dept. 

"It's  Great  To  Be  Alive."  Producer,  Sol  Wurtzel;  author,  John 
D.  Swan;  adaptation,  Paul  Perez;  dialogue,  Arthur  Kober;  director, 
Al.  Werker;  assistant  director,  Phil  Ford;  first  cameraman,  Robert 
Planck;  operative  cameraman,  Arthur  Arling;  assistants,  Maurice  Kains 
and  J.  Van  Wormer;  stills,  Wally  Chewning;  recording  engineer,  Al. 
Bruzlin;  film  editor,  Barney  Wolfe;  assistant,  Bob  Simpson;  art  direc- 
tor, Duncan  Cramer;  chief  electrician,  H.  David;  chief  grip,  J.  Mur- 
phy;   chief   prop,    C.    Baker. 

Cast:  Edna  May  Oliver,  Dorothy  Burgess,  Herbert  Mundin,  Gloria 
Stuart,  Joan  Marsh,  Raoul  Roulin,  Emma  Dunn,  Edward  Van  Sloan, 
Robert   Greig. 


"I  Loved  You  Wednesday."  Producer,  Winfield  Sheehan.  From 
the  play  by  Molly  Ricardel  and  William  DeBois;  screenplay,  Philip 
Klein  and  Horace  Jackson;  director,  Henry  King;  assistant  director, 
C.  Woolstenhulme;  first  cameraman,  Hal  Mohr;  operative  cameramen, 
W.  Skall,  I.  Rosenberg  and  W.  Lynch;  assistants,  R.  Surtees  and 
R.  Mack;  stills,  Cliff  Maupin;  recording  engineer,  Donald  Flick;  assist- 
ant, Al.  Sigler;  film  editor,  Frank  Hull;  assistant,  Larry  Moore;  art 
director,  Joe  Wright;  chief  electrician,  Cet  Atafford;  chief  grip,  Walter 
Faxon;    chief   prop,   William   McKee. 

Cast:  Warner  Baxter,  Elissa  Landi,  Miriam  Jordan,  Victor  Jory, 
Laura   Hope   Crews. 


17 


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Wratten  Light  Filters 


400 


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Data   by   Eastman   Kodak  Co.     Wratten   Filters.      1932  Edition. 


COLUMBIA  STUDIO 

Emil  Oster,  Head  of  Camera  Dept. 

"The  Wreckers."  Producer,  Harry  Cohn;  author,  Al.  Rogell; 
screenplay,  Jo  Swerling;  director,  Al.  Rogell;  assistant,  Art  Black; 
first  cameraman,  Benny  Kline;  operative  cameraman,  F.  M.  Browne; 
assistants,  Fred  Dawson  and  Jack  Russell;  stills,  Whitie  Schafer;  re- 
cording engineer,  George  Cooper;  assistant,  Bill  Jarvis;  film  editor, 
Dick  Cahoon;  assistant,  Bill  Lyon;  art  director,  Steve  Gooson;  chief 
electrician,  Holmer  Plannett;  chief  grip,  Walter  Meins;  chief  prop, 
Jack  Wrenn. 

Cast:     Jack    Holt,    Genevieve   Tobin,    George   E.    Stone,   Ward    Bond. 

•  •        •       • 

"Madam  La  Gimp."  Producer,  Harry  Cohn;  author,  Damon  Run- 
>on;  screenplay,  Robert  Riskin;  director,  Frank  Capra;  assistant  di- 
rector, Buddy  Colman;  first  cameraman,  Joe  Walker;  operative  camera- 
man, Andre  Barlatier;  assistants,  George  Kelly  and  Mike  Walsh;  stills, 
William  Fraker,  Jr.;  recording  engineer,  Eddie  Burns;  assistant,  Buster 
Libbitt;  film  editor,  Maurice  Wright;  assistant,  Charles  Nelson;  art 
director,  Steve  Gooson;  chief  electrician,  George  Hagger;  chief  grip, 
Jimmy    Lloyd;    chief    prop,    George    Rhine. 

Cast:  May  Robson,  Warren  Williams,  Glenda  Farrell,  Ned  Sparks, 
Guy   Kibbee,   Nat  Pendleton. 

RKO  *STUDIO 

William  Eglington,  Head  of  Camera  Dept. 

"The  Silver  Cord."  Executive  producer,  Meriam  C.  Cooper;  asso- 
ciate producer,  Pandro  S.  Berman;  play  by  Sidney  Howard;  screen- 
play, Jane  Murfin;  director,  John  Cromwell;  assistant  director,  Dewey 
Starkey;  first  cameraman,  Charles  Rosher;  operative  cameraman,  Frank 
Redman;  assistant,  Cecil  Cooney ;  stills,  John  Miehle  and  Fred  Hen- 
drickson;  recording  engineer,  Clem  Portman ;  second  recorder,  J.  G. 
Stewart;  assistant,  James  Fields;  film  editor,  George  Nicholls,  Jr.; 
assistant,  Thomas  Scott;  art  director,  Van  Nest  Polgiase;  chief  elec- 
trician, Argyle  Nelson;  chief  grip,  Marvin  Wilson;  chief  prop,  John 
Sherwood. 

Cast:  Irene  Dunn,  Joel  McCrea,  Laura  Hope  Crews,  Eric  Linden 
ami   Frances   Dee. 

•  •        •        • 

"The  Public  Be  Sold."  Associate  producer,  William  Goetz;  author, 
Charles  Curran  and  Rich  Gaff ney ;  director,  J.  Walter  Ruben;  assist- 
ant director.  J.  H.  Anderson;  first  cameraman,  Henry  Cronjager; 
operative  cameraman,  Roy  Eslick;  assistant,  Art  Lane;  stills.  Fred 
Hendrickson;  recording  engineer,  John  Tribby;  assistants,  Ray  Holden 
and  Jimmy  Speak;  film  editor,  George  Hively;  assistant.  Jack  Hively; 
art  directors,  Van  Nest  Polgiase  and  Carroll  Qlark;  chief  electrician, 
Paul    Bristow;    chief   grip,    Ralp    Wildman;    chief    propi,    John    Sherwood. 

Cast:  Richard  Dix,  Elisabeth  Allen,  Alan  Dinehart,  David  Landau 
and   Doris   Kenyon. 

M-G-M  STUDIOS 

John  Arnold,  Head  of  Camera  Dept 

"Peg  O'  My  Heart."  A  Robert  Z.  Leonard  production;  author, 
J.  Hartley  Manners;  screenplay,  Frank  R.  Adams;  assistant  director, 
Harry  B.  Bucquet;  first  cameraman,  George  Barnes;  operative  camera- 
man, Herbert  Van  Dyke;  assistant,  Wilbur  Bradley;  stills,  S.  C.  Ma- 
natt;  recording  director,  Douglas  Shearer;  film  editor,  Margaret  Booth; 
art  director,  Cedric  Gibbons;  chief  electrician,  Wes  Shanks;  chief  grip, 
Kenneth   Jackson;    chief    prop,    Jimmy    Sweeney. 

Gast:  Marion  Davies,  Onslow  Stevens,  J.  Farrell  MacDonald, 
Juliette   Compton. 

•  •       •       • 

"Dinner  at  Eight."  A  David  O.  Selznick  production.  Author, 
George  S.  Kaufman  and  Edna  Ferber;  screenplay,  Frances  Marion  and 
Herman  J.  Mankiewicz;  director,  George  Cukor;  first  cameraman,  Wil- 
liam Daniels;  operative  cameraman,  A.  Lindsley  Lane;  assistant,  Wil- 
liam Riley;  stills,  Roy  Clark;  recording  engineer,  Douglas  Shearer; 
film  editor,  Ben  Lewis;  art  directors,  Hobe  Erwin  and  Fred  Hope; 
chief   electrician.   Floyd   Porter;    chief    prop,    Bert   Spurlin. 

Cast:  Marie  Dressier,  John  Barrymore,  Wallace  Beery,  Jean  Har- 
low,  Lionel    Barrymore,    Lee   Tracy,    Edmund    Lowe,    Billie    Burke. 

•  •      •      e 

"Lady  of  the  Nigln."  Associate  producer,  Lucien  Hubbard;  author. 
Anita  Loos;  screenplay,  Gere  Markey  and  Kathryn  Scola;  director, 
William  Wellman;  first  cameraman,  James  Van  Trees;  operative  camera- 
man, Louis  Jennings;  assistant,  Tom  Dowling;  stills,  Bert  Lynch; 
recording  engineer.  Douglas  Shearer;  film  editor,  William  S.  Gray; 
art  director.  Stanley  Rogets;  chief  electrician,  Wesley  Shanks;  chief 
prop,    Hal    Fausser. 

Cast:  Loretta  Young,  Ricardo  Cortez,  Franchot  Tone,  Andy  Devine, 
Una   Merkel. 

•  •        •       • 

"Hold  Your  Man."  A  Sam  Wood  production.  Author,  Anita 
Loos;  screenplay,  Anita  Loos  and  Howard  Emmett  Rogers;  director, 
Sam  Wood;  assistant,  John  Waters;  first  cameraman,  Harold  Rosson; 
operative  cameraman.  Lester  White;  assistant,  Harry  Parkins;  stills. 
Frank  Tanner;  recording  director,  Douglas  Shearer;  film  editor,  Frank 
Sullivan;  art  director,  Merrill  Pye;  chief  electrician,  A.  W.  Brown; 
chief   grip,    Ed.    Bhinney;    chief    prop,    Nolan    Hurst. 

Cast:  Jean  Harlow,  Clark  Gable,  Stuart  Erwin,  Dorothy  Burgess, 
Muriel   Kirklaud. 

SCREEN  CRAFT #STUDIO 

"His  Private  Secretary."  Producer,  Bernard  B.  Rav;  author,  Lew 
Collins;  screenplay.  Jack  Natterford;  director,  Phil  Whitman;  first 
cameraman,  Abe  Scholtz;  operative  cameraman,  J.  Henry  Kruse;  stills, 
John  Jenkins;  recording  engineer,  Oscar  Langerstrom;  chief  electrician, 
Pat   Patterson;    chief   grip,   Joe    Schaefer;    chief    prop,    Arden    Cripe. 

Cast:  Evelyn  Knapp.  John  Wayne,  Reginald  Barlow,  Alec  B. 
Francis,   Arthur   Huyt,   Natalie   Kingston,   Al   St.   John. 


TORRENCE,  JUNE  AND  LYON 

The  last  motion  picture  still  taken  of  our  beloved  actor  friend, 
Ernest  Torrence — singer,  pianist  and  artist.  "I  Cover  the  Water- 
front" was  his  farewell  to  pictures  and  to  the  world.  Left  to  right 
in  this  still  with  him  are  Ray  June,  chief  cinematographer,  and  Ben 
Lyon,  star.     Gaston   Longet  shot  the  still. 


UNIVERSAL  STUDIO 

F.  S.  Campbell,  Head  of  Camera  Dept. 

"Salt  Water."  Authors,  John  Golden  and  Dan  Jarrett,  screenplay, 
Walker,  Snell  &  Marks;  director,  William  Wyler;  assistant  director, 
Freddie  Franks;  first  cameraman,  George  Robinson;  operative  camera- 
man, Allyn  Jones;  assistant,  Paul  Hill;  stills,  Emmett  Schoenbaum; 
film  editor,  Ted  Kent;  chief  electrician,  Irving  Smith;  chief  grip, 
Harney    Summers;    chief    prop,    Robert    Murdock. 

Cast:  Slim  Summerville,  Zasu  Pitts,  Una  Merkel,  Warren  Hyman, 
Berton    Churchill. 

•        •       •        • 

"In  the  Money."  Producer,  E.  M.  Asher;  original  and  adapta- 
tion by  Murray  Roth  and  Howard  Emmett  Rogers;  director,  Murray 
Roth;  assistant  director,  Joe  McDonough;  first  cameraman.  Jackson 
Rose;  operative  cameraman,  Dick  Fryer;  assistant,  William  Dodds; 
stills,  Clifton  Kling;  recording  engineer,  William  Hedgecock;  film 
editor,  Robert  Carlisle;  chief  electrician,  Warren  Monroe;  chief  grip, 
Peter   Abriss;    chief    prop.    Wallace    Kirkpatrick. 

Cast:  Lew  Ayres,  Ginger  Rogers,  Myrna  Kennedy,  Shirley  Grey, 
Charles    Grapewin    and    Lucille    Gleason. 

©      •      a      • 

"Gleason's  New  Deal."  Producer,  Warren  Doane;  authors.  Bill 
Hackney  and  M.  Lightfoot;  director,  James  Home;  first  cameraman, 
Len  Powers;  assistants,  Walter  Williams  and  Harold  Graham;  stills, 
Shirley  Vance  Martin;  recording  engineer,  Frank  Richards;  film  editor, 
Harry  Marker;  chief  electrician.  Roy  Fullerton;  chief  grip,  Bert 
Whaling;    chief    prop,    Tom    Sommerville. 

Featuring  James   Gleason. 

CALIFORNIA  TIFFANY  STUDIO 

Edward  Tiffany,  Head  of  Camera  Dept. 

"The  Big  Brain,"  Producer,  Kelly  Bischoff  Saal ;  author,  Sy  Bart- 
lett;  screenplay,  Warren  B.  Duff;  director,  George  Archainbaud;  assistant, 
Eric  Stacy;  first  cameraman,  Arthur  Edeson;  operative  cameraman, 
Harry  Davis;  assistants,  Bert  Eason  and  Vernon  Larson;  stills,  Romaine 
Freulick;  recording  engineers,  Hans  Weeren  and  Whitey  Howett;  as- 
sistants. Alf  Burton,  Gilbert  Pollack  and  Martin  Jackson;  film  editors, 
Martin  G.  Cohn  and  Rose  Loewinger;  assistant,  Stanley  Kolbert;  art 
director,  Ralph  DeLacy;  chief  electricians,  Al.  Cahen  and  Don  Don- 
aldson;  chief   grip,    Robert   Murphy;    chief    prop,    Charles   Henlev. 

Cast:  George  E.  Stone,  Phillips  Holmes,  Fay  Wray,  Minna  Gom- 
bel,   Reginald   Owen,   Lilian   Bond. 

PATHE  STUDIO 

"Tomorrow  at  Seven."  Producer,  J.  J.  Snitzer;  author,  Ralph 
Spence;  director,  Ray  Enright;  assistant  director,  Gaston  Glass;  first 
cameraman,  C.  E.  Schoenbaum;  operative  cameraman,  Earl  Stafford; 
assistants,  Bernard  Moore  and  Lester  Schorr;  stills.  Fred  Archer; 
recording  engineer,  Lodge  Cunningham;  film  editor,  Rose  Lowenger; 
art  director.  Ed.  Jewell;  chief  electrician,  Jack  Neil;  chief  grip, 
Charles   Morris;   chief  prop,   James   Fleetwood. 

Cast:  Chester  Morris,  Viviene  Osburn,  Frank  McHugh,  Allen 
Jenkins,    Henry   Stevenson,   Grant    Mitchell. 

MASCOT  PICTURES  CORPORATION 

"The  Gringo."  Producer,  Nat  Levine;  adaptation  and  screen- 
pla",  Ford  Beebe;  director,  Ford  Beebe;  assistant  director,  George  Web- 
ster; first  cameraman,  Ernest  Miller;  operative  cameraman,  Thomas 
Gallagan;  assistants,  Monty  Steadman  and  Joe  Lykins;  stills,  Paul  Ries; 
recording  engineer,  Earl  Crane;  assistants,  Terry  Kellum  and  Dal 
Glesch;  film  editor,  Rav  Snyder;  assistant.  Jone  Caine;  art  director. 
Jack  Coyle:  chief  electrician,  William  Perry;  chief  grip,  Howard 
Burrows;    chief   prop,    Charles    Stevens. 

Cast:  Victor  McLaglen,  Henry  B.  Walthall.  Ruth  Hall.  Conchita 
Mmitenigra,  Regis  Toomey,  William  Bond,  Edmund  Breeze,  Lois  Wil- 
son,  J.    Faro   MacDonald. 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN   CORRESPONDING  WITH   ADVERTISERS 


Thirty-six 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


"Not  once  are  you  aware  of  a  camera,"  writes  Rob 
Wagner,  in  his  script,  about  "Thunder  Over  Mexico," 
and  that's  one  thing  that  every  picture  produced  should 
deserve  to  have  said  about  it. 

Also  Rob  opened  his  critique  of  the  picture  with  this 
picturesque  gab-line:  "At  last  we  are  permitted  to  see 
the  bastard  child  of  the  shot-gun  marriage  of  Moscow 
and  Hollywood,"  which  is  almost  enough  to  be  said  about 
any  picture,  but  this  one  is  entitled  to  broader  treatment 
and  the  editor  will  permit  our  own  J.  Henry  Kruse  to 
elaborate : 

"The  tremendous  flexibility  of  the  camera's  usage  in 
this  picture,  creating  such  marvelous  photographic  drama, 
held  me  on  the  edge  of  my  seat  and  this  without  the  aid 
of  a  spoken  word  on  the  screen.  No  mechanical  under- 
carriage contrivances  were  used,  neither  was  the  aid  of 
artificial  light  employed  by  E.  Tisse,  cameraman.  But 
filters,  good  film,  compositional  ability  and  interpretative 
angles  were  freely  employed.  Also  time — time  for 
thought,  fourteen  months  on  the  job  in  Mexico. 

"Actually  it  was  that  cameraman's  so  often  wished 
for  thing — a  photographic  spree!  With  camera,  time 
and  plenty  of  film.  With  wonderful  subjects,  such  as 
beautiful  clouds,  vivid  natural  settings,  of  haciendas  (not 
the  Hollywood  conception),  barbarous  rocks,  Aztec  and 
Mayan  ruins,  delicate  vapor  wreathed  mountain  peaks 
and  above  all  a  picturesque  people,  contributing  to  their 


the  Silent  . 
Camera/ 


own  personal  drama — a  story  of  a  downtrodden  people's 
transition  to  their  own  place  in  the  sun. 

"The  camera  as  a  medium  was  complemented  by  a 
fine  synchronism  of  beautiful  music  conceived  by  Dr. 
Hugo  Reisenfeld,  under  supervision  of  Abe  Meyers.  The 
musical  accompaniment  is  an  undertone,  subjective  to 
the  drama,  capturing  the  spirit  of  the  ancient  Aztecs  and 
Mayans  and  their  modern  descendants,  interpreting  their 
very  souls  in  this  moving  drama  of  Mexico. 

"Mr.  Upton  Sinclair,  internationally  known  author, 
stood  the  gaff  of  financing  and  producing  the  film — his 
first  effort  and  a  successful  one. 

Howard  Anderson  made  the  special  effects  of  wipe- 
offs,  splitscreens,  double  exposure,  etc. 

The  entire  producing  personnel  on  the  trip  consisted 
of  only  four  men.  Eisenstein,  Tisse  and  G.  V.  Alexan- 
drov,  writer  and  assistant  to  Eisenstein,  have  returned  to 
Russia.  The  fourth  person  was  Hunter  S.  Kimborough, 
brother  of  Mrs.  Upton  Sinclair,  business  manager  of  the 
trip."     Sol  Lesser  will  release  the  picture. 

Let  the  editor  add  that  two  hundred  thousand  feet 
of  negative  was  shot  without  the  benefit  of  script  and 
this  40  miles  of  celluloid  was  simmered  down  to  a  foot- 
age of  6300  feet  by  Don  Hayes,  under  supervision  of 
Harry  Chandlee,  a  tremendous  and  in  fact  almost  im- 
possible technical  feat  of  intelligent  editing. 

To  Mr.  Hayes  and  Mr.  Chandlee,  therefore,  is  due 
a  large  share  of  the  honors  that  will 
be  conferred  upon  the  production  of 
this  unusual  cinematic  opus. 

RCA   Photophone   recording  sys- 
tem is  used. 


BY  REQUEST 

We  have  so  many  requests  for  a  view 
of  Mr.  Otto  Phocus  that  we  have  decided 
to  print  one.  This  shows  Otto  in  one 
of  his  jovial  moods  and  the  camera  has 
caught  his   reaction  to   a  very  funny  inci- 


ANDRE  DEBRIE,inc 

115    WEST    45THST.  NEWYORKCHY 


[We  explained  to  Otto  that  only  morons  are 
supposed  to  whistle.  "That's  all  right,"  he  said, 
"I  whistle  more'n  the  average  person,"  and 
started  throwing  ink  around  the  office. — Editor's 
Note.] 

dent  he  has  just  witnessed.  A  man  fell 
off  a  20  foot  ladder  in  front  of  the  office 
and  landed  on  his  head.  Otto  said: 
"Well!  His  feet  won't  hurt,"  and  rolled 
over  on  his  other  side.  Mr.  Phocus  is 
a  whistler  and  a  collector.  He  has  been 
in  the  automobile,  picture  and  marriage 
business  and  at  present  is  resting  from 
the  winter  rush.  Copies  suitable  for 
framing  cannot  be  had  by  applying  to 
this    office. 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Thirty-scvet 


WHAT'S  DOING  ABROAD 

(Continued  from  Page  31) 
niners  would  have  if  let  loose  in  such  a  cellar.  Well, 
why  make  your  mouth  water?  The  sun  was  shining  so 
invitingly  that  1  wanted  to  get  out  in  the  open,  so  I 
rested  on  the  former  kings'  lawn,  drank  some  native 
tea  and  the  well  known  sausage  roll  helped  some  of  my 
hunger.  Can  you  picture  yourself  eating  on  a  king's 
lawn?     Quite  a  kick! 

Speaking  of  scouting — film  talent  scouts  come  over 
from  the  United  States — they  get  as  far  as  the  merry 
mucilage  parlor,  become  sun  dodgers  and  never  get  out 
of  London,  when  in  reality  most  of  the  talent  is  inland 
and  north.  English  producers  go  to  the  other  extreme, 
they  pick  out  the  old  troupers,  then  these  old  timers 
wonder  why  they  don't  look  as  well  as  the  seventeen-year 
olds  of  Hollywood.  A  good  bet  for  any  American  com- 
pany is  a  little  stage  girl  named  Valerie  Hobson,  the 
image  of  Lillian  Gish  when  she  was  young. 

Magazine  store  proprietors  tell  me  how  surprisingly 
well  THE  INTERNATIONAL  PHOTOGRAPHER 
sells  in  London.  Why  not  ?  It's  a  book  of  knowledge 
for  both  the  professional  and  amateur. 

I  hear,  tell  and  you  listen  and  read  of  an  American 
star  who  came  to  England  to  make  the  super  picture. 
She  was  head  man  and  the  whole  show.  She  refused 
to  employ  an  American  or  an  English  cameraman.  At 
great  expense  the  picture  was  finally  finished.  It  turned 
out  to  be  a  fine  flop,  hissed  at  every  performance.  She 
went  back  to  America  broken-hearted  and  spiteful,  blam- 
ing English  inefficiency.  Cruel  woman,  how  could  she? 
She  had  in  her  menagerie  a  Russian  production  manager, 
a  German  art  director,  a  German  cameraman,  an  Ameri- 
can director;  all  under  her  supervision,  trying  to  com- 
pete with  English  men  and  women  on  their  home  grounds 
in  speaking  the  King's  English.  Why  blame  the  inno- 
cent English? 

You  have  heard  about  the  Moscow  atrocity  and  how 
England  has  stood  behind  its  subjects.  United  States 
should  take  a  hint  from  this  and  try  to  be  honest  with 
its  investors  who  work  all  their  lives  to  save  for  a  rainy 
day  only  to  have  a  deluge  with  the  kind  reply  that  some- 
one is  sorry. 

The  outstanding  pictures  here  at  this  writing  are 
"King  Kong"  and  "No  Man  of  Her  Own."  Leo  Tover 
did  a  fine  job.  "King  Kong"  is  a  bing  bang — S.  R.  O. 
These  are  the  kind  of  pictures  that  should  be  made  now- 
adays— makes  a  fellow  forget  his  troubles — amazes  and 
amuses  the  public.  If  the  producers  would  think  more 
about  these  two  words  their  troubles  would  soon  be  over. 
Instead  they  force  parlor,  bedroom  and  bath  pictures 
on  the  public.  The  other  week  they  ran  "She  Done  Him 
Wrong."  All  that  was  left  of  it  when  the  censors  got 
through  were  entrances,  exits  and  end.  Nobody  knew 
what  the  story  was  about. 

Six-fifty-niners  are  getting  quite  strong  over  here  now, 
living  up  to  their  good  reputation  all  over  the  world. 
Bob  Martin  is  holding  down  the  A.  R.  P.  fortress; 
Charles  Van  Enger  just  arrived,  started  work  immediate- 
ly for  Gaumont-British ;  Glen  MacWilliams  nearing  the 
end  of  "Orders  Are  Orders."  Bob  La  Prelle  is  work- 
ing as  second  with  Glenn.  Freddie  Smith  and  Harold 
Young,  Hollywood  film  editors,  are  batting  for  Gau- 
mont — Young  on  loan  from  London  Film.  Otto  Lud- 
wig  arrived  in  Paris  yesterday  with  his  newly  acquired 
bride.     Production  is  starting  to  boom  again. 

I  say,  tea  is  getting  cold.     Cheerio! 


Announcing 

FEARLESS 

A.  C.  Operated 

Studio  Sound 
Recorder 

For  Clow  Lamp  Recording 

PRICE 

$1    145    Complete 

*      Licensed   under    Fearless   Camera   Co.   patents 

Complete  Equipment  Comprises 

1.  Recording  Amplifier  with  ample  gain  and  power  sup- 
ply unit  for  use  on  110  volts,  50  or  60  cycles. 

2.  Recording-head  with  optical  slit  for  glow  lamp. 

3.  Condenser  Microphone  with  2-stage  amplifier  and  30 
foot  of  cable. 

4.  Necessary  cables  and  glow  lamp  ready  for  operation. 

5.  Screw-lock,  flush  type  cable  connectors. 

6.  Synchronous    Recorder    Motor    for    50    or    60    cycle 
circuits. 

7.  Film  Footage  Counter. 

8.  Recording  Head  arranged  for  Bell  &  Howell  maga- 
zine. 

9.  Two-position  mixing  circuit. 


Film  Recording  Head  <with  Light  Valve 

A  new  Fearless  A.  C.   Operated  Light    Valve  Recorder 
for  studio  use  now  available  at  $1,245. 

Note:  Complete  information  on  D.  C.  Operated  Portable  or 
Studio  Sound  Recording  Equipment  for  Glow  Lamp  or  Light 
Valve  Recording  will  be  submitted  promptly  to  responsible 
inquirers. 

CINEMA  SOUND  EQUIPMENT  CO. 


8572  Santa    Monica   Blvd. 
Hollywood,  California 

Telephone:  OXford  4262 
PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


Thirty-eight 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


June,  1933 


Vom 


TV  IS 

ol|V\V(Bl> 


their   friend's  gasoline  as  a  speculation  for  a  job.     I've 
seen  them  leave  the  studio  with  tears  in  their  eyes. 


Do  you  know  that  some  people  see  each  motion  picture 
not  once  or  twice,  but  from  125  to  200  times?  They 
are  the  inspectors  in  the  film  laboratories.  It  is  their 
duty  to  look  at  every  inch  of  film  that  is  sent  to  the 
theaters  throughout  the  world.  They  sit  from  eight  to 
ten  hours  a  day  with  their  eyes  glued  to  a  screen,  con- 
tinually on  the  alert  for  errors  in  both  the  dialog  and 
picture. 


Miriam  Goldina,  at  the  Paramount  Studio,  recently 
came  from  Soviet  Russia.  There,  she  says,  pictures  are 
made  to  be  inspiring  and  educational.  Only  a  few  cents 
admission  is  charged  to  see  a  show  and  often  tickets  are 
given  away  free.  The  players  form  a  unit  of  their  own, 
which  they  never  leave,  but  continue  to  work  as  a  body. 
Actors  there  are  never  laid  off  but  are  paid  weekly  by 
the  government. 


No  wonder  Hollywood  players  seem  "nutty"  at  times. 
Personally  they  are  perfectly  all  right.  It  is  just  that 
they  must  promote  a  new  job  each  morning  and  to  re- 
sell themselves  at  every  turn  for  each  bite  they  eat. 
To  do  this  they  must  be  everywhere  at  once  and  their 
antics  in  getting  there  do  appear  foolish. 


"Speckin'  a  job,"  is  the  new  phrase  of  the  extra  ranks. 
It  is  their  term  for  the  necessary  scampering  to  the  studio 
that  is  shooting  a  mob  scene.  The  wise  extras  go  there 
with  the  hope  of  getting  the  ticket  of  someone  who 
couldn't   get   there  on   time.     They  spend   their   own   or 


I'd  like  to  whack  those  people  on  the  nose  who  think 
that  in  Hollywood  sin  is  a  Public  Utility  and  that  each 
public  personage  has  an  iniquitous  wallow  out  in  his 
back  yard. 


There  is  one  star  who  doesn't  get  a  large  salary. 
That  is  Harry  Green.  Recently  he  signed  a  contract  to 
do  one  of  the  leads  in  DeMill's  "This  Day  and  Age," 
for  $1  a  week.  DeMille  wanted  Green  to  do  the  part, 
but  Green  wanted  too  much  money,  so,  rather  than  take 
a  lower  figure,  Green  compromised  at  the  $1  a  week. 
It  sounds  like  a  publicity  stunt,  but  it  isn't.  Green 
wanted  the  part  and  he  has  certain  policies  about  salary 
chiseling.  • 

The  other  day  the  newspapers  said  something  about 
a  house  out  in  North  Hollywood  being  stolen.  Someone 
got  a  gang  of  helpers  and  a  truck  and  off  the  house 
went.  I  wonder  if  the  truck  was  large  enough  to  hold 
the  paving  assessments,  too!  Many  house  owners  that  I 
know  wouldn't  mind  if  their  houses  were  stolen  if  the 
thief  stole  the  first  and  second  mortgages  along  with  it, 
or  their  mothers-in-law.  However,  a  mother-in-law 
would  probably  have  something  to  say  about  that,  too! 


Wally  Westmore,  the  Max  Factor  make-up  artist 
at  Paramount,  has  turned  statistician.  He  abandoned  his 
make-up  pencil  for  a  real  pencil  to  give  us  the  follow- 
ing figures:  "In  the  Sign  of  the  Cross"  more  than  100 
gallons  of  liquid  make-up  was  used.  That,  he  points 
out,  is  nothing  to  compare  with  the  amount  of  make-up 
before  the  days  of  panchromatic  film.  In  the  "Ten  Com- 
mandments," 500  gallons  was  required.  In  a  year  they 
use  enough  mascara  to  paint  the  entire  studio  black. 


Make-up  is  like  the  wishing  power  of  the  alchemists. 
It  eliminates  time  and  space.  With  it  the  make-up  artist 
can  make  age  into  youth  or  in  a  few  minutes  create  a 
character  from  any  part  of  the  earth. 


Here's  a  new  word  to  delight  the  "superlative-con- 
scious" publicity  departments.  It  is  composed  of  78 
syllables  and  179  letters,  and  it  is  spelled  "Lopadotema- 
choselachogaleokranilioleipsanaodrimupotrimmatosil  p  h  i  o- 
paraomelitokatakechumenikichlepikissuphophattoperistera- 
lekiruonoptegkepphalokiglopeleiolagoosiraiobaphetraganop- 
terugon,"  and  it  is  a  real  word.     And  according  to  a  re- 


THE  MOST  COMPLETE  AUTOMOTIVE  SERVICE 

FOR  THE 

CINEMA  TECHNICIANS 

"WORLDS  GREATEST  SERVICE  STATION" 
6380  SUNSET  BLVD.,  NEAR  CAHUENCA,  HOLLYWOOD 


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June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Thirty-nine 


cent  article  by  John  B.  Nichols,  in  "Time,"  it  is  the 
longest  word  in  any  language.  It's  the  name  of  a  Greek 
dish  composed  of  all  kinds  of  dainties,  with  fish  and  fowl. 
That's  "hash"  to  an  American,  but  perhaps  it  could  be 
used  by  one  of  the  publicity  departments.  It  would  look 
fine  on  the  front  of  the  movie  palaces. 


My  manager  (who  is  also  my  wife)  gave  me  a  dic- 
tionary recently.  I've  looked  up  the  meaning  of  some 
of  the  words  in  the  box  office  descriptions  of  some  pic- 
tures. 


The  process  in  motion  pictures  of  introducing  full 
size  people  into  scenes  with  small  miniatures  to  give  the 
illusion  that  the  people  are  in  the  same  scene  and  that 
they  are  pigmies  in  size  compared  to  the  miniature,  is 
done  by  the  projection  process.  Cenventional  scenes  of 
people  are  first  photographed  doing  the  required  action. 
Then  a  miniature  set  is  built  up  with  the  miniatures  that 
are  to  be  animated  set  in  place.  In  the  miniature  set, 
which  is  largely  glass  paintings,  is  a  glass  with  a  por- 
tion of  it  treated  so  as  to  serve  as  a  screen  for  a  pro- 
jected picture.  Now  the  picture  of  the  people  is  threaded 
in  a  projector  that  will  throw  one  picture  at  a  time,  and 
stop  between  each  two  pictures.  The  projectors  is  set 
back  far  enough  to  make  the  projected  picture  of  the  peo- 
ple seem  sufficiently  small  so  as  to  match  with  the  minia- 
tures in  the  set.  After  everything  is  carefully  matched, 
the  first  picture  of  the  people  is  projected  and  the  minia- 
tuies  are  posed  accordingly,  and  then  the  next  on  to  the 
end  of  the  scene. 


On  the  10th  of  this  month  we  may  celebrate  the  tak- 
ing of  the  first  picture  here  in  Los  Angeles.  The  Bio- 
graph  Company,  while  under  the  managership  of  George 
E.  Van  Guysling,  sent  a  company  here  to  the  coast  on 
March  6,  1906,  and  on  June  10th,  they  made  their  first 
picture.  As  may  be  seen  in  the  city  directories,  they  were 
here  continuously  from  that  time  on. 

David  Horsley  founded  the  Hollywood  film  colony 
in  1911.    Col.  W.  N.  Selig  came  to  the  coast  in  1908. 


Will  Connell,  the  noted  photo  pictorialist,  has  given 
the  true  concept  of  successful  art.     "Unless  a  design  can 


The  miniature  part  of  a  set  from  "King  Kong"  before  the 
projected  portion  of  the  picture  is  added.  This  shows  the  blank 
part  that   is  filled   in   with  a   projected   picture  of  real   people. 

The  complete  miniature  and  real  life  picture  as  combined  in  the 
Willis  O'Brien    process,   as  used    in   "King  Kong." 

be  conceived  that  can  be  turned  out  on  a  conveyor  belt," 
he  says,  "it's  just  one  of  those  things.  First  a  design  is 
turned  out  for  a  commercial  baron,  who  in  turn  puts 
it  on  the  market,  at  an  exhorbitant  first  cost,  for  the  ap- 
proval of  the  public.  If  it  meets  the  public  requirements, 
or  fancy,  on  this  practical  testing  ground,  the  design  is 
immediately  standardized." 

We  have  noticed  that  a  useful,  though  beautifully 
designed  icebox,  is  sold  more  readily  if  it  resembles  our 
neighbors'.     And  so  forth. 


Some  Recent  Engagements 


"Airmail" — Universal 


"Air  Hostess" — Columbia 


'Central  Airport" — Warner 


"Turn  About"— M-C-M 


"White  Sister"— M-G-M 


U 


NIGHT  FLIGHT 


rr 


M-G-iVTS  LATEST  AIR  SPECIAL 

Directed   by   Clarence    Brown 
Chief  Cinematographer — Ollie  Marsh 

Akeley  and  Aerial  Sequences  by 


ELMER    DYER 


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Forty 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


16  mm. -QUESTIONS   and   ANSWERS-16  mm 


By  George  J.  Lancaster 


Camera  Shopping:  Wynne  Cibson,  Paramount  featured  player, 
is  being  shown  the  workings  of  a  miniature  moving  camera  which 
she  plans  to  buy  for  her  mother.  Virgil  Miller,  head  of  Paramount's 
camera  department,  is  the  demonstrator.  Miss  Gibson  is  being 
featured   in  "The  Crime  of  the  Century." 

L.  A.  Amateur  Cine  Club 

The  meeting  of  the  members  of  the  Los  Angeles 
Amateur  Cine  Club  was  held  May  8,  in  the  auditorium 
of  the  J.  W.  Robinson  Company  store.  The  large  at- 
tendance would  indicate  the  interest  in  this  subject  and 
the  spirit  of  co-operation  and  kindly  criticism  were  most 
educational.  J.  W.  Robinson  Company,  as  hosts  of  the 
evening,  provided  some  pleasing  entertainment  from  their 
own  home  talent. 

The  subject  of  the  evening  was  "Home  Scenes"  and 
some  really  good  work  was  shown.  However,  here  are 
some  of  the  errors  pointed  out  by  the  judges:  The  most 
frequent  error  was  the  lack  of  a  tripod,  without  which 
it  is  impossible  to  produce  a  pleasing  result.  The  ab- 
sence of  back  lighting,  leaving  rather  a  flat  surface,  de- 
tracted from  some  of  the  offerings.  It  was  pointed  out 
that  the  use  of  reflectors  for  close-ups  give  much  better 
results  and  the  screen  may  be  utilized  for  this  purpose. 

A  shrub  or  tree  in  the  foreground  would  have  im- 
proved the  composition  in  some  of  the  scenes.  One  pic- 
ture showing  table  decorations  lacked  interest  because  it 
was  entirely  of  inanimate  objects.  It  was  suggested  that 
a  still  would  have  answered  as  well  for  this  particular 
picture  as  the  purpose  of  the  motion  picture  is  to  show 


action.  Another  error  pointed  out,  and  one  which  the 
critic  said  was  not  infrequent,  was  the  neglect  of  the 
photographer  to  change  the  aperture  when  switching  to 
slow  motion. 

All  criticism  was  offered  in  the  most  co-operative 
spirit  and  the  attitude  of  the  members  seemed  to  be 
the  solicitation  of  criticism  rather  than  praise. 


Question — Can  you  tell  me  if  it  is  possible  to  record 
sound  on  sixteen  millimeter  film ;  if  so,  what  system  is 
used ;  also  if  it  is  possible  to  reduce  35  mm.  film  with 
sound  on  sixteen  millimeter,  also  I  would  like  to  know- 
about  the  16  mm.  projector. 

Answer — To  date  16  mm.  is  recorded  by  the  R.C.A. 
variable  area.  Picture  reduction  from  35  to  16  is  done 
in  the  optical  printer.  The  sound  track  is  re-recorded 
from  the  35  onto  the  16  and  not  reproduced  from  one 
to  the  other  as  in  the  case  of  the  picture.  Ghost  or  off 
stage  narrative  and  sound  effects  with  musical  back- 
grounds can  be  recorded  on  the  16  mm. 

The  projector  motor  is  equipped  with  an  electrical 
governor  which  maintains  a  constant  speed,  for  sound 
24  frames  per  minute  and  for  the  silent  versions  16 
frames.  The  amplifier  is  a  five  tube  unit  of  three  audio 
frequency  stages,  and  has  a  gain  of  two  45  tubes  in 
push-pull  with  a  volume  and  tone  control.  The  pick-up 
system  is  the  photo-cell  and  exciter  lamp  system.  Pro- 
vision is  made  for  adapting  a  gear  driven  33 3/3  R.P.M. 
turntable  to  permit  the  use  of  synchronized  16  mm. 
sound-on-disc  recordings.  The  sprocket  holes  on  one 
side  of  the  film  are  eliminated  for  the  sound  track. 

Question — How  am  I  to  figure  the  speed  relationships 
of  the  diaphragm  markings,  f .1.5  and  f.1.9?  What  is 
the  f  value  of  a  lens? 

Answer — To  ascertain  the  comparative  light  trans- 
mitting power  of  two  different  diaphragms,  divide  the 
square  of  the  smaller  opening  by  the  square  of  the  larger 
opening.  Example — Square  of  f.1.5  is  2.25;  the  square 
of  f.1.6  is  3.61.  Divide  3.61  by  2.25,  the  answer  is  1.61, 
the  relative  exposure  value  openings  of  f.1.5  and  f.1.9. 

Question — Several  of  my  reels  have  accumulated  oil 
and  dirt.     What  kind  of  fluid  shall  I  use  for  cleaning? 

Answer — Carbon  Tetrachloride.  Moisten  a  piece  of 
soft  velvet,  place  the  reel  on  the  rewind  and  run  the 
film  between  several  layers.  For  a  real  job  send  the  film 
to  a  laboratory  that  specializes  in  cleaning  and  polishing. 


«!w;//i 


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June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Forty-one 


EASTMAN   KODACOAT  PAINT 

A  paint  produced  especially  for  photographic  dark- 
room and  laboratory  purposes  has  been  announced  by 
the  Eastman  Kodak  Company,  identified  with  the  name 
Kodacoat. 

Kodacoat  Paint  was  compounded  to  possess  qualities 
making  it  useful  for  a  number  of  waterproofing  and 
chemical-proofing  purposes  in  the  darkroom  and  in  other 
photographic  quarters.  It  is  non-inflammable,  non-fog- 
ging, non-reflecting,  acid  and  alkali-proof  and  water- 
proof ;  it  resists  all  chemical  solutions,  including  oxidiz- 
ing and  reducing  agents ;  it  contains  no  phenolic  com- 
pounds, it  will  stick  firmly  to  any  dry  material,  it  doesn't 
become  brittle  or  flaky,  it  needs  no  thinning,  it  is  quick- 
drying,  and  it  is  odorless. 

The  photographic  uses  of  Kodacoat  Paint  are  many. 
With  it,  tanks  made  of  wood,  stone,  cement,  sheet  iron, 
copper,  or  tin  can  be  made  waterproof  and  chemical- 
proof.  It  can  be  used  for  repair  purposes.  Tabletops 
can  be  made  resistant  to  acid  or  alkali.  Walls  can  be 
finished  to  resist  all  photographic  solutions.  Sinks  and 
gutters  can  be  lined. 

Hypo  recovery  barrels  or  boxes  can  be  preserved. 
Darkroom  floors  can  be  made  chemical-proof  and  can  be 
sealed.  Cement  floors  can  be  waterproofed.  Funnels 
can  be  made  chemical-proof.  Reflections  can  be  killed. 
Leather,  cloth,  or  fabrics  can  be  made  waterproof  and 
chemical-proof. 

In  addition  to  these  photographic  uses  of  Kodacoat 
Paint,  this  material  is  suitable  for  sealing  and  refinishing 
studio  or  laboratory  roofs,  and  as  a  base  for  tile  or  patent 
floors. 

Side  walls  or  darkrooms  from  the  baseboard  up  to 
at  least  six  feet  are  likely  to  be  spattered  with  solutions 
and  should  be  properly  protected.  Although  Kodacoat 
Paint  comes  in  either  a  flat  black  or  a  glossy  black,  a 
flat  black  paint  is  the  most  suitable  protection  for  dark- 
room walls.  Kodacoat  Paint,  the  only  paint  ever  com- 
pounded specifically  for  darkroom  purposes,  is  intended 
to  provide  complete  protection. 

Above  the  six-foot  line,  protection  against  the  ravages 
of  photographic  chemicals  or  water  is  unnecessary,  but 
a  safe  color  is  still  necessary.  Another  new  paint  sup- 
plied by  the  Eastman  Kodak  Company,  "Panchromatic 
Green,"  has  been  compounded  for  this  purpose. 

Panchromatic  Green  is  a  light  green  which  reflects 
all  the  light  possible  when  a  darkroom  is  lighted  with 
a  Panchromatic  Safelight  or  a  Series  3  Safelight.  If, 
on  the  other  hand,  the  room  is  lighted  with  a  yellow 
or  a  red  safelight,  the  reflective  power  of  the  paint  is 
still  at  a  maximum  for  such  a  color.  When  a  darkroom 
is  painted  with  Panchromatic  Green,  the  walls  look  light 
under  the  illumination  of  a  Series  3  Safelight,  and  gray 
when  the  room  is  flooded  with  yellow  light,  but  dark 
when  red  light  is  used 


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INTERNATIONAL 
PHOTOGRAPHER 

MOTION   PICTURE    ARTS   AND    CRAFTS 
HOLLYWOOD 


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SOUND  ENGINEER  FILM  EDITOR 

LABORATORY  TECHNICIAN 

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Forty-two 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


EVOLUTION  OF  THE  MOTION  CAMERA 

(Continued  from  Page  9) 

THE  FIVE  GENERAL  TYPES   USED   IN   CAMERA 

MOVEMENTS 


®® 


Left,   Friction   movement   similar    to  that   used   by    Biograph. 
Right,   Geneva   Star   used   by   Edison   showing  two    positions. 


Left,  Cam  movement  (combination  of  harmonic  and  planetary  cam) 
used  by  Lumiere,  Pathe,  Lubin,  Selig,  Universal,  and  Gillon.  Figure  1 
shows  planetary  cam  for  the  in  and  out  movement.  Figure  2  shows 
the  harmonic  that  was  used  for  the  down  pull.  Figure  3,  looking 
down  of  the  movement.  Center,  Spring  Claw  showing  two  positions 
of  the  movement  used  by  Williamson,  Debrie,  Moy  and  others  with 
many  variations.  Right,  Simple  Claw  used  by  Prestwich  and  Ernemann. 
Drawings  by  W.  W.  Clendenin. 

Too,  the  cameras  at  this  time  had  not  attained  the  dig- 
nity of  a  footage  meter.  The  cameraman,  in  order  to 
keep  account  of  his  footage,  counted  the  crank  turns. 
Each  turn  was  a  half  foot  of  film.  The  cameraman  was, 
as  a  rule,  his  own  assistant.  Sometimes,  though,  the 
actors  would  carry  something,  if  it  was  handed  to  them. 
The  actors  had  not  got  to  the  point  where  they  looked 
down  their  noses  at  all  common  things.  Those  that 
were  lucky  were  still  getting  $25  a  week. 

Until  1915,  the  most  popular  camera  was  the  Pathe. 
It  was  used  by  many  of  the  more  prominent  picture 
makers,  including  Lasky,  Fox,  Edison,  the  Majestic-Fine 
Arts  group,  Balboa,  and  others.  The  Prestwich  camera 
was  used  by  both  Melies  and  Sennett ;  the  Prevo  was 
used  in  making  the  Laemmle  pictures.  That  is  only  three 
of  the  fifty-seven  varieties  of  cameras  that  have  been 
made  during  the  ramifications  of  the  movies.  There  were 
others,  and  it  may  be  interesting  to  mention  a  few: 
Akeley,  Biograph,  DeBrie  (trade-mark  "Le  Parvo") 
DuFranne,  Demeny  Gaumont  and  the  Gaumont,  Dar- 
ling, Farmer  Dunn,  Ernemann,  Jury,  Moy,  Newman- 
Sinclair,  Prestwich,  Prevo,  Pathe,  United  States,  Selig- 
Schustek,  and  the  Selig  Polyscope,  King-Barker,  Uni- 
versal (known  as  the  Vista),  Vista  Amateur  Model,  An- 
gelus,  Williamson,  Photo-Cines,  Warwick,  Schneider, 
Lubin,  Vitagraph,  Warner  Brothers,  J.  O.  Taylor,  Tal- 
ley,  Moreno-Snyder  (continuous  motion),  Penny-Packer, 
Schwimmer,  Archer,  Milano,  Gillon  (Camera  Eclair), 
Kronick,  Russell,  Black,  Urban,  Cinematographe,  Le- 
Prince,  Friese-Greene,  Edison,  Marey,  Janssen,  Jenkins, 
Wilart,  Warwick,  Columbia  (continuous  motion),  Ala- 
mo, Simplex  Professional,  Frese,  Panograph,  Messter, 
Depue,     Koehler,     Provax,     Leonard     (first     Mitchell), 

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Mitchell,  Bell  &  Howell,  Horsley,  Technicolor,  Kelley 
Prizma,  Multicolor  (patented  in  1916  by  Brigden),  Ur- 
ban, Kinemacolor,  Spoor-Bergren,  Fear,  Devry,  and 
others.  These  for  the  most  part  were  made  for  pro- 
fessional use. 

The  Mitchell  camera,  with  its  side  shift,  internal  matte 
rings  and  cam  movement  with  pilot  pins  was  first  de- 
veloped in  1919.  Its  various  features  are  covered  by 
patents  that  were  issued  around  1921.  The  first  camera 
was  sold  to  Charles  Van  Enger  in  1921,  although  the 
Mitchell  had  been  used  as  early  as  June,  1919,  by  Harry 
Fowler.  The  Mitchell  was  an  outgrowth  of  experiments 
conducted  by  Leonard,  who  made  a  camera  and  used 
it  in  making  some  of  the  "Smiling  Bill  Parsons"  series 
at  the  National  Studios  in  June,  1918.  Very  little  came 
of  the  camera,  however,  until  George  Mitchell  bought 
the  Leonard  rights.  The  Mitchell  came  into  gradual  use 
during  1923-24  and,  after  sound  became  popular,  the 
Mitchell  became  the  universally  used  camera  in  the 
studios. 

The  Mitchell  is  certainly  a  far  cry  from  the  old  wood- 
en box  cameras  of  the  pioneer  days,  of  the  days  when 
the  cameraman  often  shot  pictures  and  did  not  see  the 
completed  picture  or  scenes  from  it  until  six  months  later. 
Guy  Wilky  says  that  he  has  made  many  pictures  that 
he  has  never  seen. 

Now  the  cameraman  gets  his  picture.  A  few  years 
ago  he  was  a  perspiring  slave,  struggling  under  the  weight 
of  an  unwieldly  camera.  Now  assistants  lend  him  a 
hand.  Then  he  had  to  precariously  hang  to  most  any- 
thing to  get  his  angle ;  now  gigantic  camera  "booms" 
carry  him  here  and  there  overhead  and  god-like  he  chooses 
his  action  and  angles  from  the  passing  scenes.  Through 
the  efforts  of  such  men  as  Lumiere,  Pathe,  Edison,  Bell, 
Howell  and  Mitchell  our  cameramen  have  at  their  dis- 
posal the  equipment  that  allows  them  to  be  artists. 

And  they  are  artists  in  that  international  medium — a 
language  understood  by  all — the  motion  picture. 


CINEMATOGRAPHIC  COMPOSITION 

(Continued  from  Page  5) 
his  composition  are  restricted  to  a  fixed  area  approxi- 
mating the  proportion  of  1:1.4142.  This  is  always  a 
horizontal  rectangle  in  so  far  as  the  theatre  is  concerned. 
This  rectangle,  in  accordance  with  the  basic  laws  as 
laid  down  by  Jay  Hambidge,  is  of  ROOT  TWO  pro- 
portion. 

Let  us  now  bring  the  DISTRIBUTION,  BAL- 
ANCE, SCALE,  RHYTHM  and  UNITY  of  tone  to 
a  focus  in  the  phrase  SEQUENCE  OF  TONE.  That 
term  gives  us  an  opportunity  to  present  DYNAMIC 
SYMMETRY  in  an  equallv  crvptic  phrase  SE- 
QUENCE OF  FORM. 

Dynamic  Symmetry  creates  a  composition  of  action 
which  does  not  necessarily  mean  that  a  figure  has  to  be 
in  motion,  but  simply  that  the  lines  or  masses  express 
motion.  The  lines,  angles  and  curves  of  our  composi- 
tion are  regarded  merely  as  the  defining  areas  that  com- 
pose the  units  of  our  PATTERN  arrangement  within 
the  boundaries  of  the  camera  aperture. 

Symmetry  shows  us  that  these  limits  have  a  direct 
bearing  upon  all  arrangements  of  form  within  the 
boundaries  of  the  screen.  When  the  composition  of  a 
picture  is  created  in  accordance  with  this  idea  the  result 
is  a  unity  comparable  to  that  of  an  organism  ;  every  part 
is  related  to  every  other  part  and  all  parts  are  definite 

<\PHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Forty-three 


and  more  or  less  logical  elements  of  the  entire  pattern. 

It  is  impossible  to  introduce  rhythm  into  pattern  de- 
sign without  first  introducing  symmetry.  All  design 
weakness  is  due  to  poverty  of  symmetry  and  rhythm. 
The  history  of  art  shows  beyond  question  that  symmetry 
and  rhythm  are  consciously  used  by  artists  who  are  real 
masters  of  composition. 

If  we  do  not  understand  symmetry  and  rhythm  we 
can  only  compose  blindly  and  trust  to  our  "feeling." 
However,  if  we  have  nothing  but  "feeling"  and  dis- 
position to  rely  upon  we  are  soon  left  groping  and  em- 
barrassed for  lack  of  technical  knowledge  to  overcome 
the  simple  mechanical  difficulties  of  composition.  Our 
vision  is  narrowed  and  our  accomplishment  curtailed  when 
we  do  not  know  how  to  obtain  compositional  power. 

We  have  in  mind  a  "rubber  stamp"  type  of  director 
who  suppressed  the  ideas  of  his  cameraman  with  a  loud 
and  vulgar,  "I  know  what  I  want,"  which  he  justified 
with  the  explanation,  "I  don't  know  anything  about  art, 
but  I  know  what  I  like." 

It  is  not  only  insufferable,  but  inconceivable  that  a 
business  of  the  proportions  of  the  motion  picture  industry 
should  permit  the  picture  values  to  be  weakened  by  the 
likes  and  dislikes  of  men  whose  only  claim  to  fame  is 
an  accidental  association  with  a  screen  success,  a  good 
memory  or  a  remote  family  connection  to  an  executive. 

The  underlying  principles  that  have  been  discussed 
and  are  to  be  presented  do  not  originate  with  the  writer. 
The  subject  matter,  in  great  detail,  has  been  available 
for  many  years.  There  are  no  patents,  copyrights  or 
trade  secrets  preventing  all  and  sundry  from  gaining  a 
ready  knowledge  of  good  picture  making.  Of  the 
authorities  the  most  important  is  Jay  Hambidge.  His 
books  in  their  order  of  importance  for  a  complete  knowl- 
edge of  Dynamic  Symmetry  are:  "The  Elements  of  Dy- 
namic Symmetry,"  Brentanos ;  "Practical  Applications  of 
Dynamic  Symmetry,"  Yale  University  Press;  "Dynamic 
Symmetry  in  Composition,"  Brentanos;  "Dynamic  Sym- 
metry: The  Greek  Vase,"  Yale  University  Press;  and 
"The  Parthenon  and  Other  Greek  Temples:  Their  Dy- 
namic Symmetry,"  Yale  University  Press. 

Next  we  have  "The  Art  of  Composition :  A  Simple 
Application  of  Dynamic  Symmetry,"  by  Michel  Jacobs, 
Doubleday,  Doran  &  Company,  Inc.;  "Dynamarhythmic 
Design,"  by  Edward  B.  Edwards,  The  Century  Co. ; 
"Practical  Pictorial  Composition,"  by  E.  G.  Lutz, 
Charles  Scribner's  Son;  "Composition:  An  Analysis  of 
the  Principles  of  Pictorial  Design,"  by  Cyril  C.  Pearce, 
R.B.A.,  Charles  Scribner's  Sons,  and  "Playwriting  for 
Profit,"  by  Edwin  Arthur  Krows,  Longmans,  Green  & 
Co. 

(To   Be    Continued) 


LA  BARBA 

Do  you  know  that  Ted  La  Barba  is  a  brother  of  Fidel 
La  Barba,  former  My  weight  champion  boxer  of  the 
world?  Ted,  who  not  only  is  an  efficient  assistant  camera- 
man, also  acted  as  trainer  for  Fidel  in  practically  all  of 
his  fights  in  which  he  successfully  defended  his  title.  Ted 
has  been  in  the  camera  end  of  motion  pictures  since  the 
old  Triangle  days  and  he  has  worked  with  some  of 
the  biggest  stars  and  greatest  cameramen,  among  whom 
are  Tony  Gaudio,  George  Barnes,  Victor  Milner,  Lee 
Garmes,  Karl  Struss  and  the  late  Robert  Kurrle. 


SOMETHING  NEW  AND  BETTER 

%  o 

U    N    D 

A  Quartz  Optical  Unit  for  Variable 

Density 

Recording  and  Reproducing 

Designed 

to   focus   a   fine 

line  of  light  on  the 

film — some 

distance 

away    from    the 

optical    unit — thus 

preventing 

d 

amage  to  the  sound  track  from  dust, 

etc. 

C-  c. 

MINOR 

GR.  7331 

1806  Whitley  Ave. 

Hollywood 

30%   to  60%  CASH  SAVINGS  on  16  mm. 

and  35  mm.  Cameras,  Projectors 

and  Accessories 

Write  for  Bass  Bargaingram.     Specify  size  of  apparatus 

interested    in.      For   over   22   years   Value   Leaders   of   the 

nation. 


Your   copy   is   ready.      Write  for   it. 


BASS  CAMERA  CO. 


179  W.   Madison  St. 


Chicago,    III. 


CINEX   TESTING   MACHINES 


CINEX   POLISHING    MACHINES 


BARSAM-TOLLAR   MECHANICAL  WKS. 

7239   Santa    Monica    Blvd. 
Phone    GRanite    9707  Hollywood,    California 


DR.  G.  FLOYD  JACKMAN,  Dentist 

Member    Local     No.    659 

706    Hollywood    First   Nat'l    Bid"..    Hollywood    Blvd.    at   Highland 

Hours:    9    to    5                         GLadstone     7507           And    by    Appointment 

ARTCRAFT  SCREEN  SERVICE       g 


66 


TITLES 


33 


16    mm.    -   35    mm.  yr 

6610  Santa   Monica  Blvd.  O 

.     Phone    Hollywood   9875  Hollywood,    Calif,     w 


E.  Broox  Randall  &  Sons,  Inc. 


Writers  -  Adjusters  -  Advisors 
Of  All  Insurance  Lines 

5664  HOLLYWOOD  BOULEVARD 

Hollywood,    California 

HI.   6111 


TO  THE  CAMCHMAN 

We  Can  Supply  First  Class 
NEGATIVE  SHORT  ENDS 

KINEMA  KRAFTS  KOMPANY 

6510    Selma    Ave.    .Hollywood,    Calif.      Phone:    GL.    0276 
A.   Gabbani  Members   of   Local   659  H.    Higueret 


^^0^O^O^«^O*0^0*0^0*O=!r0*0^O^O^0^0^0*0^<^ 


1 


Alvin  Wyckoff 


9. 
I 
I 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


Forty-four 


The      INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


General  Electric  Announces  a  New  Improved 
Line  of  Mazda  Projection  Lamps 


A  new,  improved  line  of  MAZDA  projection  lamps 
incorporating  major  advances  achieved  during  several 
years  of  intensive  research  and  development  in  co-ordina- 
tion with  leading  projector  and  optical  manufacturers  has 


The  larger  lamp  shown  in  the 
attached  photograph  is  the  new 
1,000  watt,  type  T-20,  in  mo- 
ful  prefocus  base  and  bi-plane 
filament.  The  smaller  lamp  is 
the  new  750  watt,  type  T-12, 
in  medium  prefocus  base  and 
bi-plane  filament.  Accompany- 
ing sheet  gives  essential  data 
on  the  new  line  of  projection 
lamps. 


been  announced  by  the  Incandescent  Lamp  Department  of 
General  Electric  Company  at  Nela  Park,  Cleveland,  Ohio. 

The  results  make  possible,  for  the  several  classes  of 
projectors,  screen  illuminations  which  average  nearly  twice 
as  high  as  those  available  two  years  ago. 

The  improved  line  meets  the  expanding  requirements 


of  Dicture  projection  by  providing  lamps  adapted,  both  in 
characteristics  and  cost,  to  the  needs  of  diversified  services 
and  types  of  projectors.  This  has  been  accomplished  with 
a  relatively  small  number  of  lamps  so  that  the  benefits 
of  standardization  in  quality,  price,  and  service  may  in- 
creasingly accrue  to  all  users. 

All  of  the  lamps  for  motion  picture  projection  show 
improvement  in  wattage  per  unit  of  source  area,  that  is, 
in  concentration  of  source.  Means  have  been  introduced 
for  the  better  control  of  bulb  blackening.  And  a  marked 
advance  has  been  made  in  the  wattage  for  a  given  size 
of  bulb. 

All  lamps  are  of  the  100-volt  class,  obviating  the  ex- 
pense and  weight  of  auxiliary  transformers  or  large  re- 
sistances used  in  the  past  with  low-voltage  lamps.  This 
is  regarded  as  one  of  the  most  important  practical  results 
of  the  successful  effort  toward  greater  source  concentration. 
It  appears  that  except  on  the  lower-priced  projectors  the 
practice  will  become  general  of  using  100-volt  lamps  in 
series  with  a  small  resistance  and  in  combination  with 
a  volt-meter,  which  will  permit  the  adjustment  of  the 
resistance  so  that  the  lamp  will  receive  100  volts  on  all 
circuits.  Thus  the  full  advantage  of  the  high  light  out- 
put of  a  lamp  of  25-hour  life  will  be  combined  with  satis- 
factory lamp  performance. 

The  resistance  for  this  purpose  is  small,  light,  and  in- 
expensive, and  is  not  to  be  confused  with  the  large  resist- 
ances employed  with  low-volt  lamps  on  direct-current  or 
universal  equipments.  The  volt-meter,  also,  may  be  of 
the  most  inexpensive  type;  it  need  be  calibrated  for  only 
one  point.  The  life  of  lamps  which  are  made  principally 
for  stereopticon  service,  where  the  light  requirements  are 


Service 

PROJECTION 

(Recommended  for  Motion  Picture 

LAMPS 

and  Stereopticon  Service 

) 

Type  of  Projector 

Required 
Ventilation 

Watts 

Volts 

Bulb 

B 

ase 

Filament 
Construction 

Rated 
Life-Hrs. 

Film    Slide,   8   mm.   M.P. 
16   mm.   M.P. 

Natural 

50 

100,   105,   110 
115  &  120 

T-   8 

S.  C.  B 

ay.   Cand. 

Monoplane 

50 

8  mm.  M.P.,   16  mm.  M.P. 
and   Film   Slide 

Natural 

100 

100,  105,  110 
115  &  120 

T-    8 

S.  C.  B 

ly.   Cand. 

Monoplane 

50 

Film   Slide   &    16  mm. 
M.P. 

Natural 

200 

100,   105,   110 
115  &  120 

T-10 

Medium 

Prefocus 

Monoplane 

50 

16   mm.    M.P.    &   Film 
Slide 

Moderate 
Forced 

300 

100,  105,  110 
115  &  120 

T-10 

Medium 

Prefocus 

Monoplane 

25 

16   mm.    M.P. 

High    Degree 
Forced 

500 

100* 

Medium 

Prefocus 

Biplane 

25 

16  mm.    M.P. 

High    Degree 
Forced 

750 

100* 

Medium 

Prefocus 

Biplane 

25 

Stereopticon   &   35   mm. 
Portable  M.P. 

Natural 

500 

100,   105,   110 
115  &  120 

T-20 

Medium 

Prefocus 

Monoplane 

50 

35   mm.   Portable  M.P. 
&    Stereopticon 

Moderate 
Forced 

750 

100* 

T-20 

Medium 

Prefocus 

Biplane 

25 

35  mm.   Portable  M.P. 

High  Degree 

100* 

T-20 

Medium 

Prefocus 

Biplane 

25 

Stereopticon   &   35   mm. 
S'emi-portable   M.P. 

Forced 

Natural 

1000 
1000 

100,  105,  110 
115  &  120 

T-20 

Mogul   Prefocus 

Monoplane 

50 

35   mm.   Semi-portable 
M.P.    &    Stereopticon 

Natural 

1000 

100* 

T-20 

Mogul   Prefocus 

Biplane 

25 

*  100-volt    lamps    recommended — for   use    with 

volt-meter 

and    small    variable    resistance. 

Also    available    at    105,    110,    115,    and    120    volts. 

PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Forty-five 


less  severe,  remains  at  50  hours.  With  this  life  the  aux- 
iliary resistance  and  volt-meter  are  less  important. 

Special  forming  and  heat  treatment  of  the  filaments 
was  developed  to  reduce  warping  or  twisting  of  the  coils. 
Thus  it  became  possible  to  place  the  coils  much  closer 
together.  A  new  type  of  supporting  structure  for  mount- 
ing the  filament  contributed  further  to  this  result.  The 
potential  advantages  of  a  biplane  construction  for  the 
higher  wattage  equipments  of  each  class  had  long  been 
known.  In  the  biplane  lamp  one  grid  of  coils  is  placed 
before  the  other  and  so  staggered  that  an  almost-solid 
rectangle  of  light  is  presented  to  the  lens.  But  it  was 
not  until  the  new  filament  treatment  and  mounting  had 
been  perfected  that  the  full  advantages  of  the  biplane 
source  could  be  realized. 

Biplane  construction  is  now  incorporated  in  five  of  the 
new  lamps,  in  500,  750,  and  1000  watt  sizes.  The  cost 
is  inherently  higher  but  a  higher  wattage  of  filament  can 
thereby  be  concentrated  within  the  solid  angle  utilized  by 
the  lens  system.  The  construction  has,  in  general,  no  ad- 
vantage in  lamps  of  the  lower  wattages  for  the  several 
types  of  projector  since  their  filaments  can  be  disposed 
in  one  plane  within  an  area  utilized  by  the  optical  system. 

Reduction  in  bulb  blackening  has  two  important  re- 
sults— the  light  output  is  maintained  at  a  higher  percentage 
of  its  initial  value,  and  bulb  temperature  remains  lower 
through  life.  Consequently  a  higher  wattage  becomes  per- 
missible in  a  bulb  of  given  diameter. 

But  two  other  factors  were  even  more  important  in 
accomplishing  the  marked  increase  in  wattage  for  a  given 
bulb  size.  The  one  is  an  improved  glass  which  does  not 
devitrify  and  which  withstands  higher  temperature  before 
softening.  The  other  is  the  provision  of  radically  higher 
rates  of  forced  ventilation,  accomplished  both  by  greater 
volume  of  air  and  redesign  of  air  passages  in  projectors 
for  maximum  utilization.  The  result  is  that  the  designer 
of  a  projector  now  has  the  opportunity  to  choose  among 
lamps  requiring  only  natural  ventilation,  or  moderately 
forced,  and  highly  forced  systems.  The  super  lamps  per- 
form satisfactorily  only  in  equipments  in  the  last  category. 


The  Bell  &  Howell  Company  has  manufactured  six 
new  rotambulator  camera  under-carriages  for  the  M-G-M 
Studios. 


The  Fox  Studio  precision  camera  shop  is  completing 
three  more  Velockators  to  meet  their  demands. 


"CINEMA  OPTICS" 

Finder   magnifying   adapters    (for   long  focus   lenses)    com- 
plete      -     -     -     - $20 

Finder  adapters    (for  25   mm.   lens)    complete       ...     $20 

See  May  issue  this  magazine  for  details. 

Trick    multiple-image    prisms,    $4.00    up — complete    set    of     8 
(2"    dia.) $50 

Other  types  of  distortion  lenses  and  revolving  mounts;  distort- 
ing and  front-silvered  mirrors,  lenses  of  all  kinds,  prisms,  re- 
flectors and   condensers   in   stock — BARGAINS. 

Experimental   and    special    optics    at    lowest    prices    anywhere. 

Write    for    details    and    save    money. 

LIEBSCHER  OPTICAL  COMPANY 

7710  Santa   Monica   Blvd.  Hollywood,   Calif. 


4241    Normal   Avenue 


RAY     MERCER 

Fades — Dissolves — Wipeoffs 

SPECIAL  EFFECTS  —  MINIATURES 

Call  OLympia  8436  FOR  SERVICE 


Hollywood,   Calif. 


MORGAN'S  CAMERA  SHOP 

Headquarters  for 

Leica  Cameras 

ENLARGING— FINE  GRAIN   FINISHING 

PHOTO  SUPPLIES 

6305  Sunset  Blvd.  Hollywood 


RICHTER'S 

COMPLETE  PHOTO  SERVICE 
16  mm.     -:-     35  mm. 

DEVELOPING  and  PRINTING     -:-     REDUCTION  PRINTING 
COMPLETE  TITLE  DEPARTMENT 

OXford   2092  7901   Santa   Monica   Blvd.    Hollywood,  Calif. 


EARL    HAYS    PHESS 

PRINTED  INSERTS 

The   most   complete   library   of   foreign   research 

material   in   the   industry. 

NEW  ADDRESS 

6510  Santa  Monica  Blvd.    Near   Wilcox  Ave. 

Phone:   Hollywood   9591 


Good  News  to  Users  of  Standard  35  mm.  Negative 

EASTMAN  and  DUPONT  SUPER  PANCHROMATIC 

100  foot  Rolls,   10  feet  Black  Leader  Each  End     ....     $2.75 
100  foot  Rolls,   10  feet  Black  Leader  Each  End  (on  spool)     $3.00 

200  and  400  foot  Rolls 2}4c  per  fool 

15    feet   and   less 2     c  per  foot 

All    Films   Shipped    C.O.D.,    F.O.B.    Hollywood 

FRED     C.     DAWES 

1442  Beachwood   Drive  Phone  Hollywood  0507 

HOLLYWOOD,    CALIFORNIA 


MY 

FILTERS 

ARE  USED 
BY  AIL 

HOLLYWOOD 


INTERS 

IN  WORLD-WIDE  USE  . ...  .?T"~"'^ 
proiuce  MvonKqb}  and  NiqVrCf  facts  in  Daytimv- 
ftjScmg-  DirBJOTiftaas  and  many  v\hw  effects. 
WITH  ANV  CAMERA   -  IN  ANY  CLIMATE 

GEORGE  H.  SCHEIBE 

ORIGINATOR  OF  EFFECT  FILTERS 

I927-W-78I2  ST.  LOS  ANGELES.CAL. 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


Forty-six 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


June,  1933 


INTERNATIONAL 

CLASSIFIED  ADVERTISING 

Brings   results — Rates   45   cents   per   line — minimum  charge   one 

dollar     per     insertion.       For     Rent — For     Sale — Wanted — For 

Exchange,  etc. 

FOR  SALE  AND  RENT— CAMERAS 

FOR  SALE  OR  RENT— Mitchell  and  Bell  &  Howell  silenced  cameras, 
follow  focus.  Pan  lenses,  free  head,  corrected  new  aperture.  Akeley, 
Da  Brie,  Pathe,  Universal,  Prevost,  Willart,  De  Vry,  Eyemo,  Sept, 
Leica.  Motors,  printers  lighting  equipment.  Also  every  variety  of 
16  mm.  and  still  cameras  and  projectors.  Everything  photographic 
bought,  sold,  rented  and  repaired.  Send  for  our  bargain  catalogue. 
Open  8  A.M.  to  10  P.M.  Hollywood  Camera  Exchange,  1600  Cahuenga 
Blvd.  Phone  GLadstone  2507.  HOllywood  9431.  Cable  address 
Hocamex. 

MITCHELL  CAMERAS.  Silent  and  Speed.  Follow  focus.  Also  new 
Mitchell  motors,  extra  1000  foot  magazines,  motor  adapters,  baby  tripod, 
25-35  mm.  and  long  focus  lenses;  Mitchell  gear  box.  B.  B.  Ray, 
YOrk    4553. 

FOR  SALE  OR  TRADE 

MITCHELL  CAMERA  complete  with  speed  movement,  all  built-in 
features,  25  mm,  35  mm,  50  mm,  75  mm,  matched  Astro  Tachar  lenses, 
mounted  on  turret,  also  4 34  Heliar  lens  Mitchell  mounted,  2  tripod 
heads,  free  and  tilt,  six  400  foot,  two  1000  foot  magazines,  high  hat,  also 
Bell  &  Howell  camera  complete.  Address  Mervyn  Freeman,  1960  South 
Vermont   Ave.,   Los   Angeles,    Calif.      Phone:     REpublic   3171. 

FOR  SALE— CAMERAS 

SILENT  BELL  &  HOWELL,  40-50-75  F  3.5  lenses;  Fearless  move- 
ment; Sunshade;  Matte  Box;  two  400-ft.  magazines;  B.  &  H.  tripod; 
carrying  cases.  Price  $750.  Art  Reeves,  645  No.  Martel  Ave.,  Holly- 
wood. 

LEICA  CAMERAS — New  and  secondhand — used  Leica  Enlarger — 5x7 
Graflex.  Fine  grain  enlarging  photo  supplies.  Morgan's  Camera  Shop, 
6305    Sunset    Blvd.,   Hollywood. 

FOR  RENT— CAMERAS 

TWO  THOROUGHLY  silenced  Mitchell  cameras.  Follow  focus  device. 
Pan  Astro  lenses,  Frcchcad — 1000  ft.  magazines.  J.  R.  Lockwood,  523 
No.    Orange   St.,   Glendale.      Douglas   3361-W. 

WANTED  TO   BUY— CAMERAS 

BELL  &  HOWELL  late  model  35  mm.  camera — suitable  for  trick 
work — and  in  first  class  condition.  Must  be  cheap  for  cash.  Send  all 
particulars  to  Box  105 — The  International  Photographer. 
MITCHELL  CAMERA,  fully  equipped.  Must  be  cheap  for  cash.  State 
camera  number  and  give  list  of  equipment  and  price.  Box  110 — The 
International   Photographer. 

WANTED  FOR  CASH — Light,  steady  flat  top  tripod — Akeley  legs  pre- 
ferred  but  not  essential.  Newsreels  Dept.  International  Photographer  or 
GR.   6698. 

WANTED — One    dozen    5x7    Graflex    double    film    holders,    must    be    a 
bargain   for  cash.      Erickson,    Box   15,   International   Photographer. 
LENS    WANTED — 4    inch    focal-length — F.2.5    or    faster — with    or    with- 
out    mount.      Astro   or   Cooke   preferred.      Elmer   Dyer,    108   So.    La    lolla, 
Hollywood,   Cal.      WYoming  8308. 

FOR  SALE  OR   RENT— MISCELLANEOUS 

MITCHELL    MOTOR— 1000    ft.    Mitchell   magazines.     J.   R.    Lockwood, 

Glendale.      Douglas   3361-W. 

FRESH  NEGATIVE  short  ends — Eastman  and  Dupont.  Kinema 
Krafts   Kompany,    6510    Selma   Ave.,   Hollywood. 

ONE  SET  of  4  inch  condensing  lenses  in  mount.  First  class  condition. 
Box   120 — The  International   Photographer. 

BUYERS  READ  these  classified  advertisements  as  you  are  now  doing. 
If  you  have  something  for  sale  or  exchange — advertise  it  in  these  col- 
umns. THE  INTERNATIONAL  PHOTOGRAPHER,  1605  No. 
Cahuenga  Ave.,   Hollywood. 

CAMERA  REPAIRING 

BELL  &  HOWELL  cameras  with  old  type  shuttles  silenced.  $150. 
Hollywood  Motion  Picture  Equipment  Co.,  645  No.  Martel  Ave., 
Hollywood. 


MACHINE  SHOPS 


PRECISION   WORK — Motion   Picture   Machinery.      Special  film   sprock- 
ets  made.      Austin    Tool    &    Machine    Co.,    1081    N.    Wilton.      GLadstone 

Hioc 


FOR  SALE— LIGHTS 


CRECO,    24-inch    Standard    Studio   incandescent   lights,    also    18-inch   Arc 
Mutes.      Box    10A,    International    Photographer. 

STANDARD  STUDIO  80-amp.  Rotary  Spotlights;  good  condition.     Box 
10B,    International   Photographer. 


WATCHMAKER 


SPECIALIZING  in   Swiss  and   American  watches,   Stop   Watches.     Only 
high   class   workmanship.   Harold   Reid,   6248   Santa   Monica   Blvd. 


S.  M.  P.  E.  SEES  RELIEF  PICTURES 

(Continued  from  Page  12) 

a  semi-transparent  plane  mirror  which  reflects  them  off 
at  right  angles. 

At  the  new  focus  of  the  mirror  which  has  been  thus 
established,  a  group  of  images  of  the  object  are  formed, 
one  for  every  possible  viewpoint  around  the  concave  mir- 
ror. These  images  are  superposed,  but  it  is  possible  to 
disentangle  them,  since  the  rays  which  form  each  one 
differ  in  the  direction  from  which  they  approach  the 
focal  plane. 

The  discrimination  between  images  is  effected  by  in- 
terposing a  glass  screen  of  fine  concave  grooves.  This 
breaks  up  each  image  into  a  series  of  lines  spaced  regular- 
ly across  a  photographic  plate.  In  the  space  between 
adjacent  strips  of  one  view  appears,  in  order,  a  strip 
from  each  other  view,  so  that  if  one  eye  of  the  observer 
could  see  but  one  family  of  strips,  it  would  perceive  the 
picture  as  viewed  from  one  point  on  the  concave  mirror 
as  though  seen  through  a  grille  of  thin  vertical  wires. 
Precisely  this  effect  is  achieved  by  making  a  lantern 
slide  from  the  plate  and  projecting  it  upon  the  back 
of  the  glass  screen  described  in  an  earlier  paragraph.  It 
will  now  be  understood  why  each  eye  of  the  ultimate 
beholder  sees  a  different  picture,  the  difference  being 
that  of  beholding  the  original  scene  from  two  viewpoints 
a  few  inches  apart.  Stereoscope  vision  is  thus  attained, 
and  those  who  have  seen  Dr.  Ives'  laboratory  set-up 
have  reported  that  the  effect  of  depth  is  well  marked. 

To  make  a  motion  picture,  it  is  necessary  to  project 
successively  varying  pictures  on  the  screen.  It  will  be 
appreciated  that  the  minute  accuracy  necessary  to  register 
a  fine  structure  of  lines  exactly  upon  a  series  of  rods 
can  only  be  secured  by  glass  plates  firmly  but  adjustably 
mounted  on  a  rigid  moving  support.  Dr.  Ives  there- 
fore affixed  his  series  of  32  transparencies  to  a  rotating 
disc  so  that  each  plate  could  be  separately  orientated 
in  the  optical  system.  Since  the  pictures  do  not  halt 
in  the  projection  gate,  it  was  necessary  to  flash  a  light 
through  each  as  it  reached  the  projection  point.  All 
in  all,  the  size  and  delicacy  of  the  apparatus  emphasize 
Dr.  Ives'  caution  that  commercial  application  seems  re- 
mote, while  the  lifelike  quality  of  the  moving  image  is 
convincing  evidence  that  another  milestone  has  been 
passed   in   the  development  of   motion   pictures   in   relief. 

THE  INTERNATIONAL  PROJECTIONIST 

THE  INTERNATIONAL  PROJECTIONIST,  a  monthly  magazine 
published  in  the  interests  of  the  projectionist.  Interesting,  instructive. 
Yearly  subscription  U.  S.  and  possessions,  $2 ;  foreign  countries,  $2.50. 
James  J.   Finn   Publishing   Corp.,    1    West   47th   St.,   New   York. 

FINANCIAL  BACKING  WANTED 

CAMERAMAN  of  world-wide  experience  wants  responsible  party  to 
finance  series  of  pictures  to  be  made  in  South  Sea  Islands ;  has  own 
equipment,  stories,  etc.  ;  excellent  opportunity ;  best  of  references.  Box 
99,   International    Photographer. 

HALL— FOR  RENT 

THE  PARAVAL  DANCE  CLUB  Ballroom,  Cardroom,  and  Kitchen— 
Completely  Equipped — Aavailable  certain  davs  or  evenings.  For  informa- 
tion,  Call   MO.   18414. 

THE  INTERNATIONAL  PHOTOGRAPHER 

SPECIAL  OFFER  for  limited  time  only.  One  year  of  12  issues  for 
$2.  The  most  instructive  and  interesting  magazine  published  on  the 
making  of  motion  pictures.  The  International  Photographer,  1605 
Cahuenga   Ave.,    Hollywood,    California. 

TAILORING 

KROZEK-BRASEC  TAILORS,  highest  class  tailoring  only.  12  years 
this   location.      Still    believing   in   good   work.      6236    Santa   Monica    Blvd. 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


June,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Forty-seven 


SOUND  ON   FILM 

1NIM  II  II  IIONI 

Victor  Animatograph  Corporation,  Davenport,  la., 
announces  that  actual  production  of  the  new  Sound-on- 
Film  Animatophone  is  well  under  way  and  that  first  de- 
liveries will  be  made  about  June  1st. 

Except,  perhaps,  for  the  truly  amazing  quality  of  its 
reproduction,  the  most  notable  features  of  the  Anima- 
tophone are  its  utter  simplicity  and  its  compact  arrange- 
ment. 

Threading  and  operation  are  no  more  complicated 
than  with  a  silent  projector.  The  sound  head,  comprised 
of  exciter  lamp,  lens,  sound  gate,  photo-electric  cell  and 
threading  rolls,  is  side-mounted  on  the  support  base  of 
the  projector  and  occupies  a  space  of  only  2^"x434"x6". 
The  highly  developed  amplifier   (5  tube)    is  mounted  at 


the  rear  of  the  projector  and  occupies  a  space  of  only 
6"x7".\8".  Auditorium  speaker  and  50-foot  cord  are 
housed  in  a  removable  side  of  the  projector  carrying  case. 
The  entire  equipment  in  carrying  case  weighs  only  fifty 
pounds. 

Many  months  have  been  spent  in  perfecting  the  S-O-F 
Animatophone  and  it  is  claimed  by  Victor  that  several 
optical,  mechanical  and  phonetic  features  have  been   de- 

1  veloped  which  have  made  possible  a  quality  of  reproduc- 
tion that  was  unhoped  for  in  the  beginning.     The  high 

1  frequency  range  which  has  been  attained  appears  to  be 
a  particular  source  of  pride  to  the  makers.     The  clear, 

1  natural  quality  of  the  sound  is  nothing  less  than  a  reve- 
lation, and  it  appears  to  be  entirely  free  of  waver. 

Sound  volume  and  picture  illumination  are  sufficient 
for  comparatively  large  school  and  church  auditoriums. 

It  is  understood  that  this  initial  model  of  the  S-O-F 
Animatophone  (which  is  surprisingly  low  priced)  may 
be  followed  with  a  "Blimp"  model,  and  possibly  a  com- 
bination model  which  will  include  the  sound-on-disc 
equipment  of  the  original  Sound-on-Disc  Animatophone. 

The  Animatophone  will  run  silent  as  well  as  sound 
film. 


WE     WANT 


8 

i 

$!  35  mm.,  travel,  fight,  thrill  and  curiosity  films,  from  all 
U  parts  of  the  earth  and  unusual  and  interesting  films 
g  depicting  the  life  and  habits  of  Asiatic  peoples  as  well 
as   others. 

Send   us   description   and   length   of  subject.   Cash  will   be 
remitted   for   any  subject   accepted. 

We  have  for  sale  negative  and  positive  short  ends, 
both  Eastman  and  Du  Pont. 

Continental  Film-Craft,  Inc. 

1611   Cosmo  Street  Hollywood,  Calif. 

Hatmtmatmmatnmmtmnmttttm 


| 

H 

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i 

H 

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Howard  Anderson 

Special  Effects 


Culver  City  3021 


FOR    RENT    OR   SALE 

MITCHELL  CAMERA 

Silenced  and   Rebuilt  by  Mitchell 
35   mm;   SO  mm;   75   mm;    105   mm 
Pan    Tachars    Lenses 
Mitchell    Motor      D.   B.  KEYES,   WYoming  6139 


Gear    Box 


CRestview   7255 


W.  A.  SICKNER 

FIRST  CAMERAMAN 
Complete  Akeley  Equipment 

HEmpstead   1128 


CLadstone    5083 


All  16  m.m.  Cine-Cameramen 

Do  You  Want   a   Year's  Subscription   of 

THE  INTERNATIONAL  PHOTOGRAPHER— FREE? 

This  Offer  Good  Until  October  1st,  1933 

For   Information    Write   Box    10X 

INTERNATIONAL  PHOTOGRAPHER 

1605    Cahuenga    Ave.  Hollywood 


Complete  STILL  Laboratory  Service 
RIES  b  FITZPATRICK 

Phone  CLadstone  1521 
1128  N.  LA  BREA  AVENUE  HOLLYWOOD 


Phone  CLadstone  4151 


HOLLYWOOD  STATE  BANK 

The  only   Bank   in  the   Industrial   District  of   Hollywood 
under  State  Supervision 

Santa   Monica   Boulevard  at  Highland  Avenue 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


Forty-eight 


The      INTERNATIONAL   PHOTOGRAPHE 


R 


June,  1933 


01  iGCxys 


QUICK  ACTION   NEEDED 


This  unusual  view  of  bird  life  brings  to  you  vividly, 
what  might  happen  when  word  goes  out  that  Warner 
Brothers  ivill  re-open  their  studios. 


Numerous  plans  have  been  put  forward  to  correct  the 
unemployment  situation,  but  the  fact  remains  there  are 
too  many  men  out  of  work.  President  Roosevelt  could 
correct  this  condition,  but  it  will  be  sometime  before  he 
will  be  able  to  come  to  the  coast.  In  the  meantime  I 
would  like  to  present  a  plan.  One  plan  is  just  as  good 
as  another,  especially  when  you  know  it  will  not  be  used. 
This  idea,  I  am  sure,  will  meet  with  the  approval  of  our 
organization,  but  I  doubt  if  the  studios  will  favor  it. 

I  gather  from  the  newspapers  that  at  the  present  time 
we  have  two  classes  of  workers.  Those  that  are  working 
and  those  that  are  not  working.  Those  that  are  working 
work  too  hard  and  those  that  are  not  working  do  not 
work  hard  enough.  The  first  thing  to  do  in  this  case 
is  to  find  a  happy  medium.  This  can  be  done  in  the  fol- 
lowing manner  by  making  the  work  easier  for  those  that 
are  working  and  making  work  for  those  that  are  not. 

For  every  unit  have  two  first  cameramen.  For  every 
first  cameraman  have  two  second  cameramen.  For  each 
cameraman  have  two  assistants.  This  is  just  the  begin- 
ning, but  you  can  see  how  it  will  help  things  along.  In 
addition  I  would  suggest,  if  permitted,  the  following  to 
be  assigned  to  each  unit.  One  load  upper,  one  unloader, 
one  oiler  upper,  one  wipe  offer,  one  lens  cleaner  and 
looker  through,  one  racker  over,  one  setter  up,  one 
knocker  down,  one  pan  upper,  one  tilt  downer,  one  tape 
taker  out,  one  tape  bringer  back,  one  follow  focuser,  one 
director  cusser,  one  belt  feeler,  one  thread-up  look  atter, 
one  buckle  listener,  one  "camera's  ready"  shouter,  one 
script  girl  talker  to,  one  chalk  carrier,  one  mark  feeter, 
and  one  'lights"  hit  and  killer. 

This  will  take  care  of  quite  a  few  people  and  will  soon 
have  the  wheels  of  industry  humming  again  and,  in  the 
event  there  were  still  some  men  out  of  work,  we  could 
place  several  with  each  unit  to  stand  around  and  tell  how 
they  would  light  the  set  if  they  were  doing  it. 

I  have  not  thought  of  a  name  for  this  plan  and  hardly 
think  one  is  necessary,  but  remember  if  you  suggest  one, 
via  mail,  it  is  a  postal  offence  to  use  obscene  language 
through  the  mails. 


RIBBING  A  RIBBER 

Mickey  Whalen  went  into  Sardi's  the  other  day  and 
asked  for  a  cut  of  rare  roast  beef  with  a  rib.  The  waiter 
brought  it  in  and  presented  him  with  a  check  for  $3.50. 

"What's  the  idea  of  this  check,"  asked  Whalen. 

"That's  the  'rib,'  "  replied  the  waiter,  as  he  picked 
up  a  $1.00  tip   (that  the  preceding  guest  had  left). 


WHAT'S  HER  NAME? 

There's  a  cutter  named  DORRIS, 
Who's  quite  often  sought, 

And  I'll  know  that  she's  for  us, 
If  we  have  beer  on  DROUGHT. 


BREAKING  INTO  BUSINESS 

Passing  a  store  the  other  day  at  1515  Cahuenga,  I 
noticed  a  man  knocking  a  hole  in  the  brick  wall.  Through 
the  cloud  of  dust  I  recognized  Faxon  Dean.  He  ex- 
plained that  he  was  opening  a  Camera  Rental  and  Sup- 
ply Company  and  that  the  hole  would  become  a  door, 
to  enable  his  customers  to  drive  into  the  parking  place 
in  the  rear  to  load  equipment.  Not  a  bad  idea,  but  the 
way  business  is  these  days  every  store  should  have  a  rear 
door. 


DO  YOU  KNOW 


That  Hulbert  Cosmo  (Bert)  Lynch  has  the  distinc- 
tion of  being  one  of  the  very  few  people  that  were  per- 
mitted to  fight  after  the  armistice  was  signed.  He  was 
a  boxer  with  one  of  the  welfare  organizations. 

That  our  Mrs.  Lincoln,  Hal  Mohr,  Jerry  Ash  and 
George  Lancaster  were  school  mates  (in  different  schools) 
in  Cow  Hollow    (San  Francisco  to  us)   some  time  ago. 

That  Herb  Aller's  (Asst.  Business  Mgr.)  office  is 
referred  to  as  the  confessional. 

That  the  boys  in  the  recreation  room  are  doing  their 
bit  towards  helping  business  pick  up.  They  are  now 
playing  Russian  Bank,  which  requires  two  decks  of  cards. 

That  Otto  Himm  sang  in  a  quartette,  on  the  stage, 
for  two  years  and  then  went  with  Selig  in  1906. 

That  Sid  Hickox  rated  Chief  Photographer  in  the 
U.  S.  N.  Air  Service  and  was  with  Biograph  in  1915. 

That  Henry  Kruse  saw  his  name  on  the  screen  for 
the  first  time  recently.  He  was  given  screen  credit  for 
the  musical  score.     Yep!     In  the  Scandinavian. 

That  Jackson  Rose  used  the  first  Bell  &  Howell 
camera  on  production.     Argue  with  him,  I'm  busy. 

That  Dwight  Warren  wras  born  at  Eagle  Rock  and 
has  been  with  Educational  for  years,  regardless. 

That  Harry  Perry  and  Vernon  Walker  are  ex- 
punchers  from  Colorado.  Thev  punched  tickets  in  the 
office  of  the  D.  &  R.  G.  Railroad. 

That  for  two  dollars  (at  the  present  time)  you  can 
have  this  magazine  sent  to  man,  woman  or  child  for  12 
issues  and  I'm  sure  they  will  like  it.     Subscription  blanks 


in  each  copy. 

PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


WHAT 

1933  DEMANDS 

»  »  »  I  NOT  simply  quality,  but  FIRST 
quality,  is  the  watchword  today.  The 
pictures  that  "go  over  big"  are  being 
made  under  conditions  and  with 
materials  that  promise  nothing  but 
outstanding  excellence... So  look  to 
your  film!  Use  Eastman  Sound  Re- 
cording Film,  and  you  can  be  sure 
that  the  sound  you  work  so  hard  to 
perfect  will  come  out  unimpaired 
through  the  silvered  screens  of  a 
critical  movie  world.  This  film  gives 
what  ig$3  demands!  Eastman  Kodak 
Company,  Rochester,  New  York. 
(J.  E.  Brulatour,  Inc.,  Distributors, 
New  York,  Chicago,  Hollywood.) 

EASTMAN 

SOUND    RECORDING    FILM 


For  Efficiency  of  Operation- 


Your  camera  must  be 
in  first  class  condition 


Our  staff  of  trained 
camera  maintainance 
experts — 

Together  with  a  com- 
plete supply  of  parts — 
enables  us  to  render 
prompt  and  efficient 
service  on  all  repair 
work* 


Mitchell  Camera  Corporation 


665  N.  ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD,  CALIF. 


Cable  Address  "MITCAMCO' 


Phone  OXford  1051 


HOTOGRAPHER 


H  YEAR 


HOLLYWOOD 


JULY   1933 


;   CENTS 
,   A  COPY 


Rehearsal  scene  for  "Footlight  Parade"  A  new 
Warner  Bros. -First  National  Production 


Cover  by  Bert  Longworth 


lOTION    PICTURE    ARTS    AND    CRAFTS 


THE  <0> TRADE  MARK  HAS  NEVER  BEEN 
PLACED  ON  AN  INFERIOR  PRODUCT 


In  BRIGHT  SUNLIGHT 
or  DEEP  SHADOW 

Under  INCANDESCENT 
or  ARC  LIGHT 


PANCHROMATIC 

will  give  better  results  than 
are  otherwise   obtainable 


SMITH  &  ALLER,  LTD. 

6656  Santa  Monica  Boulevard  Hollywood  5147 

HOLLYWOOD,  CALIFORNIA 


PACIFIC  COAST  DISTRIBUTORS  FOR 

DuPONT  FILM   MFC.  CORP. 

35  West  45th  Street,  New  York  City 


INTERNATIONAL 
PHOTOGRAPHER 

MOTION   PICTURE  ARTS  AND  CRAFTS 


Vol.   5 


HOLLYWOOD,  CALIFORNIA,  JULY,   1933 


No.   6 


Howard  E.  Hurd,  Publisher's  Agent 

Silas  Edgar  Snyder,  Editor 

Ira  Hoke,  Associate  Editor 

Edward  T.  Estabrook,  Manager 

Lewis  W.  Physioc,  Fred  Westerberg,  Technical  Editors 

John  Corydon  Hill,  Art  Editor 

A  Monthly   Publication    Dedicated   to   the   Advancement   of  Cinematography   in   All 

Its  Branches;    Professional  and   Amateur;   Photography;   Laboratory  and   Processing, 

Film  Editing,  Sound  Recording,  Projection,  Pictorialists. 


THE   COVER— BERT   LONGWORTH,   Warner   Bros.-First    National 
WONDERS    OF    INFRA   RED        ----------       2 

By  Elmer  Dyer 
TELEVISION— AN    INTERVIEW        -       - -       -       3 

Answers  by  Harry  R.  Lubcke 
AKERS'    FEATHERWEIGHT    CAMERA         -------       5 

By  Irving  Alters 
CHAPLIN    (There's  Only  One)       ----------       6 

By  Earl  Thcisen 
REAL  RAIDS  BY  BOLD  PIRATES      ---------       9 

Editors 
LIGHT    FILTERS,    ETC.  -       - -       -     11 

Emery  Huse  and  Ned  Ian  Buren 
POWER  LEVEL    IN   AUDIO   AMPLIFICATION        -       -       -       -       -     13 

By  Charles  Felstead 
PRACTICAL  LEICA  AT  WORLD'S  FAIR      -------     14 

By  Alvin   fVyckoff 
CINEMATOGRAPHIC    COMPOSITION  -------     16 

By  Eugene  J.  Cour 
DEBRIE  SUPER-PARVO  CAMERA     ---------     18 

By  Alvin  JVyckoff 
NEW  DEVELOPMENTS  IN  ILLUMINATION -     19 

Contributed 
TRI-CHROMATIC    CAMERA        ----------     22 

By  James  Doolittle 
JUNIOR  MOTION  PICTURE  CAMERA  NOTES        -----     23 

By  George  J.  Lancaster 
BRULATOUR   BULLETIN       -       -       -       -       -       -       -       -       -       -    24  &  25 

CHEMISTRY  OF  DEVELOPMENT     ---------     26 

By  W arren  S.  Transue 
AUTOMATIC   SPEED    CONTROL 29 

By  Neil  P.  Jack 
TY'S  HOLLYWOOD  NOTE  BOOK     ---------     30 

By  Ty 
"WHAT'S  HOLDING  US  UP?"     -       -       -       - 32 

By  Otto  P/iocus 
CINEMATOGRAPHER'S  BOOK  OF  TABLES       -       -       -       -       -    33  &  34 

By  Fred   W csterberg 

TEK-NIK  TOWNE      -       -       - -       -       -    36  &  37 

THE    FIRING    LINE  -----------    38  &  39 

OUT    OF    FOCUS ------     46 

By  Charles  P.  Boyle 
CHAPLIN  CARTOON 

By  Rollie  Totheroh 


Entered    as    second    class    matter    Sept.    30,    1930,    at    the    Post    Office    at    Los    Angeles, 
California,  under  the  act  of   March  3,   1879. 


Copyright    1933    by   Local    659,    I.  A.  T.  S.  E.    and    M.  P.  M.  O.    of    the    United    States 

and  Canada 


Office    of    publication,    1605    North    Cahuenga    Avenue,    Hollywood,    California 

HEmpstead   1128 

James   J.    Finn,    1    West   47th    St.,   New  York,    Eastern   Representative 

McGill|s,   179   and   218   Elizabeth   St.,    Melbourne,   Australian   and   New   Zealand   agents. 

Subscription    Rates — United    States   and    Canada,    $3    a   year.      Single   copies,    25    cents. 


This   Magazine   represents  the  entire   personnel  of  photographers   now  engaged   in 

professional  production  of  motion  pictures  in  the  United  States  and  Canada.     Thus 

THE  INTERNATIONAL  PHOTOGRAPHER  becomes  the  voice  of  the   Entire  Craft, 

covering  a  field  that  reaches  from  coast  to  coast  across  North  America. 

Printed  in  the  U.  S.  A.  at  Hollywood,  California 


A  Few  Good  Things  in  Our 
August  Edition 

Herford  Tynes  Cowling  will  resume  his  in- 
teresting trip  AROUND  THE  WORLD.  This 
time  he  leads  us  along  "The  Road  to  Man- 
dalay." 


Karl  A.  Barleben,  jr.,  F.R.P.S.,  will  take 
us  "Flying  with  the  Leica  Camera,"  accom- 
panied by  Clarence  Chamberlain  and  Ruth 
Nichols. 


Paul  Perry  will  tell  of  his  recent  location 
work  in  Ceylon  and  of  photographing  the 
Sultan  of  Solo. 


Ray  Fernstrom  will  be  back  with  his  first 
installment  of  The  Newsreel  World  from 
Europe.      Don't  miss  it. 


Earl  Theisen,  Honorary  Curator  of  Motion 
Pictures  for  L.  A.  Museum,  our  clever  his- 
torian, will  present  you  with  an  amazingly 
interesting  story  of  tfre  Screen's  most  famous 
woman — that  immortal  artiste,  business 
woman  and  American  institution — Mary  Pick- 
ford. 


"Aerial  Photography,"  by  Lieut.  R.  S.  Ma- 
crum,  U.  S.  Air  Corps,  Commanding  Officer 
First  Photo  Section,  Brooks  Field,  Texas.  Con- 
tributed by  John  L.  Herrmann,  Paramount 
News,  Local  644. 


Emery  Huse  and  Ned  Van  Buren  offer 
Part  II  of  their  comprehensive  series  on 
"Light  Filters  from  the  Cinematographer's 
Viewpoint." 


Mr.  Geoffrey  Hodson,  noted  English  lec- 
turer and  author  will  present  an  intensely 
interesting  article  on  that  fruitful  subject, 
"The    Fourth    Dimension." 


OUR  COVER  FOR  JULY 

The  attractive  still  which  makes  up  the  front 
cover  of  the  current  edition  is  the  contribution 
of  Mr.  Bert  Longworth,  of  Warner  Brothers-First 
National.  The  subject  chosen  by  Mr.  Longworth 
is  a  scene  from  "The  Footlight  Parade,"  a  beau- 
tiful opus  now  in  process  of  production  at  the 
San  Fernando  Valley  studios.  It  is  a  between 
scenes  shot  with  the  technical  crew  entirely  at 
the  service  of  the  still  man.  Among  those  pres- 
ent on  the  set  are  Busby  Berkeley,  director; 
Sol.  Polito,  chief  cinematographer;  Mike  Joyce, 
operative  cameraman;  Louis  De  Angelis,  assistant; 
Ceo.  Whittemore,  electrician;  Ceo.  Amy,  film 
editor;  Billy  Cannon,  assistant;  Ollie  Carrett, 
sound  engineer;  Harold  Noys,  grips;  Cene  Delaney, 
props;  Irva  Ross,  script.  To  the  right  of  Mr. 
Polito,  who  is  leaning  on  the  camera  tripod,  is 
Ruby  Keeler,  star  of  the  musical  sequences  of 
"The  Footlight  Parade,"  photographed  by  Mr. 
Polito.  Mr.  Ceorge  Barnes  is  photographing  the 
dramatic  sequence,  featuring  Joan  Blondell  and 
James   Cagney. 


SERVICE  ENGRAVING  CO 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


Tivo 


The      INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


Wonders  of  Infra  Red 


For  the  First  Time  This  Strange  Film  1%  Taken  Above 

the  Clouds  in  Motion  I  m  Ins i   Work 

By    ELMER    OVER 


v n IIP ;  M  2 


Elmer    Dyer,    aerial    cinematographic    ace    in    his 
flying   togs.      Note  camera  mount. 


For  the  first 
time  we  have  tak- 
en Infra  Red  film 
above  the  clouds 
in  motion  picture 
work  for  motion 
picture  producers. 
After  making  ex- 
haustive tests  and 
experiments  with 
the  film  we  had 
on  hand,  which 
w  a  s  super  -  pan- 
chromatic, it  was 
impossible  to  se- 
cure the  results 
the  director  want- 
ed and,  until  the 
time  I  had  used 
Infra  Red,  we 
had  not  been  able 
to  get  results  that 
showed  a  moon- 
light effect.  We 
got  some  very  good  night  quality  insofar  as  looking  like 
night,  but  nothing  like  brilliant  moonlight  night. 

The  heads  of  the  different  departments  at  M-G-M 
were  skeptical  as  to  whether  they  should  be  able  to  let 
the  sequence  go  through  in  the  picture  "Night  Flight." 
After  spending  several  hours  with  the  director  and  getting 
his  idea  as  to  what  really  was  wanted  I  was  convinced 
that  I  could  arrive  at  the  effect  in  some  way. 

Having  had  experience  with  Infra  Red  in  a  picture  I 
had  worked  on  with  Hoot  Gibson,  Harry  Neumann,  chief 
cameraman,  I  had  a  fair  idea  of  what  to  do  with  the  film 
and  although  I  had  not  said  anything  about  that  type  of 
film  to  anyone  around  the  M-G-M  lot  I  had  it  in  mind 
in  the  event  I  ran  into  insurmountable  difficulties  with 
our  regular  film. 

When  I  first  came  upon  the  film  it  was  introduced  to 
me,  as  aforesaid,  by  Harry  Neumann.  He  gave  me  a  roll 
of  it  and  handed  me  a  filter  which  to  me  seeemed  prac- 
tically opaque.  I  thought  it  was  a  gag  and  said :  "You 
might  as  well  give  me  a  piece  of  burlap  to  shoot  through." 
I  asked  him  if  he  wanted  to  get  me  kicked  off  the  job. 
This  produced  several  laughs,  but  I  was  told  to  put  the 
filter  on,  pull  everything  wide  open  and  shoot.  The 
reader  may  imagine  my  embarrassment  when  I  got  into 
the  projection  room  and  saw  the  beautiful  stuff  I  had 
made,  for  this  film  has  surprising  qualities  for  certain  ef- 
fects that  cannot  be  obtained  in  any  other  way. 

Great  distances  can  be  covered  if  the  proper  filters  are 
applied  and  the  proper  exposure  given.  I  do  not  claim  to 
be  an  authority  on  this  film,  but  my  last  experience  has 
caused  me  to  be  very  enthusiastic  and  as  I  go  along  in  this 
business  I  am  the  more  convinced  that  there  is  nothing 
impossible  in  the  way  of  effects  to  be  produced  through 
the  medium  of  film  in  a  motion  picture  camera. 

IT. EASE  MENTION   THE  INTERNATIONAL  PHOTOGR 


For  many  years  I  had  tried  to  sell  to  some  director  or 
producer  the  idea  of  making  a  night  sequence  above  the 
clouds.  Everyone  had  always  given  me  the  same  answer 
— he  did  not  think  it  could  be  put  over — so  when  I  came 
upon  that  M-G-M  story  and  was  told  that  the  whole  se- 
quence rested  upon  the  beauty  of  the  photography,  that 
it  was  straight  flying  and  no  stunting  and  that  it  had  to 
be  done  to  convey  an  idea  of  beauty  in  moonlight  effect 
I  told  Mr.  Clarence  Brown,  the  director,  that  he  was 
throwing  something  in  my  lap,  as  here  was  something  I 
had  wanted  to  do  for  years  and  that  I  was  immensely 
pleased  to  get  the  break. 

I  must  say  that  the  co-operation  I  was  given  by  the 
heads  of  various  departments  at  M-G-M  is  certainly 
worthy  of  comment.  I  was  accorded  every  possible  sup- 
port by  all  concerned.  But  knowing  that  the  department 
heads  were  skeptical  and  that  all  eyes  would  be  focused 
on  the  film  I  would  bring  back,  rather  than  making  me 
nervous  it  gave  me  an  incentive  to  fulfill  a  long  cherished 
ambition.  Now,  I  don't  mean  to  convey  that  this  film  is 
anything  new  or  different  or  that  I  am  the  first  one  to 
use  it,  but  I  do  mean  that  I  have  demonstrated  a  new 
angle  on  aerial  photography  which  naturally  will  open  up 
a  greater  field  for  beautiful  scenes  above  the  clouds. 

In  making  these  scenes  I  found  out  that  I  could  get 
great  distance.  Some  clouds  were  recorded  by  the  camera 
that  were  easily  150  to  200  miles  away  from  the  scene  we 
were  actually  photographing.  Upon  this  occasion  I  was 
flying  at  an  altitude  of  10,000  feet,  approximately,  over 
Lake  Elsinore,  between  Riverside  and  San  Diego,  which 
I  roughly  estimate  to  be  a  distance  of  about  55  miles. 

Before  making  the  scene  I  took  a  look  at  the  back- 
ground to  be  sure  there  was  no  earth  showing,  because 
we  were  supposed  to  be  far  above  the  clouds  in  the  moon- 
light.    There  was  no  sign  of  earth  and  no  holes  in  the 


Mr.  Dyer  scouting  for  locations  high  above  the  clouds  in  Colorado. 

clouds.  All  that  was  visible  was  a  misty,  hazy  back- 
ground. To  our  amazement  when  we  finally  ran  this 
film  the  following  evening  in  the  projection  room  with 
the  director  and  several  department  heads  present,  there 
was  the  bay  between  San  Pedro,  Wilmington,  Long  Beach 
and  the  Palos  Verdes  Hills — and  they  were  very  clear  and 
distinct. 

An  Infra  Red  filter  and  Infra  Red  film  had  cut  away 
the  mist  and  haze  and  opened  up  an  entirely  new  view  for 
the  eye  of  the  camera.     Of  course,  I  was  chided  by  the 
(Turn  to  Page  41) 

\THER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


July,  1933 


T  h 


INTERNATIONAL       PHOTOGRAPHER 


Three 


[Mr.  Harry  R.  Lubcke,  the  efficient  director  of 
television  of  the  Don  Lee  Broadcasting  System,  was 
born  in  Alameda,  California,  August,  1906.  Educated 
at  the  U.  of  C,  B.S.  degree.  Writer  for  radio  maga- 
zines 1922  to  1929.  Asst.  Director  of  Research  Tele- 
vision Laboratories,  Inc.,  San  Francisco,  1929-1930. 
Member  Institute  of  Radio  Engineers,  Phi  Beta  Kappa, 
Tau  Beta  Pi,  Sigmi  Xi.  Married  to  Dorothy  |ane  Por- 
ter. This  interview  with  Mr.  Lubcke  is  illuminating 
and  important  to  everyone  interested  in  television 
cinematography,  radio  and  the  theatre.  Cameramen, 
especially,  will  take  notice.  In  this  connection  Mr. 
Don  Lee  deserves  immense  credit  for  his  pioneering 
in  television  on  the  West  Coast,  a  work  pursued  with 
fine  intelligence,  courage  and  at  great  expense  without 
return. — Editor's   Note.] 


TELEVISION 


An  Interview 


Answers    by    HARRV    R.    LUBCKE 


1.  What  were  the  beginnings  of  television  and  when? 

Ans.  The  beginning  of  television  can  be  most  nearly 
identified  with  the  invention  of  Niplcow  of  Germany  of 
his  "Electrical  Telescope"  on  which  he  received  German 
Patent  No.  30105  in  January  of  1884.  This  invention 
gave  the  world  the  scanning  disk  to  which  television  has 
been  wedded  in  some  form  or  another  almost  to  the 
present  day,  as  well  as  the  fundamental  idea  in  picture 
transmission  of  cutting  the  scene  into  narrow  strips  and 
sending  one  after  the  other  successively,  to  be  re-assembled 
into  the  original  picture  at  the  receiving  station.  Eck- 
strom  in  his  Swedish  patent  No.  32220,  February,  1912, 
disclosed  the  flying  spot  method  of  television  which  has 
enjoyed  considerable  use. 

The  Bell  Telephone 
Laboratories  and 
groups  in  Germany  and 
elsewhere  gave  the  first 
demonstrations  of  what 
might  be  termed  present 
day  television  in  1927. 
Nipkow  and  Eckstrom 
lacked  many  necessary 
devices  for  the  carrying 
out  of  their  ideas,  among 
which  were  the  modern 
photo-electric  cell,  the 
modern  radio  vacuum 
tube,  and  the  modern 
television  lamp. 

2.  Who  owns  and  con- 
trols the  basic  patents  on 
television  if  there  be  any 
patents? 

Ans.  The  patents  on 
the  basic  processes  of 
television  have  expired 
and  the  art  at  present  is 
founded  on  patent-free 
fundamental  principles, 
although  there  are  many 
patents  concerned  with 
the  refinements  and  ap- 
paratus necessary  to  pro- 
ducing workable  tele- 
vision. These  are  held 
by  the  Radio  Corpora- 
tion of  America  group 
which  includes  General 
Electric,  Western  Electric,  and  Westinghouse ;  by  Farns- 
worth,  of  Philco,  by  our  own  group,  and  by  others 
throughout  the  country. 


Harry  R.  Lubcke,  Director  of  Television  of  the  Don  Lee  Broad- 
casting System.  Showing  installation  of  Television  Receiver  in 
aeroplane. 


3.  What  were  the  beginnings  of  television  development  on 
the  West  Coast? 

Ans.  Television  Laboratory  work  was  started  in  San 
Francisco  in  1927  under  the  direction  of  Philo  Farns- 
worth  who,  since  1931,  has  been  associated  with  Philco 
in  Philadelphia.  This  work  was  of  purely  a  research 
nature  and  was  not  broadcast.  The  Don  Lee  Broad- 
casting System  started  television  research  in  late  1930 
and  by  late  1931  W6XAO,  the  ultra  high  frequency 
transmitter  was  broadcasting  television  images  on  a  regu- 
lar schedule. 

4.  What  has  been  your  part  in  television  evolution  here  in 
California? 

Ans.    The  work  of  W6XAO  continued,  and  by  May, 

1932,  the  first  television 
image  ever  received  in  an 
airplane  was  transmitted 
from  this  station  and  re- 
ceived in  a  Western  Air 
Express  tri-motored  Fok- 
ker  plane,  flying  over  the 
city  of  Los  Angeles.  A 
new  cathode-ray  type 
television  receiver,  devel- 
oped by  the  Don  Lee  or- 
ganization, w  a  s  used, 
and  made  the  reception 
possible,  in  that  it  would 
operate  and  remain  syn- 
chronized when  away 
from  power  mains  com- 
mon to  the  transmitter. 

On  the  first  anniver- 
sary of  W6XAO's  in- 
itial broadcast,  the  1000 
watt  television  transmit- 
ter W6XS  was  put  into 
operation.  This  trans- 
mitter being  of  greater 
power  was  heard  gener- 
ally throughout  the  coast 
and  Nation  and  by  Jan- 
uary, 1933,  its  images 
had  been  received  across 
the  continent  in  the  state 
of  Maine.  Television 
pictures  of  the  damage 
done  in  the  recent  earth- 
quake were  broadcast  by  W6XS  and  W6XAO  as  soon  as 
films  taken  in  the  stricken  area  could  be  rushed  to  the 
television  equipment,   presaging  handling  of  news  events 


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A  quiet  day  on  the  set  at  R-K-0  during  the  filming  of  the 
comedy-drama  "Rafter  Romance,"  featuring  Cinger  Rogers,  above 
left  and  Norman  Foster  right  of  center  above  .  William  Seiter 
directed;  David  Abel,  cinematographer;  Charles  Bohny,  assistant; 
Hugh    McDowell,   sound;    still   by  Alexander    Kahle. 


in  the  future  when  television  hecomes  more  common. 
W6XAO  and  W6XS  have  continued  to  transmit  tele- 
vision images  on  a  regular  daily  schedule  since  their  initial 
broadcasts,  sending  out  close-ups  of  movie  stars,  news 
reels,  shorts,  and  other  material.  This  continued  service 
has  aroused  public  interest  in  the  reality  of  television 
which  at  the  present  time  is  being  manifest  in  a  demand 
for  receiving  equipment  and  the  construction  of  same  by 
those  qualified. 

5.  Please    give    me    a    brief    sketch    of   your    work    in    television. 
Ans.      My   work    in    television    started    before    I    had 

graduated  from  the  University  of  California  in  the  sum- 
mer of  1929.  I  was  asked  by  Philo  Farnsworth  to 
undertake  a  special  problem  in  connection  with  his  work 
in  San  Francisco,  and  later  became  associated  with  his 
organization  as  Assistant  Director  of  Research.  When 
financial  stringencies  caused  a  complete  shutdown  of  the 
laboratory,  I  came  south  and  started  television  activities 
for  the  Don  Lee  Broadcasting  System. 

6.  How  far  around  the  corner  is  commercial  television? 

Ans.  This  is,  perhaps,  one  of  the  most  embarrassing 
questions  that  can  be  asked  to  one  closely  connected  with 
television.  Many  experts  have  already  become  false 
prophets  and  those  that  are  left  are  wise  enough  not  to 
give  an  answer.  I  believe,  that  television  is  not  coming 
around  a  corner,  but  by  a  long  gradual  curve,  and  that 
some  day  it  will  be  upon  us  without  our  having  realized 
that  it  has  arrived.  I  expect  that  the  development  will 
be  gradual,  and  that  although  there  will  be  landmarks 
and  days  on  which  the  public  talks  more  about  television 
than  others,  its  acceptance  will  be  a  gradual  process. 
The  Federal  Radio  Commission  has,  of  course,  ruled 
television  experimental  and  until  that  ruling  is  changed, 
the  transmission  of  sponsored  programs  is  impossible. 
Just  as  radio  broadcasting  was  changed  from  an  experi- 
mental basis  to  a  commercial  basis  and  all  the  stations 
lost  their  number  prefixes  and   took  on   Ks   and   Ws,   as 


KHJ   and  WABC,  so  some  day  W6XS   and  W6XAO 
will  become  K  this  and  K  that. 

7.  How  long  before  a  system  of  television  can  be  evolved  that 
will  equal  in  a  general  way  the  present  status  of  radio  broadcasting? 

Ans.  About  twice  as  long  as  it  will  take  to  come 
around  the  corner.  After  television  receivers  are  avail- 
able on  the  market,  public  acceptance  and  familiarity 
with  them  must  be  built  up  until  they  are  willing  to 
make  the  necessary  expenditure  to  put  one  in  their  home. 

8.  Will  the  time  ever  come  when  television  receiving  apparatus 
will   become  as  cheap  and  efficient  as  radio  receiving  sets  are  now? 

Ans.  Yes.  Television  receivers  are  now  higher 
priced  than  radio  receivers  because  many  of  the  com- 
ponents thereof  have  not  been  reduced  to  quantity  pro- 
duction. When  this  has  been  accomplished,  there  is  no 
reason  why  they  cannot  be  as  reasonably  priced  as  the 
good  radio  receivers  of  today. 

9.  What  wili  be  the  effects  of  commercial  television  upon  the 
stage — the   motion    picture    theatre   and    industry    in    general? 

Ans.  I  believe  television  will  find  its  sphere  of  ac- 
tivity as  a  home  entertainment  and  as  such  will  not 
directly  compete  with  the  stage  or  motion  picture  theatre. 
It  will,  undoubtedly,  change  the  type  of  presentation  that 
we  will  go  to  the  legitimate  and  the  motion  picture  theatre 
to  see.  Many  people  believed  that  the  telephone  would 
destroy  the  usefulness  of  the  telegraph,  but  we  all  know 
that  this  was  not  the  case.  The  telephone  restricted  the 
field  of  the  telegraph  because  it  handled  certain  situations 
in  a  better  way,  but  they  both  enjoy  a  proper  field  of 
activity  at  the  present  time. 

The  attraction  of  a  crowd  will  still  cause  the  Ameri- 
can public  to  go  to  the  theatre  and  the  attraction  of  the 
living  presentation  will  cause  the  stage  to  survive  for  all 
time.  Football  stadiums  are  still  filled  by  folks  who  want 
to  be  there,  although  they  could  probably  find  out  more 
about  what  was  happening  by  staying  home  and  listening 
to  the  radio. 

There  is  no  doubt  that  television  will  help  industry 
in  general  by  creating,  as  it  will,  a  new  industry. 

When  television  has  reached  its  full  stature  it  is  en- 
tirely possible  that,  with  radio,  it  will  leave  its  present 
studios  and  emerge,  full  fledged,  upon  the  stage.  The 
radio-television  performance  of  that  day  will  be  so  nearly 
a  vaudeville  performance  or  play,  that  it  will  draw  a 
paying  house  in  its  own  right.  Many  will  come  to  see 
their  favorite  stars  perform  in  person. 

At  even  a  later  date  I  look  for  a  Renaissance  to  the 
legitimate  stage,  when,  having  reached  the  ultimate  in 
mechanistic  entertainment,  we  will  return  to  an  appre- 
ciation of  the  pure  art  of  the  stage.  I  believe  that  the 
stage  has  the  strongest  future  position  of  any  of  our 
present  day  theatrical  enterprises.  Television  and  radio 
by  that  time  will  have  become  necessities  of  life  as  we 
will  care  to  live  it. 

10.  Will  television  reception  in  the  home  ever  equal  the  motion 
picture  in  smoothness  of  detail  and  beauty? 

Ans.  Yes.  Motion  pictures  now  give  more  detail 
than  can  be  appreciated  by  the  eye.  When  the  psycho- 
logical limit  of  appreciation  of  the  eye  is  reached  by  tele- 
vision, it  will  be  on  a  par  with  the  motion  picture.  Just 
where  this  limit  stands  is  open  to  some  doubt,  but  a  pic- 
ture of  200  or  300  lines  will  probably  come  close  enough 
to  a  perfect  presentation  to  be  taken  as  such. 

11.  In  television  reception,  are  sound  and  vision  simultaneous 
as  in  sound  pictures  in  the  theatres? 

Ans.  Yes,  if  facilities  are  provided  for  both.  If  a 
human  subject  is  being  televised,  a  microphone  and  its 
accompanying  channel  of  communication,  as  well  as  tele- 
vision camera  and  its  channel  of  communication,  must 
be  provided  from  the  location  of  the  scene  to  the  viewer  s 
home.  This  is  generally  provided  by  two  special  chan- 
nels of  communication,  such  as  a  broadcasting  station 
carrying  the  sound  and  a  television  station  carrying  the 
(Turn  to  Page  18) 


PLEASE  MEXTIOX  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN'   CORRESPOND!  XC.   WITH    ADVERTISERS 


AKERS' 

FEATHERWEIGHT 

CAMERA 

By    IRVING     ikil   \ 


After  two  years  of  experimentation  on  his  feather- 
weight camera,  Irving  Alters  is  pushing  work  on  his  mar- 
ket model.  The  Hying  cameraman  expects  the  completed 
equipment  will  be  in  his  hands  by  Jul}'  1.  It  will  be  the 
fifth  of  its  line,  and  with  all  its  accessories,  such  as  motor 
and  magazine  and  200  feet  of  film,  will  weigh  approxi- 
mately ten  pounds.  That  is  a  pound  and  a  half  more 
than  the  fourth  experimental  model,  the  added  weight  be- 
ing designed  to  supply  abundance  of  rigidity  to  the  final 
product. 

When  it  is  considered  the  electric  motor  will  weigh 
three  and  a  half  pounds  and  the  magazine  and  film  two 
and  a  half  the  better  will  it  be  understood  what  Akers 
really  has  achieved  with  his  four-pound  camera.  The 
instrument,  by  the  way,  will  be  equipped  with  standard 
Mitchell  mount  lens  and  with  direct  prismatic  upright 
focusing  device. 

One  of  the  objects  aimed  at  by  the  inventor  was  the 
securing  of  a  camera  so  light  that  it  could  be  mounted 
on  the  tail  of  an  airplane  and  yet  permit  pilot  and  passen- 
gers to  survive  a  self-created  tailspin  without  undue  haz- 
ard. There  is  a  limit  to  the  weight  of  impedimenta  that 
may  be  annexed  to  the  tail  of  an  airplane  if  the  pilot 
plans  first  to  precipitate  a  tailspin  and  then  successfully 
to  navigate  his  ship  out  of  it. 

The  Akers  camera  has  been  silenced  for  sound.  To 
this  end  the  inventor  has  aimed  to  make  possible  its  use 
without  a  blimp  at  a  distance  of  six  feet  from  the  micro- 
phone. 

Interesting  to  cameramen  will  be  the  fact  that  the 
camera  may  be  mounted  on  a  16mm.  amateur  tripod.  The 
driving  motor  is  interchangeable  with  the  ordinary  syn- 
chronous motor  for  sound  work. 

Strong  claims  are  made  for  the  camera  for  the  pur- 
poses of  newsreel  men  and  explorers  as  well  as  for  action 
or  aerial  pictures,  trick  effects  shots  or  on  the  many  occa- 
sions in  cramped  quarters  when  use  of  a  standard  camera 
would  be  impossible.  It  is  said  to  be  the  only  electrically 
motor  driven  hand  camera  equipped  with  precision  regis- 
tration pins. 

For  spectacular  or  unusual  airplane  shots  the  camera 
may  be  mounted  on  airplane  tubing  six  feet  above  the  tail 
or  six  feet  off  the  wing  tip  either  fore  or  aft.  Tn  the 
case  of  either  of  these  set-ups  the  camera  is  operated  by 
wires  controlled  by  the  cameraman  in  the  cockpit. 

One  of  the  great  advantages  of  the  remote  control 
positions,  in  picture  work  especially,  is  the  fact  the  camera 
may  be  panned  the  full  circumference  of  360  degrees, 
showing  not  only  the  pilot  on  the  same  ship  but  also 
planes  in  front  and  to  the  rear  as  well  as  on  each  side. 

Through  the  two  years  of  experimental  work  Inventor 
Akers  has  been  materially  aided  by  Ray  Johnson,  motion 
picture  director  of  Hollywood.  R.  E.  Carpenter,  mem- 
ber of  the  sound  men's  organization,  has  collaborated  with 
the  inventor  in  perfecting  those  factors  pertaining  to  the 
recording  of  sound. 

Mr.  Akers  has  been  affiliated  with  International 
Photographers  in  Hollywood  for  several  years  and  in 
Chicago  prior  to  that.  His  first  work  in  motion  pictures 
was  in  1914  in  and  around  the  Essanay  studio  in  Chicago. 
In  the  latter  city  in  the  old  days  he  did  commercial  as 
well  as  production  work. 


No.  1 — Close-up  of  Irving  Akers  in  airplane  cockpit  with  experi- 
mental model  of  featherweight  camera  unmounted. 

No.  2 — Camera  mounted  on  wing  tip  showing  its  possible 
field  of  vision  when  operated  by  means  of  wires  controlled  by 
cameraman  in  cockpit. 


The  flyer-cameraman  was  the  first  aerial  newspaper 
photographer  in  Chicago.  And  right  there  on  that  par- 
ticular peg  hangs  a  tale  that  will  interest  all  news  men 
whether  ot  films  or  ink  as  well  as  all  cameramen. 

The  inventor  so  far  as  known  is  the  first  person  to 
have  developed  photographic  plates  using  an  airplane  in 
Might  for  a  darkroom.  Also  so  far  as  known  he  is  the 
first  person  to  have  lifted  from  the  ground  any  object  into 
a  flying  plane. 

One  striking  instance,  and  possibly  the  very  one  in 
which  the  double  record  was  established,  was  following 
the  Notre  Dame-Mkhigan  State  football  game  at  Ann 
Arbor  a  dozen  years  ago. 

The  cameraman  was  flying  over  the  field,  piloted  by 
Eddie  Stinson,  now  passed  on,  and  shooting  what  looked 
good  to  him.  Down  on  the  ground  Detroit  News  pho- 
tographers had  been  making  stills.  Twenty-four  plates 
were  packed  into  pillowcases  the  mysterious  disappear- 
ance of  which  was  noted  the  same  day  in  a  nearby  hotel. 

The  loaded  pillowcases  were  suspended  on  a  line  be- 
tween two  long  bamboo  poles.  That  was  the  signal  for 
Akers  to  get  set  with  a  grapnel  hook  suspended  at  the 
end  of  a  rope.  Eddie  gave  his  ship  the  gun  and  set  sail 
for  the  ground  the  while  the  cameraman  leaned  away  out 
over  the  side  with  none  too  secure  a  foothold. 

By  reason  of  much  skill  on  the  part  of  the  flyers  and 
a  measure  of  good  luck  the  hook  caught  and  the  plates 
were  hauled  aboard.  Seven  minutes  were  devoted  to  de- 
velopment. In  less  than  twenty  minutes  after  the  hook 
had  connected  with  the  pillow-cases  all  the  plates  with 
the  exception  of  one  broken  in  the  fall  had  been  safely 
landed  on  the  roof  of  the  News  building.  An  improvised 
parachute  was  responsible  for  that  phase  of  a  novel  news- 
paper beat. 

The  story  runs  that  within  less  than  an  hour  after 
the  last  shutter  had  clicked  on  the  field  the  News  was  on 
the  street  with  a  couple  of  pages  smeared  with  football 
pictures.  The  News  paid  the  flying  photographer  $250 
for  the  job. 

(Turn  to  Page  35) 


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Six 


The      INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


Who  will   f ilium   when   he   is  gone? 

Like  pilgrims  arriving  at 
a  shrine,  people  come  from 
all  parts  of  the  world  to 
Charlie  Chaplin's  gate. 
Here  they  arrive  early  in 
the  morning  and  at  times 
wait  all  day  with  the  hope 
of  seeing  their  Charlie. 

When  it  becomes  known 
that  Charlie  will  be  a  guest 
at  a  home,  people,  not  just 
one  or  two  but  dozens,  un- 
ashamedly climb  over  fences 
and   brazenly   look   in  win- 
dows.    They  permit  no  ob- 
stacles to  stand  in  the  way 
of  a  possible  chance   to  see 
him. 
That  truly  indicates  the  regard  the  world  has  for  the 
little  wistful  man  with  the  tight  coat  and   baggy  pants. 
What  person  does  not  love  him  and  his  so-hard  struggles 
(on  the  screen)   to  be  nonchalant  and  unbothered? 

Though  the  Chaplin  Screen  Personality  is  known  to 
the  farther  corners  of  the  world,  very  few  know  him 
in  real  life.  His  home  sits  like  a  feudal  castle  on  a 
hill ;  a  symphony  in  grey,  in  what  is  the  grimly  exclu- 
sive part  of  Beverly  Hills,  on  Cove  Way.  It  is  a  neigh- 
borhood of  high  fences  and  iron  gates  that  are  always 
locked ;  it  is  a  neighborhood  for  those  who  have  gone 
beyond   the  stage  where   public   acclaim   and   attention    is 


CHAPLIN 


By   CARL    I  III  I\l  s 

/ 

Honorary  Curator  Los  Angeles  Museum 


fascinating.  Here  Charlie  lives  not  for  the  distinction 
of  being  pointed  out,  but  because  he  wants  peace  from 
the  continual  attention  the  world  bestows  upon  him.  He 
is  considered  public  property  and  the  masses  who  have 
made  him  their  idol  want  to  look  in  on  him.  Neither 
Poe,  nor  Dante,  could  have  devised  a  greater  torment  than 
the  interminable  favor  of  the  public.  Of  Chaplin  it 
has  made  a  near  recluse. 

Charlie  was  born  in  Walworth,  in  Surrey  County, 
South  London,  on  April  16,  1889 — the  same  year  that 
Edison  demonstrated  the  first  motion  picture.  That  was 
forty-four  years  ago  and  with  the  exception  of  the  first 
few  minutes  Charlie  Chaplin  has  been  an  actor  ever  since. 
Both  his  parents  were  musical  comedy  stars.  During  the 
nineties  it  was  the  occupation  of  "good  fellows"  who 
needs  must  spend  their  small  earnings  to  maintain  their 
standing;  hence,  when  Charles  Chaplin,  the  father,  died, 
the  family  was  left  in  poor  circumstances.  His  mother, 
Lillian  Hurley,  had  to  provide  for  little  Charlie  and  his 
brother,  Sidney,  which  she  could  not  always  do.  For  a 
time  the  two  children  were  placed  in  an  orphanage  in 
Hanwell,  North  London.  Young  Charlie  tried  to  help 
financially  by  going  about  taking  pictures  with  a  cheap 
camera.  He  would  finish  the  pictures  himself  and  sell 
them  for  3  to  6  pence. 

The  scarcity  of  money  in  Charlie's  youth  and  his  boy- 
hood struggles  for  a  living  have  given  him  an  indefinable 
mellow  sweetness,  a  pathos  that  has  made  his  screen  per- 

No.   1  and   10  are  from  the  "Cold  Rush." 

Nos.  3,  4,  5,  6,  7  and  9  are  from  scenes  in  "The  Circus." 


The   "Cold    Rush."     Chaplin    is   at   the    camera    and 
his   cameraman,   Rolli.     ^otheroh,   is   looking  on. 

IT. EASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


sonality  so  lovable.  While  young  he  had  to  work  hard; 
in  mature  years  his  attention  to  work  did  not  wander. 
Money  did  not  interfere  with  his  career;  he  did  not  have 
to  crawl  away  from  under  piles  of  money  in  order  to 
see  what  he  wanted.  As  an  outgrowth  he  became  quite 
frugal;  in  fact,  there  is  a  tradition  that  he  still  has  his 
first  dollar;  but  that  is  wrong.  He  has  many  depend- 
ents and  today,  even  though  his  studio  is  not  operating, 
he  spends  each  week  as  much  as  $1500  for  studio  salaries 
alone. 

Recently  a  "fan"  magazine  published  an  article  to  the 
effect  that  even  though  Chaplin  is  rich  in  money  and 
fame,  he  is  lonely.  This  brought  a  deluge  of  letters,  some 
demanding,  some  pleading,  still  others  asking  for  his  ex- 
cess change.  Many  people  told  of  their  own  loneliness. 
One  woman  wrote  that  she  was  lonely,  too,  and  poor ! 
However,  she  was  certain  that  $5000  would  dissipate 
her  loneliness.  Could  he  send  her  this  amount  by  reiurn 
mail  ?  There  were  other  letters  from  people  in  all  parts 
of  the  world  asking  for  work.  There  were  letters  from 
those  who  think  they  resemble  Charlie ;  hence  they  would 
like  to  double  for  him,  particularly  at  social  functions 
that  he  does  not  wish  to  attend,  or  if  he  needs  a  double 
with  a  strong  arm  he  should  just  let  them  know  by 
return  mail. 

Fond  mothers  write  about  their  son,  "Give  my  boy  a 
chance — the  neighbors  all  say  he's  better  than  Jackie 
Coogan."  There  are  threatening  letters  from  cranks; 
there  are  love  letters,  too ! 

One  woman  in  the  Middle  West  wrote  asking  him 
to  send  some  money — the  children,  her's  and  Charlie's, 
were  crying  for  their  father  and  she  was  in  desperate 
need.  This  woman  became  so  insistent  in  other  letters 
that  she  was  investigated  and  found  to  be  a  poor  old 
demented  colored  woman. 

If  statistics  could  be  gathered,  it  would  not  be  sur- 
prising to  discover  that  he  had  been  asked  to  send  money 
to  pay  off  mortgages  on  every  fifth  home  in  the  United 
States. 

Wealthy  people  send  him  jewel-encrusted  trinkets, 
watches  having  cases  cut  from  crystal  or  inlaid  with  pre- 


No.  8,  Charlie  Chaplin  and   Ben  Turpin  in  "A  Night  Out"  which 
was  taken  at  the  Niles  Essanay  Studio. 


iiV      ' 

L 

Mr! 

L4/ 

HI       Mmm 

B  ■      -  ft 

r  v  V'' 

JBl      m 

w'" 

^HM^s^ 

mW- 

^^H  1 

How  the  third   person   in  a  crowd  should  look. 


cious  stones;  others  send  examples  of  their  handicraft. 
Others  send  sketches  that  are  to  be  autographed  and  then 
returned  to  the  sender.  And  a  host  of  others  having 
ulterior  motives  of  a  motion  picture  career  until  now  to 
"get  at"  him  is  not  easy. 

If  Charlie  Chaplin's  intimate  friends,  who  never  met 
him,  were  laid  end  to  end  they  would  reach  from  here 
to  Moscow,  or  a  mile  or  so  beyond. 

All  this,  coupled  with  a  youthtime  of  hard  work,  have 
made  of  him  a  retiring  and  sensitive  person.  The  under- 
standing and  sympathetic  portrayal  on  the  screen  of  the 
truly  human  characteristics  are  denied  him  in  his  daily 
life.  He  must  continually  be  on  guard  against  imposition, 
which  to  a  sensitive  and  poetic  person  is  distasteful  and 
harrowing.  Now  he  prefers  solitary  excursions  to  places 
where  life  is  untainted  by  the  knowledge  of  his  identity, 
that  he  might  enjoy  an  additional  freedom.  He  prefers 
the  company  of  a  ragged  youngster  with  a  pinched  face — 
a  face  made  wistful  by  trouble ;  a  youngster  who  knows 


(  Turn  to  Next  Page) 


Dr.  Albert  Einstein  and  Charlie  Chaplin  at  the 
preview  of  "City  Lights." 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WIT.         DVERTISERS 


Eight 


The      INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


how  to  sell  newspapers  and  who  knows  of   the   trouble 
in  being  caught  playing  "hooky." 

Often  he  will  take  a  can  of  sardines  and  go  into  the 
hills  on  lonely  excursions,  or  walk  down  the  boulevards, 
looking  neither  to  the  right  nor  left.     He  came  to  fame 


"Charlie  Chaplin,   he   has   the    wilfulness  of 
trying  to  do  the  best  he  can." — Time. 


a   little   fellow 


with  such  large  strides  that  he  has  had  no  time  to  encase 
himself  in  a  protective  armor. 

However,  when  he  wants  to  play  as  is  to  be  seen  by 
his  new  friends  in  those  whimsical  moments  when  his 
eyes  light  up.  Then  most  anything  may  be  expected  of 
him. 

He  was  discovered  for  the  screen  in  the  summer  of 
1913  by  Adam  Kessel,  of  the  New  York  Motion  Picture 
Company.  Kessel  stopped  in  to  see  the  bill  at  Hammer- 
stein's  on  Broadway.  As  Terry  Ramsaye  says,  "a  most 
amusing  little  cuss'  in  a  skit  entitled  "A  Night  in  a 
London  Club,"  attracted  Kessel's  attention  and  wrung 
a  laugh  from  the  weary  motion  picture  magnate.  Kessel 
went  backstage  and  offered  him  $75  a  week  to  appear 
in  Keystone  Comedies  which  were  being  released  through 
the  New  York  Motion  Picture  Company.  However, 
Chaplin  felt  he  was  doing  nicely  on  the  stage  and  he 
still  remembered  his  hard  days.  Besides  he  had  heard 
very  little  about  the  picture  of  which  Kessel  talked  so 
glowingly. 

Chaplin  had  been  cast  in  Karno's  "A  Night  in  a 
London  Club"  by  Alf  Reeves  in  1910,  in  London. 
Reeves  was  the  manager  of  this  Karno  show  which  had 
been  traveling  in  the  United  States  and  he  had  returned 
to  London  for  a  new  cast.  When  Reeves  saw  Chaplin 
who  was  playing  a  juvenile  part  in  another  Karno  show, 
"Jimmie,  the  Fearless,"  he  asked  for  Chaplin's  transfer 
to  his  company. 

When  the  cast  was  complete  for  the  new  show  it  in- 
cluded, beside  Reeves  and  Chaplin,  Stan  Jefferson,  who 
is  now  the  Laurel  half  of  the  Roach  team  of  "Laurel 
and  Hardy." 

Chaplin  considered  it  a  stroke  of  good  luck  to  be 
cast  with  Reeves,  since  "A  Night  in  a  London  L.iub 
had  been  showing  continuously.  The  play  had  been 
originated  in  1903  by  Alf  Reeves'  brother,  Billy  Reeves, 
and  it  is  of  interest  to  note  in  passing  the  play  has  been 
showing  in  London  from  1903  until  recently. 

In  the  meantime  Kessel  had  raised  his  original  $75 
offer   to  $150.     This  was   tempting  to   Charlie.      Reeves 


encouraged  him  to  accept  since  it  was  just  twice  the 
salary  Reeves  could  afford  to  pay.  Charlie  finally  agreed 
to  sign  for  Keystone  Comedies  upon  the  expiration  of  his 
contract,  which  was  in  November,  1913,  upon  the  com- 
bition  of  the  Karno  booking  at  the  Express  Theatre  in 
Los  Angeles. 

Mack  Sennett,  who  was  directing  for  Keystone,  met 
Charlie  and  signed  him  for  a  motion  picture  career.  That 
■was  a  day  of  achievement  for  the  screen. 

His  first  appearance  before  the  camera  was  in  various 
small  bits  which  were  photographed  by  Henry  Yallejo 
for  Mack  Sennett.  It  is  said  that  Mack  Sennett,  at 
first,  doubted  Charlie's  abilities. 

His  first  complete  picture  was  released  on  February 
2,  1914,  as  "Making  a  Living,"  and  was  directed  by 
Mack  Sennett.  In  this  picture  he  did  not  wear  his  now 
famous  make-up ;  but  instead  wore  a  long  mustache,  gray 
frock  coat  and  a  top  hat.  He  played  the  part  of  a  penni- 
less though  jaunty  adventurer. 

The  second  picture  was  "Kid  Auto  Races  at  Venice," 
released  on  February  7,  1914.  This  was  the  first  pic- 
ture in  which  he  introduced  the  tight  coat,  baggy  pants 
and  "Chaplin  Shuffle."  In  the  next  few  pictures  he 
varied  the  size  of  his  mustache  slightly,  and  in  "Mabel 
at  the  Wheel,"  released  on  April  18,  1914,  he  added  a 
small  chin  whisker,  or  goatee,  to  his  make-up.  Mabel 
Normand  played  with  him  in  this  picture. 

"Tillie's  Punctured  Romance"  was  the  first  six  reel 
comedy.  In  the  cast  of  this  feature  length  comedy,  be- 
sides Charlie  Chaplin,  were  both  Mabel  Normand  and 
Marie  Dressier.  Mack  Sennett  started  work  on  it  in 
April,  1914,  and  finished  it  fourteen  weeks  later.  This 
comedy  picture  was  a  boon  to  the  industry  at  this  time 
when  most  all  pictures  were  short  and  the  actors  "lousy." 

By  this  time  "Charlie"  was  a  household  word.  In 
France  he  was  known  as  "Chariot,"  and  in  Spain,  "Car- 
litos."  All  countries  had  pet  names  for  him  and  his  shuf- 
fle was  known  everywhere.  When  war  was  declared  in 
August,  1914,  there  were  just  two  things  in  the  papers; 
the  war  and  Charlie  Chaplin.  Alf  Reeves,  in  England 
at  this  time,  says  the  ragamuffin  snotty  nosed  kids  in  the 
streets  of  London  all  tried  to  mimic  Charlie  and  they  im- 
provised songs  such  as  this  parody  from  "Red  Wing": 

"Oh!  the  moon  shines  bright 

On  Charlie  Chaplin, 
His  shoes  are  cracklin' 

For  want  of  blacklin." 

Mind  you,  this  was  just  seven  months  after  the  release 
of  his  first  motion  picture.  He  was  talked  of  and  con- 
jectured about  then  just  as  much  as  the  advent  of  "beer'' 
recently. 

Upon  the  expiration  of  his  Sennett-Kessel  contract 
with  the  New  York  Motion  Picture  he  signed  with 
"Broncho  Billy"  Anderson  and  George  Spoor  of  the 
Essanay  Company  on  January  2,  1915,  in  Chicago.  This 
contract  designated  a  salary  of  $1250  a  week,  which  by 
the  way  was  quite  an  increase.  However,  it  was  hardly 
more  than  small  change  compared  to  the  next  contract 
that  he  signed  with  John  R.  Frueler  of  the  Mutual  in 
Februarv,  1916.  This  contract  was  for  a  weeklv  salary 
of  $10,000  for  a  year,  with  a  bonus  of  $150,000  at  the 
completion  of  the  contract.  That  was  a  total  of  $670,000 
for  a  year's  work. 

Theatres  everywhere  were  demanding  Chaplin  films; 
some  show  houses  had  them  in  every  program  for  years.  In 
fact,  one  little  theatre,  the  Crystal  Hall,  on  Fourteenth 
Street  in  New  York,  showed  Chaplin  pictures  from  1914 
until  the  house  burned  down  in  1923 — only  missing  one 
week  in  the  nine  years.  His  pictures  were  duped  and 
stolen.  Prints  that  were  sent  to  Europe  for  foreign  the- 
(Turn  to  Page  44) 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


July,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Nil 


Heal  Raids  by  Boltl 
*v—       Chinese  Iterate  Queen 
to  Be  Brought  to  Sereen 


No.  1 — Aleko  E.  Liiius,  American  journalist  and  author,  on 
board  Lai  Choi  Sans  private  junk,  at  the  beginning  of  his  adven- 
turous trip  through  the  waters  of  Sin  Kiang,  Maceo  and  Hongkong. 
About  his  adventures  Mr.  Liiius  wrote  a  book,  "I  Sailed  with  Chinese 
Pirates,"  recently  published  by  Appleton,  New  York,  and  it  has  already 
been  translated   into  many  foreign  languages. 

It's  a  far  cry  from  real  pirates  to  Hollywood  and  yet 
not  so  far  either.  Pirates  are  facts  in  China  and  Holly- 
wood is  a  fairly  well  exploited  town. 

It  needs,  therefore,  only  somebody  or  something  to  tie 
them  together  and  that  seems  to  have  been  done  by  Robert 
Miller,  member  of  the  International  Photographers,  Lo- 
cal 659,  at  present  on  leave  as  an  industrial  photographer 
aboard  the  S.  S.  President  Hoover,  with  regular  sailings 
from  San  Francisco  to  the  Orient  and  return. 

On  a  recent  trip  Mr.  Miller  fell  in  with  Aleko  E. 
Liiius,  author  of  the  sensational  book,  "I  Sailed  With 
Chinese  Pirates,"  the  only  white  man  to  be  given  that 
privilege,  according  to  Mr.  Liiius. 

For  a  long  time  the  author  sought  to  ingratiate  him- 
self into  the  good  will  of  one  Lai  Choi  San,  the  only 
woman  pirate  of  China,  or  of  the  world,  so  far  as  Mr. 
Miller  knows,  and  at  last  he  succeeded — as  please  note. 
Picture  No.  1,  herewith,  shows  Mr.  Liiius  in  conventional 
pirate  costume  and  No.  2,  Miss  Lai  Choi  San,  herself,  the 
lady  holding  the  gun  in  her  left  hand. 

In  picture  No.  3  note  the  forward  deck  of  Lai  Choi 
San's  flagship  with  at  least  seven  cannon  in  sight — a  nice 
place  to  serve  tea  and  play  bridge  on  lazy  afternoons  be- 
tween seizing  prizes  on  the  dear  old  China  Sea. 

Picture  No.  4  exhibits  the  masculine  charms  of  a  few 
of  the  guard  of  honor  of  the  gentle  and  lovely  Lai  Choi 
San.  These  gentlemen  are  not  as  genial  as  they  appear, 
but  they  are  efficient  in  action,  according  to  Mr.  Miller, 
who  adds  that  the  gentle  art  of  piracy  has  not  in  the  least 
suffered  by  the  world  depression.  Business,  if  you  ask 
Lai  Choi  San,  is  good  as  usual. 


And  now,  here  comes  the  big  surprise — Lai  Choi  San 
is  going  to  become  a  motion  picture  star. 

A  series  of  shorts  are  to  be  made  depicting  the  daily 
life  of  these  pirates — real  pirate  stuff  with  raids  and  every- 
thing and  Mr.  Miller  is  now  engaged  in  negotiating  a  re- 
lease for  them. 

These  birds  of  prey,  he  says,  are  due  for  a  cleaning  as 
soon  as  China  and  Japan  quit  fighting  among  themselves 
and  have  time  to  pay  a  little  attention  to  them. 

Don't  get  the  idea  that  Mr.  Miller  is  going  to  turn 
pirate.  Cameramen  are  not  like  that.  All  he  is  going  to 
do  is  to  crank  the  camera  while  the  gentle  and  thrice 
lovely  pirate  queen  and  her  merry  men  go  through  the 
motions  of  shooting  up  a  few  Chinese  junks. 


No.  2 — Lai  Choi  San,  the  famous  Chinese  woman  pirate,  admiral 
and  owner  of  a  fleet  of  twelve  pirate  junks,  rules  supreme  in  her 
territory  along  Sin  Kiang — West  River.  She  is  about  forty  and 
when  not  "on  the  job"  dresses  extremely  well  and  is  undoubtedly 
a  lady  of  refinement.  It  took  weeks  of  negotiation  and  parleying 
before  she  permitted  Mr.  Aleko  E.  Liiius  to  "join"  her  party  aboard 
her  ship  on  some  of  her  raiding  trips. 


No.    3 — One    of    Lai    Choi    San's    pirate    ships    chasing    a    trading  No.  4 — Here   are  three  members  of  Lai  Choi  San's  crew.     They 

|unk  which   has  refused  to  "pull  up  and  pay   up."     This  picture  was  look  jolly  here,  but  it's  because  they  have  just  had   their  rice, 
taken  by  Mr.  Aleko  E.  Liiius  from  the  poop  deck  of  Lai  Choi  San's 
flagship,  during  one  of  the  famous  pirate  woman's  raiding  trips. 

PLEASE  MEXTIOX  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING   WITH   ADVERTISERS 


Ten  The      INTERNATIONAL      PHOTOGRAPHER  July,  1933 


THE    SILENT    FACTOR    IN 

SOUND 


BEHIND  every  talkie  stands 
your  original  sound  record... 
unknown,  unseen,  unheard  by 
the  public,  but  arresting  in  its  im- 
portance. For  clear  superiority . . .  for 
highest  fidelity  under  all  conditions 
of  variable-area  and  variable-density 
recording... use  Eastman  Sound 
Recording  Film.  It  is  a  vital  though 
silent  factor  in  today's  sound  suc- 
cesses. Eastman  Kodak  Company. 
(J.  E.  Brulatour,  Inc.,  Distributors, 
New  York,  Chicago,  Hollywood.) 


EASTMAN 


SOUND     RECORDING     FILM 


PLEASE   MENTION  THE  INTERNATIONAL  PHOTOGRAPH  K  R  WHEN  CORRESPONDING   WITH  ADVERTISERS 


July,  1933 


The       INTERNATIONAL       PHOTOGRAPHER 


Eleven 


LIGHT  FILTERS  O 

FROM  THE  !  *^ 

CINEMATOGRAPHERS 

VIEW  POINT 


By    EMERY    HUSE    and    NEE)    VAN    ELREN 
A    Series  — Part    1 


Dramatic  cinematography  has  as  its  primary  goal  the 
creation  of  illusion.  The  unembellished  rendering  of 
objects  by  photography  is  not  the  aim  of  the  artistic  and 
dramatic  cameraman.  His  desire  is  to  create  a  mood  pic- 
ture as  well  as  an  object  picture  and  the  achievement  of 
his  purpose  has  lead  to  the  use  of  many  devices  in  his 
creative  art.  Among  such  devices  and  occupying  a  very 
important  place  are  light  filters,  which  are  particularly 
adaptable  for  use  in  the  creation  of  photographic  effects. 

The  primary  object  of  this  paper  is  to  discuss  fully  the 
general  subject  of  light  filters  and  to  show  how  and  why 
they  are  applied  in  the  production  of  effects  in  black  and 
white  cinematography.  Furthermore,  this  paper,  although 
dealing  technically  with  light  filters  in  general,  will  make 
specific    reference    to 


WAVE      LCINQTH5 


RED 


QREEN 


BLUE 


"Wratten  light  filters,"  as 
these  filters  have  been  con- 
sidered standard  by  most 
photographers  throughout 
the  world. 

As  far  back  as  1909 
Wratten  light  filters  were 
recognized  as  occupying  a 
unique  position  in  techni- 
cal and  scientific  work  as 
well  as  for  photographic 
work.  These  filters  are 
available  in  a  wide  range 
of  color  transmissions. 
The  standardization  of 
them  for  color  is  very 
carefully  worked  out  and 
the  standards  adopted  are 
rigidly  adhered  to.  These 
filters  are  prepared  from 
organic  dyes  of  which 
there  are  a  great  number 
available.  Any  given  fil- 
ter may  contain  one  or  more  of  these  dyes.  They  are  made 
by  coating  gelatin  containing  a  given  amount  of  dye  by 
weight  upon  specially  prepared  plate  glass.  After  drying, 
the  filters  are  stripped  from  the  glass  and  carefully  checked 
physically  and  spectro-photometrically  for  color  against 
established  standards.  These  filters  are  then  prepared  for 
the  trade  in  either  their  gelatin  form  or  in  glass,  in  which 
case  the  gelatin  filter  is  carefully  cemented  between  sheets 
of  optical  glass.  There  are  over  one  hundred  Wratten 
light  filters  available  for  all  types  of  work,  but  for  the 
cinematographer  most  of  his  needs  can  be  filled  with  about 
ten  of  them. 

Light  filters  may  be  defined  as  transparent  media  pos- 
sessing  the    property    of    selectively    transmitting    certain 


FIG.  I 


wave  lengths  of  light.  They  likewise  have  the  property 
of  absorbing  those  wave  lengths  which  are  not  transmitted. 
The  use  of  a  light  filter  with  a  photographic  emulsion 
must,  therefore,  depend  upon  the  ability  of  the  emulsion 
to  record  the  transmitted  colors. 

A  proper  understanding  of  light  filters  necessitates 
some  knowledge  relative  to  the  general  subject  of  light  and 
color  as  well  as  knowledge  of  the  photographic  emulsions 
which  are  used. 

With  the  aid  of  a  spectroscope,  an  instrument  in  which 
light  may  be  examined  after  passing  through  a  prism, 
light  can  be  analyzed  into  its  component  parts.  If  the 
original  source  of  the  light  is  "white"  (containing  all 
visible  colors)  the  various  colors  composing  it  will  be  seen 
through  the  spectroscope  merging  into  one  another  into  a 
continuous  band.  If  the  original  source  of  light  is  colored, 
there  will  be  breaks  or  absorptions  in  the  band.  Filters 
can  produce  this  latter  result  and  it  is  for  this  reason  that 
white  light  looks  colored  when  examined  through  a  select- 
ively absorbing  filter.  From  the  standpoint  of  practical 
cinematography  the  light  emitted  by  tungsten  lamps  and 
by  daylight  can  be  considered  white  light  in  the  general 
sense  of  the  term,  inasmuch  as  they  both  show,  upon  spec- 
troscopic examination^  a  merging  continuous  band  of  col- 
ors extending  from  the  visible  violet  throughout  the  visible 
spectrum  to  the  limits  of  the  visible  red.  Although  these 
two  sources  may  be  called  white  light,  they  are  not  iden- 
tical because  they  differ  in  the  relative  proportions  of  the 
various  component  colors. 

It  is  well  known  that  in  sound  there  are  notes  of 
different  frequencies,  i.e.,  so  many  waves  per  second,  fall- 
ing on  the  ear.  With  light  there  are  different  frequencies 
of  vibration  falling  on  the  eye.  Light  is  considered  a  wave 
form  of  motion  in  ether.  Since  the  velocity  of  light, 
186,000  miles  per  second,  is  the  same  for  waves  of  differ- 
ent frequencies,  it  should  be  clear  that  waves  of  high  fre- 
quency will  be  of  shorter  wave  length  than  those  of  low 
frequency.  Experiment  has  shown  that  the  wave  lengths 
of  blue  light  are  shorter  than  those  of  green  light  and 
that  both  are  shorter  than  red  light.  Figure  1  shows  the 
relative  length  of  the  waves  corresponding  to  the  various 


550    575     600    630  650 


Z 

z 

ULTRA- 

1- 

a 

Z 

o 

5 

o 

o 

z 

IMTRA- 

VIOLET 

J 
Q 

3 

3 

o 

5 

5 

z 
< 

£ 

RED 

LIOHT 

INVISIBLE 

VISIBLE      RADIATION 

INVISIBLE 

500  600 

WAVE  LEN6TH. 


FIG.  II 
colors,  the  diagram  being  drawn  to  scale.     Since  there  is 
a  definite  relationship  between  wave  length  and  color,  a 
(Turn  to  Next  Page) 


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Twelve 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


scale  may  be  constructed  in  which  the  different  wave 
length  numbers  correspond  in  position  to  the  different 
colors  in  the  spectrum.  A  scale  of  this  type  is  shown  in 
Figure  2.  The  numbers  representing  wave  length  are 
expressed  in  terms  of  millimicrons  (m/x),  one  millimicron 
being  equal  to  0.000001  millimeter. 

Light  filters  are  classified  in  terms  of  their  transmis- 
sion and  absorptions  of  light.  If  the  light  passing  through 
the  filter  appears  red,  it  does  so  because  the  filter  trans- 
mits red  light.  The  remaining  colors  of  the  spectrum  are 
sufficiently  absorbed  by  the  filter  to  prevent  their  percep- 
tion by  the  eye.  Similarly  a  blue  filter  transmits  blue 
light,  and  a  green  filter,  green  light.  On  the  other  hand, 
a  yellow  filter,  while  transmitting  yellow  light,  likewise 
transmits  quite  completely  almost  the  entire  spectrum, 
with  the  exception  of  the  blue.  The  degree  of  saturation 
of  the  yellow  filter,  i.e.,  its  yellowness,  indicates  quanti- 
tatively the  amount  of  blue  which  that  filter  absorbs.  Yel- 
low light  is  generally  conceived  as  simply  lacking  blue 
light. 

Since  there  are  light  filters  available  transmitting  va- 
rious portions  of  the  spectrum,  it  becomes  necessary  for 
the  cinematographer  to  analyze  filters  in  terms  of  the 
color  of  the  objects  in  the  scene  to  be  photographed  as 
well  as  in  terms  of  the  color  sensitivity  of  the  photogra- 


Ordinary 


Orthochromatic 


"Regular  Panchromatic 


Super  SensitivePanchromatic 
FiG.m 


phic  emulsion  on  which  he  intends  making  his  photogra- 
phic record. 

At  the  present  time  panchromatic  emulsions  are  used 
exclusively  in  dramatic  cinematography.  Emulsions  of 
this  type  are  especially  sensitized  to  produce  this  varied 
color  sensitivity.  The  use  of  filters  with  panchromatic 
emulsions,  therefore,  becomes  an  art  in  itself  and,  as  has 
been  previously  stated,  the  relationship  between  the  color 
of  the  light  transmitted  by  the  filters  and  the  color  sensi- 


tivity of  the  photographic  emulsion  must  be  fully  appre- 
ciated. Although  present  day  practice  makes  use  almost 
exclusively  of  panchromatic  emulsions,  it  would  undoubt- 
edly be  of  interest  to  the  reader  to  study  the  various 
types  of  emulsions  classified  in  terms  of  their  overall  sen- 
sitivity. This  should  be  of  interest  because  the  original 
gelatino-bromide  emulsions  were  non-color  sensitive:  they 
were  of  the  type  which  are  referred  to  today  as  "ordinary" 
emulsions.  Emulsions  of  this  type  were  later  successively 
replaced  for  negative  work  by  sensitized  emulsions  of  the 
orthochromatic  and  panchromatic  type.  Figure  3  shows 
wedge  spectrograms  of  the  three  basic  types  of  emulsion: 
ordinary — blue  sensitive;  orthochromatic — blue-green  sen- 
sitive ;  and  panchromatic — blue,  green,  and  red  sensitive, 
of  which  are  shown  two  different  types  of  sensitizing. 
The  two  types  of  panchromatic  emulsions  represent  what 
might  be  termed  regular  and  super-sensitive.  These  two 
t\pes  differ  in  their  degree  and  extent  of  red  sensitivity 
and  also  in  their  degree  of  green  sensitivity.  The  super- 
sensitive emulsion  has  a  much  higher  red  sensitivity,  al- 
though it  does  not  extend  quite  as  far  into  the  red  region 
of  the  spectrum  as  does  the  regular  panchromatic  type. 
The  super-sensitive  emulsion  also  has  an  appreciably 
higher  green  and  yellow  sensitivity.  These  emulsions  lend 
themselves  to  quite  different  filter  interpretation. 

Another  factor  to  which  there  must  be  given  some 
thought  is  the  relation  existing  between  the  sensitivity  of 
the  human  eye  to  color  and  the  color  sensitivity  of  the 
photographic  emulsion.  When  light  falls  upon  the  retina 
the  sensation  produced  has  three  distinct  attributes:  bril- 
liance, hue,  and  saturation.  When  an  object  in  a  given 
scene  is  observed  it  is  visible  by  virtue  of  the  contrast 
between  it  and  its  surrounding  background.  According 
to  Jones  and  Crabtree*  this  contrast  may  be  due  to  a  dif- 
ference in  contrast  of  either  of  the  three  above  mentioned 
attributes.  The  visibility  of  object  detail  depends  upon 
the  existence  of  a  brilliance  contrast.  The  reproduction 
of  detail  by  the  photographic  process  must  be  accomplished 
by  reproducing  as  a  brilliance  contrast  that  contrast  which 
in  the  object  may  be  due  to  a  contrast  of  hue,  saturation, 
or  brilliance.  This  being  the  case,  the  visual  function 
giving  the  relation  between  the  wave  length  of  the  radia- 
tion and  the  brilliance  of  the  resulting  sensation  is  of 
prime   importance.      Figure  4  shows   the   visibility  curve 


120 

_j 
rE 

£    80 
> 

> 

!<    60 

_i 

20 

500 

WAVE-LENGTH,    j 


FIG.  IV 

of  the  eye  obtained  by  plotting  brilliance  sensation,  pro- 
duced by  the  action  of  constant  energy  intensity,  against 
wave  length.  It  is  important  in  photographic  reproduc- 
tion to  know  the  characteristics  of  this  visibility  curve  as 
well  as  the  spectral  sensitivity  of  emulsions;  the  spectral 
distribution  of  energy  from  different  light  sources;  of 
light  reflected  from  objects  in  the  scene ;  and  of  the  spec- 
tral distribution  of  the  light  transmitted  by  the  filters. 

*  West    Coast    Division,    Motion    Picture    Film    Department,    Eastman 
Kodak   Co. 


*  L.     A.    Jones     and    J.     I.     Crabtree,    Communication     No.    290,    Re- 
search   Laboratories,    Eastman    Kodak    Company. 


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July,  193 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Thirteen 


POWER    LEVEL 

IN     AUDIO 
AMPLIFICATION 

By  Charles  Felstead* 

It  is  fully  as  important  for  the  motion  picture  camera- 
man to  know  something  about  audio  amplifiers  and  other 
units  of  sound  recording  equipment  as  it  is  for  the  sound 
monitor  man  to  have  an  understanding  of  cameras,  types 
of  lenses,  and  camera  angles.  The  manner  in  which 
power  level  is  measured  and  computed  in  amplifiers  such 
as  employed  in  sound  recording  is  a  matter  that  usually 
confuses  persons  who  have  not  delved  into  the  mathe- 
matical theory  of  communication  circuits.  It  is  hoped 
that  the  following  brief  paragraphs  will  help  to  make 
clear  what  is  meant  when  it  is  said  that  an  amplifier 
has  a  gain  of  this  man}'  decibels  or  an  output  power  of 
that  many  decibels. 

The  electrical  gain  or  loss  in  communication  circuits 
is  measured  in  terms  of  the  Bel,  or  the  more  common 
unit,  the  decibel,  which  is  equal  to  one-tenth  of  the  Bel. 
This  is  purely  an  arbitrary  unit  and  is  calculated  on  a 
logarithmic  basis  that  corresponds  to  the  manner  in  which 
the  human  ear  functions.  In  terms  of  power  measure- 
ment, the  gain  or  loss  in  a  device  or  circuit  is  equal  to 
ten  times  the  common  logarithm  of  the  ratio  of  the  watts 


*  Sound    Engineer,    Universal    Pictures    Corporation. 


at   the   input   of   the   device   to   the   watts   at   the  output. 

Pi 

1  his  is  expressed  mathematically  as  Ndb  =  10  log10  — , 

P2 

where  Ndb  is  the  gain  or  loss  in  decibels  and  Pj  and  P., 
are  the  input  and  output  powers  of  the  circuit. 

Being  a  logarithmic  quantity,  the  gain  or  loss  in  elec- 
trical devices  that  are  connected  together  may  be  added 
algebraically  if  gain  is  considered  as  a  positive  number 
and  loss  is  given  a  negative  sign,  which  is  the  same  as 
considering  loss  as  negative  gain.  That  is:  If  an  amplifier 
having  a  gain  (amplification)  of  twenty-five  decibels  is 
connected  in  series  with  an  attenuation  network  that  has 
a  twenty-decibel  loss,  the  over  all  gain  in  the  circuit  will 
be  only  five  decibels.  If  another  amplifier  that  has  a 
gain  of  thirty  decibels  is  then  employed  in  series  with 
this  combination,  the  resulting  over  all  gain  will  be 
thirty-five  decibels. 

Electrical  level  is  defined  as  the  number  of  watts 
of  power  at  a  point  in  a  circuit  with  respect  to  zero 
level,  or  reference  level,  which  is  customarily  considered 
to  be  0.006  watt,  or  six  milliwatts.  All  levels  above 
zero  level  are  given  a  positive  sign  ;  while  all  levels  be- 
low that  value  are  considered  to  be  negative.  Audio 
amplifiers  are  rated  to  have  a  maximum  sine  wave  carry- 
ing capacity,  or  output  power,  of  so  many  watts,  or  of  so 
many  decibels  relative  to  zero  level.  This  means  that 
the  electrical  level  at  the  output  of  the  amplifier,  as 
measured  with  respect  to  zero  level,  must  not  exceed 
this  rated  value  if  overloading  of  the  amplifier  is  not 
to  occur. 

The  output  power  level,  which  is  dependent  chiefly  on 
the  type  of  tube  or  tubes  employed  in  the  last  stage  of 
amplification,   should   not   be   confused   with   the   gain    in 

(Turn  to  Page  47) 


The  New 

Bell  &  Howell  ROTAMBULATOR 

The  B  &  H  Rotambulator  brings  to  camera 
mobility  an  unbelievable  freedom  combined 
with  amazing  smoothness  and  precision  of 
operation.  The  camera  can  be  rotated, 
raised,  lowered,  and  tilted  at  will.  Very 
even  motion  is  obtained  by  the  use  of  fric- 
tion plates  operating  in  oil  in  sealed  com- 
partments. These  "bearings"  slip  slowly 
but  surely.  The  entire  unit  is  moveable 
over  the  floor  with  the  same  precise  smooth- 
ness of  action. 


Camera  is  mounted  on  platform  (shown 
midway  on  vertical  column)  which  may  be 
moved  in  all  planes.  For  panning,  the 
base  platform  bearing  the  whole  apparatus, 
including  operator's  seat,  is  rotated  on  the 
main  ase.  Jack  lift  unit  off  wheels  and 
lock  firmly  for  fixed  camera  viewpoint. 

BELL  &  HOWELL 

Company 

1849  Larchmont  Ave.,  Chicago;  11  West  42nd  St., 
New  York;  716  North  La  Brea  Ave.,  Hollywood; 
320  Regent   St..   London   (B  &  H   Co.,   Ltd.)   Est.   1907. 


Dimensions  and  Weights 

Over-al!    length 6234" 

Over-all  width 4634" 

Over-all   height 90" 

Max.   height  of  camera 

table    71'm" 

Min.  height  of  camera  table 
with  panning  wheel  at- 
tached        16" 

Min.  height  of  camera  table 
with  panning  wheel  re- 
moved   1234" 

Diameter  of  rotary  plat- 
form         42" 

Size  of  camera  table  13j4"xl374" 

Max.  height  of  seat 3934" 

Min.  height  of  seat 31-J4" 

Height  of  standing  plat- 
form         21" 

Net  weight 700  lbs. 


The  New  B   &  //   Rotambulator,  suc- 
cessfully   in    use    at    M-G-M    Studios. 


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Fourteen 


7   /; 


INTERNATIONAL       PHOTOGRAPHER 


July,  1933 


THE  PRACTICAL  LEICA 

AT  THE  WORLD'S  FAIR 


By    ALVIN    WYCKOFF 


Buildings  in  gala  attire;  streets  arbored  with  stream- 
ers of  gay  colored  bunting  casting  sinuous  shadows  from 
a  bright  shining  sun  through  a  crystal  atmosphere;  flags 
waving  and  flashing  their  national  glory  ;  the  booming  of 
big  guns  and  the  shrill  blare  of  trumpets ;  the  mellow 
beating  of  drums  and  the  martial  music  of  bands ;  the 
clattering  hoofs  of  cavalry  and  the  rumble  of  artillery 
wheels;  the  measured  tread  of  infantry,  marines  and  sail- 
ors: The  glorious  acclamation  of  thousands  of  people  from 
everywhere  standing  in  line  for  the  review  and,  from 
above,  under  the  blue  dome  the  drone  of  countless  passing 
planes — pomp  and  circumstance  heralding  "A  Century  of 
Progress,"  born  at  Chicago  and  taking  its  place  in  history. 

Injected  into  this  epic  are  photographers  from  all  over 
the  world  ;  of  every  nationality  ;  some  of  them  stationed  at 
points  of  vantage,  others  running  up  and  down  from  place 
to  place,  each  striving  to  gain  a  "front  page  event."  Into 
this  human  mass  came  wandering  from  east  and  west  of 
this  nation  three  cameramen,  without  assignment,  arriv- 
ing simultaneously,  like  metal  drawn  to  a  magnet,  at  the 
office  of  William  Strafford,  Business  Manager  of  Local 
666,  International  Photographers;  John  Boyle,  Ray  Fern- 
strom  and  the  writer — and  the  only  camera  among  us  all, 
who  follow  the  photographic  profession,  was  a  fully 
equipped  Leica  and  this  is  the  instrument  that  helps  to 
tell  the  story  of  this  chance  meeting. 

It  was  agreed,  with  no  argument,  that  we  would  at- 


tend the  opening  of  the  Exposition,  but  first  we  would 
have  lunch  at  the  Palmer  House,  along  with  other  digni- 
taries. It  wTas  a  grand  success.  After  the  luncheon  cere- 
mony a  l  ellow  Taxi  conveyed  us  to  within  half  a  mile 
of  the  12th  Street  entrance  and  then  became  involved 
with  hundreds  of  other  cabs  and  occupants  endeavoring 
to  arrive  at  the  same  entrance  at  the  same  time  and  be 
first  in :  Policemen,  guards,  soldiers,  sailors,  boy-scouts, 
milling  around  in  an  effort  to  bring  order  out  of  good 
natured  confusion  ;  thousands  laughing,  shouting  and  danc- 
ing to  the  humorous  inclinations  of  holiday  festival  welded 
into  one  idea  and  effort.  Deserting  our  cab,  we  joined 
together  and,  adding  ourselves  to  the  crowd,  wre  struggled 
on  to  the  gates  to  offer  up  our  little  paste-boards  that 
would  let  us  view  the  show.  With  others  in  line  we 
passed  through  the  turn-stile  gate  and  in  our  childish 
excitement  we  got  in  the  way  of  a  military  formation  of 
Exposition  Guards,  ( 1 )  marching  to  the  relief  of  their 
comrades  who  had  completed  their  turn  at  post. 

The  last  one  in  line  stepped  out  and  we  formed  up 
along  with  him  to  get  our  picture  (2)  "took"  with  the 
Flags  of  the  Nations  in  the  background.  Fernstrom  went 
wandering  ahead  ;  seemed  as  though  there  was  a  strolling 
impulse  that  gradually  drew  him  on  to  other  attractions, 
but  we  caught  up  with  him  near  the  Sears-Roebuck 
Building  (3)  clothed  in  that  never  melting  smile  that 
later  influenced  the  gathering  of  those  wonderful  Nordic 


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ladies  to  our  corner  after  we  had  entered  the  Swedish 
Building. 

See  that  620  foot  tower  directly  over  John  Boyle's 
shoulder?  (4)  Well,  the  top  of  that  tower  was  our  next 
destination.  As  we  turned  we  espied  up  there  on  the 
cables  (4j^)  two  workmen  going  home  to  lunch.  The 
Leica,  with  the  90  mm.  lens  picked  them  out.  After 
purchasing  tickets  admitting  us  to  the  Observation  Plat- 
form we  were  politely  conducted  to  the  elevator,  as  usual, 
installed  by  Otis  and,  in  company  with  shrinking  women 
and  other  brave  men,  we  were  literally  jerked  to  the  top  ; 
the  doors  opened  and  we  were  greeted  by  what  appeared 
to  be  soldiers  from  a  mythical  kingdom,  one  of  them,  whom 
we  judged  to  be  their  leader  requested  everybody  please 
to  step  out.  The  "soldiers"  lined  up  around  us  like  a  cor- 
porals guard  conducting  their  prisoners  to  the  guard 
house  and  we  all  moved  together  out  on  to  the  observation 
platform.  To  the  southwest  and  north  in  a  beautiful 
panorama  lay  that  wonderful  aggressive  and  progressive 
giant  infant  city  of  Chicago ;  in  the  opposite  direction, 
Lake  Michigan,  deep,  vast  and  mysterious;  immediately 
before  and  below  us  620  feet,  lay  the  Exposition  spread 
out  in  criss-cross  fashion,  with  crowds  wandering  aimlessly 
in  and  out  of  buildings,  much  like  a  colony  of  ants  in  and 
out  of  their  nests. 

Fernstrom  was  not  satisfied  with  being  on  top  of  the 
world  at  this  point  and  began  to  search  for  a  ladder  that 
he  might  go  up  a  few  feet  higher  to  get  pictures  of  a 
better  perspective  with  the  Leica ;  the  much  desired 
ladder  was  located  under  some  building  material  that  had 
not  yet  been  removed ;  with  permission  it  was  brought 
forth  and  this  is  what  the  Leica  saw.  (5)  John  Boyle, 
William  Strafford  and  Alvin  Wyckoff  with  the  Exposi- 
tion and  Lake  Michigan  spreading  away  to  the  south. 

Descending  from  the  tower  we  boarded  one  of  the 
Greyhound  Trailer  Busses,  the  unique  vehicles  used  for 
mass  transportation  from  end  to  end  of  the  Exposition. 
(6)  These  busses  were  built  by  the  General  Motors  Com- 
pany and  are  operated  by  one  of  the  greatest  transporta- 
tion companies  in  this  country  and  new  to  this  century, 
The  Greyhound  Lines.  These  busses  have  a  seating  capa- 
city of  90  passengers. 

Now  that  the  mid  part  of  the  afternoon  was  passed 
it  was  necessary  to  use  this  new  method  of  travel  in  order 
to  get  a  general  idea  of  this  "Big  Location"  and  so  we 
travelled  toward  the  south  end  with  the  General  Motors 
and  Chrysler  Buildings  as  our  objective,  (7).  Every 
minute  we  passed  a  loaded  bus  going  in  the  opposite  direc- 
tion. 

Arriving  at  the  Chrysler  and  General  Motors  Build- 
ings we  were  well  repaid  for  our  efforts  in  entertainment. 
The  entrance  of  the  Chrysler  Building  (8)  was  impres- 
sive and  turning  around  to  the  view  of  the  General  Mo- 
tors Building  (9)  outlined  against  the  late  afternoon  sky 
we  found  it  equally  attractive.  Here  was  a  show  well 
worth  the  time  of  anyone  interested  in  automobiles,  their 
construction  and  the  materials  of  which  they  are  made, 
and  if  you  happen  to  be  a  prospective  customer,  your 
opportunity  is  here  to  try  out  any  model  of  either  make 
under  such  favorable  conditions  we  may  select  our  next 
with  by  driving  it  over  the  test  tracks  that  have  been 
built  and  maintained  for  such  a  purpose  and,  of  course, 
under  such  favorable  conditions  we  selected  our  next 
automobile — when  conditions  get  better. 

It  was  a  grand  day  and  it  was  rapidly  closing,  with 
our  confused  minds  wondering  where  to  go  and  what  next 
to  see.  A  week  would  be  needed,  two  would  be  better, 
but  we  had  to  be  satisfied  with  this  short  day. 

This  Exposition  is  the  ideal  paradise  for  a  cameraman, 
for  any  photographer,  professional  or  amateur,  for  here  is 
illustrative  material  to  supply  endless  entertainment  and 
stories. 

The  night  performance  was  a  study  of  lighting  effects 
PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAI 


Chicago — Jackson  ).  Rose  made  this  interesting  picture  with 
a  Leica  camera,  showing  Michigan  Boulevard  looking  south  from 
the  roof  of  the   Medinah   Athletic  Club. 

Mr.  Rose,  veteran  cinematographer,  has  had  many  examples  of 
his  work  hung  in  the  following  photographic  salons  during  the 
1932-33  season:  Beckingham  Photographic  Society  Annual  Exhibi- 
tion, Beckingham,  England;  First  International  Salon  of  Photographic 
Art,  Milwaukee,  Wisconsin;  First  Detroit  International  Salon  of  In- 
dustrial Photography,  Detroit,  Mich.;  Canadian  National  Exhibition, 
Toronto,  Ontario;  Twentieth  Annual  Pittsburgh  Salon  of  Photographic 
Art,  Carnegie  Institute,  Pittsburgh,  Pennsylvania;  All  American  Pho- 
tographic Salon,  Los  Angeles,  California;  Third  Annual  International 
Salon  of  Photography,  San  Diego,  California;  II  Mezinarodni  Foto- 
graficky  Salon,  Praha,  Czechoslovakia;  Deutsche  und  Internationale 
Photo  Ausstellung  Des  Vdag,  Leipzig,  Germany;  Hackney  Photographic 
Society's  44th  Annual  Exhibition,  Hackney,  England;  The  Barry  Camera 
Club's  24th  Annual  Exhibition,  Barry,  England;  Birmingham  Photo- 
graphic   Society's   42nd   Annual    Exhibition,    Birmingham,   England. 


that  would  be  the  delight  of  any  artist  seeking  new  inspir- 
ation for  fresh  ideas.  With  the  new  speed  emulsions  and 
the  fast  lenses  of  these  modern  times  the  artist  should 
carry  away  with  him  records  of  a  new  age  that  will  afford 
him  much  fresh  material  for  many  days  into  the  future. 


WOMAN  IN  THE  CHAIR 

Phil  Goldstone,  Majestic  producer,  at  Max  Sennett's 
North  Hollywood  Studio,  announces  "Woman  in  the 
Chair,"  a  mystery  story,  in  process  of  casting.  Ira  (Joe) 
Morgan  will  be  chief  cinematographer ;  Harry  Marsh, 
assistant;  Art  Marion,  stills. 


OBITUARY 

Miss  Marion  Virginia  Witt,  daughter  of  Mr.  and 
Mrs.  Edwin  M.  Witt,  passed  away  at  the  family  home  in 
Hollywood,  Sunday,  May  21.  Miss  Witt  was  only 
twenty-four  years  old  and  already  a  sculptress  and  musi- 
cian of  great  promise.  Her  father  is  a  well  known  and 
popular  member  of  the  International  Photographers,  Lo- 
cal 659,  which  extends  heartfelt  sympathy. 

HER   WHEN  CORRESPONDING  WITH  ADVERTISERS 


Sixteen 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


Cinematographic    Composition 


By 
EUGENE  J. 


COLR 


An  Outline  of  the  Application   of  Dynamic 
Symmetry    to  Notion  Picture  Composition 


[Mr.  Cour  is  famous  as  the  publisher  of  Cinema  Crafts,  Chicago; 
aiso  Cinema  Crafts  Year  Book  and  Directory.  He  is  a  technical 
writer  on  all  cinematographic  matters  and  is  in  every  way  qualified 
to  handle  this  somewhat  difficult  subject  just  now  attracting  great 
attention  among  the  more  serious  minded  masters  of  the  camera. — 
Editor's    Note.] 

(Pre-release   of  an   article  that  will  appear  with    the  pictorial  sec- 
tion  "t    i  inema    Crafts   Year  Book  for  1933) 

PART   II. 

In  an  art  class  a  few  years  back  a  student  had  com- 
pleted his  layout  for  a  commercial  design  from  the  models 
that  had  been  set  up  willy-nilly  by  the  instructor.  The 
instructor,  upon  inspection  of  the  student's  sketch,  indi- 
cated that  the  figure  should  be  raised  about  an  inch  and 
moved  to  the  left  about  two  inches  to  gain  a  proper  pro- 
portion to  the  whole. 

The  student,  frankly  puzzled  why,  asked  the  instruc- 
tor for  the  principle  or  rule  that  governed  the  scheme  of 
proportion. 

"Rules  shackle  the  creative  instinct,"  the  instructor 
declared. 

"Artistic  proportion  is  a  matter  of  feeling.  This 
feeling  of  the  true  artist  can  only  be  gained  by  a  close 
study  of  and  constant  association  with   Greek  art." 

While  the  instructor's  theory  of  art  denies  rule,  it 
indirectly  sets  up  the  mental  machinery  for  empirical 
rules.  If  a  close  study  of  Greek  art  will  give  the  student 
an  empirical  "feeling"  for  good  proportion,  it  is  evident 
that  a  close  study  of  the  rules  of  proportion  established  by 
the  Greeks  will  not  only  give  "feeling,"  but  a  mastery  of 
the  laws  of  proportion. 

That  the  Greek  laws  of  proportion  were  basically 
good  laws  is  revealed  in  the  fact  that  after  two  thousand 


Figure  1 

years  our  art  instructors  use  Greek  works  of  art  as  the 
outstanding  examples  of  good  composition.  These  prin- 
ciples of  the  Greeks  are  comprehensively  treated  in  the 
books  of  Jay  Hambidge. 

Hambidge,  who  was  a  noted  artist  and  illustrator, 
declared  that  he  was  impelled  to  take  up  the  subject  of 
symmetry  because  he  could  not  entirely  agree  with  the 
modern  tendency  to  regard  design  as  purely  instinctive. 
As  the  trend  of  the  individual  and  of  society  seems  to  be 
toward  an  advance  from  "feeling"  to  intelligence,  from 
instinct  to  reason,  so  the  art  effort  of  man  must  lead  to  a 
like  goal. 

With  that  goal  as  an  inspiration  Hambidge  wrestled 
with  the  problem  of  Greek  proportion  for  twenty-five 
years,  which  resulted  in  his  discovery  of  the  secret  of  the 
Greeks  that  had  been  lost  to  the  art  world  which  it  has 
dominated  for  two  thousand  years. 


For  those  who  are  squeamish  about  rules  in  art,  John 
Ruskin,  the  famous  English  art  critic  and  author,  says  in 
his  "Elements  of  Drawing:"  "Though  no  one  can  in- 
vent by  rule,  there  are  some  simple  laws  of  arrangement 
which  it  is  well  for  you  to  know,  because,  though  they 
will  not  enable  you  to  produce  a  good  picture,  they  will 
often  assist  you  to  set  forth  what  goodness  may  be  in  your 
work  in  a  more  telling  way  than  you  could  have  done 
otherwise." 

Rules  may  then  be  said  to  be  the  guide  of  workmen 
and  the  discipline  of  genius. 

While  Hambidge  has  made  available  to  the  world  the 
rules  for  composition  generally  through  his  works  on  the 
classic  root  and  whirling  square  rectangles,  it  is  unfor- 
tunate that  the  motion  picture  rectangle  known  as  the 
standard  of  the  Academy  of  Motion  Picture  Arts  and 
Sciences  does  not  conform  to  these  classic  rectangles — 
though  it  might  be  added  it  closely  approximates  the 
ROOT  TWO  rectangle  which  has  a  proportion  of 
1:1.4142. 

The  Ampas  projection  aperture  has  a  ratio  of  1  : 1.375 
which  is  a  ratio  that  is  classed  as  an  irregular  rectangle. 
Right  or  wrong  it  is  this  rectangle  that  makes  or  breaks 
the  picture  production.  In  presenting  the  technique  of 
irregular  rectangles  it  is  not  intended  that  the  cameraman 
should  discard  his  better  known  principles  of  the  classic 
root  rectangles,  nor  is  there  any  intention  of  agreeing  with 
the  standard  of  the  Academy  of  Motion  Picture  "Irregu- 
lar" Arts  and  Sciences.  Inasmuch  as  the  cameraman  must 
create  his  pictorial  studies  within  the  limits  of  a  miniature 
rectangle  measured  in  thousandths  of  an  inch  it  is  neces- 
sary for  him  to  consider  his  related  areas  very  carefully, 
as  his  camera  errors  are  multiplied  a  thousand  or  more 
times  when  projected  upon  the  theatre  screen.  Under  the 
circumstances,  if  the  cameraman  must  work  with  irregular 
rectangles  it  is  but  fitting  that  this  article  should  present 
theories  regarding  composition  within  irregular  rectangles. 
It  has  often  been  said  that  sea  shells,  plants  and  nature 
generally  conform  in  growth  to  the  classic  proportion  of 
the  whirling  square  "  1  :1.618.  In  The  INTERNA- 
TIONAL PHOTOGRAPHER  for  June  1930,  Fred 
Westerberg  states:  "The  other  assumption  is  that  living 
objects  in  growing,  exhibit  a  tendency  to  conform  to  a 
basic  law  of  proportion  which  can  be  expressed  by  the 
ratio  3:1.618. 

In  the  examination,  by  this  writer,  of  more  than  a 
score  of  shells  of  different  families  not  one  was  found  that 
even  closely  approximated  the  ratio  of  the  whirling  square. 
It  is  apparent  that  proportion  in  nature  does  not  depend 
upon  any  one  combination  or  series  of  combinations  of 
ratios,  but  upon  the  principle  of  continued  proportional 
growth  and  on  similarity  of  form.  But  nature  does  con- 
form to  the  sum  and  substance  of  the  principles  of  dynamic 
symmetry  in  that  all  growth  is  in  continued  proportion 
and  divisable  into  similar  shapes. 

Three  types  of  the  common  garden  variety  of  snail 
shells  are  shown  in  Fig.  1.  It  will  be  readily  perceived 
that  though  these  shells  do  not  conform  to  the  classic 
ratio,  they  do  follow  the  law  of  continued  proportion 
despite  the  irregular  rectangle  theme. 

Edward  B.  Edwards  in  his  book,  "Dynamarythmic 
Design"  offers  the  first  recognition  of  irregular  rectangles 
as  being  of  dynamic  proportion.  He  says:  "While  the 
root  and  the  1  : 1.61 8  or  classic  rectangles  are  more  fascin- 
ating in  their  remarkable  coincidences  of  form,  and  in  the 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


July,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Seventeen 


case  of  the  root  rectangles  may  be  evenly  divided  in  terms 
of  their  reciprocals,  the  principles  of  divisibility  into 
GNOMIC  FORMS  in  a  continued  ratio  apply  as  well 
to  the  "irregular"  or  "in-between"  rectangles,  which  can 
be  described  individually  only  in  terms  of  ratio  of  the  end 
to  the  side." 

Edwards  offers  a  proportional  arrangement  for  lay- 
ing out  the  classic  root  rectangles,  with  which  is  presented 
the  Ampas  aperture,  founded  upon  the  same  proportional 
principles,  as  well  as  the  method  for  laving  out  the  whirl- 
ing square  rectangle.  This  is  shown  in  Fig.  2.  It  will 
be  noticed  that  a  radius  of  one  and  one-half  times  the  end 
dimension  will  intersect  the  base  line  for  the  side  dimen- 
sion of  a  Root  Two  rectangle.  If  we  add  another  half 
to  the  dimension  of  the  end  we  will  have  a  radius  that 
will  give  us  a  Root  Three  proportion  and  so  on  by  adding 
half  of  the  end  dimension  each  time  for  each  of  the  root 
rectangles  up  to  infinity. 


in  constant  ratio  to  infinity.     He  terms  these  irregular  rec- 
tangles "Rectangles  of  the  Whirling  Gnomons." 

In  Fig.  4  we  have  an  irregular  rectangle  of  the  pro- 
portion of  the  Ampas  aperture.     With  the  diagonal  of  the 

[— • /?  33  — — ■  H 

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It 

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Figure  3 

whole  intercepted  at  right  angles  as  shown  we  construct 
the  reciprocal  of  the  rectangle.  The  area  in  excess  of  the 
Reciprocal  is  termed  the  Gnomon.  Starting  with  this 
Gnomon  in  a  whirling  path  each  decreasing  rectangle 
following  around  the  pole  is  in  direct  proportion. 

'<* &actoroca.£        "*"* Qnomon     -* 


Figure  2 

We  find  in  the  comparison  of  the  Ampas  aperture  ratio 
a  proportion  slightly  less  than  Root  Two.  It  is  struck  by 
a  radius  of  1.450  times  the  end  dimension  and  gives  us  a 
rectangle  ratio  of  1  : 1.375. 

Now  if  we  draw  a  rectangle  of  .600  x  .825  as  in  Fig. 
3  and  then  construct  a  right  angle  with  one  end  and  one 
side,  as  shown,  we  will  find  the  mean  proportional,  all  of 
which  are  shown  by  shaded  lines,  and  from  these  construct 
the  large  rectangle,  it  will  be  found  that  the  large  rec- 
tangle is  in  continued  proportion  and  is  offered  as  proof 
that  the  irregular  Ampas  rectangle  conforms  to  the  prin- 

H" A37S- -  -M 


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Figure  4 

For  those  who  wish  to  investigate  this  theory  of  irreg- 
ular rectangles  Fig.  5  offers  some  of  the  ratios  inherent 
in  the  Ampas  aperture. 

Michael  Jacobs  in  his  book,  "The  Art  of  Composi- 
tion," presents  layouts  for  irregular  rectangles  without 
terming  them  such.     In  Figs.  6  and  7  are  shown  two  types 


-7a  7& 

-  /   O0O- 


/.O  OC 


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AV/ 

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1     1    '     \\  / 

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Figure  5 

ciples  of  dynamic  symmetry.  Despite  the  difficulties  at- 
tendant upon  working  with  this  irregular  proportion  it  is 
reluctantly  admitted  that  the  dynamic  claim  is  valid. 

Edwards  again  points  out  more  particularly  a  proof 
of  the  continued  proportion  of  irregular  rectangles  in  that 
the  gnomon  of  a  rectangle  of  any  ratio  revolves  around  the 
pole  of  the  intersection  of  the  two  diagonals  and  decreases 


Figure  6  Figure  7 

of  layouts  which  he  terms  "less  than  root  two"  and  dis- 
closes that  he  regards  irregular  rectangles  as  dynamic. 
Fig.  6  is  a  modification  of  the  star  layout  and  Fig.  7  of 
the  whirling  square  layout  both  in  Ampas  proportion. 

It  is  possible  that  the  motion  picture  industry  can 
shuffle  along  with  the  "square  peg  in  a  round  hole"  policy. 
After  all,  it's  the  motion  pictures'  business. 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


Eighteen  The       INTERNATIONAL       PHOTOGRAPHER  July,  1933 

I  Elf  IE     SUPER-PAIxVO,     The    Menl    Camera 

By     ALVIN     WYCKOFF 


A — Knob  for  shifting  of  Ground  Class;  B — Focusing  Dial; 
C — Focusing  Tube  (8x);  D — Speed  Indicator  Dial;  E — Footage  and 
Turn  Counter;  F — Locket  and  Switch  with  Electro-Magnetic  Cut-out; 
C — Hand-crank  and  Opening  for  removal  of  Motor;  H — Automatic 
Fade  and  Lap  Dissolve;  ) — Hand  Fade;  K — Knob  for  Locking  Case; 
L — Cround  Class;  M — Intermittent  Pressure  Plate;  N — -Register  Pins; 

"All  ready  for  action!     Quiet  please!      Turn  it  over!" 

Long  pause. 

"Well,  what  about  it,  why  don't  you  start?" 

"We  have  started,  Mr.  Director;  the  camera  is 
running." 

"I'm  sitting  only  18  inches  from  it  and  I  can't  hear 
it." 

"Mr.  Mixer,  you  have  the  microphone  right  up  to 
the  camera,  could  you  hear  it?" 

"No,  Mr.  Director,  I  couldn't;  I  don't  think  it  was 
running." 

"Mr.  Director,  we  haven't  turned  it  off  yet;  so  I  will 
open  the  door  of  the  camera  to  prove  that  it  IS  going." 

The  door  was  opened  and  the  camera  WAS  running — 
the  purr  of  the  mechanism  could  now  be  plainly  heard. 

Astonishment  reigned  supreme — never  before  had  I 
heard  anything  mechanical  for  the  use  of  exposing  motion 
picture  film  that  was  so  quiet.  I  remained  for  hours  to 
study  this  new  camera.     It  was  a  revelation  in  every  way. 


0 — Film  Punch;  P — Pivot  for  Gate  and  Cround  Class;  Q — Pan  Ad- 
justment; R — Tilt  Adjustment;  T — Knob  for  Closing  Shutter;  U — Oil 
Level;  V — Take-ups;  W — Switch  for  Automatic  Fade;  X — Automatic 
Switch  for  Anti  buckling  Device;  Y — Gear  Shift  for  Motors  of  1500 
or  2400  RPM;  Z — Knobs  for  setting  Footage  and  Turn  Counters 
to  zero. 

A  most  perfect  mechanical  contrivance,  superbly  auto- 
matic in  every  feature,  very  compact  and  light ;  as  easily 
handled  as  the  best  cameras  of  the  silent  days.  Perfectly 
balanced  at  any  angle  of  tilt  either  forward  or  back. 

Due  to  unique  arrangement,  electrically,  it  is  impos- 
sible to  jam  and  ruin  the  mechanism.  No  set  aperture  to 
drag  the  film  past ;  aperture  and  pilot  pins  working  in 
perfect  synchronous  action,  eliminating  any  possibility  of 
even  the  slightest  suggestion  of  a  scratch.  Perfect  focal 
contact  over  the  entire  screen. 

Four  hours  after  its  first  demonstration  the  camera  was 
purchased,  with  cash  paid,  by  one  of  the  prominent  com- 
mercial studios  located  in  the  east.  Here,  it  seems  to  me, 
is  the  answer  to  that  long  desired  demand  for  a  high  class 
motion  picture  camera  that  would  do  away  with  the  cum- 
bersome blimp  and  free  the  cameraman  from  the  dread  of 
missing  an  important  scene  due  to  the  handicapping  or 
the  instrument  he  must  work  with  in  an  effort  to  con- 
stantly improve  his  art. 


TELEVISION 

(Continued  from  Page  4) 
sight,  with  separate  sound  and  sight  receivers  in  the  view- 
er's home,  or  these  two  receivers  combined  in  a  single 
cabinet.  For  talking  motion  pictures,  a  sound  head  is 
provided  on  the  projector  in  much  the  same  way  that  it 
is  used  in  the  theatre. 

12.  How  will  television  affect  the  production  department  of 
motion   pictures,  such  as  directors,  cameramen,  etc. — if  at  all? 

Ans.  Television  will  affect  each  and  every  depart- 
ment of  motion  picture  industry.  If  they  choose  to  pro- 
duce movies  for  television  consumption  they  will  be  ad- 
dressing a  different  audience  than  they  now  approach  in 
the  theatre.  Their  presentation  must  be  more  on  the 
order  of  the  present  radio  program  than  of  the  present 
motion  picture.  Also,  television  has  limitations  which 
must  be  catered  to  at  the  start.  The  sets  must  be  simple 
and  certain  factors  in  photography  taken  into  considera- 
tion. 

If  they  continue  to  produce  motion  pictures,  they  must 
produce  masterpieces  that  transcend  their  present  efforts 
and  the  presentations  that  will  be  offered  over  television. 

13.  Will  television  increase  or  decrease  the  importance  of  the 
cameraman? 

Ans.  In  making  television  film,  the  cameraman  must 
become  acquainted  with  the  new  technique  spoken  of 
above.     At   present  this  technique   resides  mainly   in   the 

PLEASE  MENTION   THE  INTERNATIONAL  PHOTOGRAF 


experience  of  television  workers  and  in  that  of  their  co- 
workers. We  have  made  considerable  progress  along  this 
line  in  co-operation  with  the  Mack  Sennett  organiza- 
tion. Some  of  the  requirements  are  revolutionary  but 
will  merely  require  time  to  become  regular  procedures 
of  the  art. 

14.  Will  television  make  more  work  for  the  cameraman? 
Ans.     For  making  film  for  television — no. 

15.  How  will  television  affect  the  newsreels? 

Ans.  Television  will  be  one  of  their  natural  out- 
lets in  the  future.  Whether  this  will  take  them  out  of 
the  theatre  or  not  is  open  to  question.  The  field  will 
undoubtedly  be  split  between  actual  television  camera 
presentation  of  an  event  as  it  occurs,  the  transmission  of 
special  television  news  reels  over  the  television,  and  more 
carefully  edited  and  presented  news  items  to  be  shown 
in  the  theatres. 

16.  Can  the  newsreel  cameraman  of  today  use  the  television 
camera  of  tomorrow  without  any  great  study? 

Ans.  As  regards  its  operation — yes.  //  will  be  much 
like  doin tj  all  of  his  shooting  through  a  view-finder ,  be- 
cause he  will  hare  the  picture  that  lie  is  taking  con- 
stantly before  him.  As  regards  understanding  it — no. 
It  will  be  a  device  of  photo-electric  cell  and  vacuum  tubes 
of  the  greatest  precision  ;  it  will  be  the  heart  of  the  tele- 
vision transmitting  equipment.  The  first  television 
(Turn  to  Page  42) 

HER   WHEN   CORRESPONDING   WITH   ADVERTISERS- 


July,  1933 


T  h 


INTERNATIONAL       PHOTOGRAPHER 


Nineteen 


New   Developments   in   Illumination 

Three    New    Units    Described    and    Demonstrated    at    the    June    15,    Meeting 

of    Pacific    Coast    Section,    V  M.  i'.  I. 


The  Summer  meeting  of  the  Pacific  Coast  Section, 
S.  M.  P.  E.,  was  held  in  the  auditorium  of  the  Bell  & 
Howell  building,  716  North  La  Brea  Ave.,  at  8:15,  June 
15,  Emery  Huse,  presiding. 

Three  units  were  scheduled  on  the  program: 

"A  New  Development  in  Arcs  for  General  Set  Light- 
ing," by  Mr.  Elmer  C.  Richardson,  of  Mole-Richardson, 
Inc. 

"The  Lumenarc,"  by  R.  M.  Maxwell,  Electrical  Pro- 
ducts Corporation. 

"A  new  Development  in  Incandescent  Lamps  for  Mo- 
tion Picture  Lighting,"  by  Ralph  E.  Farnham,  Mazda 
Lamp  Division  General  Electric. 

The  first  unit  mentioned  is  a  twin  arc  for  general 
lighting  and,  while  it  somewhat  resembles  the  old  arc 
broadside,  a  great  many  basic  changes  have  been  made 
which  adapt  it  to  use  on  sound  stages. 

The  carbons  are  a  new  development  of  the  National 
Carbon  Co.  Inc.,  and  have  been  designed  especially  for 
use  in  motion  picture  photography.  It  was  found  that  by 
reducing  the  size  of  the  carbons  from  ^2"  diameter  to 
8  mm.   using  a  special   core  material  and  copper-coating 


the  outside,  illumination  of  much  greater  intensities 
could  be  obtained. 

Each  pair  of  carbons  has  a  separate  feeding  control 
which  keeps  them  at  the  proper  burning  point  and  elim- 
inates the  unsteadiness  formerly  encountered  when  the 
carbons  came  together  in  feeding. 

The  lamp  is  equipped  with  chromium  plated  reflectors 
and  the  light  output  is  approximately  three  times  that  of 
the  old  type  side  arc. 


Unit  No.  2  was  described  by  Mr.  Maxwell  as  stated 
above,  but  this  brief  abstract  was  written  at  Mr.  Max- 
well's request  by  Mr.  E.  O.  Erickson,  in  charge  of  Elec- 
tric Products  Laboraton ,  Hollywood: 

Modern  electrical  advertising  made  great  forward 
strides  after  the  first  pioneering  steps  were  taken  by  those 
who  saw  the  advantages  of  using  gaseous  discharge  tubes 
as  media  for  conveying  an  advertising  message. 

Strictly  in  line  with  twentieth  century  tempo,  Neon 
Signs  (to  use  the  generic  term  by  which  the  public  has 
chosen  to  designate  these  devices)  quickly  rose  to  the  status 
(Turn  to  Page  34) 


\\ 


/VmTv©©V©S      -Automatic  Speed  Control  Motoi 


Always  one  step  ahead" 


EXACTLY   90    Feet 
Per  Minute! 


•  • 


Dependable     Sound 
Recording  Equipment 


RECORDER 
SWITCH 


■  ?  A- 


Phone:  WYoming  4501 


Representative 

MOVIE   CAMERA   CO. 

Bombay,   India 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


The  ravishing  young  Un- 
dine shown  here,  poised  as 
though  ready  to  plunge  into 
the  water,  is  Heather  Angel 
whose  beauty  and  dramatic 
intelligence  has  so  captiv- 
ated the  Fox  management 
that  they  have  definitely  set 
about  grooming  the  charm- 
ing sprite  for  stardom.  Star- 
dom in  pictures,  like  great- 
ness, is  often  thrust  upon 
the  aspiring  actor  folk,  but 
in  the  case  of  Miss  Heather 
it  looks  like  a  case  of 
achievement.  She  is  certain- 
ly on  the  upward  rush.  Ray 
]ones  posed  the  young  lady 
for   this  picture. 


Miniature  Camera 

Projection  I  Tinting,  Retrospect 
and  Prospect 

By  RALPH  H.  LINN 

For  a  good  many  years  after  someone  first  thought  of 
applying  the  magic  lantern  principle  to  a  photographic- 
negative  and  obtaining  therefrom  a  larger  picture  than 
the  size  of  his  camera  had  hitherto  permittted,  the  "en- 
largement" was  regarded  as  a  very  special  kind  of  photo- 
graph.    It  was  in  a  way  a  "stunt." 

And  a  large  portion  of  the  lay  public  still  so  regards 
it.  The  portrait  fraternity  continue  to  sell  "enlarge- 
ments" to  their  customers — said  customers  not  realizing 
that  the  smaller  pictures  they  order  are  often  enlarge- 
ments, too. 

But  the  professional — the  portrait  man,  the  press 
photographer,  and  likewise  the  advanced  amateur,  long 
ago  ceased  to  make  enlargements.  They  even  ceased  to 
think  of  them  as  such.  As  soon  as  the  making  of  large 
prints  from  small  negatives  became  the  rule,  and  not 
the  exception,  projection  printing  was  born.  The  transi- 
tion was  gradual,  but  steady,  and  the  reasons  for  it 
hardly    require   elucidation    here. 

Every  decrease  in  negative  size  meant  a  lowering  of 
the  cost  of  operation  and  lightening  of  the  load  which 
the  picture  hound  was  obliged  to  lug  around  with  him. 
But  leaving  these  advantages  entirely  out  of  considera- 
tion, the  convenience  of  the  projected  print  in  enabling 
the  pictorial  worker  to  do  his  trimming  beforehand  and 
the  commercial  man  to  correct  minor  errors  in  the  level- 
ing of  his  camera  and  composition,  to  say  nothing  of 
"dodging"  and  other  forms  of  control,  is  sufficient  in 
itself  to  account  for  its  universal  adoption. 

And  so,  with  improvements  in  practice  and  emulsions 
and  the  introduction  of  new  developers,  negative  sizes 
grew  even  smaller — and  several  factors  formerly  re- 
garded as  virtually  negligible  suddenly  leaped  into  major 
prominence.  A  minute  scratch  or  speck  which  would 
have  been  invisible  in  a  contact  print  became  something 
to    worrv    about    when    "blown    up"    to    say    11    by    14. 


Somebody  discovered  that  holding  a  small,  thin  negative 
between  thumb  and  forefinger  for  even  a  short  time  on 
a  warm  day  produced  results  little  short  of  awe  inspir- 
ing in  the  enlargement  which  he  had  intended  presenting 
to  the  girl  friend.  Somebody  else  after  years  of  pains- 
taking research,  no  doubt,  discovered  grain — and  per- 
haps tried  to  patent  it !  At  all  events,  the  small  camera 
enthusiast  found  out  that  he  must  partly  pay  for  his 
convenience,  portability  and  lowered  cost  by  giving  more 
thought,  but  not  necessarily  more  trouble,  to  the  hand- 
ling of  his   negative  material. 

And  from  the  brief  but  decisive  battle  to  overcome 
the  newer  obstacles  to  perfection  in  picture  making  he 
has  emerged  decidedly  the  winner.  Aided  by  the  work 
of  some  of  our  great  research  laboratories  he  has  found 
it  entirely  practical,  and  very  much  more  enjoyable,  to 
decrease  his  negative  size  well  below  the  "vest  pocket" 
sizes  and  still  gratify  his  desire  for  good  looking  8  by  10 
or  11  by  14  prints,  and  it  is  precisely  this  victory  over  his 
initial  problems  which  has  paved  the  way  for  the  rap- 
idly increasing  popularity  of  today's  smallest  practical 
cameras — those  of  the  Leica  or  Contax  type,  using  stand- 
ard motion  picture  film  and  making  negatives  24  by  36 
mm. 

The  continuous  and  exacting  demands  of  the  motion 
picture  industry  itself,  and  the  brilliant  work  of  the  men 
associated  with  the  camera  and  laboratory  end  of  it, 
were  mainly  responsible  for  the  development  of  the  small 
camera.  Here  was  "enlarging"  with  a  vengeance !  But 
there  are  many  who  even  yet  have  failed  to  grasp  the 
fact  that  the  problems  of  these  two  classes  of  small  nega- 
tive users  are  not  always  identical.  It  is,  of  course,  ob- 
vious that  an  accumulation  of  fine  marks  or  dust,  for 
instance,  on  a  strip  of  film,  will  manifest  itself  in  a  most 
unpleasant  way  on  the  screen,  whereas  a  single  mark  or 
speck  will  pass  unnoticed.  Not  so  with  the  "still."  If 
the  miniature  cameraist  finds  a  mark  on  so  much  as  a 
single  frame  it  is  serious,  for  it  may  be  a  shot  which  per- 
mitted of  but  one  exposure  and  which  cannot  be  dupli- 
cated. Right  here  is  where  his  problem  becomes  a  special 
one  and  the  necessity  for  making  his  negatives  as  perfect 
as  is  humanly  possible  becomes  paramount. 

Fortunately  the  way  is  not  difficult ;  it  merely  re- 
quires altered  methods  of  approach  and  a  consideration 
of  factors  heretofore  unimportant.  It  is  for  the  discus- 
sion of  these  methods  and  factors  that  this  department  of 
THE  INTERNATIONAL  PHOTOGRAPHER  has 
been   inaugurated.      It   is  the   intention   of   the  editors  to 

R-K-0  called  upon  Charles  Rosher  to  direct  the  cinematography  on  than 
consisted    of    Frank    Redman    and    Robert    De    Crasse,    operative    camerame 
camera.     It  being  a  he-man  story,  that  famous  two-fisted  actoi,  Bill  Boyd,  > 


make  it  a  clearing-house  for  information  of  interest  to 
users  of  miniature  negative  material.  It  will  be  particu- 
larly designed  to  meet  the  needs  of  the  professional  and 
the  advanced  amateur,  and  in  months  to  come  will  en- 
deavor to  convey  the  newest  "wrinkles,"  with  special 
emphasis  on  the  treatment  of  miniature  negative  mate- 
rial. 

To  this  end  your  contributions  are  soliciated  and 
likewise  your  inquiries.  If  you're  having  trouble,  let's 
hear  from  you.  If  you  know  something  the  other  fellow 
doesn't — write  it  and  send  it  in.  This  is  your  depart- 
ment and  it  can  be  useful  to  you  by  just  so  much  as  you 
are  willing  to  use  it. 


SEA  GOING  SHOWBOAT 

Some  Hollywood  first  cameraman  and  a  couple  of 
assistants  are  going  to  have  a  glorious  year's  vacation  with 
the  Romature  Expedition,  a  modern  sea  going  showboat 
carrying  150  actors,  dancers,  musicians  and  other  artists, 
who  will  circumnavigate  the  Pacific,  entertaining  on  their 
way,  with  important  stop-overs  in  the  South  Seas  to  make 
a  native  feature  motion  picture  production  and  twelve 
shorts,  all  under  direction  of  David  Graham  Fischer, 
Hollywood  megaphonist. 

The  Romature  Expedition  sails  aboard  the  William 
H.  Harriman,  a  four-masted  schooner  of  1450  tons.  It 
will  carry  a  complete  theatrical  company,  fully  rehearsed 
in  twelve  late  Broadway  successes  such  as  "Up  Pops  the 
Devil,"  "Private  Lives,"  etc.,  for  showing  in  Honolulu 
and  the  Orient.  It  will  also  carry  a  floor  show,  orchestra, 
puppet  theatre  and  other  entertainment  features  for  show- 
ing in  foreign  ports. 

This  modern  showboat,  with  its  variegated  crew  of 
talented  Hollywoodians,  will  stop  at  Honolulu,  Shanghai 
and  Hong  Kong,  China  ;  the  Philippine  Islands,  Singapore, 
Borneo,  Sumatra,  Sydney  and  Melbourne,  Australia, 
Java,  Bali,  New  Caledonia,  Fiji,  Samoa  and  the  Society 
and  Marquesas  Islands  before  a  final  return,  in  one  year, 
to  Los  Angeles. 

Shows  will  be  given  only  in  the  important  cities  like 
Honolulu,  Shanghai  and  Melbourne.  When  the  troupe 
reaches  the  South  Sea  Islands,  it  will  become  a  regular 
motion  picture  producing  company  and  will  make  a  native 
feature  as  well  as  many  dramatic  shorts  on  the  fire  rituals, 
ceremonial  dances  and  mythology  of  the  islands.  A  com- 
plete film  laboratory  and  sound  equipment  will  be  taken 
along  on  this  expedition  in  which  David  Graham  Fischer, 


I  of  the  oil  fields,  "Flaming  Cold."  Mr.  Rosher's  production  cabinet 
I  Ceo.  Diskant,  assistants,  with  Fred  Hendrickson  operating  the  still 
ih  Pat  O'Brien  as  featured   leads. 


The  beauty  inspector  of 
Fox  Films,  like  the  late 
lamented  Florenz  Ziegfeld, 
knew  beauty  when  he  saw 
it  and  the  young  woman  in 
the  picture  herewith  is  proof 
plenty  that  he  is  an  excel- 
lent picker.  Beautiful,  stat- 
uesque, graceful  and  poised 
is  Mimi  Jordan  and  if  beauty 
helps  them  to  climb  the 
heights,  Mimi  is  already 
near  the  timber  line.  This 
is  another  of  the  pictures 
shot  by  Ray  Jones,  chief  of 
the  still  department  of  Fox 
Films. 


director ;  Dr.  Harry  F.  Walker,  noted  scientist  and  world 
traveler  and  others  prominent  in  Los  Angeles  are  inter- 
ested. 


Producers'  Showroom 

Is  there  anything  new  under  the  sun  ?  Consider  the 
PRODUCERS'  SHOWROOM. 

Its  purpose  is  to  apply  the  new  deal  of  1933  to  the 
production  of  stage,  screen  and  radio  material.  Here  the 
producer  of  modern  entertainment  will  be  able  to  shop 
for  the  varied  elements  of  his  broad  field.  So  the  depart- 
ment store  idea  is  applied  to  the  amusement  business. 

The  promoters  feel  that  they  have  hit  upon  a  unique 
service  for  helping  producers  to  size  up  plays,  players, 
music,  etc.,  and  befofe  investing  their  money  in  them  and 
running  the  risk  of  losses  such  as  have  often  been  suffered 
in  the  past.  If  show-business  is  to  prosper  once  more  it 
must  be  more  economically  fostered  in  the  future,  like 
everything  else  today. 

For  the  first  time  in  the  history  of  the  American  stage 
a  try-out  theatre  is  to  be  operated.  THE  PRODUCERS' 
SHOWROOM  is  equipped  to  put  on  unproduced  plays 
for  preview  purposes.  An  interesting  list  of  playscripts 
has  already  been  assembled  and  a  schedule  of  productions 
arranged.  The  hope  is  to  discover  new  plays  and  players 
for  "the  trade." 

This  is  strictly  a  professional  project,  all  departments 
being  supervised  by  people  of  long  experience  in  stage, 
screen  and  radio  activities.  Their  hope  is  that  it  will  fill 
a  proverbially  long-felt  want  in  the  amusement  world. 

The  Producers'  Showroom  plant  is  located  at  6480 
Sunset  Boulevard  where  the  administration  personnel  have 
their  offices,  the  Advisory  Board  being  composed  of  Gus 
Tnglis,  Bayone  Whipple  Huston  and  Walter  Whipple,  all 
experts  in  the  amusement  business. 

Mr.  H.  O.  Stechan,  one  of  the  creators  and  builders 
of  the  Pasadena  Community  Players  and  Playhouse,  will 
have  charge  of  the  Spoken-Word  Writers'  Service  De- 
partment. 

The  new  organization  has  a  completely  equipped  the- 
atre at  6480  Sunset  and  is  already  a  going  concern  worthy 
of  unlimited  success. 


7 zventy-two 


The      INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


Trichromatic  Camera 

JAMES  DOOLITTLE  Builds  a  New  Kind  of 

Camera  Out  of  a  Junk  Heap  and 

Woolworth  Store  Hardware 

By  Himself 

I  concede  no  power  to  the  old  saw  that  there's  nothing 
new  under  the  sun  by  repeating  the  truth  here,  but  in  this 
atmosphere  of  constant  change,  where  the  innovation  ot 
today  is  the  accepted  practice  of  tomorrow  and  where 
obsolesence  goes  almost  hand  in  hand  with  progress,  it 
may  appear  that  I  am  dallying  with  fact  and  treating 
the  truth  but  lightly. 

As  the  motion  picture,  in  its  elements,  awaited  but  the 
discovery  of  flexible  film  for  its  commercial  practicability, 
and  developments  in  refined  essence  made  feasible  the 
internal  combustion  engine,  the  perfection  of  panchro- 
matic emulsions  has  lately  made  workable  certain  processes 
in  three-color  photography  well  known  in  detailed  theory 
to  the  photographic  "ancients." 

So,  while  it  may  occasion  some  surprise  at  first  glance 
it  is  nevertheless  a  fact  that  color  photography  is  as 
old  as  "them  thar  hills"  and  even  if  it  contains  less  gold 
there  is  not  a  little  profit  in  prospecting  a  well-worked 
stope. 

I'm  inclined  to  take  issue  with  the  somewhat  be- 
whiskered  bromide  that  "necessity  is  the  mother  of  in- 
vention" and  substitute  in  its  stead,  "invention  is  the 
child  of  improvisation."  There  was  no  howling  need 
for  the  application  of  a  force  known  as  electricity  which 
prompted  Benjamin  Franklin  to  court  violent  death  by 
flying  his  kite  in  a  thunder  storm. 

No  urgent  necessity  induced  Alexander  Graham  Bell 
to  invent  the  disseminator  of  wrong  numbers,  nor  was 
Samuel  Morse  under  the  strain  of  popular  clamor  when 
he  gave  up  portrait  painting  to  give  the  world  the  tele- 
graph. So  on  through  the  years  we  can  observe  that 
things  merely  developed  from  curiosity  of  certain  men 
who  "had  a  hunch"  or  who  were  merely  spoiling  for 
something  to  do. 

Few,  if  any  of  them,  had  even  the  remotest  idea 
that  their  discoveries  or  inventions  would  revolutionize 
anything,  as  witness  the  fact  that  only  an  inconsiderable 
number  were  ever  materially  benefited  by  the  commercial 
exploitation  of  their  mental  offspring. 

All  of  which  is  prefatory  to  saying  that  we  have 
lately  picked  up  the  rusty  tools  of  early  investigators 
and,  without  adding  materially  to  their  contributions, 
have  cashed  in  on  their  investment  in  brains. 

Since  this  is,  by  reason  of  several  limitations,  not  a 
scientific  paper  I  need  not  go  into  the  matter  of  de- 
scribing the  several  types  of  cameras  used  in  making 
separation  negatives  for  tri-chromatic  photography  nor 
is  there  any  good  reason  to  explain  why  I  chose  the 
repeating-back  type  for  my  own  work  beyond  saying  that 
as  no  really  efficient  apparatus  is  obtainable  on  the  mar- 
ket it  was  necessary  to  construct  the  gimmick  myself. 
I    borrowed   freely   from   well    known   patterns   and   was 


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guided  by  the  necessity  of  utilizing  readily  available 
materials  and  the  limitations  of  my  own  mechanical 
facilities. 

Commercially,  in  the  interests  of  good  quality,  it 
seemed  important  that  I  use  as  large  a  negative  as  pos- 
sible and  this  limit  is  5  by  7  inches.  As  three  identical 
negatives  are  required  even  this  size  makes  for  a  some- 
what cumbersome  apparatus,  but  if  it  is  not  exactly  a 
piece  of  field  equipment  its  dimensions  do  not  interfere 
seriously  with  its  practicability. 

With  the  filters  integral  with  the  sliding  carriage 
three  exposures  are  made  upon  a  single  film  7  by  17 
inches.  Development  of  the  separate  exposures  is  con- 
sequently simultaneous,  shrinkage  of  the  support  uniform 
throughout  and  registration  critical.  Naturally  subjects 
in  which  there  is  inclined  to  be  movement  between  ex- 
posures cannot  be  attempted  with  this  camera  although 
portraits  of  persons  old  enough  to  grasp  the  meaning 
of  "still!"  are  quite  successfully  made  and  landscapes 
under  conditions  of  comparative  calm  have  been  made 
without  difficulty.  To  be  completely  equipped  a  "one- 
shot"  camera  should  form  an  accessory,  but  such  an 
instrument  has  its  limitations  also.  There  is  yet  no 
universal  camera  for  color  work — if,  in  fact,  there  be 
an  all-around  tool  for  any  purpose. 

In  detail,  the  equipment  is  a  substantially  constructed 
camera — also  a  product  of  the  back-yard  shop — which 
embodies  every  feature  of  a  good  still  camera  and  a  few 
which  have  up  to  now  been  overlooked  by  the  manu- 
facturers. The  attachment  which  carries  the  film  for 
color  work  is  a  sliding  carriage  accommodating  three 
color  filters  and  the  holder  for  7  by  17  films.  This 
carriage  traverses  upon  ball  bearings,  salvaged  from  an 
Underwood  typewriter  (adv.),  and  is  actuated  by  a 
manually  operated  escapement.  The  mainspring  and 
draw-band  from  the  same  machine  serves  to  pull  the 
carriage  across  the  focal  plane,  the  tension  being  regu- 
lated to  minimize  the  interval  of  traverse.  Jar  due  to 
sudden  stoppage  at  each  position  is  reduced  by  a  dash- 
pot  which  operates  somewhat  on  the  principle  of  a  pneu- 
matic door-stop. 

The  ensemble  is  constructed  of  dural  and  brass,  light 
within  the  limits  of  necessary  rigidity,  yet  no  effort  was 
made  to  cul  down  the  weight  at  the  expense  of  service- 
ability. Filters  were  made  right  here  in  town  by  Har- 
rison &  Harrison  by  whom  careful  tests  were  made 
to  insure  the  proper  "cut-out"  in  each  stage. 

An  old  style  tripod,  made  in  the  days  when  inherent 
jittering  of  cameras  of  the  period  necessitated  sturdy  con- 
struction, has  been  adapted  to  take  the  standard  screw 
and  while  here  again  the  weight  is  considerable,  it 
may  be  regarded  as  a  mobile  unit  which  will  "sit  still" 
during  operations.  Like  the  Great  American  Novel, 
which  still  awaits  the  birth  of  a  genius,  the  ideal  tripod 
for  still  cameras  has  not  yet  been  conceived.  I  shall 
have  to  do  something  about  it ! 

APHER  WHEN  CORRESPONDING   WITH  ADVERTISER? 


JUNIOR    NOTION    PICTURE 
CAMERA    NOTES 


By  GEORGE  J.  LANCASTER 


B  &  H  MONTHLY  MEETING 

The  monthly  16  M.M.  lecture,  under  the  auspices 
of  the  Bell  &  Howell  Camera  Company,  was  held  June 
16,  at  eight  P.  M.  in  their  auditorium,  716  North  La 
Brea  Avenue,  Hollywood. 

Mr.  J.  A.  Duhray,  Western  District  Manager,  spoke 
on  "Film  Editing."  One  of  the  points  pertaining  to 
editing  emphasized  by  Mr.  Dubray  was  "Planning  the 
Story  in  Advance,"  that  is  to  say  to  have  in  mind  some 
continuity  for  the  story,  the  sequence  of  transition  of 
scenes  and  to  establish  the  location. 

Continuity  of  light  was  thoroughly  explained  by  Mr. 
Dubray,  the  uniformity  of  exposure  throughout  the  film, 
eliminating  the  differential  of  light  in  the  scenes  in  se- 
quence, from  being  either  too  light  or  too  dark. 

A  slow  motion  film  of  diving  and  swimming,  photo- 
graphed with  a  reconstructed  16  M.M.  Bell  &  Howell 
camera,  exposing  128  frames  per  second,  was  projected 
and  proved  professionally  successful  in  respect  of  steadi- 
ness. This  was  remarkable  in  view  of  the  fact  that  it 
had  been  deemed  by  some  of  the  camera  technicians  im- 
possible for  a  16  M.M.  camera  to  operate  at  an  ultra- 
rapid  speed.  Incidentally  this  ultra-rapid  camera  is  the 
only  Bell  &  Howell  16  M.M.  in  existence  capable  of 
photographing  128  frames. 

The  closing  of  the  evening's  entertainment  was  a 
motion  picture  of  unusually  excellent  photography  of  the 


Wallace  Beery,  Metro- 
Coldwyn-Mayer  star,  in  the 
film  laboratory  of  his  Bev- 
erly Hills  home  where  he 
develops  negative  and  makes 
his  own  prints  from  reels  he 
shoots  himself.  He  has  a 
collection  of  five  different 
kinds  of  cameras,  including 
a  standard  motion  picture 
camera,  16  millimeter,  Cra- 
flex,  8x10  still  camera  and 
several   snapshot   cameras. 


eruption  of  a  volcano  in  the  Hawaiian  Islands,  and  the 
human  interest  life  in  and  around  Honolulu,  by  Lieut. 
Stanford  Grey  Chapman,   U.  S.  N. 

QUESTIONS  AND  ANSWERS 

Question:  What  kind  of  film  should  I  use  that  would  be 
suitable  to  photograph  night  scenes  on  the  street,  what  lens  for 
exposure  should    I   use?      My  camera    is  a  5  by  7  Craflex. 

Answer :  For  fast  film  I  would  suggest  Wratten 
Hypersensitive  Panchromatic — 1/150  second  and  an 
F.1.8  lens  will  produce  good  results. 

Question:  What  are  wipe-offs,  how  are  they  made  and  applied 
to  the  motion   picture  film? 

Answer:  It  is  impossible  to  go  into  technical  details 
here.      Wipe-offs    are    made    in    the    optical    printer,    the 

(Turn  to  Page  40) 


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EASTMAN 
FILMS 


BRULATOI 


WHAT'S    WHAT! 


Published  Monthly  by  J.  E.  Brulatour,  Inc.,  Distributors 


" BULLETIN " 
FORECASTS  FACTS 

Production  Activities  Qreatest  in  Two  Years 


"They  laughed  when  I  said  I  could 
plaj  the  piano!" — and  when  the  past 
issue  of  The  Brulatour  Bulletin  carried 
as  its  feature  news-story  the  details  of 
the  big  boom  just  around  the  corner, 
some  of  our  readers  were  so  unkind  as 
to  accuse  us  of  "whistling  through  the 
graveyard." 

During  the  past  week  the  metropolitan 
dailies  have  carried  feature  stories  on 
almost  all  of  the  major  studios.  Bigger 
programs — more  pictures  to  be  made  in 
the  next  season  are  announced  in  detail 
by  M-G-M.  Paramount,  Universal, 
Twentieth  Century,  Monogram,  Warner 
Brothers,  Columbia.  Millions  of  dollars 
will  be  distributed  in  pay  rolls — with 
important  quotas  landing  in  the  laps  of 
the  cameramen  who  play  such  a  vitally 
important    part    in    this    industry. 

These  newspaper  reports  are  not  press 
yarns. 

Look!  When  the  June  issue  of  The 
Bulletin  carried  the  feature  news-head, 
"Full  Steam  Ahead  For  Production," 
Hollywood  (meaning  the  west  coast)  was 
groaning  along  with  a  too-light  load  of 
exactly  twenty-four  units  (including 
features,  independents,  shorts  and  nov- 
elties) at  all  studios  combined.  As  the 
July  issue  goes  to  press  our  production 
sheet  shows  forty  six  units  in  actual 
shooting  and  that  figure,  boys  and  girls, 
is  established  with  Twentieth  Century 
not  yet  started  and  with  M-G-M  just 
rolling  up  its  sleeves  and  unbuttoning 
its  vest  preparing  to  launch  a  record 
schedule   for   that    mighty    plant. 

Warner  Brothers  came  in  under  the 
tape  exactly  on  schedule.  June  first, 
studio  dark — July  first,  five  units  in 
actual  production  with  two  more  to 
start  the  minute  the  smoke  from  fire- 
crackers and  skyrockets  floats  up  to 
merge   with   our   lovely   low    fog. 

Twentieth  Century  is  scheduled  to 
start  the  cameras  on  morning  of  JuK- 
tenth,  and  knowing  Darryl  Zanuck  and 
his  capacity  for  doing  things  on  sched- 
ule, the  doubters  of  that  date  can  pick 
up  a  little  bet  right  here  if  they  think 
that's   too   early. 

Speaking  of  Twentieth  Century,  Jimmy 
Van  Trees  drew  the  first  term  ticket 
for  cameramen  with  the  newly  formed 
outfit.  Ink  on  Jim's  document  was 
scarcely  dry  when  Bert  Glennon  was 
called  in  and  handed  the  "Century"  pen 
for  his  signature.  Glennon  will  boss  the 
cameras  on  number  one  unit  ("Bowery", 
Raoul  Walsh,  directing)  and  Van  Trees 
takes  on  number  two  the  minute  he 
completes  his  opening  opus  at  the  Bur- 
bank  plant  where  he  has  been  one  of 
the  top  boys  for  the  Warners  during 
the    past    four    years. 

Details  of  other  current  assignments 
are  found  under  studio  headings  else- 
where  on   these   pages. 

Object  of  The  Bulletin  is  to  print 
the  news  (of  primary  interest  to  camera- 
men). Give  a  look  at  the  number  of 
names  (cameramen)  on  these  two  pages 
and  realize  that  "names  make  news" 
and  that  production  is — Full  Steam 
Ahead. 

'Scuse  us  a  minute  while  we  shoot  a 
wire  to  Rochester  for  a  couple  more 
carloads  of  that  superfine  Eastman  Su- 
persensitive Panchromatic  Negative — 
and  just  a  second  while  we  sign  the 
check  for  that  third  new  delivery  truck 
— and  watch  out  for  the  August  issue 
of  The  Bulletin  because  there'll  be  still 
more  names  added    (cameramen) — 

"We'll   be  seein'   you!" 

That's    Brulatour   Service. 


MOVIETONE  CITY 


HAL  MOHR  has  finished  production 
with  Dieterle  on  "The  Devil's  in  Love" 
and  is  standing  by  for  any  necessary 
added  scenes  or    retakes. 

ARTIE  MILLER  finished  produc- 
tion with  McFadden  and  started  right 
in  on  "The  Last  Trail"  with  Tinling. 
Miller  has  Joe  La  Shalle  and  S.  Wag- 
ner at  the  cameras  and  Bill  Abbott  and 
Harry  Webb  as  assistants.  Last  month 
the  linotype  man  had  us  say  Artie  lost 
a  rili.  He  didn't  lose  it,  he  only  bent 
it. 

GEORGE  SCHNEIDERMAN  has 
begun  work  on  a  new  picture  with  Jack 
Ford,  "Life's  Worth  Living."  George 
is  still  receiving  compliments  on  "Pil- 
grimage," his  last  picture  with  Ford. 
(  urt  Fetters,  a  doughty  fisherman,  is 
handling  the  camera  and  J.  Gordon  and 
Lou   Kunkel,   assistants. 

LEE  GARMES  is  in  production  with 
Blystone  on  "Shanghai  Madness." 
( Shanghai  pictures  seem  to  follow  Lee 
around.)  Garmes  did  a  swell  job  on 
Lilian  Harvey's  first  picture,  "My  Lips 
Betray."  Lee  is  seconded  in  his  pres 
ent  efforts  by  S.  Cortez  and  Ray 
Schmitz.  The  assistants.  Slim  Cruze 
and   H.  C.    Smith. 

JOHNNY  SEITZ  has  returned  from 
Monterey  and  is  photographing  Janet 
Gaynor  in  "Paddy  the  Next  Best 
Thing."  The  picture  is  directed  by 
Harry  Lachman.  It's  a  small  world. 
Seitz  and  Lachman  were  associated  in 
the  Rex  Ingram  Studio  in  France  back 
in  1924.  Bill  Skall,  who  has  been  with 
Hal  Mohr  on  most  of  his  pictures  for 
Fox,  is  seconding  Seitz.  L.  Molino  and 
S.    McDonald   are   the   assistants. 

ERNIE  PALMER  has  finished  "Ber- 
keley Square."  Those  who  have  viewed 
the  picture  praise  the  photography 
highly.  Tt  was  a  difficult  assignment 
and  in  the  opinion  of  this  reporter 
Palmer  handled  the  job  in  an  outstand- 
ing  manner. 

BOB  PLANCK  is  vacationing  at  the 
moment  after  turning  out  five  or  six 
pictures  in  a  row  with  no  stops  in 
between.  LOU  O'CONNELL  is  also 
on  a  vacation  waiting  for  a  new  as- 
signment. 


TO   WORLD'S    FAIR 


FARCIOT  EDOUART,  the  trans- 
parency maestro  at  Paramount,  has  dis- 
patched Rex  Wimpy  and  Loyal  Griggs 
to  Chicago  to  make  background  shots 
of  the  Chicago  Wheat  Pit  and  also 
selected  shots  of  the  World's  Fair 
buildings  and  exhibits.  Scenes  are  be- 
ing made  for  "The  Golden  Harvest" 
and  "Swift  Arrow,"  forthcoming  Para- 
mount   productions. 


SWAIN  GOES  NATIVE 


JOHNNY  SWAIN,  the  RKO  labora- 
tory technician,  brought  his  family  on 
from  New  York.  The  second  day  at 
school  here  the  Swain  son  and  heir  en- 
tered a  track  meet.  He  won  the  440, 
the  broad  jump  and  the  hop,  skip  and 
jump,  and  what  a  great  introduction  that 
was   for   the   little   boy    from    New    York. 


EXTRA! 


GARME! 

Here's  the  big  piece  of 
tographic  work  has  beet 
man  in  the  industry,  has 
Fox  Films.  Term  of  Lee 
year,  with  options  app 
(Sale  lit  Fox  product 
immortal    Warfield).    " 

take  him,  veil  take  him- 


UNIVERSAL 

MERRITT  GERSTAD  finally  got  his 
fill  of  fishing,  m  the  High  Sierras 
around  June  Lake,  and  came  to  town, 
incidentally  to  Universal,  where  he 
is  photographing  the  current  John  M. 
Stahl  picture,  "Only  Yesterday."  "Long 
Sw.it"  Al  Jones  is  operating  the  camera; 
Paul  Hill  and  Ross  Hoffman  are  the 
assistants. 

TONY  GAUDIO  answered  a  call 
from  Director  DuPont  to  photograph  his 
picture,  "Lilies  of  Broadway,"  which 
Tony  is  doing  before  starting  his  sea- 
son's work  with  Warner  Bros.  Old  Re- 
liable Dick  Fryer  is  handling  the  camera 
and   Bill   Dodds  is  assisting. 

ARTHUR  EDESON  is  back  with  his 
ild  friend,  James  Whale,  making  a  very 
difficult  assignment,  "The  Invisible 
Man."  King  Gray  is  the  second  man 
and  Jack   Eagan   is   the   assistant. 

JOHNNY  HICKSON  is  busy  with 
another  serial  and  this  one  is  titled, 
"Gordon  of  Ghost  City,"  being  directed 
by  Kay  Taylor.  At  the  Akeley  we 
find  the  ol'  Akeley  expert.  Bill  Sick- 
lier. Howard  Oswald  is  the  second 
cameraman.  The  assistants  are  Buddy 
Weiler,  Carl  Meister,  Charles  Crane  and 
Bunny   Trafton. 

LF.N  POWERS  is  on  another  War- 
ren Doane  comedy.  Gosh  that  must  be 
about  the  twentieth  one.  As  usual  Janus 
Home  is  the  director  and  the  assistant 
cameraman  is  Walter  Williams. 
<(  GEORGE  ROBINSON  has  finished 
"Salt  Water"  and  is  out  every  day  try- 
ing to  break   90. 

JACK  ROSE  finished  "In  the  Money" 
in  record  time,  and  is  standing  by 
ready   to   start  another  one. 

CHARLES  STUMAR  also  finished 
his  last  picture,  "Secret  of  the  Blue 
Room,"  under  the  schedule,  and  spends 
his  time  either  flying  his  airplane  or 
hooking  the  elusive  fishes  from  their  na- 
tive  haunts. 

JERRY  ASH  is  at  the  studio  almost 
every  day  shooting  tests  and  what  not 
.   .   .   'bout  time  he  starts  a   feature  here. 

JOHN  FULTON,  in  charge  of  the 
trick,  miniature  and  projection  back- 
ground departments,  is  busy  behind 
closed  doors  working  out  the  very  in- 
tricate problems  assigned  to  him  on 
"The  Invisible  Man."  From  the  little 
we  have  learned  of  the  goings  on, 
something  sensational  is  being  developed. 

GEORGE  SEID  TO  LONDON 


George  Seid,  superintendent  of  the 
Horsley  (Columbia)  Laboratories  was 
a  passenger  on  the  Chief,  leaving  Hol- 
lywood Saturday  night,  the  twenty- 
fourth,  for  New  York,  whence  he  will 
sail  to  Liverpool  and  proceed  to  Lon- 
don, where  he  will  join  his  chief,  Harry 
Cohn,  now  completing  production  plans 
in  Europe.  Mr.  Seid  will  probably  re- 
main away  from  his  plant  about  a 
month,  and  in  his  absence  responsibility 
of  operation  will  be  in  the  hands  of 
Claude    Baldridge    and    Frank    Cootz. 

PERRY  STILL  UP 


HARRY  PERRY  is  flying  in  and 
out  of  the  clouds  these  days  shooting 
the  air  scenes  for  the  Richard  Dix  pic- 
ture, "Ace  of  Aces."  His  regular  as- 
sistant, Rod  Tolmie,  is  with  him  as 
usual. 

SNYDER   WITH  RACE   NITE 

EDDIE  SNYDER  is  shooting  a  very 
novel  series  of  pictures  for  General 
Films,  Inc.,  called  "Race  Nite,"  which 
Ray  Hinds  is  directing.  Joe  Doran  is 
the    assistant    cameraman. 


METRO-COLDV 
MAYER 

JOHN  ARNOLD,  head  of  tl, 
camera  department,  may  be  fou 
desk  about  twenty-five  "hours  oi 
day  arranging  his  sch' 
for  the  greatly  enlarged  produi 
gram,  which  threatens  to  e* 
new  record  for  M-G-M  during 
rent  season.  Many  of  the  old 
cameramen  are  retained.  Son 
production  and  others  standin 
very  early  assignments.  A  Mm 
matographers  will  be  offerei 
ments  as  the  season  advances. 

This    studio    slowed    down 
during    the    past    month,    but  i 
up   as  we   go   to   press. 

OLLIE    MARSH   has  starte. 
tion     with     Bob     Leonard    on 
Lady."       Marsh    is    seconded 
Fitzgerald  and  Kyrae   Meade, 
printed     the     foregoing    credit 
times    that    we    thought    we'd 
the   length   of   time  these  boys  1 
with     Marsh.       Eddie    counts 
5  ears    with    Ollie,   and   Kyme  s 
are     just     youngsters     with    tl 
however;  Ted  Wurtenberg,  Olli" 
has    worked     with    him    consist 
12    years.       Maybe    it    will    tur 
steady   job.      (1910   gag)   but  s 

CLYDE  (MILEAGE)  DEV 
in  Sequoia  National  Park  makii 
inary  shots  for  "Malibu,"  a 
ing  M-G-M  special  to  be  di«. 
diet  Franklin.  Story  has  no  c! 
with  the  beach,  but  concerns  ;[ 
ist,  a  mountain  lion  and  a 
three  of  whom  become  great  pa; 
to  the  surprise  of  everyone,  > 
the    deer. 

RAY  RENNAHAX  was  oi 
with  his  Technicolor  equipmei 
a   short    in  color   for   Ed  Sedgwi 

GEO.     FOLSEY     has    been 
York   for   some   weeks,   but  will 
in   the   studio  June    10  rarin'  ti 
new    assignment. 

RAY  JUNE  has  been  doing 
work  with  Griffith  on  "Anot 
guage."  M-G-M  must  like  his  t 
they  take  up  all  the  free  time  i 
away  from  United  Artists,  j 
quite  a  camera  crew  on  this 
Lawson  and  Dick  Wade 
men,  Wilbur  Bradley  and  Chij 
raria.   assistants. 

HAL  ROSSON  finished  "H 
Man"  with  Sam  Wood.  Afte 
vacation  on  the  bounding 
leaped  right  into  production  i  ' 
Back  the  Clock."  being  directe  i 
wyn.  Les  White,  as  usual,  h;.!' 
camera,  and  Harrv  Parkins  h?n 
slate      and      the      follow     focusl 


POCKET 


Theodore  Sparkuhl,  a  newcof 
overseas,  has  completed  his  1 
production  for  Paramount. 
Club"  starring  George  Raft  waj 
by  Al  Hall.  According  to  ou.o 
Sparkuhl's  work  on  the  produ  j 
been  outstanding.  tmmediat  I 
completion  of  "Midnight  Clu  - 
uhl  was  assigned  to  "Too  Ml 
mony."  Eddie  Sutherland's  ne» 
for    Paramount. 

Sparkuhl   for  many  years  wg 
the     premier     cameramen    of 
England   and   France.     He  se< 
carrying  on  the  good  work  her 

"Informer,"  "Harmony  Hea.i 
"Suspense"  were  three  ot_  f 
known  pictures  he  made  in  t.' ' 
British    International. 


BULLETIN 


EASTMAN 
FILMS 


o°--~xp£u^ 


is,  in  Cooperation  with  The  International  Photographer 


WHO'S     WHO! 


GRAVY 

Lee  Garmes,  whose  pho- 

ration  to  every  camera- 
directorial  contract  tor 

:  ot  the  casts  is  for  one 
speaking  of  options — 
almost  verbatim  the 
vant  him — if  you  von't 

e  to  lose  him!     (E.  0.  B.J 


FLASH! 


DLUMBIA 

1LINE  has  also  finished  his 
■    Number    17,"    which    was 

Lambert  Hillyer.  F.  M. 
lied  the  camera  as  usual, 
a  very  capable  manner. 
:s  were  Fred  Dawson  and 
d.  Now,  Mr.  Kline,  yon 
i  really  demonstrate  to  us 
i  are  with  those  new  Bobby 
■on  a  golf  course. 
LER  came  in  from  Santa 
inish  up  "The  Wrecker," 
;ell  directed.  Vic  Scheurich 
id  cameraman.  Bob  Tobey 
iby  were  the  assistants, 
ig  date  on   the   Frank    Bor- 

has    been    set    back    for    a 

0  JOE  AUGUST  hopped 
blinder  bus  and  is  now  on 
jlorado  to  see  the  In-Laws. 
LKER  has  finished  the 
i  picture,  "Madame  La 
believe  it  or  not,  he  spends 
»-een  pictures  going  to  mo- 
theatres      afternoons      and 

e  is  a  very  studious  chap 
see  just  what  all  the  other 
re  doing.  Walker's  crew 
:  was  Andre  Barlatier,  sec- 
.Valsh    and    George     Kelley, 

iETZLAFF  has  just  fin- 
Moments,"  which  was  co- 
lave  Burton  and  Roy  Neal. 
ad  man  was  Henry  Freu- 
assistants  were  Jack  An- 
il   Keller.      The   star    of   the 

01  Lombard. 


[PLETING   MUSICAL 


.EXT1XE,  Bryan  Foy's 
;aman,  is  working  on  "The 
a  filmusical  being  directed 
'erg.  Valentine  has  been 
ell  with  Foy,  having  pho- 
he  features  made  here  dur- 
IX  months.  Joe  has  quite 
his  one.  Al  Wetzel  and 
:o  are  the  seconds,  and 
ley,  H.  Cronjager  and 
o  are  the  assistants. 

STUDIOS  OPEN 

Studios  have  opened  again 
rk  for  three  months.  The 
lira  of  their  career.  Art 
as  cranked  a  camera  here 
ie  has  lost  count  of  the 
ack  as  the  gates  opened 
1  the  old  camera.  And  in- 
:fload  the  magazines  with 
back. 


;views 


he      photographed      "The 

lite,"    which    was    directed 

rey,    who    is    well    known 

"L'Amour    Americain," 

)  il  Fejos,  and  many  others 

reach  our  shores. 

Idjdent   days,    Sparkuhl    pho- 

tlj  Ernst    Luhitsch    pictures 

s  'lade    in     Germany    before 

rci  ht    Luhitsch    to    America. 

Mure   background   is   broad 

C'rful:  productions  in  three 

ml  four  countries  have  made 

yi'icient  second  cameraman, 
is.;  nd  Francis  Burgess,  the 
ic(  Sparkuhl  on  his  initial 
fl  ount. 


RKO 

JACK  MACKENZIE  is  shooting  a 
multitude  of  stars  and  prominent  play- 
ers in  "The  Doctor,"  among  them 
Lionel  Barrymore,  Dorothy  Jordan,  Joel 
McCrae,  Frances  Dee  and  May  Rob- 
son.  The  director  is  John  Robertson, 
and  associated  with  Jack  on  the  camera 
crew  is  Russ  Metty  operating  the 
camera,    anil    Willie    Barth,    assistant. 

DAVE  ABEL,  who  has  been  at  Para- 
mount for  many  years,  had  a  few  weeks 
between  pictures  and  improved  his  time 
i.y  coming  over  to  RKO  to  photograph 
Ginger  Rogers  and  Norman  Foster  in 
"Rafter  Romance,"  which  Wm.  Seiter 
directs.  That  very  excellent  second 
cameraman,  Joe  Biroc,  operates  the 
camera,  and  Charley  Bohny  efficiently  as- 
sists  him. 

HENRY  GERRARD  jnst  finished 
In  the  hog,'  which  Ernest  Schoed- 
sack  directed.  This  was  a  particularly 
difficult  and  interesting  assignment,  but 
Henry  delivered  his  usual  above-par 
quality.  Bob  de  Grasse,  the  second 
cameraman,  was  very  much  at  home  on 
this  picture,  having  spent  a  lot  of  time 
in  d<pr  ole  London.  George  Diskanl 
was  kept  busy  polishing  the  fog  filters 
and  the  many  other  things  the  assistant 
cameraman  is  called  on  to  do.  Gerrard 
as  we  go  to  press,  is  busy  shooting 
tests  of  Katherine  Hepburn,  Joan  Ben- 
nett, Frances  Dee  and  others  for  the 
forthcoming  George  Cukor  picture,  "Lit- 
tle Women." 

ROY  HUNT  and  his  assistant,  Dick 
Davol,  flew  to  New  York  and  then 
boarded  a  boat  for  Rio  De  Janeiro, 
where  they  will  spend  some  time"  shoot- 
ing actual  scenes  and  background  shots 
for  a  forthcoming  RKO  feature,  "Roll- 
ing  Down   to   Rio." 

AL  GILKS  drew  a  very  nice  assign- 
ment. He  has  been  at  Annapolis  for 
several  weeks  shooting  actual  scenes  for 
"Glory  Command,"  with  the  important 
members  of  the  cast  there  on  the 
grounds,  and  also  interior  scenes.  Christy 
Cabanne  directed,  and  Harry  Wild  was 
the  second  man.  Ye  gods  !  This  fellow 
Wild  has  been  a  busy  boy  this  past 
month.  The  assistant  cameraman  was 
Charles    ("Traveller")    Burke. 

CHARLES  (Commodore)  ROSHER 
finished  "Flaming  Gold,"  the  oilfield 
story  with  Bill  Boyd,  which  Ralph 
Ince  directed,  and  broke  all  records  to 
reach  his  boat.  He  was  last  seen  in 
and  around  the  Catalina  Isthmus  en- 
joying life  to  the  utmost,  but  we  must 
not  forget  to  mention  that  while  mak- 
ing the  picture  Frank  Redman  operated 
the  camera,  and  Jack  Cooney  did  the 
assisting. 

LUCIEN  ANDRIOT  has  finished 
"The  Death  Watch,"  and  he  modestly 
accepted  many  nice  compliments  for  the 
general  photography  and  also  the  fine 
unusual  effects  shots.  Associated  with 
Lucien  was  Joe  Biroc  as  second,  and 
Charley    Bohny,    his   favorite    assistant. 

And  EDDIE  LINDEN  and  J.  O. 
TAYLOR  continue  with  their  pet, 
"King    Kong.   Jr." 


FANCHON  ROYER 
COMPLETES 


ERNIE  MILLER  photographed  the 
Fanchon  Royer  picture,  "Neighbors' 
Wives,"  which  was  just  completed  at 
the  Fanchon  Royer  Studio  in  Glendale. 
Breezy  Eason  directed.  Ernie's  assistant 
was  John   MacBurnie. 


WARNER'S  WITH 
FIVE  UNITS 


Qeorge  Barnes  Joins  Camera  Staff 


PARAMOUNT 

VIC  M1LNER  (COMMODORE  to 
you)  has  finished  his  work  on  "One 
Sunday  Afternoon,"  with  Steve  Roberts 
and  has  been  assigned  to  the  new  Lu- 
hitsch opus.  Vic  is  taking  advantage 
of  a  few  days  of  leisure  granted  him 
ny  the  studio  to  polish  up  the  spin- 
naker or  something.  Vic  ioves  to  take 
people  boating.  Call  him  up  sometime. 
I'.    S. — Take    your   own   gasoline. 

After  much  searching  and  with  the 
help  of  a  score  of  caddies,  CHARLES 
LANG  was  found  at  the  Bel-Air  Golf 
Club,  hiding  in  a  barranca,  from  which 
he  was  immediately  removed  and  put  to 
work  on  "A  Way  to  Love,"  directed 
by  Norman  Taurog.  Bob  Pittack  and 
Cliff   Shirpser  continue  to  aid   Mr.   Lang. 

LEO  TOVER  has  been  leaping  about 
making  retakes  and  added  scenes  for 
good  old  Paramount  while  In-  waits  i"- 
Mae  Wcstto  start  "I'm  No  Angel." 
Leo  has  definitely  informed  us  that  his 
forthcoming  production  is  going  to  be 
The  best  durn  picture  photographically 
anybody  ever  saw  if  effort  on  his  part 
can  make  it  so.  After  seeing  the  good 
work  in  "College  Humor"  v/c  feci  Leo 
will  come  close  to  making  good  his 
threat. 


WYCKOFF  WITH  MASCOT 

ALVIN  WYCKOFF  has  been  get- 
ting up  pretty  early  every  morning  and 
hustling  all  day  long  on  the  Nat  Levine 
Mascot  serial,  "Fighting  With  Kit  Car- 
son." "Shooting  82  scenes  one  day  and 
nearly  that  many  every  day  demon- 
strates how  fast  we  were  moving,"  re- 
lates Wyckoff.  "Of  course  speed  with- 
out quality  would  not  mean  anything, 
but  we  have  seen  some  of  the  rushes 
projected  and  can  vouch  for  the  quality." 
Associated  with  Alvin  were  Billy  Nobles 
handling  the  camera,  and  the  assistants 
were  Joe  Lykens  and  Monte  Steadman  ; 
Armand  Shaefer  and  Colbert  Clark,  di- 
rectors. 


MONOGRAM  PRODUCTIONS 


Trem  Carr  and  his  staff  of  producers 
and  directors  have  moved  into  the  West- 
ern Service  Studios  and  are  well  under 
way  on  their  1933-34  program.  One 
of  their  first  moves  was  to  reach  out 
and  hire  a  handful  of  first  class  camera- 
men. 

SID  HICKOX  of  Warner  Bros,  fame, 
is  on  his  second  picture,  having  finished 
"The  Avenger,"  directed  by  Ned  Marin 
for  Trem    Carr  Productions. 

GIL  WARREXTON  finished  at 
Paramount  and  started  immediately  with 
Phil  Rosen  on  "The  Devil's  Mate,"  a 
Verschlesier-Monogram    production. 

CHARLEY  SCHOENBAUM  signed 
up  with  Wm.  Lackey  and  snapped  into 
work  on  "Skyway,"  directed  by  Lou 
Collins. 


LLOYD  KNECHTEL  SAILS 


LLOYD  KNECHTEL  is  en  route 
to  New  York  where  he  boards  the  S.  S. 
"Britannic"  for  London,  where  he  will 
remain  for  some  time  doing  trick,  minia- 
ture and  process  background  shots.  His 
headquarters  will  be  at  George  Humph- 
ries'  Laboratory. 


GEORGE  BARNES,  who  has  photo- 
graphed during  recent  years  some  of 
the  greatest  of  Samuel  Goldwyn's  pro- 
ductions, and  was  also  responsible  for 
the  fine  photography  in  several  features 
for  M-G-M,  Fox  and  Warner  Bros.,  has 
been  captured  by  Bill  Koenig,  production 
boss  of  the  Warner  Bros. -First  National 
Studios,  and  has  stepped  into  his  first 
assignment  in  charge  of  the  cameras  on 
the    story    unit    of    "Footlight    Parade." 

Picture  is  Warner  Bros,  hid  for  con- 
tinued and  greater  favor  of  the  exhibi- 
tors as  follow-up  on  "42nd  Street"  and 
"Gold   Diggers  of    1933." 

Story  unit  is  being  directed  by  Lloyd 
Bacon,  and  associated  with  Mr.  Barnes 
at  the  cameras  are  Warren  Lynch  and 
Jack    Kauffman. 

Present  plans  contemplate  permanent 
association  for  Mr.  Barnes  with  the 
Warner    Bros. -First    National     Pictures. 

SOL  POLITO.  who  rates  the  Num- 
ber One  camera  credit  on  "42nd  Street" 
and  "Gold  Diggers,"  was  chosen  by  Mr. 
Koenig  for  an  encore  of  his  splendid 
photography  on  the  song  and  dance  unit 
of    "Footlight    Parade." 

In  order  to  expedite  completion  of 
this  big  feature  it  was  necessary  to 
split  the  story  into  two  separate  produc- 
tion units.  Busby  Berkele  •.  the  direct- 
ing genius  who  rang  the  bell  in  the  first 
two  Warner  musicals,  has  the  responsi- 
bility for  the  direction  of  the  numbers 
on  "Footlight  Parade."  Mike  Joyce  is 
again  with  Polito  as  operator  of  the 
cameras,  and  Lou  De  Angelus  is  assist- 
ing. 

JIMMY  VAN  TREES  is  photograph- 
ing the  Al  Green  production,  "Red 
Meat,"  starring  Edward  Robinson. 
Jimmy  continues  with  his  last  season's 
camera  staff,  which  means  that  Lou 
Jennings  does  the  hard  work  and  Jimmy 
Van  Trees,  Jr.  the  hardest  work.  As 
mentioned  elsewhere  in  these  pages,  this 
camera  trio  moves  to  Twentieth  Cen- 
tury on  long  term  contract  upon  com- 
pletion   df    the    Warner    picture. 

BARNEY  (CHICK)  McGILL,  who 
turned  in  such  a  creditable  job  on 
"Captured"  with  Doug  Fairbanks,  Jr. 
and  Leslie  Howard,  is  shooting  the  Roy 
Del  Ruth  production,  "Bureau  of  Miss- 
ing Persons."  Chick  also  sticks  to  his 
old  stand-bys — Ken  Green,  second,  and 
Bill   YVhiteley,   assistant. 

ARTHUR  TODD  is  photographing 
the  William  Wellman  picture,  "Wild 
Boys  of  the  Road."  Billv  Schurr  is 
operating  the  camera,  and  Vernon  (New- 
Poppa)    Larsen    is   the   assistant. 

FRED  JACKMAN  has  returned  from 
a  long  Pacific  cruise  in  his  grand  new 
yacht  and  is  busily  engaged  planning 
intricate  tricks,  miniature  and  projec- 
tion shots,  for  the  heavy  schedule  of 
Warner  features  which  lies  ahead.  Jack- 
man's  staff  remains  intact  with  Hans 
Koenekamp,  Bun  Haskins,  Fred  Jack- 
man.  Jr.,  Willard  Van  Enger  and  Rus- 
sell   Collins. 

CHARLIE  GLOUNER  (formerly  of 
U/niversal),  acting  head  of  the  Warner 
Bros. -First  National  camera  department, 
has  made  many  architectural  changes. 
The  entire  department  has  been  remod- 
elled into  a  fine  modern  lay-out.  Cecil 
Myers  and  Stewart  Higgs,  who  were 
Charles'  right  and  left  hand  in  the 
camera  department  at  Universal,  are  as- 
sociated with  him  in  the  Warner 
Studios. 


Twenty-six 


T  1 1 


INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


C    CHEMISTRY 

Or    DEVELOPMENT 

Idiosyncrasies  of  Development  Solutions  —  What  Happens  Inside 
the  Tanks— The  Chemicals  Dramatized 

By  WARREN  S.  TRANSUE 


Photography  is  an  industry  (or  an  Art)  wherein  sev- 
eral departments  function  to  produce  one  common  end: 
a  pleasing,  technically  good  picture.  This  does  not  neces- 
sarily imply  that  each  department  is  familiar  with  the 
technic  of  the  other ;  that  its  processes  are  known  or 
that  there  is  at  all  times  harmony  among  the  several 
units. 

It  is  repetitious  to  point  out  the  prevailing  ignorance 
in  the  Amateur  world  of  the  average  person  who  snaps 
a  picture  with  carefree  abandon  and  then  impatiently 
waits  for  the  finished  product  to  come  back  from  that 
mysterious  realm,  the  laboratory,  usually  with  results 
that  are  an  improvement  upon  the  hodge-podge  that  he 
handed  in,  but  which  frequently  arouse  his  ire. 

In  professional  still  photography,  many  skilled  pho- 
tographers or  "light  painters"  are  unaware  of  the  meth- 
ods whereby  their  work  has  been  made  complete  and 
presentable.  In  proof  of  which  witness  the  testimony 
of  a  very  highly  skilled  technical  photographer's  testi- 
mony regarding  the  results  upon  examining  a  group  of 
successful  camera  operators  employed  by  him,  as  to  their 
knowledge  of  "darkroom  value  and  procedure." 

He  found  them  practically  ignorant  of  the  causes 
involved  in  good  or  bad,  negative  (or  positive)  making; 
they,  seemingly,  holding,  subconsciously,  the  idea  that 
the  work  of  lighting  and  exposing  was  the  end  itself, 
instead  of  being  merely  the  means  to  an  end — the  positive 
print. 

This  fallacious  idea  seems  to  hold  good  to  a  great 
extent  today  even  in  the  motion  picture  field  of  pho- 
tography; that  the  laboratory  is  a  negligible  little  affair 
situated  somewhere  on  the  farthest  corner  of  the  lot, 
to  be  heard  from  only  when  something  goes  wrong 
therein.  And,  this,  many  times  due  to  factors  beyond 
the  immediate  power  of  the  "lab"  to  control,  and  where 
the  first  mistake  is  costly,  due  to  the  concentrated  mone- 
tary value  inherent   in   that  fragile  little  negative  which 


the  "lab"  hasn't  the  power  to  replace.  Or  to  nonchalant- 
ly order  another  "take." 

However,  when  a  cameraman  lights  a  set  with  a 
purposive  lighting  and  makes  an  exposure  his  work  on 
that  film  is  done.  The  rest  is  in  the  hands  of  the  labora- 
tory or  the  "lap  of  the  gods,"  if  you  will.  His  work  of 
exposing  the  film  has  started  what  extends  through  many 
processes,  but  primarily  it  is  the  exposing  of  the  light- 
sensitive  components  of  silver  bromide  (usually),  silver 
chloride  or  silver  iodide,  inherent  in  the  film's  emulsion, 
to  the  light  and  impressing  thereon  a  so-called  latent 
image  which  it  is  the  laboratory's  duty  to  make  visible 
in  as  nearly  perfect  a  manner  as  possible. 

As  to  this  resultant  negative  all  cameramen  are  fa- 
miliar with  the  blackened  silver  image  in  its  range  of 
tones  from  those  of  almost  clear  film  in  the  shadows  to, 
in  some  cases,  an  opaque  black  in  the  high  lights.  If  they 
know  a  good  negative  from  its  looks,  and  its  processing 
has  been  right,  that  negative  is  satisfactory.  If  some- 
thing happens  to  be  wrong  with  it,  however,  due  to 
faulty  exposure,  lighting,  or  processing  and  they  are  un- 
familiar with  the  results  obtained  by  such  causes  there 
is  likely  to  be  confusion  and  the  tendency  might  be  to 
let  the  lab  take  the  blame  as  "poor  developing." 

It  will  be  taken  for  granted  that  most  photographers 
are  aware  of  the  chemicals  used  in  film  developing  if 
seen  only  as  trade  names  in  the  various  publications. 
These  consist,  basically,  of  four  groups  of  chemicals, 
namely :  the  reducing  agents,  the  preservative,  the  ac- 
celerators and  the  restrainers. 

The  purpose  of  a  combination  of  these  chemicals 
is  to  reduce,  or  blacken,  the  sensitive  silver  salts  in  an 
emulsion  by  taking  from  the  silver  the  bromine  or  chlo- 
rine, released  as  gases,  and  leaving  the  silver  behind  in 
the  form  of  a  blackened  silver  image,  corresponding  in 
its  range  of  densities,  or  tones,  to  those  luminosities 
projected  upon  it  through  the  camera's  lens. 


ROY    DAVIDGE 

FILM   LABORATORIES 


••• 


An  Exclusive  "Daily"  Laboratory 


&•• 


Quality  and   Service 

6701-6715     SANTA     MONICA     BOULEVARD 

GRanite    3108 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


July,  1933 


The       INTERNATIONAL       PHOTOGRAPHER 


Twenty-seven 


SHOOTING    THE    NEWS 


The  man  on  top  of  the  sound  truck  here  shown  is  Joseph  John- 
son, of  Paramount  News.  The  man  looking  up  at  him  is  no  less 
a  celebrity  than  Colonel  Charles  Lindbergh,  who  was  just  then 
preparing  to  take  off  for  Washington. 


For  this  purpose  there  exist  what  are  called  reducing 
agents,  which  do  this  work  of  silver  reduction  and  which 
are  an  absolute  necessity  in  development.  Among  the 
most  prominent,  universally  used,  are  Rhodol  and  Elon, 
trade  names  for  Metol,  and  of  current  usage  in  the 
studios;  and  Edinol,  Serchol,  Rodinal,  Pyro,  Glycin  and 
Ortol  used  according  to  individual  taste  in  the  "still" 
world. 

Metol,  the  studio  favorite,  is  a  soft,  powdery,  white 
chemical ;  is  a  rapidly-working  reducing  agent  and  the 
correct  proportion  of  it  is  highly  responsible  for  the 
gradual  range  of  tones  that  pleases  or  offends  the  camera- 
man's eye. 

However,  each  of  these  various  agents  has  its  dif- 
ferent color  grade  of  black.  Some  give  a  blue-black, 
some  a  warm-black  and  some  an  olive-black  negative, 
each  of  which  responds  differently  to  the  light  penetra- 
tion of  the  printing  machine  which  is,  therefore,  a  factor 
to  consider  in  the  development  of  different  densities. 

Practically,  the  speed  of  a  reducing  agent  in  black- 
ening the  silver  image  is  called  its  "reduction  potential," 
though  a  developer  of  this  type  may  develope  no  faster 
than  one  with  a  lower  reduction  potential.  It  has,  how- 
ever, the  faculty  of  acting  better  under  adverse  condi- 
tions or  with  compositional  changes  that  would  mean  a 
radical  change  to  one  of  the  slower  type. 

Metol  (Elon)  is  of  this  class  of  high  "reduction  po- 
tential." And,  as  is  consistent  with  agents  of  this  class, 
brings  an  image  out  quickly,  building  density  slowly  and 
commonly  called  a  soft-working-developer.  To  overcome 
this  undesirable  and  impractical  soft  quality  Metol  must 
be  aided  by  density  building  reducing  agents  of  which 
|  the  most  commonly  used  is  hydroquinone.  This  is  a 
;  slow-working  agent  as  it  brings  the  high  lights  first 
and  builds  slowly  coming  to  the  shadows  when  the  high 
density  is  fully  developed. 

In  combination  these  two  agents  produce  varied  and 
controlled  results.  Alone,  hydroquinone  is  a  very  slow 
developer  demanding  great  amounts  and  giving  a  green- 

PI.EASE  MENTION   THE  INTERNATIONAL  PHOTOGR 


ish,  hard  brilliancy  of  great  contrast.  In  combination 
with  the  more  rapid  and  energetic  Metol  it  acquires  the 
hitter's  speed  while  imparting,  by  varying  amounts,  the 
desirable  contrast  to  the  metol  and  a  range  of  black  tones 
that  vary  greatly  from  soft  blue-black  to  olive  or  warm 
tones. 

These  reducing  agents  cannot  do  their  work  except 
in  the  presence  of  alkalis,  and  here  a  new  factor  enters. 
Metol  and  the  class  of  rapid  silver  reducers  require  much 
less  or  weaker  alkalis  than  the  less  energetic  hydroquinone, 
glycin,  pyro,  etc.  But  the  speeds  can  be  made  approxi- 
mate by  differing  the  amount  of  alkali,  usually  sodium 
carbonate,  except  in  cases  where  slow-working  reducers 
are  converted  into  rapid  ones  by  the  use  of  the  powerful 
caustic  alkalis,  which  practice,  however,  since  machine 
development,  has  become  obsolete. 

The  carbonates,  sodium  and  potassium,  especially 
the  sodium  carbonate,  are  preferable  since  they  have  the 
faculty  of  acting  as  alkaline  reservoirs,  releasing  a  little 
at  a  time  of  their  power;  whereas  in  the  caustic  alkali, 
though  the  amount  is  proportionately  smaller  the  action 
is  intense  and  vigorous  and  rapidly  diminishes. 

With  the  carbonates  comes  the  new  factor  of  speed 
and  quality  change.  Too  little  in  a  solution  decreases 
contrast,  also  slowing  development ;  too  much,  attacks 
the  pores  of  the  emulsion,  so  to  speak,  and  causes  ex- 
cessive swelling,  frilling  and  blistering;  changes  the  quali- 
ty from  normal,  increases  contrast,  then  goes  into  a  muddy 
brown.  Grain  increases,  the  high  lights  show  a  heavy 
fog  and  the  negative  (or  positive)  value  becomes  merely 
an  indistinguishable  image  blot. 

In  the  rack  and  tank  days,  as  now,  deterioration  of 
the  solutions  was  due  to  aerial  oxidation  and  the  freeing 
of  the  bromine  and  chlorine  gases  from  the  film.  These 
were    immediately    converted    by    the    alkali    into    silver 


Take  Along  a  LEICA 

FOR  A  COMPLETE  AND  INEXPENSIVE 
"STILL"  RECORD  OF  YOUR  VACATION 


LEICA  gives  you  36 
pictures  from  a  single 
inexpensive  roll  of 
standard  cinema  film. 
You  can  take  as  many 
pictures  as  you  wish, 
and  you  needn't  worry 
about  cost.  Take  half  a 
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subject,  if  you  like, 
with  different  poses, 
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Or,  if  you  prefer,  you 
can  bring  back  prac- 
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story  of  your  vacation 
on  a  single  roll  of   film! 

Perfect   Enlargements 

Your  LEICA  negatives  will  make  sharp, 
detailed  enlargements  up  to  12x18  inches 
— sometimes  bigger!  That's  going  some! 
You'll  have  a  hard  time  convincing  some 
people  that  they  are  enlargements  unless 
you  show  them  your  negatives. 

7    Interchangeable   Lenses 

The  ideal  camera  for  sport,  travel,  and  speed  pictures.  LEICA  weighs 
only  19  ounces,  fits  the  pocket.  It  has  7  interchangeable  lenses  which 
convert  it  into  a  wide  angle  camera,  telephoto  camera,  and  many  more. 
It  is  equipped  with  a  built-in  range  finder  which  gives  you  correct  focus 
for  every  picture,  instantlv,  without  guesswork.  It  has  a  focal  plane 
shutter  with  speeds  of  l/20th  to  1/S00th  seconds,  and  time  exposures. 
Compactly  designed,  with  all  controls  on  top,  for  speed,  accuracy,  and 
convenience. 

The    LEICA    Camera    may    be    equipped    with    a    Universal    View    Finder. 
Angle    View    Finder,    or    Reflecting    View    Finder.       Over    300    LEICA 
attachments    and    accessories    for    every    photographic    need. 
LEICA   Model   D   with   50   mm.    ELMAR   f:3.5   lens   and    10"   wire   cable 
release,    $92.50. 

V/rite  for  Free  Illustrated  Book- 
let. "Why  LEICA?",  also  new 
circular  No.  1214,  describing  the 
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due    to    depreciaton    in    currency.) 


E.  LEITZ 

Dept.    329 

60  East  10th  St.,  New  York 


APHER   WHEN    CORRESPONDING   WITH   ADVERTISERS 


Twenty-eight 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


July,  1933 


An  intriguing  shot  from  "Hollywood  Premier,"  a  Technicolor,  two 
reel  masterpiece  produced  by  M-G-M.  Maurie  Roth  directed  and 
Ray  Renahan  is  the  gentleman  with  the  camera  apparently  hiding 
under  the  counter.  He  is  not  hiding;  it  is  just  one  of  the  hard 
chores  he  has  to  do  to  hold  his  job. 


bromide  or  chloride  and  acted  as  restrainers,  thus  slow- 
ing down  development.  The  oxidation  products,  acting 
in  the  manner  of  a  dye,  stained  the  him  until  the  re- 
sultant product  was  of  an  undesirable  quality  and  unfit 
for  good  projection.  In  those  days  the  human  inspector 
watched  this  quality  and  saw  to  it  that  the  preservative 
(sulphite)  quantity  was  maintained  and,  though  slightly 
longer  developing  time  was  necessary,  the  quality  was 
pretty  well  normalized. 

With  the  advent  of  developing  machines,  sound  on 
Him,  and  now  gamma  control,  greater  consistency  in 
quality  and  permanence  of  developing  solutions  was  de- 
manded, which  meant  a  greater  change  in  developing  for- 
mulas with  the  stress  laid  on  the  color  and  the  pre- 
servative used,  sodium  sulphite. 

This  chemical  has  a  strong  affinity  for  oxygen  and 
quickly  oxidizes  into  sulphate  of  soda  and,  as  developing 
solutions  with  an  alkali  only  would  oxidize  and  fog  rap- 
idly, the  sulphite  performs  this  function  of  oxidation, 
at  the  same  time  preserving  the  reducing  agent  for  a 
longer  life.  In  the  case  of  the  well  known  yellow  image 
stain  of  pyro,  the  presence  of  sulphite  prevents  the  oxy- 
gen attack  and  the  resultant  is  a  blue-black  color  and 
lacking  the  staining  quality  that  exists  with  little  or 
no  sulphite. 

Sulphite  addition  also  has  its  color  change  action 
upon  the  image.  As  it  is  weakly  alkaline  in  nature  too 
much  in  a  carbonate  developer  adds  to  the  alkali  and 
may  cause  fog.  A  great  amount  again  creates  what  ap- 
pears to  be  contrast  or  greater  opacity,  in  some  devel- 
opers; and  within  certain  limits  a  blue-black  image  can 
be  obtained  with  sulphite  control. 


Where  low  reduction  potential  developers  are  used, 
such  as  hydroquinone,  and  which  readily  form  oxidation 
products  upon  contact  with  the  oxygen  present  at  the 
water  surface,  the  addition  of  an  alkali  makes  developers 
of  them ;  but  they  lose  energy  rapidly  and  the  oxidation 
stain  appears.  Had  sulphite  been  added  first  this  would 
not  have  happened  as  the  sulphite  would  have  prevented 
oxidation  and  no  fog  appear. 

In  keeping  the  gamma  and  density-quality  condition 
the  same  in  machine  development  a  continuous  supply 
of  fresh  developer  must  be  run  into  the  solution  in  pro- 
portion to  the  footage  quantity ;  and  this  must  be  pro- 
portioned higher  in  the  reducing  agents  and  preservative 
than  the  master  formula  and  be  minus  any  restrainer. 
All  of  which  is  calculated  from  day  to  day  tests  to  get 
an  average  based  upon  the  main  formula. 

In  mixing  the  above  named  chemicals,  the  metol 
should  be  dissolved  after  a  small  amount  of  sulphite  has 
been  dissolved  in  water,  as  metol  (especially  the  most 
commonly  used  Elon)  is  insoluble  in  a  strong  sulphite 
solution ;  whereas,  if  sulphite  is  added  to  an  Elon  solu- 
tion minus  previous  sulphite,  a  precipitate  is  formed ;  but 
if  some  sulphite  is  added,  next  the  metol,  and  then  the 
remaining  sulphite  the  solution  will  remain  clear. 

In  the  recently  developed  borax  (an  alkali  replacing 
the  carbonate)  developers,  the  quantity  of  metol,  etc., 
is  greatly  subordinated  to  hydroquinone,  so  that  a  great 
quantity  of  sulphite  is  a  benefit  to  the  hydroquinone 
which  gives  the  color  and  contrast  to  the  metol,  aided 
by  the  sulphite. 

In  this  solution  the  great  concentration  of  sulphite 
is  claimed  to  have  the  power  of  retaining  some  of  the 
silver  salts,  later  releasing  same  back  onto  the  silver 
image  a  little  at  a  time.  This  procedure  similar  to  a 
method  commonly  called  "physical  development,"  is  sup- 
posed to  aid  in  the  fineness  of  the  silver  deposit  (grain), 
the  consequent  film  being  of  finer  quality  upon  greater 
enlargement. 

This  sulphite  quantity  is  also  liable  to  be  the  cause 
of  the  dense  contrast  of  the  highlights ;  and  in  the  case 
of  under-exposure  (and  under-development)  this  is  a 
fatality  as  the  range  of  tones,  being  partly  non-existent, 
has  absolutely  no  chance  in  this  type  of  developer.  An 
excess  of  metol  would  be  a  necessity  here  but  would 
create  other  difficulties  not  so  good. 

It  was  of  interest  during  the  change  over  to  the 
borax  developer  some  years  back  to  note  the  response  to 
it  by  the  various  cameramen.  Some  of  them  noted  a 
change,  but  couldn't  define  it ;  others  were  blissfully  un- 
aware of  it  despite  a  certain  amount  of  trouble  involved, 
while  those  men  whose  laboratory  training  was  suffi- 
ciently advanced  almost  put  their  finger  on  the  identical 
changes  made.  These  men,  however,  were  in  a  great 
minority. 

(Turn  to  Page  31) 


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PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN   CORRESPONDING  WITH   ADVERTISERS 


July,  1933 


The       INTERNATIONAL       PHOTOGRAPHER 


Twenty-nine 


Automatic     Speed     Control 

By  NEIL  P.  JACK,  Chief  Engineer,  Sound  Re  cording  Services 


Since  the  advent  of  sound,  engineers  in  this  field  have  been 
confronted  with  many  problems,  the  solution  of  which  has  been 
comparatively  simple  under  laboratory  conditions,  but  under 
conditions  of  actual  recording  practice,  these  problems  assume 
a  different  character  due  to  the  fact  that  portable  equipment 
is  constantly  subjected  to  conditions  of  rough  handling  neces- 
sary in  reaching  remote  locations  and  after  being  put  into 
service  must  be  operated  at  times  with  faulty  or  scant  power 
supply,  that  cannot  be  corrected  until  a  return  is  made  to 
civilization  or  some  city  large  enough  to  maintain  an  elec- 
trical supply  house,  where  the  supply  may  be  replenished.  The 
necessity  of  operating  under  these  conditions  has  caused  the 
consumption  of  great  quantities  of  the  proverbial  midnight  oil, 
and  the  graying  of  many  heads  that  ordinarily  would  have 
retained   their   youthful    appearance. 


to  normal  and  if  the  magazine  load  is  severe  or  unequal  the 
motors  have  a  tendency  to  buck  each  other,  causing  the  gover- 
nor system  to  constantly  cut  in  and  out  and  never  reach  a  con- 
dition of  absolute  stability.  This  condition  creates  a  very  dis- 
turbing distortion  commonly  termed  as  "wow  wows."  Another 
outgrowth  of  this  condition  is  slippage  and  we  all  realize 
how  hard  it  is  to  overcome  the  grief  caused  by  pictures  being 
"out  of  sync." 

While  there  have  been  several  systems  developed  recently 
that  give  excellent  results,  only  one  has  proven  outstanding 
enough  to  deserve  comment.  This  system  does  not  run  to 
weight  and  complicated  electrical  and  mechanical  design,  but 
is  extremely  rugged  and  simple,  and  requires  no  expert  atten- 
tion to  keep  it  in  operation.  Its  operation  is  simple.  For  ex- 
ample, instead  of  waiting  for  an  error  in  speed,  this  device 
automatically    checks    and     corrects    the    system    approximately' 


The  Artreeves  Sound  Recorder,  showing  the  new  automatic  speed  control  motor. 


In  the  past  three  years  it  has  been  necessary  for  me  to 
scour  the  field  in  search  of  direct  current  interlock  type  motors 
that  would  perform  according  to  the  claims  of  the  manufac- 
turers. Most  combinations  operate  with  some  degree  of  re- 
liability   under    ideal    conditions,    but    none    could    be    depended 

.  upon  for  consistent  results.  This  was  due  greatly  to  the  prac- 
tice of   relying   on   a    mechanical   governor   of   some  type   which 

1  made  no  correction  until  the  motors  had  changed  their  speed. 
It  may  be  readily  seen  that  to  make  a  speed  correction  by  this 
method,   is   to   introduce    another    speed    change   by   bringing  the 

|   system    back    to    its    correct    operating    speed.      As    all    of    such 

I  devices  cause  an  appreciable  electrical  surge,  the  motor  system 
with  its  attendant  load,  has  a  tendency  to  hunt  its  regulated 
speed,  for  if  the  speed  has  dropped,  the  mechanical  governor 
makes    contact,    speeds    up    the    motors,    until    they    are    slightly 

I  over   speed,   then    breaks    contact    until    the    system    slows    down 


twenty  times  per  second  in  a  very  novel  way.  In  other  speed 
regulating  devices  the  error  occurs  in  the  order  of  three  or 
four  times  per  second,  so  it  may  be  seen  that  this  new  device 
operating  twenty  times  per  second  actually  prevents  the  error, 
and  in  exhaustive  and  thorough  tests  it  was  impossible  to  make 
the  system  hunt,  and  under  no  condition  did  the  system  go 
out  of  interlock.  Since  the  completion  of  these  tests  more  than 
ten  productions  have  been  completed  on  the  new  Artreeves 
recorders  equipped  with  this  device  and  having  received  con- 
firming reports  from  all  of  the  mixers  in  charge  of  these  pro- 
ductions, I  feel  that  it  is  safe  to  say  we  can  forget  this  prob- 
lem and  thank  the  Hollywood  Motion  Picture  Equipment  Com- 
pany and  our  old  friend  Art  Reeves,  for  the  development  of 
a  Direct  Current  Interlock  Motor  System  that  we  can  install 
and  operate  with  a  saving  of  midnite  oil,  less  gray  hair  and 
keep  our  Mae  West  appeal. 


PLEASE  MENTION  THE   INTERNATIONAL   PHOTOGRAPHER   WHEN   CORRESPONDING   WITH   ADVERTISERS 


Thirty 


T  I, 


INTERNATIONAL      PHOTOGRAPHER 


July,  19S3 


Vow 


TV  IS 

oIlYfyCDP 


Hollywood  is  developing  a  new  profession.  They  are 
the  reception  committee  for  celehrated  authors  who  are 
brought  here.  These  new  specialists  are  like  gardeners  in 
a  hot-house.  When  another  author  sprouts  elsewhere  and 
shows  signs  of  budding  popularity  he  is  brought  here  and 
transplanted  with  the  hope  that  he  will  luxuriantly  blos- 
som forth.  This  capitve  author  is  expected  to  bear  fruit 
between  trains  back  home. 


Leslie  Charteris,  the  popular  English  author,  is  re- 
turning to  England.  He  is  a  timid  and  likable  person, 
who  has  lost  the  thrill  of  having  new  books  come  off  the 
press.  He  has  about  fifteen  books  to  his  credit.  After  a 
pleasant  chat,  IF  his  opinion  is  asked  about  Holy  wood, 
he  diffidently  replies:  "Now7  you  want  to  spoil  everything," 
but  with  twinkling  eyes  he  gives  it  to  you,  ending  with 
" — that's  not  for  publication."  He  is  greatly  pleased  with 
honest  opinions  of  his  literary  contributions.  His  great 
success  with  the  publisher  and  the  reading  public  has 
made  him,  in  a  silent  way,  a  bit  vain,  which  is  forgivable 
when  one  remembers  a  kindred  feeling  in  our  little  suc- 
cesses. He  may  reasonably  be  proud  of  his  ability  of 
depicting  the  humorous  elements  of  situations.  Too  many 
writers,  after  getting  behind  their  typewriters,  start  to 
growl  or  mutter  complaints. 


The  population  of  this  town  is  divided  in  two  classes; 
those  that  work  and  those  that  assist  them.  The  camera- 
man has  his  assistant,  the  electrician,  his  helper,  the  execu- 
tive, his  relatives  and  those  with  large  salaries  have  then- 
assisting  spenders.  These  assistants  are  a  proficient  lot ; 
thev  know  their  trade  well. 


Earl  Murch,  assistant  to  Tom  Little,  the  property 
chief  at  RKO,  has  a  busy  life.  Murch  catalogues  all 
articles  in  the  Property  Department  and  zealously  guards 
them  as  a  mother  chicken  watching  over  her  brood.  He 
makes  life  hard  for  souvenir  hunters,  who  like  ants  on  a 
picnic,  get  into  everything.  All  studios  are  infested  with 
them.  They  will  carry  off  anything  that  is  not  nailed 
down.  If  the  item  is  too  large  to  carry  past  the  studio 
police  they  have  been  known  to  throw  it  over  the  rear 
fence  where  it  is  retrieved  later.  Instead  of  using  insect 
powder  or  varmint  catchers,  the  studios  have  large  iden- 
tifying numbers  on  everything.  On  glass  the  numbers  are 
etched  in  the  glass  by  acid ;  the  number  is  painted  on 
furniture  and  other  objects. 


Joe  Murphy,  who  is  termed  the  "Mayor  of  Cahuenga 
Boulevard,"  because  of  his  long  residence  there,  is  also 
Hollywood's  dean  of  prop  men.  He  came  here  with  David 
Horsley  in  1911  and  helped  organize  the  first  studio.  "To 
get  props  in  those  days,"  he  relates,  "I  had  to  go  out  and 
mow  lawns,  or  do  odd  jobs,  and  then  for  salary  borrow  a 
table  or  something  needed  to  make  the  next  dav's  movie." 


The  studios  are  becoming  self  sufficient.  They  are 
like  a  state  having  laws,  executives,  politicians,  literary 
critics,  slaves,  leisure  class  and  factories.  In  the  factories, 
everything  is  made,  whether  it  be  a  bouquet  of  flowers, 
some  extinct  thing,  or  a  piece  of  furniture.  In  the  prop- 
erty rooms  can  be  found  rare  Venetian  furniture,  with  its 
pictures  and  trimmings  in  those  delicate  pastel  shadings ; 
Spanish  pieces  with  the  reddish  upholstery  ;  Victorian  with 
its  graceful  lines ;  or  nursery  furniture  with  its  nicks  and 
dents.     All  are  kept  ready  for  pictures. 


Ty  is  looking  for  the  author  who  left  Hollywood  with- 
out making  any  derogatory  comments.  This  author  de- 
serves a  certain  distinction  for  being  different. 


Lee  Davis  is  an  assistant  cameraman  de  luxe.  He, 
like  the  rest  of  his  tribe,  is  a  hard  worker  who  must  work 
while  the  cameraman  spends  his  time  being  an  artist.  In 
the  hand  of  a  cameraman,  the  assistant  is  like  the  brush 
in  the  hand  of  an  artist. 


Ty  applies  to  Hollywood,  George  Chappel's  phrase, 
"not  so  evil  as  she  was  inelegant."  Of  course  that  doesn't 
appl)  to  Ty's  friends. 


Let's  say  something  about  the  women  that  wear  slacks 
and  other  attire  of  men.  Let's  talk  particularly  about  the 
ones  with  a  large  wheel  base.  The  consensus  of  opinion 
is  that  they  do  this  for  the  attention  they  attract  and  those 
with  pockets  four  inches  apart  on  the  "differenital"  cer- 
tainly attract  attention.  Men  look  at  these  specimens 
with  a  curiosity  similar  to  that  aroused  when  conjecturing 
about  the  circus  elephant. 


The  most  bothered  persons  in  our  neighborhood  are 
the  mothers  on  the  night  that  Mickey  Mouse  is  showing 
around  the  corner.  On  this  night  her  world  is  peopled 
with  big,  as  well  as  little  botherers.  Her  brood  comes  to 
her,  bringing  her  hat,  and  when  Muvver  looks  at  their 
wistful  eyes  she  decides  that  perhaps  after  all,  an  hour 
or  so  later  in  getting  to  bed  won't  be  so  awful  bad.  Any- 
wav  she  would  like  to  see  "THE  MOUSE"  too! 


The  Four  Marx  Brothers  admit  that  their  fifth 
brother,  Gummo,  is  a  smart  boy  because  he  is  in  the 
clothing  business. 


A  miniature  wood  carving  used  in  a  recent  picture  at  RKO.  This 
was  carved  by  John  Cerisoli  and  is  so  mechanically  designed  that  the 
little   men   row  the   boat. 


Statistics  gathered  through  a  questionnaire  circulated 
to  a  group  of  twenty-six  chorus  girls  indicate  50  r(  of 
them  are  flying  under  false  colors.  Thirteen  of  them 
have  changed  the  color  of  their  hair  through  the  use  of 
those  concoctions.  We  find  out  of  the  twenty-six  that 
thirteen  are  blondes,  six  redheads  and  seven  brunettes. 
The  questionnaire  indicated  further,  that  besides  being 
dissatisfied  with  their  hair  and  wishing  to  better  it,  they 
also  were  quite  ambitious  to  be  independent  and  hoped  to 
achieve  that  by  becoming  stars,  leads  or  successful  writers. 
All  of  them  wanted  to  help  somebody  in  a  financial  way. 
(Turn   to  Page  46) 


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z^ 


July,  1933  T  h  i 

ELMER  C.  RICHARDSON 

The  International  Photographer 
heartily  congratulates  the  Guaranty 
Liquidating  Corporation,  into  whose 
capable  hands  the  settlement  of  the 
defunct  Guaranty  Building  and  Loan 
Association  has  been  placed,  upon  its 
wisdom  and  foresight  in  electing  El- 
mer C.  Richardson  to  the  presidency 
to  succeed  Mr.  A.  N.  Kemp,  resigned. 

This  journal  also  felicitates  Mr. 
Richardson  upon  his  election  to  this 
important  post  in  the  community  and 
if  personal  integrity,  intelligence, 
courage,  sense  of  fair  dealing  and  dis- 
crimination count  for  anything,  in 
these  days,  we  bespeak  for  the  Guar- 
antee Liquidating  Corporation  a  fu- 
ture far  brighter  than  the  pessimists 
would  be  willing  to  concede. 

Mr.  Richardson  has  a  fine  back- 
ground of  service  in  this  community  ; 
outstanding  is  his  work  as  an  in- 
structor in  our  public  schools  and  in 
his  association  with  Mr.  Peter  Mole 
in  the  well  known  firm  of  Mole- 
Richardson,  Inc.,  941  N.  Sycamore 
St.,  Hollywood,  manufacturers  of 
electric  lamps  and  many  other  items 
of  lighting  equipment  for  the  motion 
picture  studios. 

Mr.  Kemp,  retiring  president, 
members  of  the  Guaranty  Liquidating 
Corporation,  the  business  world  of 
Hollywood,  and  the  community  in 
general,  have  received  the  new  presi- 
dent with  open  arms. 

CHEMISTRY  OF  DEVELOPMENT     = 

(Continued  from  Page  28) 

In  negative  developers  where  the  carbonate  is  low, 
potassium  bromide  (a  restrainer  of  fog)  is  usually  left 
out.  Where  the  alkali  is  high,  as  in  positive  developers, 
freshly  mixed,  a  certain  amount  of  fog  is  ineradicable, 
even  with  the  bromide  added,  until  a  certain  amount  of 
film  has  been  processed.  Bromide  added  to  the  solu- 
tion helps  clear  this  fog  until  sodium  bromide  is  de- 
posited in  the  developer  by  the  film,  which  clears  this 
fogged  condition  plus  changing  the  quality  from  a  soft 
to  an  increase  of  contrast. 

Bromide  increases  contrast,  slows  development  and 
will  give  tones  ranging  from  blue-black  through  pure 
black  to  a  "hard"  green,  or  brown-black  which  is  oi 
very  poor  printing  or  projection  quality.  If  used  with 
the  rapid  metol  developers,  greater  amounts  have  less 
effect  than  do  smaller  amounts  with  slow  reduction 
agents  like  hydroquinone,  upon  which  the  effect  is  greater. 

Sometimes  potassium  iodide  is  used  as  a  restrainer, 
and  a  fine  abrasion  remover,  but  care  must  be  used,  as 
too  much  causes  a  flat  brown  color  that  defeats  its  own 
purpose.  Citric  acid,  another  mild  clearing  agent,  is 
sometimes  used  and  except  for  a  warmer  tone  in  the  case 
of  an  excess,  has  no  other  deterrent  effects. 

Potassium  meta  bisulphite,  sodium  meta  bisulphite  and 
sodium  bisulphite  are  supposed  preservatives  sometimes 
used  in  conjunction  with  sulphite;  especially  in  positive 
developers  and  the  old  two-solution  pyro  developers 
where  it  really  is ;  but  when  it  is  added  to  an  alkali,  it 
is  converted  into  sulphite,  thus  reducing  the  amount  of 
carbonate  and  causing  diminished  developing  power  which 
apparently  gives  greater  longevity  to  the  solution,  but 
where  more  sulphite  could  have  been  added  at  first. 
However,   it  has   been  observed   that   this  chemical   gives 

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a  pearly  brilliance  to  positive  high  lights  that  is  quite 
commendable. 

Aside  from  the  above  named  idiosyncrasies  of  develop- 
ing solutions  other  things  play  a  part  in  the  chemistry 
of  development. 

Impure  chemicals  can  cause  trouble.  The  presence 
of  copper  and  iron  salts  give  rise  to  fog  and  color  spots. 
And  impure  water  can  cause  illimitab'e  and  elusive  harm. 

Fog,  excluding  light  fog,  comes  from  many  sources. 
Aerial  oxidation  from  solution  contact  with  the  air  causes 
it ;  oxidation  products  formed  in  the  developer,  usually 
colored  dye  compounds,  do  it ;  some  fumes  like  hydrogen 
sulphite  cause  fog;  too  low  a  temperature,  forcing  devel- 
opment or  too  high  a  temperature  add  their  share. 

And  here  we  have,  apparently  an  insignificant  factor, 
yet  one  of  much  potency — temperature.  Some  reducing 
agents  dissolve  and  remain  so  at  fairly  low  temperatures. 
Others  require  higher  temperatures  and,  if  brought  below 
that  temperature,  hydroquinone  for  instance,  will  go  out 
of  solution.  If  the  normal  temperature  of  development 
say  is  70  degrees  and  it  drops  10  degrees,  slower  de- 
velopment results ;  but  instead  of  contrast  we  get  an 
increasingly  gray  and  brilliancy  lacking  film  and  even- 
tually, fog.  As  temperatures  increase  a  change  from  the 
blue  or  black  color  takes  place  until  finally  muddy  tones 
lacking  in  definition  result,  combined  with  a  mottled  ap- 
pearance, increased  granularity  of  the  image  and  the 
inevitable  fog. 

And  aside  from  many  other  minor  chemical  and 
physical  troubles,  arising  day  by  day,  this  is  but  the  first 
of  a  series,  the  second  stage  of  which  is  the  hypo-ing 
(fixing  of  the  silver  image  to  a  light-resistant  condition 
and  creating  a  transparent  film  condition)  which,  how- 
ever,  is  another  story  with  complications  all  its  own. 

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Thirl  y-two 


T  I, 


INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


What's   Holding   Us   Up? 


(A     PICTURELOG) 


By     OTTO     PHOCIS 


(The  production  referred  to  in  this  picture-log  has  been  released 
for   some   time  and    the   names   used    are    phoney — if   not   funny.) 

9:00  A.  M.  Electricians  and  grips  are  sitting  around  gas  heater 
on    Stage    3    trying    to   keep    warm. 

9:15  Sound  man  arrives.  Goes  to  his  report  book  and  makes 
entry — "9:00  A.  M.  Sound  ready."  He  looks  for  "mike"  boom. 
Locates   it   and   pushes   it   onto   set;   joins   group   at   the   heater. 

9:16  Assistant  cameramen  bring  cameras  on  set.  Explain  that 
had  the  other  door  been  open  they  would  have  been  there  on  time. 
They  aim  cameras   into  set  and   walk   over  to  the   heater. 

9:18  Assistant  director  comes  on  stage  and  asks:  "What's  hold- 
ing   us   up?"     No  one   answers   and   he   joins   others   at   heater. 

9:25  Cameraman  arrives  and  starts  to  explain  to  assistant  di- 
rector that  he  had  to  stop  at  the  laboratory  to  look  at  some  negative. 
Assistant  cameraman  tells  cameraman  that  the  director  has  not  arrived 
and    cameraman    stops    explaining. 

"What   is  the   first  shot,"   he  asks   assistant   director. 

"How   should   I   know,"   replies  the   assistant   director. 

Cameraman   moves  a   little   closer  to  the   heater. 

9:30  Gibney  McPugh,  the  director,  arrives  and  as  he  comes 
through  the  door  all  the  working  crew  scatter  to  different  parts  of  the 
stage.  The  staff  in  unison  say:  "Good  morning,  Mr.  McPugh,"  but 
being  a  Republican  lie  does  not  answer.  McPugh  takes  the  nearest 
chair   to  the   heater   and   sits   on   it    (the    chair,    Silly). 

9:32  Assistant  director  asks  McUugh:  "What  will  the  first  shot 
be?"  McPugh  replies:  "Long  shot."  and  adds,  "Let  me  see  my 
script."  Cameraman  holds  hands  over  heater  for  a  few  seconds  and 
then  goes  on   set  to  line  up   shot. 

9:45  Cameraman  breaks  down  and  confesses  he  is  ready  and 
would  like  to  see  the  people  that  will  be  in  the  scene,  if  any.  He 
receives   no  reply  and   walks   back  to  heater. 

9:48  McPugh  finishes  reading  his  script  and  tells  his  assistant, 
"I  have  changed  my  mind  and  will  start  with  a  close-up  of  Miss 
VaDillah,  the  leading  lady,  and  then  dolly  back  to  a  full  shot  of  the 
set." 

9:49  Assistant  director  goes  for  Miss  VaDillah.  Grips  go  for 
dolly  and  assistant  cameramen  go  for  the  extras,  as  the  cameraman 
moves   his   camera    into   set   for   a   close-up. 

10:05  Cameraman  says,  "Ready  for  Miss  VaDillah,"  and  walks 
back  to  heater.  This  is  a  fast  cameraman.  I  mean  he  works  fast. 
Quick   on   set-ups. 

10:10  Miss  VaDillah,  hair  dresser,  chauffeur,  publicity  man  and 
assistant  director  come  on  stage  and  go  to  heater.  "Good  morning," 
says  Miss  VaDillah.  "Good  morning,"  reply  the  crew.  "How's  every- 
thing?" asks  the  cameraman.  "Terrible,"  replies  Miss  VaDillah  with 
a  smile.  "Really,  I  feel  bad.  Something  I  ate,  I  guess."  Then 
she   takes   vacant    chair   at   heater   and   lights   a   cigarette. 

10:15  "What's  holding  us  up?"  asks  the  assistant  director.  "Yes," 
from  the  director,  "what's  holding  us  up""  No  one  answers,  so  they 
all  start  for  the  set.  Cameraman  tells  gaffer  to  "hit-'em,"  takes  place 
behind   camera   to   watch   rehearsal. 

10:20  McPugh  starts  to  rehearse  with  Miss  VaDillah  and  asks 
cameraman  if  he  will  save  the  lights.  Cameraman  tells  a  gaffer  to 
"kill-'em"   and  crew  go  back  to  heater  again. 

10:25  McPugh  finds  out  why  Miss  VaDillah  feels  so  bad  this 
morning  and  VaDillah  finds  out  where  McPugh  had  been  the  night 
before  and  as  this  is  all  settled  McPugh  calls  for  the  assistant  director 
and  asks,  "What's  holding  us  up?"  Assistant  director  asks  cameraman 
if  he  is  ready.  Cameraman  tells  him  he  would  like  to  see  a  rehearsal. 
McPugh  tells  cameraman  they  are  through  rehearsing  and  that  he 
wants   to   shoot   it. 

"It's  just  a  simple  scene,"  explains  McPugh,  "I  don't  see  why 
you   need   a    rehearsal." 

"I've  got  to  see  it  with  lights  and  I  am  sure  the  sound  depart- 
ment would  like  to  hear  it  just  once."  says  the  cameraman.  The  director 
condescends  to  let  him  have  a  peek  and  Miss  VaDillah  walks  through 
the   action. 

10:30  "All  ready  to  shoot,"  from  the  cameraman  after  making  a 
few    changes.      "Sound    ready?"    asks    the   assistant    director. 

"Yes,"   replies   the   sound    man. 

"All    ready    to    take    it,    Mr.    McPugh,"    says    the    assistant    director. 

Miss  VaDillah  leaves  set  and  goes  over  to  heater.  Picks  up 
make-up  case  and  starts  to  check  make-up.  McPugh  takes  up  morning 
paper.      Crew   go   back  to   heater. 

10:40  "What's  holding  us  up?"  asks  the  assistant  director.  No 
one  answers.  Miss  VaDillah  and  crew  leave  heater  and  McPugh  puts 
away  his   paper. 

10:42     "Lights,"    calls  the   cameraman. 

"Turn   'em   over,"   orders  the  assistant   director. 

"Mark  it  "   yells  the   sound   man. 

"Action!"  shouts  McPugh  to  Miss  VaDillah,  who  is  just  eight 
feet   away. 

"I  wonder  what's  keeping  Artie,"  says  Miss  VaDillah  as  she 
rises  and  goes  over  to  the  phone.  The  camera  follows  her  and  the 
dolly   starts  backward  to  get  a   full   shot  of   the  set. 

10:42J4      "Cut!"   yells   McPugh    into  the   cameraman's   good  ear. 

"Kill    'em!"   calls   the   gaffer   and   the   lights   go   out. 

Miss  VaDillah  goes  over  to  heater  as  "O.  K."  comes  from  sound 
and    camera   departments. 

10:43      "That's  fine,"   says   McPugh,   "print   that." 

"Print  that,"  reply  the  assistant  director,  script  clerk,  cameraman 
and  first  assistant  cameraman  in  rotation.  The  second  assistant  camera- 
man  receives   the   order  and   makes   his  report  accordingly. 

10:44  McPugh  takes  out  his  watch  and  looks  at  the  time — and 
says,    "Well!      We   got   a    nice   early   start   this   morning." 


report    that 
They    refer 


"Yes,  we  did,"  comes  from  the  crew,  each  and  everyone  knowing 
that   they   are   lying. 

"What's  holding  us  up?"  from  the  assistant  director  with  a  scowl, 
as  he  hates  to  have  anybody  "yes"  McPugh.  No  reply  as  usual  and 
he  walks  over  to  McPugh. 

10:45  McPugh  walks  into  set  with  assistant  director  and  gives 
him  a  phone  number  to  call.  Assistant  leaves  set  and  entire  crew 
go  to  heater  where  a  discussion  as  to  the  relative  merits  of  Eastside, 
Rainier.   Acme,    Schlitz    (my   favorite)    and    Blatz   starts. 

11:05  "What's  holding  us  up?"  asks  the  assistant  director  as 
he  comes  onto  the  stage  and  goes  over  to  McHugh.  He  then  whis- 
pers  that   they   will   not   be   able  ,to    deliver   until   after   lunch. 

11:06  "Is  Mr.  Demetri  Fulphaze  ready?"  asks  McPugh.  "I 
will    use    him    on    the    next    shot." 

11:07  Assistant  director  goes  for  Demetri  as  supervisor  comes  on 
stage. 

11:08  McPugh  and  supervisor  go  into  conference  as  they  walk 
away  from  heater.  Supervisor  explains  that  he  will  loan  some  to 
McPugh    until   after  lunch. 

11:15  Demetri  comes  skipping  onto  the  stage  with  a  "cheery" 
good  morning  and  backs  up  to  heater.  Miss  DaVillah  gives  him  a 
dirty   look,   leaves   heater,  goes   into   set  and   sits  on  divan. 

"What's  holding  us  up?"  asks  the  assistant  director  once  more. 
"Yes,"  wonders  McPugh,  "what's  holding  us  up?"  They  leave 
heater   and   go   back   to   set    again. 

11.16  "We  will  continue  from  where  we  left  off."  explains 
McPugh.  "This  is  the  scene  w-here  'Meetie'  comes  through  the  door 
and  sees  Miss  VaDillah  at  the  phone.  He  crosses  over  to  her,  takes 
her   in    his    arms   and    says    'darling'    and    then    kisses    her   with    fervor." 

"Can   you   remember   your    line""    asks    McPugh. 

"I    think    so,"    replies    Demetri.       "Let's    rehearse    it    a    few    times." 

"Let's    shoot    it    and    get    it    over    with,"    requests    Miss    VaDillah. 

11:20  Rehearsing.  Demetri  cannot  remember  his  line.  Miss 
VaDillah    burning    up.      (This    is   a   slow   burn.) 

11:23      Demetri    remembers   his   line   but   has   no   fervor. 

11:24     Assistant    director    goes    to    production    office    to 
Demetri    has    no    fervor    and    is    holding    up    the    company, 
him    to    scenario    department. 

11:25      "Let's   take   it,"   says    McPugh.      "It    might   be    good." 

The  usual  procedure  is  gone  through  and  at  last  the  cameras  are 
photographing  the  scene  and  the  sound  department  recording  it.  Just 
as  Demetri  is  about  to  take  Miss  VaDillah  in  his  arms  the  cameras 
stop.  The  cameraman  unbuttons  his  camera,  opens  the  door  and  finds 
out  50  feet  of  film  has  been  accordian  pleated  around  the  constant 
sprocket. 

11:26  Assistant  director  comes  back  from  the  scenario  depart- 
ment and  as  he  arrives  on  the  stage  he  shouts,  "What's  holding  us 
up?" 

"THE  CAMERA  BUCKLED!"  shout  the  entire  staff  and  crew. 
This  pleases  the  director  very  much  as  now  he  has  something  to  charge 
the   delay    to.      He   goes   over   to   the    heater   and    sits   down. 

11:30  "Cameras  ready!"  comes  from  the  cameraman  and  in  a 
short   time   the   scene   has   been    shot   and    is    in    the   "Box." 

"Print  that,"  requests  McPugh  ,and  "Print  that"  is  repeated 
down    the    regular   channels. 

11:33  Assistant  director  starts  to  get  up  from  chair  as  McPugh 
tells  cameraman  to  get  a  "close-up"  of  Demetri.  Assistant  director 
sits  down  again.  Cameramen  move  cameras  into  set  to  get  a  close 
shot   of    Demetri. 

11:41)     "Where   are   you   cutting   him?"   asks   the    director. 

"At    the    middle    of    his    vest,"    replies    the    cameraman. 

"I    want    a    close-up,"    orders    McPugh.       "Cut    him    at    the    neck." 

"I'd  like  to,"  says  the  cameraman.  Miss  VDillah  hears  this 
remark  and  with  a  loud  "Ha!  Ha"  says  "that  makes  it  unanimous." 
Demetri  stamps  his  foot,  snaps  his  finger  at  Miss  VaDillah  and  leaves 
the  stage. 

11:41  "Never  mind  the  close-up,  get  a  medium  shot  of  Miss 
VaDillah  and  Demetri  and  we  will  do  the  'kiss  with  fervor'  over 
again,  as  it  was  terrible  in  the  long  shot."  McPugh  then  goes  over 
to    the    heater   and    takes    his    chair. 

11:45  Demetri  comes  back  from 
the  troupe  come  back  on  set  and  the 
again   and   again. 

11:50  "Please  take  it,"  pleads 
and    bad    enough    as    it    is    and    can't    rehearse    this    many    more   times." 

"All  right,"  replies  McPugh,  "let's  shoot  it!"  All  departments  are 
ready  and  McPugh  moans:  "Action!"  McPugh  orders  scene  cut  and 
it  has  been  O.  K.'d  by  all.  McPugh  congratulates  Demetri.  Miss 
VaDillah  reaches  for  table  and  falls  on  floor.  McPugh  rushes  in  and 
helps   Miss   VaDillah   to   her   feet. 

"I  don't  know  what  can  be  wrong  with  me,  I  feel  so  dizzy," 
she  tries  to  explain.  "That's  all  right,"  assures  McPugh.  "I  will 
call  lunch,  take  you  up  to  your  dressing  room  and  help  you  take  off 
that   heavy    costume   you   have   on." 

"I'm    not    that    dizzy,"    says    Miss    VaDillah    and    passes    out. 

11:59  Just  as  the  property  man  is  bringing  Miss  VaDillah  "to" 
in  comes  McPugh  with  another  one  that  he  has  borrowed  from  the 
supervisor.  All  of  the  staff  and  crew  are  standing  around  the  heater. 
Demetri  Fulphaze  is  looking  at  himself  in  a  mirror  on  the  set.  The 
assistant    director    looks    at    his    watch    and    shouts: 

"LUNCH!" 

Everyone  leaves  the  stage  except  an  electrician  who  has  been 
behind  the  set  operating  the  switchboard.  He  places  his  lunch  box 
on  a  chair,  takes  out  a  match  and  lights  the  heater — which  had  been 
out   all    morning. 


the    washroom    and    the    rest    ot 
"kiss    with    fervor"    is    rehearsed 

Miss     VaDillah,      "I      feel     faint 


PLEASE   MENTION   THE   INTERNATIONAL   PHOTOGRAPHER   WHEN   CORRESPONDING   WITH   ADVERTISERS 


July,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Thirty-three 


This    is    the    fourth    installment    of    the    Cinematographer's 
Book  of  Tables  compiled   and  computed  by  Mr.   Fred  Wester- 


Cinematographer's 

BOOK  of 
TABLES 

By  FRED  WESTERBERG 


There  are  several  more  installments  to  come,  concluding 
with  the  November  issue,  1933,  and  when  completed  the  tables 
will  constitute  a  handy  reference  guide  welcome  to  all  cinema- 
tographers,   professional   and   amateur. 

Take  note  that  the  tables  are  so  placed  in  the  magazine 
as  to  be  easily  cut  out  and  bound  into  a  small  pocket  ring 
book.  Cut  down  the  middle  of  page  33;  then  trim  top  and 
bottom  to  fit  your  cover;  punch  holes  to  fit  rings  on  inner  and 
outer    edges    of   magazine    pages    33    and    34.      When    all    tables 


berg,  one  of  the  technical  editors  of  THE  INTERNATIONAL       have   been   bound   into  your   ring  book   the   pages   will    number 
PHOTOGRAPHER.  from   1  to   32  inclusive  with  complete  index. 

The    accompanying   cut    is    of    a    Lefax    cover.      It    may    be 
-        purchased   from   dealers   at   75   cents. 


.29 


APERTURE  SPECIFICATIONS  STANDARD 
35  mm.  FILM 


J.37S,, 
1.376 
1.109  — 


8 

! 

0 


° 

PS 


-.744 


° 


o5 


CAHEZRA 
Ap  ERTURE. 


-.689- 


Tl'JLEL 


\EHULSION 
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\P0SITIVE 


"1 


243' 


-±CAM.APiiKT. 

"XD 


-.86S- 


03/R4D/US 


□ 


$_OF  FILM 
C 


EMULSION  \ 
SIDEDOWM 
NEGATIVE^ 


o 
a 


4-^PROJ.APERT. 
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It 


=0 


T 


RRD. 


Of 


MEGATIVEL' 
PERFORATION 


o 


POS/T/VE. 
PERFORATION 


16 


DEPTH  OF  FIELD 
40  mm.  LENS 


z 
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Thirty-four 


7  // 


INTERNATIONAL   PHOTOGRAPHER 


July,  1933 


NEW  LAMPS 

(Continued  from  Page  19) 
of  forming  an  intimate  part  particularly  of  our  city  life — 
standing  out  predominantly  among  the  advertising  dis- 
plays on  every  thoroughfare.  The  bright  line  sources  of 
color  made  possible  many  striking  effects  not  attainable 
with  spaced  point  sources. 

A  new  luminous  tube  product  has  been  made  available 
which  makes  possible  even  more  striking  effects — being 
characterized  by  an  enormous  increase  in  brilliancy  over 
that  attainable  with  the  conventional  tubing. 

This  new  product  is  produced  by  the  Electrical  Pro- 
ducts Corporation  under  the  trade  name  of  "Lumenarc." 

Lumenarc  tubing  is  briefly  described  as  being  a  high 
intensity  arc  discharge  between  hot  cathodes  at  input  volt- 
ages of  110  to  1200  volts  as  differentiated  from  the  con- 
ventional Neon  Sign  Tubing  which  is  described  as  being 
a  low  intensity  glow  discharge  between  cold  cathodes  at 
transformer  voltages  of  3,500  to  15,000  volts. 

The  conventional  Neon  tubing,  by  reason  of  its  low 
lumen  output  was  applicable  only  in  cases  where  the  source 
was  visible.  The  greatly  increased  lumen  output  of  Lum- 
enarc Tubing,  however,  renders  this  type  of  tubing  ap- 
plicable in  the  general  field  of  lighting. 

Lumenarc  is  produced  in  three  colors — Red,  Blue  and 
Green. 

By  proper  combination  of  such  tube  sources  a  good 
subjective  approximation  to  light  of  daylight  quality  is 
produced.  A  combination  of  Blue  Lumenarc  Tubing  and 
Incandescent  Lamps  develops  a  light  output  composed  of 
the  line  spectra  of  the  tubular  source  superimposed  upon 
the  continuous  emission  of  the  lamps  and   this  combina- 


tion, when  properly  balanced,  produces  a  subjective  effect 
even  more  closely  approximating  daylight  quality. 

This  second  combination  permits  of  developing  con- 
siderable total  light  output  with  a  lower  total  wattage 
input  to  the  tubular  sources.  With  the  energy  inputs  to 
the  lamps  and  the  tubes  bearing  a  ratio  of  the  order  of 
four  to  one  a  good  daylight  approximation  is  obtained. 
The  luminous  efficiency  of  the  combination  is  essentially 
the  same  as  that  of  the  lamps  alone.  The  blue  quality  of 
Blue  Lumenarc  is  delivered  through  the  clear  glass  of 
the  tube.  Higher  efficiencies  result  therefor,  than  can  be 
obtained  through  the  use  of  filtered  sources. 

The  use  of  Lumenarc  Tubes  in  combination  or  in  con- 
junction with  Incandescent  Lamps  results  in  a  high  qual- 
ity of  illumination  and  represents  a  distinctly  modern 
method  of  bringing  daylight  indoors. 

Unit  No.  3  treats  of  the  use  of  Mazda  lamps  for  color 
photography,  a  paper  of  timely  interest  in  view  of  the 
fact  that  two  satisfactory  systems  of  three  color  motion 
picture  photography  are  said  to  be  commercially  available 
and  people  interested  in  color  are  naturally  interested  in 
this  improved  light  source. 

By  increasing  the  voltaging  of  the  lamps  greatly  in- 
creased volume  of  light  results,  but  the  light  is  of  im- 
proved color  quality  and  peculiarly  applicable  to  color 
photography. 

An  example  of  the  action  of  the  Mazda  lamps  under 
increased  voltage  is  interesting:  A  10'  '<  increase  in 
volts  gives  16%  increase  in  watts,  but  a  40%  increase  in 
light  output,  or,  as  in  the  case  of  the  small  Photoflood 
lamp,  80%  increase  in  volts  increases  the  wattage  2j/> 
times,  but  raises  light  volume  five  and  one-half  times. 


15 


30 


DEPTH  OF  FIELD 
35  mm.  LENS 


WEIGHTS  AND  MEASURES 
CONVERSION  TABLES 


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2 
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1  . 

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Distance 

In  Feet 

To  Point 

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Focus 

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f)  pJ- 

IO 

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CM 

CM 

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z 
■ 

METRIC 

EQUIVALENTS 

U.   S. 

EQUIVALENTS 

i 

Yard 

=  914.4  MM 

1  Metre 

=  39.37  Inches 

i 

Inch 

=  25.4  MM 

1  Millimetre 

=  .03937  Inches 

i 

Pound 

=  453.59  Grams 

1  Kilogram 

=  2.2046  Pounds 

i 

Ounce 

=28.35  Grams 

1  Gram 

=  15.432  Grains 

i 

Grain 

=  .0648  Grams 

1  Gram 

=.03527  Ounce 

i 

Gallon 

=  3.785  Liters 

1  Liter 

=  .26418  Gallon 

i 

Quart 

•  =  .946  Liters 

1  Liter 

=  1.0567  Quart 

i 

Pint 

=  473.18  C.C. 

1  Liter 

=  33.8135  Liq.  Ozs 

i 

Liquid  Ounce   =29.574  C.C. 

1  Cu.  Centimetre  =.338  Liq.  Ozs. 

MILLIMETRES  TO  INCHES 

AND 
INCHES    TO    MILLIMETRES 


EMERGENCY  WEIGHTS 


MM 

Inches 

Inches 

MM 

1 

.03937 

.001 

'.'-.  i 

2 

.07874 

.002 

.0508 

3 

.1181 

.003 

.0762 

4 

.1575 

.004 

.1016 

5 

.1968 

.005 

.1270 

6 

.2362 

.006 

.1524 

7 

.2756 

.007 

.1778 

8 

.3150 

.008 

.2032 

9 

.3543 

.009 

.2286 

10 

.3937 

.01 

.254 

11 

.4330 

.02 

.508 

12 

.4724 

.03 

.762 

13 

.5118 

.04 

1.016 

14 

.5512 

.05 

1.270 

15 

.5905 

.06 

1.524 

16 

.6299 

.07 

1.778 

17 

.6693 

.08 

2.032 

18 

.7086 

.09 

2.286 

19 

.7480 

.1 

2.54 

20 

.7874 

.2 

5.08 

21 

.8267 

.3 

7.62 

22 

.8661 

.4 

10.16 

23 

.9055 

.5 

12.70 

24 

.9448 

.6 

15.24 

25 

.9842 

.7 

17.78 

35 

1.3780 

.8 

20.32 

40 

1.5748 

.9 

22.86 

ii 

1.9685 

]  n 

25.40 

New  Coins 

Grains 

Crams 

Dollar 

412.50 

26.73 

Half 

192.90 

12.50 

Quarter 

96.45 

6.25 

Dime 

38.58 

2.50 

Nickel 
Cent 

77.16 

5.00 

48.00 

3.11 

GRAMS  TO   GRAINS 

AND 
GRAINS   TO  GRAMS 


Grams 

Grain? 

Grains 

Crams 

1 

15.43 

; 

.065 

2 

;n.Sf, 

2 

.130 

3 

46.29 

3 

.194 

4 

61.73 

4 

.259 

5 

77.16 

5 

.324 

6 

92.6 

6 

.389 

7 

108.0 

7 

.454 

8 

12 J.  5 

8 

.518 

9 

138.9 

9 

.583 

10 

154.3 

10 

.648 

20 

308.6 

20 

1.296 

30 

462.9 

30 

1.944 

40 

617.3 

40 

2.592 

50 

771.5 

50 

3.240 

60 

925.8 

60 

3.888 

70 

1080 

70 

4.536 

80 

1235 

|       80 

5.184 

90 

1389 

|       90 

5.832 

100 

1543 

|     100 

6.480 

July,  1933 


T  h 


INTERNATIONAL       PHOTOGRAPHER 


Thirty- five 


HERE'S    THE    JOB- 

WHERE'S  THE   MAN? 

One  of  the  things  most  needed  in  this  country  is 
a  foundation  to  finance  and  protect  inventors — to 
make  the  world  safe  for  inventors  and  their  inven- 
tions. 

There  is  no  greater  agony  and  distress  anywhere 
than  among  the  inventors  and,  as  something  has  to 
be  done  about  it  sometime,  then  why  not  now  ? 

From  time  immemorial  the  inventor  has  been  re- 
garded as  legitimate  prey  by  the  tin-horn  promotor 
and,  that  particular  brand  of  inventor  having  to  do 
with  the  motion  pictures  and  allied  industries,  has 
been  exploited  until  he  has  been  forced  into  the  ranks 
of  the  sans  culottes. 

Of  course  the  inventor  has  not  cornered  all  the 
brains  in  the  world  although,  to  hear  him  tell  it,  he 
is  always  right  and  everyone  else  is  always  wrong, 
especially  the  man  with  the  money. 

On  the  other  hand — the  man  with  the  money  is 
not  unlikely  to  regard  the  inventor  as  either  a  crazy 
man  or  a  horse-thief  or  both.  Sometimes  the  in- 
ventor entertains  this  same  view  of  the  capitalist  and 
the  result  is  that  the  twain  manage  to  keep  up  a  fair 
imitation  of  civil  war  to  the  great  detriment  of 
both  and  of  the  motion  picture  industry  in  general. 

The  woods  are  full  of  aspiring  inventors  who 
have  already  completed  useful  gadgets  for  the  im- 
provement of  cinematography  in  many  of  its  depart- 
ments or  who  are  researching  along  original  lines 
with  sufficient  encouragement  to  justify  them  in  feel- 
ing that  they  have  good  chances  to  succeed,  but  who 
have  no  funds  to  continue. 

This  writer  alone  has  a  list  of  reliable,  efficient 
men,  most  of  them  members  of  the  International 
Photographers,  who  are  worthy  of  adequate  financial 
help  to  bring  their  inventions  to  the  status  of  letters 
patent  and  into  the  commercial  field. 

These  new  inventions  include  two  projection 
lamps,  three  silent  projectors,  one  silent  camera 
motor,  one  3  dimensional  camera,  two  photo-electric 
cells,  two  color  systems,  one  simple  appliance  for  a 
three  color  system  (attachment  to  regulation  pro- 
jector), two  continuous  cameras,  one  continuous  pro- 
jector, small  pocket  focal-plane  shutter  camera,  one 
printer,  two  motion  cameras,  one  16  mm.  silent  cam- 
era and  projector,  one  color  cartoon  system,  two 
lenses,  one  metal  indestructible  film,  one  Diesel  en- 
gine, one  television  system  for  home  hook-up,  one 
radio  improvement  appliance,  new  chemicals,  robot 
for  radio  remote  control  to  be  used  for  crashing 
planes,  ships,  railroad  trains,  etc.,  in  motion  pic- 
tures, a  new  theory  of  light  and  a  light  meter,  auto- 
matic machine  for  painting  large  wall  advertise- 
ments, etc. 

If  this  be  true  of  Hollywood,  imagine,  therefore, 
the  great  flow  of  inventions  when  a  field  the  size 
of  the  United  States  is  contemplated.  Consider  now 
with  the  writer  in  thoughtful  amazement  what  a 
wealth    of    new   achievement   could    be    unloosed    if 


New  H.I.'.E.  Combination 
Sunshade  —  Filter  Holder 


LIGHT  —  COMPACT  —  SIMPLE 

QUICKLY  ATTACHED 

Approved  by  world's  foremost  camera  manufacturers  and  pho- 
tographers. Made  to  fit  any  still  camera  .'ens;  also  16  mm.  and 
35    mm.   motion   picture    camera   lenses. 

CUT  YOUR  COST 

Two-piece  construction  holds  filter  firmly  and  permits  change  of 
filters   without   use   of   individual   holder   for   each   filter. 

A  BOON  TO  LEICA  AND  CONTAX  USERS 

Permits     shooting     toward     light     and     eliminates     lens     and     filter 

glare. 

HOLDER,    $3.50    and    up FILTERS,    $1.50    and    up 

//     your     dealer     cannot     supply    you onler     direct. 

Designed  and   Manufactured   by 

Hollywood    Camera    Exchange 

Dealers    in    Everything    Photographic 

Hollywood,     Calif. 


1600      N.      Cahuenca     Blvd. 

Phone    HOllyi 


....I    3651 


there  existed  an  intelligent,  honest  and  financially 
able  foundation  to  separate  the  wheat  from  the  chaff 
and  finance  such  inventions — a  clearing  house  to 
handle  every  phase  of  such  transactions  from  the 
conception  of  an  idea,  through  preliminary  financing, 
technical  research,  test,  demonstration  and  patent 
proceedure,  to  corporate  organization,  major  finan- 
cing, manufacture,  promotion  and  commercial  dis- 
tribution. 

Honestly,  intelligently,  unselfishly  and  public 
spiritedly  administered  by  engineers  and  experts 
with  a  lively  sense  of  duty  to  mankind  and  to  the 
nation,  such  an  institution  would  very  soon  become 
an  agency  for  immeasurable  good — the  insurer  of  a 
square  deal  to  all  concerned  and  the  conserver  of  the 
inventive  wealth  of  the  country  and  even  of  the 
world. 

Here  is  an  untouched  field  of  endeavor — a  long 
felt  want — a  tremendous  opportunity  to  perform  an 
unparalleled  public  service  and  incidentally  to  make 
a  lot  of  money. 

Oh,  for  a  Thomas  A.  Edison,  a  Carnegie,  a 
Ford,  a  Rockefeller  to  create  and  organize  such  a 
foundation ! 

Who  will  fill  this  long  felt  want !  Here's  the 
job— where's  the  man  ? 


AKERS  CAMERA 

(Continued  from  Page  5) 

Irving  Akers'  first  flight  was  in  1916.  Since  then  he 
has  flown  6,000  hours,  over  a  half  of  which  has  been  with 
a  camera — and  if  anywhere  on  the  face  of  the  earth  there 
be  a  photographic  record  submerging  this  it  will  make 
interesting  reading. 

In  the  intervening  years  Akers  has  accumulated  trans- 


port pilot  license  No.  9663,  with  both  land  and  sea  rat- 
ings ;  airplane  and  mechanics  license  No.  9350,  and  Fed- 
eration Aeronautique  Internationale  license  No.  4008. 
Also  at  different  times  he  has  owned  two  aerial  photo- 
graphic companies. 

The  inventor  has  just  completed  shooting  on  "Sky- 
larks," a  single  reel  stunt  air  picture,  designed  to  demon- 
strate the  versatility  of  his  new  camera  in  air  work. 


PLEASE  MENTION   THE  INTERNATIONAL   PHOTOGRAPHER   WHEN   CORRESPONDING   WITH   ADVERTISERS 


Thirty-six 


7   /, 


INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


TCIi-NIii-TOWNt 


TO  FAR  AWAY  INDIA 

The  Mitchell  Camera  Company  have  recently  shipped 
to  Bombay,  India,  a  Mitchell  Newsreel  Camera.  This 
camera   was   equipped   with  Artreeves   Optical   Unit   Re- 


cording Lamp  and  Sound  Equipment  for  single  system. 
The  illustration  shows  the  method  of  mounting.  Artreeves 
and  the  Mitchell  Camera  Company  are  to  be  congratu- 
lated on  the  promptness  with  which  this  order  was  filled, 
the  camera  being  equipped,  thoroughly  tested  and  shipped 
within  two  weeks  from  the  time  of  reception.  The  order 
was  placed  by  the  Movie  Camera  Company  of  Bombay, 
India,  who  are  the  Indian  Agents  for  the  Artreeves  Sound 
Recording  System. 


NEW  TYPE  MOVIE  THRILLER 

A  new  type  of  movie  thriller  in  which  the  heroes 
hobble  on  crutches  instead  of  riding  bucking  bronchos  is 
being  shown  at  A  Century  of  Progress  in  Chicago. 
World's  Fair  officials  and  Miss  Isabella  Dolton,  assistant 
superintendent  in  charge  of  special  schools  division  of  the 
Chicago  Board  of  Education,  together  with  W.  F.  Kruse, 
head  of  the  Educational  Department  of  the  Bell  &  How- 
ell Company,  cooperated  in  the  taking  of  the  film  which 
depicts  the  work  being  done  in  the  Spalding  and  Brown 
schools,  in  Chicago,  for  handicapped  children. 

The  movie  is  in  two  reels  and  shows  the  progress  made 
in  training  crippled,  blind,  deaf,  and  otherwise  defective 
youngsters.  A  century  ago  society  generally  considered 
these  children  "not  worth  bothering  with;"  today,  as  evi- 
denced by  these  movies,  such  children  are  the  subject  of 
serious  study  and  effort. 

The  picture  is  being  shown  in  the  department  of  pub- 
lic welfare  in  the  Hall  of  Science  at  the  Chicago  fair.  It 
was  made  on  16  millimeter  film  with  a  Bell  &  Howell 
personal  movie  camera. 


JACK  SMITH  JOINS  DAVIDCE 

Jack  Smith,  who  has  been  prominently  identified  with 
motion  picture  laboratories  for  many  years,  is  now  asso- 
ciated with  the  Roy  Davidge  Laboratory  as  superintendent 
in  charge  of  sensitometric  control  and  negative  develop- 
ment. He  brings  to  this  new  position  a  vast  laboratory 
experience  which  dates  from  1913,  when  he  started  with 
D.  W.  Griffith  in  the  old  Fine  Arts  Studio. 

During  the  past  four  years  Mr.  Smith  has  been  iden- 
tified with  Universal  and  previous  to  that  time  had  been 
for  six  years  superintendent  of  the  Bloom  Film  Labor- 
atory. 


UBIQUITOUS 

Pete  Shamray,  the  handsome,  husky  laboratory  expert, 
is  on  the  firing  line  for  Dupont  so  effectually  that  he  seems 
to  be  everywhere  at  once.  Pete  is  in  training  to  win  the 
Fifth  Annual  Golf  Tournament  of  Local  659,  but  he  is 
too  modest  to  admit  it. 


REMOVAL 

Don  Keyes,  veteran  cameraman  has  moved  his  studio 
and  home  from  635  North  Highland  Ave.  to  241  South 
Norton  Ave.  Between  picture  assignments  Don  Keyes 
specializes  on  distinctive  portrait  photography. 


KERSHNER  SCORES 

Glen  Kershner  is  being  felicitated  by  his  many  friends 
upon  his  fine  work  in  "His  Silent  Racket,"  a  Charley 
Chase  comedy  shown  recently  at  Loew's  State  Theatre. 
The  comedy  was  exhibited  on  a  bill  with  "Peg  o'  My 
Heart,"  starring  Marion  Davies,  one  of  her  best. 

WELCOME 

The  Miniature  Camera  Club  of  New  York  has  just 
issued  Volume  1,  No.  1  of  their  new  house  organ,  "The 
Miniature  Camera."  It  is  a  ten  page  book  7%  x  10  and 
is  chock  full  of  good  live  stuff  that  THE  INTERNATIONAL 
PHOTOGRAPHER  Js  moved  to  welcome  not  only  with  cordial 
good  will,  but  with  the  prognostication  that  it  has  before 
it  a  most  useful  and  prosperous  future.  Come  in,  New 
Member,  and  hang  up  your  hat. 


ARTREEVES 

One  of  the  Artreeves  famous  sound  recorders  is  at 
work  in  the  Century  of  Progress  exposition  at  Chicago. 
It  is  being  operated  by  Eugene  Cour,  well  known  camera- 
man of  Chicago,  who  is  also  editor  and  of  that  snappy 
little  book  Cinema  Crafts.  The  Cinema  Crafts  Year 
book  for  1933  will  be  off  the  press  early  in  July. 


HOME  OF  ANIMATOCRAPH 


r> 


GLORIFYING  NEWSREELMEN 
West  Coast  Bur.,  THE  FILM  DAILY. 
Hollywood — Sid  Rogell  will  supervise  a  story,  not  yet 
titled,  dealing  with  the  newsreel  cameraman  for  Colum- 
bia.    RKO  also  is  making  a  newsreel  story. 

PLEASE  MENTION   THE  INTERNATIONAL   PHOTOGRAI 


The  factory  of  the  Victor  Animatograph  Corp.,  located  at  Daven- 
port, Iowa,  occupies  four  floors  in  this  building  and  the  majority 
of  the  power  equipment  is  located  on  the  second  floor. 

All  manufacturing  in  connection  with  the  construction  of  Victor 
cameras,  projectors  and  stereopticons,  with  the  exception  of  casting 
and  plating,  are  handled  in  this  plant.  This  includes  painting  and 
baking  the  finished   product. 

The  main  offices  of  the  company  are  located  on  the  first  floor. 
The  basement  floor  is  used  for  some  manufacturing  operations,  such 
as  stamping,  etc.,  for  housing  the  Victor  modern  printing  plant  and 
photographic  departments  and  for  some  storage.  The  second  and 
third  floors  are  occupied  by  the  manufacturing,  assembling  and  test- 
ing departments.  The  normal  operating  force  averages  100  or 
more   persons. 

HEK   WHEN   CORRESPONDING  WITH   ADVERTISERS 


July,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Thirty-seven 


SCHEIBE 

The  Mitchell  Camera  Company  recently  fabricated  a 
special  holder  for  a  Scheibe  graduated  diffusing  screen. 
This  permits  starting  a  dolly  shot  from  a  close-up,  with 
diffusion  and  then  dollying  back  to  a  full  shot,  without 

diffusion.  

IMPORTANT  NOTICE 

U.  S.  Navy  Accredited  Photographers  Cards  expire 
July  1st  and  should  be  renewed  at  once.  Gene  Owen 
Hagberg  has  been  appointed  representative  for  this  dis- 
trict by  the  Commandant  of  the  Eleventh  Naval  Dis- 
trict, San  Diego,  and  all  renewels  and  applications  for 
cards  should  be  handled  by  him.  Any  member  of  this 
organization  submitting  proof  of  American  citizenship 
may  apply  for  Accredited  Photographers  card  by  obtain- 
ing application  blank  from  Mr.  Hagberg,  c/o  this 
office. 


THE  TRAILERS 

Harry  Gant  reports  that  Spring  Round  Up  No.  3  of 
The  Chuck  Wagon  Trailers,  Inc.  was  held  on  La  Provi- 
dencia  Rancho,  Burbank,  May  21,  1933  with  an  attend- 
ance of  over  400.  "Come  and  get  it!"  was  hollered  at 
noon — the  featured  viands  of  the  fiesta  being  barbecued 
maverick  with  something  the  cook  makes  in  a  sack.  Some 
of  these  days  a  smart  producer  is  going  to  get  rich  by- 
building  a  great  Western  epic  around  these  same  "Chuck 
Wagon  Trailers."     Stick  a  pin  here. 


NEW  SUN-SHADE  AND  FILTER  HOLDER 

Cliff  Thomas,  of  the  Hollywood  Camera  Exchange, 
announces  a  very  practical  accessory  for  small  cameras. 
It  is  a  sun-shade  and  filter  holder  which  will  prevent 
glare  and  stray  light  hitting  the  lens. 


The 


THE  CINE-KODAK  SPECIAL 

accompanying    illustration    exhibits    the     Cine- 


Kodak  Special  as  possessing  a  turret  head  for  two  lenses. 
Lenses  are  quickly  interchangeable  on  the  turret  head, 
which  will  accommodate  the  various  lenses  that  are  avail- 
able for  the  Cine-Kodak  Special. 

A  reflex  finder,  which  cuts  in  on  the  main  lens  svstem 


of  the  camera,  thus  shows  the  image  actually  formed  by 
the  taking  lens.  By  the  use  of  this  finder,  both  the  exact 
picture  field  and  the  precise  focus  may  be  obtained,  even 
in  such  extreme  close-up  position  as  when  the  camera  is 
only  an  inch  or  two  from  the  object  to  be  photographed. 
Such  an  extreme  close-up  necessitates  the  use  of  proper 
supplementary  lenses.  Backed  film  as  well  as  clear-base 
film  can  be  used  without  hindering  this  finder's  operation. 

The  camera  is  also  equipped  with  the  usual  direct  view 
finder. 

A  complete  description  of  the  Cine-Kodak  Special  was 
published  in   The  International  Photographer  for  May. 

KNECHTEL   ABROAD 

Lloyd  Knechtel  is  on  his  way  to  London  where  he 
goes  to  take  a  position  in  the  laboratories  of  Randal  Per- 
raneau,  owner  of  the  Dunning  Process  rights  in  Eng- 
land.    Mr.  Perraneau  is  also  one  of  the  partners  in  the 


George  Humphries  Laboratory,  London.  Mr.  Knech- 
tel will  take  to  the  job  a  profound  knowledge  of  trick 
cinematography  and  he  carries  with  him  the  good  wishes 
of  Local  659  and  a  host  of  personal  friends. 


MAXFACO 

The  illustration  shows  the  Hollywood  home  of  the 
Max  Factor  Company.  Under  this  roof  are  housed  the 
many  departments  necessary  to  supply  the  world  with 
make-up  for  street,  motion  pictures  and  stage. 


Among  these  are  a  few  departments  of  interest  to  the 
motion  picture  profession,  such  as  the  General  Make-up 
Department  for  average  motion  picture  and  stage  make- 
up ;  a  Studio  Research  Department,  part  of  whose  work 
is  the  creation  of  distinct  characterizations  for  production 
purposes. 

The  Hair  Department  is  under  the  able  direction  of 
Perc  and  Ern  Westmore,  specializing  in  natural  creations 
in  both  straight  and  character  work  to  fit  any  mode  or 
period. 

This  service  has  primarily  been  established  for  the 
benefit  of  all  major  producers  and  artistes. 


INSTALLS  PRINTERS 

Metro-Goldwyn-Mayer  has  ordered  a  battery  of  the 
recently  developed  Bell  &  Howell  automatic  sound  and 
picture  film  printers  to  be  installed  in  the  M-G-M  Hol- 
lywood studios.  The  order  was  placed  following  a  series 
of  exhaustive  tests. 

This  printer,  which  was  the  result  of  over  three  years 
of  experimentation  by  the  engineers  of  the  Bell  &  Howell 
Engineering  Laboratories  of  Chicago,  permits  the  simul- 
taneous printing  of  sound  wave  and  picture  records  on 
talking  motion  picture  films  used  in  movie  theatres,  in- 
stead of  printing  sound  and  pictures  separately. 

Due  to  a  number  of  important  factors,  the  resulting 
prints  are  said  to  give  fuller  tone  effects  and  better  and 
clearer  pictures  than  have  heretofore  been  possible. 

The  new  printer  is  fully  automatic  and  its  automatic 
functioning,  including  the  positive  and  instantaneous 
change  of  printing  light,  is  so  effective  that  one  untrained 
worker  can  operate  six  machines. 


PROJECT-0  CO. 

The  Educational  Project-O  Film  Company,  of  which 
Phil  Meisenzahl  is  manager,  has  recently  moved  from 
317  North  Fairfax  Ave.  to  "Camera  Row,"  1611  North 
Cahuenga.  They  are  the  exclusive  DeVry  dealers  in  Los 
Angeles.  Mr.  Meisenzahl  has  been  in  business  fifteen 
years  and  has  moved  to  this  location  in  order  to  provide 
a  more  central  and  suitable  headquarters  for  his  many 
clients  and  friends. 


PLEASE   MENTION   THE  INTERNATIONAL   PHOTOGRAPHER  WHEN   CORRESPONDING   WITH   ADVERTISERS 


ON    THE    FIRING    LINE 

By     HELEN     BOVCE 

FOX  STUDIO 

C.  J.  Fischer,  Head  of  Camera  Department 


Hal  Mohr,  veteran  ace  cine- 
matographer,  who  has  been  re- 
sponsible for  the  fine  photo- 
graphic effects  in  many  recent 
Fox  pictures.  Some  of  his  nota- 
ble releases  are  "The  First 
Year,"  Janet  Caynor;  "Tess  of 
the  Storm  Country,"  Caynor; 
"State  Fair,"  Caynor;  "I  Loved 
You  Wednesday,"  Elissa  Landi; 
"Warrior's  Husband,"  Elissa 
Landi;  "The  Devil's  in  Love," 
Loretta  Young, 


METRO-COLDWYN-MAYER  STUDIOS 

John  Arnold,  Head  of  Camera  Department 

"ANOTHER  LANGUAGE."  Author,  Rose  Franken;  screenplay 
by  Herman  Mankiewitz;  director  E.  H.  Griffith;  assistant  director,  Joe 
Newman;  hist  cameraman,  Ray  June;  operative  cameramen,  Lester 
White  and  Richard  Wade ;  assistants,  Wilbur  Bradley  and  Samuel  Cohen  ; 
stills.  Milton  Brown;  recording  engineer,  Charles  Wallace,  assistant, 
Gather;  him  editor,  Hugh  Wynn ;  assistant,  Ernest  Leadlay  ;  art  director, 
Fred  Hope;  chief  electrician,  Lou  Roberts;  chief  grip,  Phil  Emery;  chief 
prop,    Bob    McCrillas. 

I  .ist  :       Helen    Hayes,     Robert    Montgomery,    Louise     Closser    Hale, 
Henry   Travel's,    Irene   Cattell,   Margaret   Hamilton   ,Hal   K.    Dawson. 
•        •       •        • 

"TUGBOAT  ANNIE."  Producer,  Harry  Rapf.  Author,  Norman 
Reilly  Raine ;  screenplay  by  Zelda  Sears  and  Eve  Green;  director,  Mer- 
vyn  Leroy ;  assistant  director,  Al.  Shenberg;  first  cameraman,  Gregg 
Toland ;  operative  cameraman,  Bert  Shipman ;  assistants,  Charles  Strau 
mer  and  Harry  Parkins;  stills,  James  Manatt;  recording  engineer,  Ralph 
Shugart;  assistant,  Lester  Ebert ;  film  editor,  Blanche  Sewell ;  assistant, 
Jack  Rogers;  art  director,  Merrill  Pye ;  chief  electrician,  Paul  Keeler ; 
chief    grip,    Ralph    Hoag;    chief   prop,    Harry    Edwards. 

Cast :  Marie  Dressier,  Wallace  Beery,  Robert  Young,  Maureen 
O'Sullivan,   Charles   Gyblin,   Marilyn   Haris. 


UNIVERSAL  STUDIOS 

F.  S.  Campbell,   Head  of  Camera   Department 

"SECRETS  OF  THE  BLUE  ROOM."  Producer,  Henry  Henig- 
son;  screenplay  by  William  Hulburt ;  director,  Kurt  Neumann;  assist. mi 
director,  Jay  Marchant ;  hrst  cameraman,  Charles  Stumar ;  operative 
cameraman,  King  Gray ;  assistant,  William  Dodds ;  stills,  Bert  Six ; 
recording  engineer,  Jesse  Moreland ;  assistant,  Bill  Richards;  film  editor, 
Phil  Cohn ;  art  director,  Stenley  Fleisher ;  chief  electrician,  Tommy 
Valdez ;    chief,  grip,    Fred    Parkinson;    chief   prop,    Harry    Grumston. 

Cast :  Gloria  Stuart,  Paul  Lukas,  Onslow  Stevens,  William  Janney, 
Lionel  Atwill,  Robert  Barrat,  Elizabeth  Patterson,  Russel  Hopton,  Ed- 
ward  Arnold. 

•  •        •        • 

"TALENT  ON  PARADE."  Producer,  Warren  E.  Doane ;  direc- 
tor, James  Home;  assistant  director,  Wilbur  Hackney;  first  cameraman, 
Len  Powers;  operative  cameraman,  Fred  Eldredge ;  assistants,  Harold 
Graham  and  Walter  Williams ;  stills,  Shirley  Vance  Martin  ;  recording 
engineer,  Lawrence  Eicholtz ;  assistant,  Sterling  Alsdorf ;  film  editor, 
Harry  Marker ;  art  director,  Sammy  Hall  ;  chief  electrician,  Roy  Fuller- 
ton ;   chief  grip,   Bert   Whaling;   chief  prop,   Harry   Hopkins. 

Cast :  Lorraine  and  Dighy,  Hudson  Sisters,  Eddie  Peabody,  Three 
Cheers,   Ted  Joyce,   Bonzo,   Miss   Dale. 

•  •       •        • 

"GORDON  OF  GHOST  CITY."  Producer,  Henry  MacRae ;  au- 
thor, Peter  B.  Kyne,  screenplay  hy  Ella  O'Neil;  director,  Ray  Taylor; 
assistant  director,  Norman  Lacey ;  first  cameramen.  John  Hickson  and 
William  Sicklier;  assistants,  J.  D.  Weiler,  Carl  Meister  and  Charles 
Crane;  stills,  Harry  Osborne;  recording  engineer.  Chuck  Carrol;  assist- 
ant, Thomas  Ashton ;  film  editor,  Ed.  Todd  ;  assistant,  Frank  Gross  ;  art 
dircetor,  Tom  O'Neill;  chief  electrician,  Thomas  Valdez ;  chief  grip, 
Roland    Smith;    chief    prop,    Daniel    Fish. 

Cast:  Buck  Jones,  Madge  Bellamy,  William  Desmond  and  Frances 
Ford. 

e      •      •      • 

"ONLY  YESTERDAY."  Producer,  E.  M.  Asher ;  author,  Fred 
erick  Lewis  Allen;  dialogue,  Arthur  Richman  and  William;  director, 
John  M.  Staid:  assistant  director,  Scott  Beal ;  first '  cameraman,  Merritt 
Gerstad  ;  operative  cameraman,  Allyn  Jones:  assistant,  Paul  Hill;  stills, 
Mickey  Marigold;  recording  engineer,  Joseph  P.  Lapis;  assistant,  lack 
Rixey  ;  film  editor,  M.  Carruth  ;  assistant,  Harold  Palmer;  art  director, 
Danny  Hall;  chief  electrician,  Warren  Munroe ;  chief  grip,  Barney  Sum- 
mers ;   chief  prop,   Ernie   Smith. 

Cast :  Margaret  Sullivan,  John  Boles,  Crawford  Kent,  Franklin 
Pangbom,  Betty  Blythe,  Billie  Burke,  Noel  Frances,  Joyce  Compton, 
Gay  Seabrook,  Edna  Mae  Oliver,  Benita  Hume,  Robert  McWade,  Barry 
Norton  Ruth  Clifford,  Mabel  Marden,  Grady  Sutton — and  others  of 
equal    prominence   to   be   cast   later. 


"PADDY,  THE  NEXT  BEST  THING."  Producer,  Winfield 
Sheehan  ;  author,  Gertrude  Page;  screenplay  by  Edwin  Burke;  director, 
Harry  Lachman ;  assistant  director,  Jack  Boland ;  first  cameraman,  John 
Seitz ;  operative  cameramen,  W.  Skall  and  S.  Wagner ;  assistants,  L. 
Moling  and  F.  McDonald;  stills,  Anthony  Ugrin ;  recording  engineer, 
Joseph  Aiken;  assistant,  K.  Strickfaden;  film  editor,  Margaret  Clancy; 
art    director,    Gordon    Wiles. 

Cast :  Janet  Gaynor,  Warner  Baxter,  Harvey  Stephens,  Margaret 
Lindsay,  Walter  Connolly,  Mary  McCormic,  Roger  Imhof,  Merle  Tot- 
tanham. 

•  •        •        • 

"THE  LAST  TRAIL."  Producer,  Sol  M.  Wurtzel ;  author,  Zane 
Grey;  screenplay  by  Stuart  Anthony;  director,  James  Tinling ;  assistant 
director,  Percy  Ikerd;  first  cameraman,  Arthur  Miller;  operative  camera- 
man, J.  LaShelle;  assistants,  W.  Abbott  and  H.  Webb;  stills,  Ray 
Nolan;  recording  engineer,  Bernard  Fredericks;  assistant,  H.  A.  Root; 
film   editor,    Barney   Wolf ;    art   director,    Duncan    Cramer. 

Cast:    George   O'Brien,    Claire  Trevor,   El    Brendel. 

•  •        •        • 

"LIFE'S  WORTH  LIVING."  Producer,  Winfield  Sheehan;  au- 
thor, James  Gould  Cozzens,  screenplay  by  Paul  Green  and  Jane  Storm; 
director,  John  Ford;  assistant  director,  Ed.  O'Fearna;  first  cameraman. 
George  Schneiderman ;  operative  cameraman,  C.  Fetters;  assistants,  J. 
Corgon  and  L.  Kunkel ;  stills,  Gene  Kornman ;  recording  engineer,  E.  F. 
Grossman;  assistant,  C.  Dwyer;  film  editor,  Louis  Loeffler ;  art  director, 
William    Darling. 

Cast :  Will  Rogers,  Vera  Allen,  Louise  Dresser,  Marian  Nixon, 
Ralph  Morgan,  Boots  Mallory,  Howard  Lally,  Andy  Devine,  Roger 
Imhof. 

•  •        •        • 

"SHANGHAI  MADNESS."  Producer,  Al  Rockett ;  author,  Fred- 
erick Hazlitt  Brennan ;  screenplay  by  Austin  Parker;  director,  John  Bly- 
stone;  assistant,  Jasper  Blystone ;  first  cameraman,  Lee  Garmes ;  oper- 
ative cameraman,  J.  Schmitz  and  S.  Cortez ;  assistants,  W.  Cruse  and 
H.  C.  Smith;  stills,  Emmett  Schoenbaum ;  recording  engineer,  W.  W. 
Lindsay ;  assistant,  J.  Sigler ;  film  editor,  Alex.  Troffey ;  art  director, 
Jack   Otterton. 

Cast :     Spencer   Tracy,   Fay   Wray,   Ralph   Morgan. 


RKO  STUDIOS 


William  Eglinton,  Head  of  Camera  Department 

"FLAMING  GOLD."  Producer,  Sam  J  a  fife ;  author,  Houston 
Branch ;  screenplay  by  Malcolm  Stuart  Boylan  and  John  Goodrich ; 
director.  Ralph  Ince ;  assistant  director,  Bob  Margolis;  first  cameraman, 
Charles  Rosher ;  operative  cameraman,  Frank  Redman;  assistant,  Cecil 
Cooney ;  stills,  Fred  Hendrickson ;  recording  engineer,  E.  A.  Wolcott ; 
assistants,  J.  C.  Grubb  and  Fred  Hynes;  film  editor,  George  Crone; 
assistant,  Desmond  Marquette ;  art  directors.  Van  Nest  Polglase  and 
Carroll  Clark  ;  chief  electrician,  W.  G.  Boles  ;  chief  grip,  Marvin  Wilson  ; 
chief  prop,    Sammy   Runian. 

Cast:  William  Boyd,  Mae  Clarke,  Helen  Ware,  Pat  O'Brien,  Rollo 
Lloyd. 

•  •        •        • 

"THE  GLORY  COMMAND."  Producer,  Glendon  Allvine;  au- 
thor, Christy  Cabanne ;  screenplay  by  F.  McGrew  Willis  and  Frank 
Wead ;  assistant  director,  Tommy  Atkins ;  first  cameraman,  Al.  Gilks. 
operative  cameraman ;  Harry  Wild ;  assistant,  Charles  Burke ;  recording 
engineer,  Clem  Portman ;  assistants,  Byron  Thomas  and  Bailey  Fesler ; 
film  editor,  Basil  Wrangell ;  assistant,  Artie  Schmidt;  art  director,  Van 
Nest  Polglase;  chief  electrician,  Argyle  Nelson;  chief  grip,  Ralph  Wild 
man ;   chief  prop,  John   Sherwood. 

Cast :  Bruce  Cabot,  Betty  Furness,  Florence  Lake,  Eric  Linden. 
John    Darrow,    Frank    Albertson,    Margaret    Seddon. 

•  •        •        • 

"THE  DOCTOR."  Producer,  Pandro  Berman ;  authot,  Katherine 
Haviland  Taylor;  screenplay  by  Lester  Cohen;  director,  John  Robertson; 
assistant  director,  Charles  Kerr;  first  cameraman.  Jack  McKenzie ; 
operative  cameraman,  Russ  Metty ;  assistant,  Hill  Clothier;  stills,  Gaston 
Longet ;  recording  engineer,  D.  A.  Cutler;  assistants,  S.  James  Thorn- 
burn  and  Gilbert  Brown ;  film  editor,  Arthur  Roberts ;  assistant,  Joe 
Noriega ;  art  directors,  Van  Nest  Polglase  and  Al  D'Agostino ;  chief 
electrician,  S.  H.  Barton;  chief  grip,  Sam  Redding;  chief  prop,  George 
McGonigle. 

Cast :  Lionel  Barrymore,  Dorothy  Tordan.  Joel  McCrea,  May  Rob- 
son,    Frances   Dee,    Buster    Phelps,    David    Landau. 

•  •        •        • 

"RAFTER  ROMANCE."  Producer,  Kenneth  MacGowan ;  author, 
John  Wells ;  adaptation  by  Glenn  Tryon  and  Sam  Mintz :  screenplay  by 
H.  W.  Hanemann ;  director,  William  Seiter ;  assistant  director,  Doran 
Cox;  first  cameraman,  David  Abel;  operative  cameraman,  Joe  Biroc : 
assistant.  Charles  Bohny ;  stills,  Alex.  Kahle ;  recording  engineer,  Hugh 
McDowell;  assistants,  S.  Victor  Appel  and  Harold  Stine ;  film  editor. 
James  Morlev ;  assistant,  Henry  Berman;  art  director.  Van  Nest  Pol- 
trlase  and  John  J.  Hughes;  chief  electrician,  Frank  Uecker;  chief  grip, 
Whitey    Holcomb ;    chief   prop,    Kennv    Holmes. 

Cast :  Ginger  Rogers,  Norman  Foster,  George  Sidney,  Laura  Hope 
Crews.    Robert    Benchley.   June    Brewster. 

•  •        •        • 

"FOG  BOUND."  Producer,  David  Lewis;  author.  Ruth  Rose: 
director,  Ernest  Schoedsack ;  assistant  director,  Ivan  Thomas;  first  cam- 
eraman, Henry  Gerrard ;  operative  cameraman.  Robert  De  Grasse ;  assist- 
ant, George  Diskant  ;  stills.  Ollie  Sigurdson  ;  recording  engineer.  Hal 
Bumbaugh;  assistants.  Jean  Speak  and  L.  C.  Carroll:  film  editor,  Ted 
( 'In  <  snian  ;  assistant,  Fred  McGuire ;  art  directors.  Van  _  Nest  Pokdase 
and  Al  Herman  ;  chief  electrician.  Guy  Gilhr.an  ;  chief  grip,  Tom  Clem- 
ent ;    chief  prop,   William   Carr, 

Cast  :  Robert  Armstrong,  Roland  Young,  Laura  Hope  Crews.  Phyllis 
Barry,    Beryl    Mercer. 


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The  Power  Behind  Production 


COLUMBIA  PICTURES  CORPORATION 

Emil  Oster,  Head  of  Camera  Department 

"BRIEF  MOMENT."  Producer,  Harry  Colin;  author,  S.  II.  Berh- 
man ;  screenplay  by  Brian  Marlow ;  director,  David  Burton ;  assistant 
director,  Wilbur  McGaugh ;  first  cameraman,  Teddy  Tetzlaff;  operative 
cameraman,  Henry  Freulich  ;  assistants,  Jack  Anderson  and  Al.  Keller; 
stills,  L.  A.  Shafer ;  recording  engineer,  George  Cooper;  assistant,  Earl 
Snyder;  film  editor,  Gene  Harlick  ;  assistant,  Mel  Thornton;  art  direc- 
tor, Steve  Gooson ;  chief  electrician,  Homer  Planett ;  chief  grip,  Eddie 
Blazdell ;    chief    prop,   Jack    Wren. 

Cast :  Carole  Lombard,  Gene  Raymond,  Donald  Cook,  Jamison 
Thomas,   Monroe   Owsley,    Halloway   Hobbs. 


PARAMOUNT  STUDIOS 

Virgil  Miller,  Head  of  Camera  Department 


"MIDNIGHT   CLUB."      Producer,    Bayard   Veiller ;   author. 
Oppenheim  ;    screenplay    by    Leslie    Charteris    and    Seton    I.    Miller 


Phillips 
direc- 


tors, George  Somnes  and  Al.  Hall;  assistant  director,  Eric  Locke;  first 
cameraman,  Theodore  Sparkuhl ;  operative  cameraman,  Frank  Titus ; 
assistant,  Francis  Burgess ;  stills,  Roy  Clark  and  Earl  Crowley ;  special 
effects,  Gordon  Jennings ;  recording  engineer,  P.  G.  Wisdom ;  film 
editor,  Eda  Warren ;  chief  electrician,  Pat  Drew  ;  chief  grip,  Bill  Austin  ; 
chief    prop,    Roy    Krenger. 

Cast:       Clive    Brook,    George    Raft,    Helen    Vinson,    Alan    Mowbray, 
Ferdinand   Gottschalk,   Alison   Skipworth,   Sir   Guy    Standing. 


This  odd  looking  contrivance 
plays  a  vital  part  in  the  trick 
photographic  process  for  motion 
picture  production.  The  illustra- 
tion shows  Vernon  Walker,  who  is 
in  charge  of  the  special  effects 
department  at  the  RKO  Studio, 
standing  beside  the  first  portable 
projection  blimp  in  use.  Mr. 
Walker  is  the  designer  of  this  in- 
genious device  which  permits 
sound  recording  on  sets  where 
projection  backgrounds  are  used. 
It  is  a  self  contained  unit,  permit- 
ting quick  set-ups,  is  portable, 
sound  proof,  fire  proof,  with  the 
added  convenience  of  the  operator 
on  the  outside  and  not  locked  up 
in  a  booth. 


"MAMMA  LOVES  PAPA."  Producer,  Douglas  MacLean;  authors, 
Keene  Thompson  and  Douglas  MacLean;  screenplay  by  Nunnally  John- 
son and  Arthur  Kober ;  director,  Norman  McLeod ;  assistant  directors, 
Sid  Street  and  Sidney  Brod,  first  cameraman,  Gilbert  Warrenton ; 
operative  cameraman,  Ernest  Laszlo ;  assistant,  James  King;  stills, 
Mack  Elliott ;  special  effects,  Gordon  Jennings ;  transparency  process, 
Farciot  Edourdt ;  recording  engineer,  Jack  Goodrich ;  film  editor,  Rich- 
ard Currier;  chief  electrician,  "Sailor"  Holton;  chief  grip,  Jack  Critch- 
ley ;    chief   prop,   Al.    Swindell. 

Cast ;  Charlie  Ruggles,  Mary  Boland,  Lilyan  Tashman,  Walter 
Catlett,  Ruth  Warren,  George  Barbier,  Tom  McGuire,  Morgan  Wallace. 
Andre   Beranger. 


"THREE    CORNERED     MOON."       Producer, 


author,  Gertrude 
Harris;  director, 
first  cameraman, 
assistant,  Milton 
Gordon     Jennings 


B.  P.  Schulberg; 
Tonkongy ;  screenplay  by  S.  K.  Lauren  and  Ray 
Elliott  Nugent ;  assistant  director,  Harold  Swartz  ; 
Leon  Shamroy ;  operative  cameraman,  Fred  Mayer ; 
Bridenbccker ;  stills,  Earl  Crowley;  special  effects, 
So ;  transparency  process,  Farciot  Edourdt ;  recording 
engineer,  Earl  Hayman  ;  film  editor,  Jane  Loring ;  chief  electrician.  Karl 
Gotham;    chief   grip,    V.    Bratton ;    chief    prop,    Fritz    Collings. 

Cast :  Claudette  Colbert,  Mary  Boland,  Wallace  Ford,  Richard 
Aden,   Tom    Brown,   William    Bakewell,   Hardie   Albright,    Joan   Marsh. 

•        •        •        • 

"THIS  DAY  AND  AGE."  Author,  Bartlett  Cormack  ;  director, 
Cecil  B.  De  Mille;  assistant  director,  Ray  Burns;  first  cameraman, 
Peverell  Marley ;  operative  cameramen,  John  Hallenberger,  Fred  Wes- 
terberg  and  William  Mellor ;  assistants,  George  Bourne,  Arthur  Lane 
and  Guy  Roe ;  stills,  Gordon  Head ;  special  effect,  Gordon  Jennings ; 
transparency  process,  Farciot  Edourdt ;  recording  engineer,  Harry  Lind- 
gren ;  film  editor,  Anne  Bauchens ;  chief  electrician,  Jimmie  Simes ; 
chief   grip,    Andy    Durkess ;    chief   prop,   Joe    Youngerman. 

Cast:  Charles  Bickford,  Richard  Cromwell,  Judith  Allen,  Harry 
Green,    Eddie    Nugent.    Ben    Alexander,    Lester    Arnold,    George    Barbier. 


'ONE  SUNDAY  AFTERNOON."  Producer,  Louis  D.  Lighton  ; 
author,  James  Hagan  ;  screenplay  by  Grover  Jones  and  William  Slavens 
McNutt ;  director,  Stephen  Roberts;  assistant  directors,  Voshell  and 
Matthews ;  first  cameramen,  Victor  Milner  and  Karl  Struss ;  operative 
cameramen,  William  Mellor,  Clifford  Blackstone  and  George  Clemens; 
assistants,  Guy  Roe,  E.  F.  Adams  and  Fleet  Southcott ;  stills,  William 
Walling,  Jr. ;  special  effects,  Gordon  Jennings ;  transparency  process, 
Farciot  Edourdt ;  recording  engineer,  Harry  Mills  and  Harold  Lewis ; 
film  editor,  Ellsworth  Hoagland ;  chief  electricians,  Karl  Gotham  and 
Howard    Kelley ;    chief   grip,    Wade    Carley ;    chief   prop,    Lou    Asher. 

Cast:  Gary  Cooper.  Fay  Wray,  Frances  Fuller,  Neil  Hamilton. 
Roscoe   Karns,    Sam    Hardy,    Anne    Darwell. 


MAYFAIR  PRODUCTIONS 

"The  Riot  Squad."  Producer,  Harry  Webb:  author.  Jack  Natter- 
ford;  director,  Harry  Webb;  assistant,  George  Curtner;  first  camera- 
man, Roy  Overbaugh;  assistant,  H.  C.  Ramsey;  stills,  John  Jenkins; 
recording  engineer,  Tom  Lambert;  assistants,  M.  Leon  and  J.  C. 
Landrick;  film  editor,  Fred  Baine;  art  director,  Dave  Thompson;  chief 
electrician 


Billings. 

Cast: 
Flavin. 


Pat    Patterson;    chief    grip,    Bill    Smith;    chief    prop,    William 
Madge    Bellamy,    Pat    O'Malley,    Addison    Richards,    Jimmy 


"A  Bedtime  Story."  Producer,  Benjamin  Glazer;  author,  Ray 
Horniinan;  screenplay,  Waldemar  Young  and  Nunnally  Johnson;  direc- 
tor, Norman  Taurog;  assistants,  Sidney  Street  and  William  Kaplan; 
first  cameraman,  Charles  Lang;  operative  cameraman,  Robert  Pittack; 
assistant,  Clifford  Shirpser;  stills,  Mac  Elliott;  recording  engineer,  Jean 
Merritt;  film  editor.  LeRoy  Stone:  art  director,  Hans  Dreier;  chief 
electrician,  James  Feims;  chief  grip,  Ray  Watson;  chief  prop,  Gold- 
smith. 

Cast:  Maurice  Chevalier,  Edward  Horton,  Helen  Twelvetrees  and 
Adrienne   Ames. 


WARNER  BROS.  FIRST  NATIONAL  STUDIOS 

Charles  Clouner,  Head  of  Camera   Department 

"WILD     BOYS     OF     THE     ROAD."         Author.      Dan      O'Hearn  ■ 

screenplay  by  Earl  Baldwin;  director,  William  Wellman ;  assistant  di- 
rector, D.  Zemmer;  first  cameraman,  Arthur  Todd;  operative  camera- 
man, William  Schurr;  assistant,  Vernon  Larson;  stills,  Mac  Lilian- 
recording  engineer,  Robert  Lee;  film  editor,  Thomas  Pratt;  art  direc- 
tor, A.  Hartley ;  chief  electrician,  Claude  Hutchinson ;  chief  grip,  Charles 
Davis;    chief    prop,    Scotty    Moore. 

Cast:      Frank   Darrow,    Ed.   Phillips,   Helen   Mack. 
•        •        •        • 

"FOOTLIGHT  PARADE."  Authors  and  screenplay 
Seff  and  Jane  Seymour;  director,  Lloyd  Bacon;  assistant 
Hollingshead ;     first     cameraman,     George     Barnes;     operative 


Scotty 


Warren  Lynch;  assistant,  Jack  Kaufman;  stills, 
recording  engineer,  Olive  Garretson ;  film  editor, 
directors,  Okey  and  Grot;  chief  electrician,  Leo 
Jerry    Barnhouse;    chief    prop,    Herbert    Plems. 

Cast:      J.    Cagney,   Joan    Blondell.    Ruby    Keeler,    Guy    Kibble 


by  Manuel 
director,  G. 
cameraman, 
Welbourne  ; 
George  Amy ;  art 
Green ;     chief    grip, 


"BUREAU  OF  MISSING  PERSONS."  Author  and  screenplay 
by  Robert  Presnell ;  director,  Del  Ruth ;  assistant  director.  Chuck 
Hanson;  first  cameraman,  Barney  McGill ;  operative  cameraman,  Ken 
Green;  assistant,  W.  Whitley ;  stills.  Homer  Van  Pelt;  recording  engi- 
neer, Dolph  Thomas ;  film  editor,  Jim  Gibbons ;  art  director,  R.  Haas ; 
chief  electrician.  Kay  Kennedy;  chief  grip,  Owen  Cromptorr  ;  chief 
prop,    Emerson. 

Cast:      Pat    O'Brien,    Lew    Stone,    Ruth    Donnelly,    Bette    Davis. 
"    •        •        •        • 

"RED  MEAT."  Author,  David  Karsner;  screenplay  by  Charles 
Kenyon  and  Sidney  Sutherland;  director,  Al.  Green;  assistant,  Frank 
Shaw;  first  cameraman,  James  Van  Trees;  operative  cameraman,  L. 
Jennings;  assistant,  J.  Van  Trees,  Jr.;  stills,  John  Ellis;  recording  engi- 
neer, Charles  Althouse;  film  editor,  Bert  Levy;  art  director.  Bob 
Haas;  chief  electrician,  George  Sattertield  ;  chief  grip,  J.  H.  Carter; 
chief   prop,   Pat   Patterson. 

Cast:      Ed.    Robinson,    Genevieve   Tobin. 


ANCELUS  PRODUCTIONS 

"Worthy  Deceiver."  Producer.  George  W.  Weeks;  author  and 
director,  Reginald  Denny;  first  cameraman,  J.  S.  Brown,  Jr.;  assist- 
ant, Walter  Haas;  stills,  Carl  Day;  recording  engineer,  Charles  S. 
Franklin;  assistants,  Tom  Lambert  and  Leon  M.  Leon;  film  editor, 
Byron  Robinson;  art  director,  Paul  Palmentola;  chief  electrician,  Jack 
Wallace;    chief    grip,    Henry    Horning;    chief    prop,    Harry    Grundstrum. 

Cast:  Reginald  Denny,  Claudia  Dell,  Alden  Gay.  Bert  Roach, 
Cyril    Chadwick,    Phil   Tead,    Rhea    Mitchell. 

•  •        •        • 

"Double  Harness."  Associate  producer.  Kenneth  MacGowan; 
author,  Edward  Poore  Montgomery;  screenplay,  Jane  Murlin;  director, 
John  Cromwell;  assistant,  Doran  Cox;  first  cameraman,  Roy  Hunt; 
operative  cameraman,  Eddie  Pyle;  assistant.  James  Daly;  stills,  John 
Miehle  and  Ollie  Sigurdson :  recording  engineer,  George  Ellis;  assist- 
ants, E.  J.  Harman  and  J.  G.  Stewart;  film  editor,  George  Nicholls.  Jr.; 
assistant,  Tom  Scott;  art  directors,  Van  Nest  Polglase  and  Charles 
Kirk;  chief  electrician,  James  Almond;  chief  grip,  Jimmy  Kirley;  chief 
prop,    Kennie    Holmes. 

Cast:  Ann  Harding,  William  Powell,  Henry  Stephenson,  George 
Meeker,   Lucille   Browne. 

•  •        •        • 

"The  Deluge."  Producer.  Kelly-Bischoff-Saal ;  author,  S.  Fowler 
Wright;  screenplay,  John  F.  Goodrich  and  Warren  B.  Duff;  director. 
Felix  Feist,  Jr.;  assistant  director,  Eric  Stacy;  first  cameramen,  Rob- 
ert Brodine  and  Bill  Williams;  operative  cameraman.  Harry  Davis; 
assistants,  Bert  Eason,  Johnny  Eckard  and  Carl  Guthrie;  stills.  Roman 
Freulick;  recording  engineers,  Hans  WTeeren  and  Whitey  Jowett;  as- 
sistants, Alf  Burton,  Martin  Jackson  and  Gilbert  Pollack;  film  editors, 
Rose  Loewinger  and  Martin  Cohn;  assistant,  Stanlev  Kolbert;  art 
director,  Ralph  DeLacy;  chief  electricians,  Al.  Cahen  and  Don  Donald- 
son;   chief   grip,    Robert    Murphy;    chief    prop,   Charles    Henley. 


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Foi  ty 


The       INTERNATIONAL       PHOTOGRAPHER 


July,  1933 


Shooting   the 

Sapphire  Window 

By  SHIRLEY  VANCE  MARTIN 

This  picture  of  the  "Sapphire"  window  in  a  Pres- 
byterian Church  on  Lake  Avenue  in  Pasadena  was  taken 
under  such  peculiar  difficulties  that  the  elimination  of 
them  might  be  of  some  slight  interest  to  those  of  out- 
still  photographers  who  do  commercial  work  on  the  side 


to    augment    the — at    present — attenuated    salaries    from 
moving  picture  work. 

The  window  of  marvelous  beauty  and  fineness  of 
detail  was  copied  from  the  Rose  window  in  the  Cathe- 
dral at  Rheims  and  contains,  it  is  said,  more  than  forty 
shades  of  blue.  The  first  was  merely  a  problem  in  the 
judgment  of  filters  for  correct  rendering  of  colors.     The 


distance  from  the  window  to  any  possible  level  set  up 
was  perhaps  75  or  80  feet — too  great  for  any  good-sized 
picture.  Use  of  the  back  combination  alone  of  a  Goerz 
12-inch  drew  the  image  sharply  up,  overcoming  this 
routine  problem.  This  necessitated  long  exposure,  but 
very  careful  timing  to  avoid  halation  from  the  lighter 
colored  portions  of  the  design. 

The  chief  difficulty,  however,  to  overcome  in  order 
to  get  a  perfect  photograph  lay  in  the  fact  that  directly 
in  line  with  the  center  of  the  window  was  an  electrolier 
of  fifteen  or  twenty  lights  and  five  or  more  feet  in 
diameter,  suspended  by  a  heavy  chain  from  the  vaulted 
ceiling  of  the  transept.  Etching  out  such  an  amount 
of  detail  without  ruining  the  design  of  the  window  was 
obviously  an  impossibility  and  for  a  short  while  your 
photographer  was  stumped,  slap  up  against  a  stone  wall, 
or  rather,  a  stained  glass  window.  Then  he  recollected 
a  lesson  taught  him  years  ago  by  an  old  commercial 
photographer  whose  schooling  was  an  education  never 
forgotten. 

One  day  there  appeared  in  this  (Mr.  Copelin's) 
studio  a  representative  of  a  large  Eastern  china  and 
glass  manufacturing  concern. 

"Mr.  Copelin,"  said  he,  "teach  me  how  to  get  rid 
of  reflections  in  pictures  of  show  cases  full  of  objects." 

"That,"  said  Mr.  Copelin  with  becoming  gravity, 
"is  a  secret  process  and  will  cost  you  just  five  hundred 
dollars." 

"Done,"  said  Mr.  Easterner,  and  forthwith  wrote 
a  check  for  the  amount. 

He  was  then  led  to  the  operating  room  where  a  show- 
case full  of  jewelry  was  being  photographed.  All  the 
glass  had  simply  been  removed  and  there  were  no  re- 
flections. 

So-o-o-o,  as  Ed  Wynn  says,  your  photographer  had 
to  remove  the  chandelier — but  how?  It  could  not  be 
entirely  taken  out  as  was  the  glass  in  Mr.  Copelin's 
showcase,  but  suspended  by  a  chain,  it  could  be  moved, 
so  enlisting  the  aid  of  a  couple  of  workmen  he  had  a 
light  line  thrown  over  a  branch  of  the  big  fixture  and, 
just  before  the  exposure  was  started,  had  it  swung  pen- 
dulum-wise in  as  large  an  arc  as  possible  during  the  re- 
quired four  or  i]\e  minutes  of  exposure.  And — no  sign 
of  an  image  of  either  chandelier  or  supporting  chain 
appeared  in  the  developed  negative.  (Look  at  the  illus- 
tration and  see  for  yourself.) 


QUESTIONS  AND  ANSWERS 

(Continued  from  Page  23) 
purpose  being  to  create  the  illusion  of  one  scene  passing 
off  the  screen  while  the  next  scene  follows  it  almost  simul- 
taneously.     They    are    made    in    different    styles — hori- 
zontal, vertical  and  oblique. 

Question:      How   is  fog  made   in   the   movies? 

Answer:  In  the  past  smoke,  ammonia  and  other 
chemicals  were  used,  but  at  present  vaporized  mineral 
oil  (Nujol)  sprayed  by  an  atomizer  and  blown  through 
the  air  by  large  propellors  does  the  work.  Sometimes  fog 
filters  are  used  in  conjunction  in  photographing  through 
dark  green  scrim  placed  in  front  of  the  camera. 

Question:      What   is    the   usual    life    of    16    M.M.    positive    prints? 

Answer:  The  life  of  a  positive  print  depends  upon 
the  care  with  which  it  is  handled  during  projection  and 
storing.  The  manufacturer  has  placed  on  the  market 
approved  humidor  containers  that  prevent  film  shrink- 
age. 

Question:  Which  method  is  correct  for  cutting  a  picture? 
Should   I  start  with  the  negative? 

Answer:  No.  Professionally  speaking,  a  print  is  made 
from  all  negatives  exposed.  Cut  and  edit  the  print,  view- 
ing the  film  from  time  to  time  on  the  screen,  eliminating 
and  shortening  scenes  or  adding  necessary  close-ups  or 
other  sequences  as  desired.     When  this   is  done  to  your 


satisfaction  splice  in  the  titles.  If  more  than  one  print 
is  desired  cut  the  negative  by  matching  it  with  the  posi- 
tive you  have  just  edited. 

Question:  Why  is  it  that  the  film  cement  used  in  the  theatres 
is    not   practical    on    16    M.M.? 

Answer:  16  M.M.  has  an  acetate  base  and  thus 
requires  a  different  solution  in  the  chemicals  to  cause 
softening  and  the  vulcanizing  of  the  spliced  parts.  It 
is  best  to  use  especially  prepared  fire  proof  cements  which 
may  be  purchased  at  any  Bell  &  Howell  and  Kodascope 
Eastman  Kodak  dealers. 

Question:  I  have  a  large  quantity  of  16  M.M.  film  stored 
in  my  home.     Is  there  any  danger  of  fire? 

Answer:  No.  16  M.M.  film  is  of  course  slightly 
combustible,  but  it  is  no  more  so  than  the  paper  upon 
which  ordinary  kodak  prints  are  made. 

Question:  My  pictures  of  moving  automobiles  and  galloping 
horses  almost  always  come  out  blurred.     Why   is  that? 

Answer:  Probably  it  is  because  you  are  shooting 
them  from  the  side  and  too  near.  The  long  period  of 
exposure  which  may  be  1/30  second  causes  this  when  the 
image  moves  across  the  film.  Shoot  from  a  different 
alible,  thus  making  the  moving  subject  come  more  or 
less  head  on  into  the  picture. 

Question:  Is  there  a  possibility  of  selling  16  M.M.  film  for 
newsreel    use? 

(Turn  to  Next  Page) 


PLEASE  MENTION  THE   INTERNATIONAL  PHOTOGRAPHER  WHEN   CORRESPONDING   WITH    ADVERTISERS 


July,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Forty-one 


Answer :  Yes,  on  very  rare  occasions  it  has  been 
done.  Very  exceptional  shots  and  "stories"  have  been 
purchased.  I  know  of  three  that  have.  One  of  them 
was  the  picking  up  of  the  ill-fated  Italian  steamer 
floundering  in  an  Atlantic  fury,  wherein  Captain  Fried 
displayed  such  heroic  seamanship.  The  picture  was  pho- 
tographed by  one  of  the  crew  who  received  $1600  for  it. 
On  another  occasion  a  passenger  was  fortunate  to  have 
his  16  M.M.  camera  with  him  when  the  Sonoma,  bound 
out  of  Tahiti,  for  San  Francisco,  sank  in  a  few  hours 
after  the  rescue. 

A  sailor  on  the  Coast  Guard  Cutter  Northland  photo- 
graphed the  liberation  of  a  huge  whale  that  became  en- 
tangled in  the  submarine  cable  between  Seattle  and 
Alaskan  ports.  It  is  on  such  occasions,  the  cine  ama- 
teurs being  on  the  spot  when  some  unexpected  and  im- 
portant event  breaks  that  thev  are  able  to  sell  their  16 
M.M.  films. 

Newsreel  companies  are  glad  to  get  the  story  for  an 
exclusive  release.  Remember,  it  is  important  to  shoot 
ample  footage,  from  all  possible  angles,  get  all  names 
and  other  data  that  will  enable  the  editors  to  write  cap- 
tions. Most  important — ship  the  stuff  undeveloped  with 
all  possible  speed,  airmail  outside  handling,  and  wire  the 
company  you  are  shipping  it,  how  and  when. 


the  exposure  and  picking  the  shots  and  the  locations.  I 
was  greatly  pleased  when  the  company  placed  on  me  the 
responsibility  as  the  cameraman  to  choose  locations  for  a 
big  production  like  "Night  Flight,"  also  it  was  very  fine 
that  they  would  send  us  by  plane.  The  great  saving  in 
time  was  wonderful.  We  left  Hollywood  about  noon  and 
were  comfortably  settled  in  the  hotel  at  Salt  Lake  City 
that  evening.  The  next  day  by  noon  we  were  sitting  in 
the  airport  at  Denver,  in  the  afternoon  photographing  a 
couple  of  thousand  of  feet  of  film  over  the  Continental 
Divide  and  Long's  Peak ;  the  next  day  2,000  or  3,000  feet 
more  and  on  the  fourth  day  we  had  left  Denver  and  were 
back  at  Los  Angeles  at  five  o'clock  that  evening. 

This  article  would  not  be  complete  without  acknowl- 
edging my  obligation  to  the  scientists  and  producers  of 
the  wonderful  motion  picture  film  we  have  today  and  the 
marvelous  lenses.  Then  too,  a  lot  of  credit  goes  to  the 
pilots  who  fly  ships  for  motion  picture  work,  for  they  go 
through  as  much  if  not  more  than  the  cameraman.  Some 
of  them  are  mighty  clever  and  oftentimes  are  able  to  keep 
the  cameraman's  lens  on  the  objective  plane  in  almost  any 
kind  of  a  stunt. 


INFRA  RED  FILM 

(Continued  from  Page  2) 

Clouds  have  many  fantastic  forms ;  steady  your  plane, 
cruise  around  and  find  the  artistic  side  of  them.  Nature 
paints  her  pictures  up  there  the  same  as  on  Mother  Earth 
and  oftentimes  you  can  obtain  a  beautiful  scene  so  differ- 
ent it  is  fascinating.  When  the  photographer  starts  cruis- 
ing around  up  there  he  arrives  at  positions  that  are  lack- 
ing in  beauty,  but  suddenly  he  goes  around  the  corner,  as 
I  express  it,  and  comes  upon  a  beautiful  vista  like  a 
dream,  it  is  so  fantastic  and  wierd. 

Just  recently,  on  a  trip  to  San  Diego,  in  looking  for 
a  spot  to  drop  a  parachute  we  came  upon  a  place  in  the 
clouds  resembling  the  Grand  Canyon.  There  appeared 
to  be  a  tremendous  gash  in  the  clouds,  the  center  of  which 
was  very  dark.  The  sides  seemed  to  be  like  great  clouds 
rising  thousands  of  feet  in  the  sky.  It  had  the  appearance 
of  being  worn  away  by  some  erosion — all  caused  by  cer- 
tain atmospheric  conditions. 

At  other  times  I  have  seen  grotesque  figures  formed 
in  the  clouds.  I  recall  one  time  seeing  a  woman's  face 
framed  in  a  beautiful  head-dress  and  as  the  sunlight  fell 
upon  it  the  face  looked  exactly  like  a  white  cameo  against 
the  blue  sky. 

All  of  these  things  are  made  photographically  possible 
by  the  use  of  the  proper  filter  and  films.  I  have  brought 
back  to  the  earth  from  altitudes  far  below  zero  pictures 
which,  when  viewed  in  the  warm  projection  room,  looked 
like  scenes  from  a  warm  beautiful  sky. 

Upon  the  start  of  this  film  in  the  night  sequence  the 
question  arose  as  to  what  color  the  plane  should  be 
painted.  After  some  discussion  with  Mr.  John  Arnold 
and  Mr.  Ollie  Marsh  we  decided  to  make  a  large  testing 
chart.  We  painted  in  five  different  monotone  colors, 
ranging  from  white  to  deep  dead  green  and  outside  of 
that  an  aluminum  strip.  I  took  this  up  on  the  top  of  a 
building  and  photographed  against  the  sky  and  landscape 
with  seven  or  eight  different  filters  on  super-panchromatic 
and  also  on  the  Infra  Red.  This  test  was  a  very  fine 
thing  because  we  found  there  was  one  color  it  was  im- 
possible to  change  with  any  filter  we  used — that  was  the 
aluminum  strip.  From  the  lightest  filters  to  the  deepest 
Infra  Red  filter  the  aluminum  strip  was  always  visible, 
so  we  eliminated  the  possibility  of  losing  our  ship  at  any 
time  in  shadows  or  in  blue  sky. 

From  that  time  it  was  only  a  matter  of  determining 

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HER  WHEN   CORRESPONDING  WITH  ADVERTISERS 


I  -two 


The      INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


Panning    and   Tilting 
Off  and  On  Miniatures 


During  the  past  year  in  many  of  the  Paramount  pic- 
tures there  has  been  what  obviously  seemed  to  be  miniature 
foreground  and  hanging  miniatures  as  part  of  the  sets. 
In  viewing  these  particular  scenes  many  camera  experts 
have  been  mystified  because  the  camera  panned  and  tilted 
without  any  apparent  effect  on  what  was  supposed  to  be 
miniatures. 

It  is  a  well  known  fact  that,  when  setting  up  for  a 
scene  where  miniatures  are  used  as  an  integral  part  of  the 
set,  it  has  been  necessary  to  securely  tie  the  camera  down 
and  great  pains  have  been  taken  to  insure  that  the  camera 
be  not  moved,  because  the  slightest  movement  of  the  cam- 
era would  reveal  where  the  miniature  left  off  and  the  set 
started. 

This  has  all  been  done  away  with  on  the  Paramount 
lot  due  to  the  ingenious  invention  herewith  illustrated  and 
which  has  been  patented  by  Gordon  Jennings,  head  of  the 
special  effects  department.  Jennings  has  been  a  fixture 
at  the  Paramount  Studios  for  ever  eight  years  and  has 
been  responsible  for  the  many  ingenious  devices  and  im- 
provements in  production  values  giving  special  effect 
scenes. 


Left — Mitchell  camera  mounted  on  new  Jennings'  tripod — note 
weights  which    counterbalance   weight  of   camera. 

Right — Rear  view  of  tripod  head  showing  adjustments  which  per- 
mit the  use  of  any  focal  length  of  lens — pan  handle  at  left. 

This  exceptionally  flexible  method  which  permits  the 
panning  and  tilting  of  a  camera  when  lined  up  on  minia- 
ture sets  is  accomplished  by  mounting  the  camera  on  a 
specially  constructed  tripod  head.  Provision  is  also  made 
whereby  any  focal  length  lens  may  be  used  by  a  simple 
adjustment  which  brings  the  lens  axis  to  the  swivel  point 
of  the  tripod  head.  The  effect  on  the  screen  is  quite  start- 
ling and  naturally  lends  great  production  value  to  the 
scenes  made  in  that  manner.  Among  the  many  produc- 
tions in  which  this  type  of  shot  was  used  are  "Farewell 
to  Arms,"  "Trouble  in  Paradise,"  "Love  Me  Tonight," 
"International  House,"  "Song  of  Songs." 


INFRA  RED  FILM 

(Continued  from  Page  41) 
director  for  having  this  type  of  background,  as  such  a 
thing  was  not  supposed  to  be  in  the  scene  at  all.  I  ex- 
plained that  it  was  purely  an  accident,  but  a  natural  thing 
for  the  film  and  filter.  I  said:  "Well,  I  suppose  some 
morning  I  will  be  out  shooting  and  at  night  when  I  come 
in  and  run  the  film  I'll  see  on  the  screen  San  Francisco 
or  Mount  Shasta — or  some  other  object  a  couple  of  hun- 
dred miles  away." 

It  is  every  interesting  to  follow  up  an  experiment  of 
this  kind  and  to  know  that  a  filter  and  a  film  see  far 
more  than  does  the  eye  and  has  infinitely  greater  penetrat- 
ing quality  through  fog  and  mist. 

We  also  noticed  some  very  peculiar  effects  obtained 
with  this  film  through  the  fact  that  it  had  power  to  pene- 
trate into  almost  solid  cloud — as  far  into  the  clouds  as 
sunlight  traveled  the  film  was  able  to  see.  A  plane  we 
were  photographing  disappeared  entirely  to  the  eye  and 
when  the  picture  was  thrown  on  the  screen  the  ship  was 
visbile  at  almost  all  times.  If  the  clouds  were  photo- 
graphed in  an  extreme  back  light  and  there  were  not  many 
solids  or,  in  other  words,  shadows,  (and  after  all  photog- 
raphy is  simply  lights  and  shadows)  the  clouds  became 
almost  transparent.  Therefore,  it  was  necessary  that  we 
shoot  very  early  in  the  morning  and  late  in  the  afternoon 
so  that  the  sunlight  might  strike  on  the  sides  of  the  clouds 
instead  of  directly  on  top  of  them ;  also  the  rays  of  the 
sun  were  weaker.  Wherever  there  was  a  shadow,  there 
really  was  one,  as  black  as  velvet  and  wherever  there  was 
a  high-light  it  really  was  a  high-light  and  because  of  this 
fact  the  moonlight  effect  was  obtained. 

With  our  regular  present  day  super  panchromatic  I 
tried  many  ways  to  obtain  this  same  effect.  When  one 
comes  to  consider,  a  cloud  is  nothing  more  than  a  mist  of 
minute  particles  of  water  suspended  in  air  and,  after  all, 
is  transparent  and  reflects  a  tremendous  amount  of  light. 

Of  course  photography  from  an  artistic  standpoint 
rests  entirely  with  the  operator  of  a  camera  and  one  of 
the  important  things  is  composition,  therefore,  the  light 
arrangement  must  be  right  before  it  becomes  artistic.  This 
seems  to  be  quite  a  broad  statement  to  make  about  going 
above  the  clouds,  but  lighting  arrangement  may  be  ob- 
tained there — and  it  is  being  done. 

PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGR 


TELEVISION 

(Continued  from  Page  18) 
cameramen  will  undoubtedly  be  television  engineers. 

The  most  advanced  part  of  the  television  art  resides 
in  the  functioning  of  the  photo-electric  cell  and  its  ac- 
companying amplifier.  Although  the  photo-electric  cell 
has  been  improved  many  thousandfold  since  its  original 
conception,  it  still  gives  a  very  feeble  electrical  output 
for  the  light  intensities  common  in  photography.  The 
amplifier  that  is  associated  directly  with  it  must  handle 
these  minute  electrical  pulses  with  fidelity  (which  may 
be  only  one-billionth  of  the  amount  of  electricity  flowing 
through  the  usual  electric  light)  and  give  an  interference 
free  output.  For  this  reason  then,  this  piece  of  equip- 
ment must  be  under  the  supervision  of  an  advance  tele- 
vision engineer.  The  present  skill  of  the  cameraman  in 
photography  will  not  enter,  and,  therefore,  his  ken  will 
correctly  remain  that  of  taking  motion  pictures  for 
theatrical  and  television  purposes. 

17.  Will  news  television  record  the  action  and  sound  on  film 
as  well  as  direct  broadcast  to  homes  so  that  performance  can  be 
repeated  in   theatres  for  those  who  miss  direct  reception? 

Ans.  It  can.  At  first,  however,  it  will  undoubt- 
erly  be  best  to  have  regular  motion  picture  cameramen 
at  the  scene  as  well  as  television  cameramen.  The  tele- 
vision cameraman  will  scurry  hither  and  yon  picking  up 
the  best  scenes  that  he  can  while  the  event  is  taking 
place ;  while  several  movie  cameras  will  more  adequately 
cover  the  occasion  and  produce  a  more  complete  and 
organized  record  for  film  showing  over  television  at  a 
later  time,  or  for  theatre  presentation. 

In  conclusion  of  this  interview  it  is  a  pleasure  to 
introduce  the  personnel  of  Mr.  Lubcke's  efficient  staff 
of  co-workers  whose  energy,  intelligence  and  devotion  to 
duty,  in  real  pioneer  spirit,  is  heartily  acknowledged  by 
their  chief.  These  young  gentlemen  are  J.  Glenn  Turner, 
Frank    M.    Kennedy,    Theo.    Denton,    and    Wilbur    E. 

Thorp.  

VAN  ENCER  WRITES 

Charlie  Van  Enger  writes  from  71  Princess  Gardens, 
West  Acton,  W.  3,  London,  that  he  has  just  finished  on 
schedule  his  first  English  production,  "I  Was  a  Spy." 
Victor  Saville  directed ;  Stephen  Dade  was  operative  cam- 
eraman.    Madeline  Carroll  played  lead. 

APHER  WHEN  CORRESPONDING  WITH   ADVERTISERS 


July,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Forty-three 


100    YEARS    OF 

PHOTOGRAPHY 

Horace  Ashton,  New  York,  644,  contributes  the  fol- 
lowing from  the  Paris  edition  of  the  New  York  Herald, 
of  June  6 : 

The  celebration  of  the  centenary  of  the  death  of 
Nicephore  Niepce,  at  Chalon-sur-Saon,  while  it  is  a  tribute 
to  one  of  the  inventors,  if  not  the  inventor,  of  photog- 
raphy, has  come  as  an  appropriate  reminder  of  the  extraor- 
dinary progress  which  the  science  of  photography  and  its 
applications  have  made  in  the  last  100  years.  The  name 
of  Niepce  had  been  almost  forgotten;  to  millions  who 
follow  photography  as  a  hobby  it  is  practically  unknown. 
Yet,  whatever  claims  are  put  forward  in  the  name  of 
other  inventors,  it  was  Nicephore  Niepce  who  in  1823  pro- 
duced the  first  photograph.  He  died  ten  years  later  in 
poverty,  his  fame  overshadowed  by  that  of  Daguerre 
with  whom  he  associated  in  his  secret  process. 

It  was  from  the  humble  beginning  of  Niepce's  plate 
coated  with  Jew's  pitch  that  photography  as  we  know 
it  today  took  its  rise.  The  hours  of  exposure,  required 
100  years  ago,  before  light  could  leave  an  impression 
upon  the  plate,  are  now  counted  in  thousandths  of  a 
second.  Modern  plates  can  catch  the  path  of  a  bullet 
through  the  air,  and  can  even  record  the  passage  of  atomic 
particles  travelling  with  speeds  approaching  that  of  light 
itself.  The  dream  of  Niepce  to  replace  painting  by 
the  action  of  light  on  suitably  coated  plates  has  nearly 
been  realized. 

Besides  these  and  other  wonders  of  everyday  pho- 
tography, the  photographic  plate  has  become  the  sixth 
sense  of  the  scientific  research  worker.  For  it  is  literally 
true  to  say  today  that  what  the  eye  does  not  see,  and 
can  never  see,  the  photographic  plate  records.  By  its 
means  the  speeds  of  stars  and  nebulase  hundreds  of  mil- 
lions of  light  years  away  can  be  calculated  with  certainty. 
The  atom  has  revealed  its  secrets  only  through  photog- 
raphy. Astronomy,  physics  and  chemistry  keep  enlarging 
their  horizons  by  means  of  the  photographic  equipment 
of  observatories  and  laboratories,  and  modern  surgery 
would  be  helpless  without  the  X-ray  camera.  The  man 
who  devoted  his  life  and  fortune  in  the  dogged  pursuit 
of  the  discovery  which  made  all  these  developments  pos- 
sible deserves  to  be  remembered. 


I 

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Forty-four 


The      INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


CHAPLIN 

(Continued  from  Page  8) 
atres  were  stolen  and  returned  to  the  United  States.   The 
earning  power  of  a  Chaplin  picture  was  determined  only 
by  the  life  of  the  negative. 

Imitators  of  Chaplin  sprung  up  everywhere.  Two 
imitators,  Billy  West  and  Charlie  Amidor,  were  good  but 
they  lacked  the  delightful  Chaplin  touch  ;  hence  they  were 
relegated  to  the  limbo  of  imitators.  Charlie  Amidor,  by 
the  way,  took  the  name  of  Charlie  Aplin.  However,  our 
Charlie  who  generally  played  the  slightly  drunk  reveler 
in  these  early  pictures,  could  not  be  imitated.  In  his 
shuffle  alone  he  can  get  across  to  the  audience,  as  no  one 
else  can,  either  a  "don't  give  a  Damn"  or  "wistful  hobo" 
characterization. 

"The  Floor  Walker"  was  his  first  picture  for  Mutual. 
In  the  cast  were  Eric  Campbell,  the  heavy,  and  Edna  Pur- 
viance,  the  leading  lady.  The  cameraman  on  this  picture 
was   Rollie   Totheroh,   who  since   has   become   famous   as 


Cartoon  drawn  by  Rollie  Totheroh  in  memory  of  "A  Dog's  Life." 

"Charlie's  Cameraman."  Rollie,  as  he  is  affectionately 
known,  has  been  with  Chaplin  since  March  2,   1916. 

The  cast  for  the  first  Mutual  picture  remained  with 
the  company  for  the  entire  twelve  pictures  that  Chaplin 
made  for  Mutual.  And  this  cast  had  to  work  hard.  They 
worked  continuously,  almost  without  rest,  until  they 
started  making  "Easy  Street."  In  an  accident  in  this  pic- 
ture Chaplin  cut  his  nose  and  was  laid  up  for  a  month. 
'Twas  noted  the  regret  of  the  cast  about  Charlie's  acci- 
dent was  somewhat  tempered  by  the  joy  of  a  rest.  Chap- 
lin gave  the  cast  and  technicians  their  full  salaries  along 
with  permission  to  work  for  other  companies,  if  they  so 
desired,  while  his  nose  was  healing. 

When  Charlie  is  working  he  forgets  the  passing  of 
time.  He  becomes  so  enrapt  in  his  work  that  he  often 
continues  through  lunch  time  and  his  associates  hesitate 
to  remind  him  of  his  oversight  until  a  less  timorous  in- 
dividual piles  up  enough  courage  to  remind  Charlie  that 
"It's  way  past  my  lunch  time."  They  respect  him  and 
are  in  awe  of  his  enthusiasm  before  the  camera. 

Whether  actors  and  actresses  are  inexperienced  or  not, 
he  has  a  wealth  of  patience  with  them.  He  will  often  re- 
hearse an  actor  for  hours  in  some  small  detail.  A  scene 
between  Adolph  Menjou  and  Edna  Purviance  in  "The 
Woman  of  Paris,"  was  photographed  over  a  hundred 
times  before  he  was  satisfied.  He  spent  hours  in  rehears- 
ing scenes  of  himself  and  Jackie  Coogan  in  "The  Kid." 
His  method  of  handling  Jackie  Coogan,  who  had  no  pre- 
vious experience  before  the  camera,  was  praiseworthy.  He 
played  with  the  youngster  while  Rollie  Totheroh  "grabbed 
off"  such  scenes  as  were  needed. 

As  a  rule  Charlie  takes  four  "shots"  of  each  scene  and 
then  invariably  uses  the  first  taken.  And  in  scenes  where 
he  is  alone  he  foregoes  rehearsal,  but  does  it  using  film. 

Even  though  he  is  patient  with  his  actors  and  actresses, 
he  has  no  judgment  of  the  limitations  of  the  mechanical 
apparatus  used.     He  becomes  quite  impatient  if  the  lights 


or  camera  are  not  ready  at  all  times.  Often  when  he  is 
told  "the  lights  are  not  ready"  he  replies  "shoot  anyway." 
He  pays  no  attention  to  camera  lines  or  angles,  or  the 
placement  of  lights — that  is  for  someone  else  to  worry 
over. 

Chaplin  always  dresses  his  own  sets.  He  "starts  cold," 
as  it  is  known  when  the  set  is  bare,  and  calls  for  what  he 
needs.  Imagine  him  dressing  the  street  sweeper  set  in 
"City  Lights."  Hear  him  asking  the  prop  man  for  a  street 
sweeper's  brush  and  clothes,  three  cigar  butts,  an  ash  can, 
two  pretty  girls,  a  street  lamp,  and  two  quarts  of  horse 
dung.  He  is  said  to  have  arranged  the  artistic  layout  of 
the  last  named. 

Then  too,  he  never  writes  a  scenario,  but  builds  the 
story  and  develops  the  gags  as  he  goes  along.  If  he  needs 
time  to  think  out  a  gag,  the  carpenter  will  be  asked  to 
change  the  windows  from  the  right  to  the  left  side  of  the 
room.  In  fact,  he  used  this  stunt  so  often  that  the  car- 
penter put  rollers  under  the  set  walls  so  when  asked  to 
change  they  might  be  rolled  around. 

He  started  to  build  the  Chaplin  Studios  in  Hollywood 
in  1917,  which  were  completed  in  January,  1918.  It 
remains  today  the  only  privately  owned  studio  in  the  film 
capitol.  Upon  completion  of  the  studio  he  wired  to  Alf 
Reeves,  who  was  still  with  Karno's  Company  in  England, 
"Come,  have  something  good  for  you.  Bring  Aimie." 
Aimie,  referred  to  here,  is  Alf  Reeves'  wife.  From  the 
wire  it  would  seem  that  Chaplin  wanted  Reeves  to  take 
over  the  managership  of  the  studio — and  Mrs.  Reeves  to 
come  and  manage  them  both. 

The  first  picture  taken  at  the  Chaplin  studio  was  "A 
Dog's  Life,"  which  was  followed  by  "Shoulder  Arms." 
In  1919  he  made  "Sunnyside"  and  "A  Day's  Pleasure." 
"The  Kid"  was  made  in  1920;  "The  Idle  Class"  and 
"Pay  Day"  in  1921,  and  in  1922  he  made  "The  Pilgrim." 
These  eight  productions  were  released  through  the  First 
National  Exhibitors  Circuit. 

On  February  5,  1919,  he  combined  with  Mary  Pick- 
ford,  Douglas  Fairbanks  and  D.  W.  Griffith  in  forming 
the  United  Artists  Corporation,  through  which  he  re- 
leased "The  Woman  of  Paris"  in  1923  (which  brought 
fame  to  Adolph  Menjou)  ;  "The  Gold  Rush"  in  1925; 
"The  Circus"  in  1928  and  his  last  picture  "Citv  Lights" 
in  1931. 

Many  readers  will  be  interested  in  knowing  of  the 
different  studios  where  he  worked.  His  first  Keystones 
were  made  at  the  old  Keystone-Mack  Sennett  Studio  on 
Allesandro  Street,  which  is  now  Glendale  Boulevard,  in 
Los  Angeles.  He  then  made  one  picture  at  the  Essanay 
in  Chicago,  which  by  the  way  was  photographed  by  the 
veteran  cameraman,  Jackson  Rose.  After  the  one  Chicago 
picture  he  made  several  at  the  Essanay  in  Niles,  Califor- 
nia. There  were  a  few  made  at  the  old  Majestic  Studio 
in  Boyle  Heights,  notably  of  which  was  "The  Woman," 
and  three  pictures  were  made  at  the  old  Hal  Roach 
Studio  on  North  Hill,  in  Los  Angeles. 

All  his  Mutual  pictures  were  made  at  the  Climax  or 
the  corner  of  Lillian  Way  and  Romaine  in  Hollywood. 
Edna  Purviance  and  Eric  Campbell  played  in  all  the 
Mutual  pictures.  Bud  Jamison,  Ben  Turpin  and  Ruth 
Hennessy  played  in  the  Essanay  pictures.  The  players  in 
the  Keystone  pictures  were  Mabel  Normand,  Ford  Ster- 
ling, Mack  Swain,  Anna  May  Walthall,  who  is  Henry 
B.  Walthall's  sister,  and  Chester  Conklin.  Chester  Conk- 
lin  is  considered  by  many  to  be  the  best  foil  Chaplin  has 
had.     However,  Chaplin  favored  Eric  Campbell. 

This  brief  survey  shows  Chaplin  to  have  been  an  active 
man.  His  concentration  when  making  a  picture  excludes 
everything  else.  During  the  production  of  a  picture  he 
becomes  what  may  be  termed  frantically  serious.  He 
arises  early  and  works  out  the  schedule  for  the  day,  and 


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Julv.  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Forty- five 


"ACRES    OF    DIAMONDS 


tr 


Mr.  Lee  Garmes,  one  of  the  pioneer  cameramen  of 
the  motion  picture  industry,  has  recently  been  induced  by 
Fox  Studios  to  abandon  the  camera  and  join  the  ranks  of 
the  directors.  This  promotion  of  one  of  filmdom's  most 
widely  known  cameramen  to  be  a  director  is  only  another 
evidence  of  the  tendency  of  producers  to  recognize  the 
great  body  of  cameramen  as  a  reservoir  of  talent  to  sup- 
ply the  directorial  field. 

If  not  from  this  field  where  shall  the  future  directors 
come  from?  The  intelligent  cameraman  working  for 
many  years  in  close  association  with  the  great  directors 
in  the  production  of  motion  pictures  has  had  such  training 
as  no  other  technician  in  the  cinema  ever  gets.  He  not 
only  photographs  the  picture,  but  he  fixes  the  lighting, 
passes  upon  the  make-up  of  the  actors,  advises  with  the 
director  on  points  dramatic  as  well  as  points  photographic 
and  his  daily  study  of  direction,  in  close  proximity  to  the 
director  himself,  equips  him  in  every  way  to  step  from 
the  blimp  to  the  megaphone. 

This  magazine  congratulates  the  producers  upon  dis- 
covering the  directorial  talents  of  Mr.  Lee  Garmes  and 
also  felicitates  the  latter  upon  the  attainment  of  his  am- 
bition to  direct. 

His  successful  career  is  assured  and  as  he  marshalls 
his  queue  of  successive  box  office  attractions  the  producers 
are  kindly  admonished  to  meditate  upon  the  inexhaustible 
supply  of  directorial  ability  ready  to  hand  in  that  wonder- 
ful body  of  technical  artists  commonly  called  "the  camera- 
men." 

In  this  connection  it  is  not  out  of  place  here  to  give 
recognition  to  that  neglected  and  unsung  group  of  men 
and  women  known  to  the  industry  as  "cutters."  Editor 
is  a  better  epithet,  but  it  is  true  that  in  order  to  be  a  cut- 
ter, an  operator  of  this  kind  must  first  be  an  editor.  In 
reality  they  are  FILMGINEERS  and,  without  them, 
the  net  loss  in  picture  production  would  amount  to  many 
millions  more  than  if  the  "cutter"  had  not  been  at  hand 
with  his  consummate  skill,  not  only  to  cover  up  blunders, 
but  to  transmute  with  his  magic  and  his  keen  faculty  of 
judgment  weakness  into  strength  and  discord  into  rhythm. 

Here  also  is  a  fallow  field  for  the  recruiting  of  direc- 
tors. Mr.  Producer,  you  have  these  "acres  of  diamonds" 
right  here  in  your  own  house.  Of  course,  you'll  do  some- 
thing about  it. 


then,  to  keep  himself  fit,  he  often  runs  from  his  home 
to  the  studio — a  distance  of  five  miles.  Is  there  another 
maker  of  pictures  who  would  do  this? 

He  always  dresses  his  own  sets.  He  always  dresses 
the  hair  of  his  leading  ladies,  because  he  can  not  be  satis- 
fied with  the  conventional  methods  of  hairdressers.  Often 
he  designs  their  clothes  too,  as  in  "City  Lights,"  when 
he  altered  four  costumes  that  he  didn't  like.  He  took  the 
dresses  apart  and  re-designed  them.  On  one  occasion,  he 
spent  three  hours  giving  Mack  Swain's  beard  a  trim. 

Who  knows,  perhaps  Charlie  Chaplin  deserves  a  rest 
after  his  great  contribution  to  the  screen.  Undoubtedly 
he  has  worked  hard.  However,  to  the  public  in  general, 
he  belongs  to  them.  On  the  screen  he  gives  them  what 
they  want  in  entertainment  and  relaxation  and  when  a 
person  does  this  well,  he  may  not  rest. 

As  Howard  Hurd  says:  "By  not  making  pictures, 
Charlie  Chaplin  is  beating  the  public  out  of  that  much. 
He  is  like  a  tonic — he  is  good  for  people.  When  I  feel 
picture  hungry,  a  Chaplin  just  makes  things  right." 

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Forty-six 


The      INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


INTERNATIONAL 

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No.    Orange   St.,   Glendale.      Douglas   3361 -W. 

WANTED  TO   BUY— CAMERAS 

BELL  &  HOWELL  late  model  35  mm.  camera — suitable  for  trick 
work — and    in    first   class   condition.      Must    be   cheap   for   cash.      Send   all 

particulars   to    Box   105 — The   International    Photographer. 

MITCHELL  CAMERA,  fully  equipped.  Must  be  cheap  for  cash.  State 
camera  number  and  give  list  of  equipment  and  price.  Box  110 — -The 
International   Photographer. 

LEICA  OR  CONTAX  CAMERA,  new  or  used.  J.  R.  Lockwood,  523 
No.   Orange   Street,   Glendale,    Douglas   3361-W. 

FOR  SALE  OR   RENT— MISCELLANEOUS 

MITCHELL    MOTOR— 1000   ft.    Mitchell  magazines.      I.   R.   Lockwood, 

Glendale.      Douglas  3361-W. 

FRESH  NEGATIVE  short  ends— Eastman  and  Dupont.  Kinema 
Krafts   Kompany,   6510    Selma   Ave.,   Hollywood. 

ONE  SET  of  4  inch  condensing  lenses  in  mount.  First  class  condition. 
Box   120 — -The  International  Photographer. 

IF  YOU  ARE  A  16  mm.  CAMERA  FAN  and  want  a  year's  free  sub- 
scription  to  this  instructive  and  interesting  magazine,  send  your  name, 
address  and  description  of  your  equipment  to  THE  INTERNATIONAL 
PHOTOGRAPHER,  Box  200.  This  entails  no  obligation  to  buy  any- 
thing. 

BUYERS  READ  these  classified  advertisements  as  you  are  now  doing. 
If  you  have  something  for  sale  or  exchange — advertise  it  in  these  col- 
umns. THE  INTERNATIONAL  PHOTOGRAPHER,  1605  No. 
Cahuenga   Ave..   Hollywood. 

FOR  SALE — 75  mm.  Cooke  Lens.  F.2  in  Mitchell  mount  complete. 
50  and  75  mm.  Astro  lenses,  mounted  and  unmounted.  J.  R.  Lockwood, 
523  North  Orange  Street.  Glendale.  Douglas  3361-W. 
FOR  RENT — 25  and  35  mm.  lenses,  motor  adapters,  Mitchell  Standard 
tripod  head,  baby  tripod,  400  ft.  Mitchell  magazines.  J.  R.  Lockwood. 
523    North    Orange    St..    Glendale.    Douglas    3361-W. 

CAMERA  REPAIRING 

BELL  &  HOWELL  cameras  with  old  type  shuttles  silenced.  $150. 
Hollywood  Motion  Picture  Equipment  Co.,  645  No.  Martel  Ave., 
Hollywood. 


TY'S  HOLLYWOOD  NOTE  BOOK 

(Continued  from  Page  30) 
Croonin'  Bing  Crosby  is  a  one  man  corporation  now. 
He  has  been  incorporated  in  Delaware  as  Bing  Crosby 
Ltd.  At  present,  Bing  is  president  and  sole  owner  of  all 
stock.  We  may  look  for  most  anything  now.  Perhaps, 
this  new  Crosby  Ltd.  will  turn  out  to  be  a  "crooners" 
trust. 


WE  ARE  CLAD  TO  HEAR  THAT— 

Louis  Brock,  associate  producer  at  R-K-O,  is  bringing 
the  Brazilian  orchestra  here  with  its  bizarre  native  instru- 
ments. That  means  another  picture  will  come  to  the 
screen  with  a  truthful  portrayal  of  customs  of  another 
people. 


Columbia  has  never  been  "in  the  red,"  which  is  cred- 
ited to  the  fact  that  they  own  no  theaters.  Their  business 
is  making  pictures. 


Henry  King  spent  weeks  with  a  ballet  cast  of  150,  in 
"I  Loved  You  Wednesday,"  for  a  scene  that  will  last 
only  four  minutes  on  the  screen. 


Jack  Lewis'  opinion  on  censorship.  Ask  him  and  what 
he  will  tell  you  in  fifteen  minutes  is  worth  spending  two 
hours. 


If  my  readers  do  not  like  this  column,  they  are  urged 
to  send  in  their  own  comments,  which  will  be  used  in- 
stead. 

POSITION  WANTED 

EXPERIENCED  MINIATURE  BUILDER  wants  position  in  special 
effects  department — proven  ability — best  references — care  International 
Photographer.    Box    XXX. 

EXPEDITION  CAMERAMAN,  recently  returned  from  India,  China, 
Japan  desires  to  join  company  contemplating  series  of  pictures  anywhere 
in  the  world.  Many  years  experience — color  or  black  and  white  pho- 
tography. Write  Expedition  Cameraman,  care  International  Photogra- 
pher. 

CAMERAMAN  with  many  years  experience  in  trick  and  special  process 
photography— has  headed  special  effect  departments  in  major  studios — 
desires  position  similar  capacity- — where  ability  to  increase  production 
value  with  minimum  cost  means  something.  Write  care  International 
Photographer,    Box    XX. 

THE  INTERNATIONAL  PROJECTIONIST 

THE  INTERNATIONAL  PROJECTIONIST,  a  monthly  magazine 
published  in  the  interests  of  the  projectionist.  Interesting,  instructive. 
Yearly  subscription  U.  S.  and  possessions,  $2;  foreign  countries,  $2.50. 
James  J.  Finn  Publishing  Corp.,  1  West  47th  St.,  New  York. 
OUR  SPECIAL  SUBSCRIPTION  OFFER  of  one  year  for  $2  expires 
November  15,  1933.  If  you  want  the  best  magazine  of  its  kind  sent  to 
you  each  month  send  your  subscription  in  now.  THE  INTERNA- 
TIONAL   PHOTOGRAPHER,    Hollywood,    California. 

FINANCIAL  BACKING  WANTED 

CAMERAMAN  of  world-wide  experience  wants  responsible  party  to 
finance  series  of  pictures  to  be  made  in  South  Sea  Islands ;  has  own 
equipment,  stories,  etc.  ;  excellent  opportunity ;  best  of  references.  Box 
99.   International    Photographer. 

CAMERAMAN  of  proven  ability  and  many  years  production  experience 
wants  capital  to  exploit  commercial  and  advertising  pictures — contacts 
already  made  with  leading  manufacturers — unlimited  possibilities — prefer 
executive  who  will  actively  participate  in  company.  Care  International 
Photographer,   Box   X. 

OUR  SPECIAL  SUBSCRIPTION  OFFER  of  one  year  for  $2  expires 
Xovember  15,  1933.  If  you  want  the  best  magazine  of  its  kind  sent  to 
viiii  each  month  send  your  subscription  in  now.  THE  INTERNA- 
TIONAL   PHOTOGRAPHER.    Hollywood.    California. 

HALL— FOR  RENT 

THE  PARAVAL  DANCE  CLUB  Ballroom,  Cardroom,  and  Kitchen— 
Completely  Equipped — Aavailable  certain  days  or  evenings.  For  informa- 
tion, Call  MO.   18414. 

THE  INTERNATIONAL  PHOTOGRAPHER 

SPECIAL  OFFER  for  limited  time  only.  One  year  of  12  issues  for 
$2.  The  most  instructive  and  interesting  magazine  published  on  the 
making  of  motion  pictures.  The  International  Photographer,  1605 
Cahuenga   Ave.,    Hollywood,    California. 

MISCELLANEOUS 

COMPLETE   COURSE  IN   FLYING— If  interested  in  aviation,  see  Koy 

Klaffki,    1605    North    Cahuenga    Ave..    Hollywood. 

MINIATURE  CAMERA  USERS  can  get  the  best  Fine  Grain  Develop- 
ing and  Projection  Printing  possible.  Our  terms  are  not  necessarily  the 
lowest,   but   the   quality   is  the  best.      Linn   Clark   Laboratories,   1730   Hill- 

hurst    Ave..    Hollywood. 

WANTED — To  know  of  the  whereabouts  of  motion  picture  relics,  docu- 
ments, or  equipment  of  a  historical  nature  for  Museum  purposes.  Write 
Farl  Theisen,  care  of  International  Photographer,  1605  Cahuenga  Ave., 
Hollywood. 


PLEASE  MENTION   THE   INTERNATIOX'AL   PHOTOGRAPHER   WHEN   CORRESPONDING   WITH   ADVERTISERS 


July.  1933 


The       INTERNATIONAL       PHOTOGRAPHER 


Forty-seven 


NEW    PAPERS   ADDED 

TO  S-H.P.E*  ARCHIVES 

Following  is  a  list  of  papers  read  at  the  Spring  Con- 
vention of  the  S.  M.  P.  E.,  held  in  New  York  City,  April 
24  to  29,  and  supplied  by  O.  M.  Glunt,  chairman  of  the 
Papers  Committee.  After  these  papers  have  been  printed 
in  the  S.  M.  P.  E.  Journal  any  of  them  may  be  reprinted 
in  this  magazine  on  request  of  readers,  by  special  permis- 
sion of  the  S.  M.  P.  E. 

"National  Standardization  in  America,"  Dr.  P.  G. 
Agnew;  "High  Power,  High  Efficiency  Incandescent 
Lamps,"  E.  W.  Beggs  and  M.  W.  Palmer;  "Personality 
and  the  Voice,"  Mrs.  I.  L.  Bradley;  "Application  of  Mo- 
tion Picture  Developments  to  Other  Fields,"  O.  H.  Cald- 
well;  "Recording  Equipment,"  Don  Canady;  "Volume 
Range  in  Film  Recording,"  H.  C.  Silent;  "The  Morgana 
Color  Process,"  J.  A.  Dubray;  "Carbon  Arc  Projection," 
A.  C.  Downes;  "History  of  S.  M.  P.  E.  Standardization," 
L.  A.  Jones;  "Photoplay  Appreciation  in  the  Nation's 
Schools,"  William  Lewin ;  "Cine  Kodak  Special,"  Tuttle, 
Wittel  and  Stoider;  "16  mm.  High-Speed  Non-Intermit- 
tent Camera,"  F.  E.  Tuttle. 

"Wave  Form  Analysis  of  Variable  Width  Records," 
Sandvik,  Hall  and  Streiffert;  a  paper  by  Terry  Ramsaye ; 
"Eye  Strain  Avoidance,"  F.  H.  Richardson;  "Eye  Fa- 
tigue," Peter  Snell ;  "Projection  Screens  Committee  Re- 
port," S.  K.  Wolf;  "The  Diffraction  Effect  of  Micro- 
phone Mountings,"  W.  C.  Jones;  a  paper  by  M.  C.  Bat- 
sel;  "Sound  Recording  and  Reproducing  Using  16  mm. 
Film,"  J.  O.  Baker ;  "Use  of  Test  Film  for  Projection 
Equipment,"  J.  O.  Baker ;  "Some  Factors  in  Photographic 
Sensitivity,"  S.  E.  Sheppard ;  "Recent  Developments  in 
Electrolytic  Silver  Recovery,"  K.  C.  D.  Hickman  ;  "Audi- 
phone  and  'Out  of  the  Silence',"  Chas.  W.  Barrell; 
"Military  Training  and  Historical  Films,"  F.  A.  Hoorn, 
U.  S.  Signal  Corps;  a  paper  by  W.  W.  Wood. 

"The  Sound  Film  Program  of  the  U.  S.  Department 
of  Agriculture,"  R.  Evans;  "Parallax — Panaranagram 
(with  demonstration),"  Dr.  H.  E.  Ives;  "Hill  and  Dale 
Recording  (with  demonstration),"  H.  A.  Frederick; 
"Methods  of  Measuring  Flutter  in  Film  Propulsion  (with 
demonstration),"  T.  E.  Shea  and  W.  A.  MacNair;  "Di- 
rection Effect  in  Processing,"  J.  Crabtree;  a  paper  by 
W.  S.  Short;  "Method  of  Measuring  Photographic  Aber- 
;  ration,"  W.  Herriott;  "Variable  Width  Recording,"  D. 
D.  Foster;  "New  Automatic  Printer,"  J.  A.  Dubray; 
"New  AC  Projection  Lamp,"  Mr.  Ashcraft ;  "Prismatic 
Method  of  Compressing  Pictures,"  Dr.  Newcomer;  "His- 
1  tory  of  Cartooning,"  Earl  Theisen  ;  "RCA-Victor  High 
Fidelity  Film  Recording  Equipment,"  Sidney  Reed,  Jr. 


POWER  LEVEL,  ETC. 

(Continued  from  Page  13) 

the  amplifier,  as  gain  is  governed  by  the  number  and 
types  of  tubes  and  the  coupling  arrangements  employed. 
Although  they  are  associated,  they  are  distinctly  differ- 
ent quantities.  For  example,  the  gain,  which  is  usually 
measured  at  1000  cycles,  in  one  amplifier  may  be  twenty 
decibels  and  the  output  level  +10  decibels;  while  the 
gain  in  another  amplifier  might  be  seventy  decibels  and 
the  output  level  only  +4  decibels.  In  the  first  case,  the 
level  of  the  electrical  energy  applied  to  the  input  of  the 
amplifier  could  not  be  over  ■ — 10  decibels  if  the  amplifier 
was  not  to  be  overloaded ;  and  in  the  second  case  the 
input  level  would  have  to  be  kept  below  — 66  decibels. 
These  two  factors  must  be  watched  carefully  in  the 
operation  of  audio  amplifiers. 


Complete  STILL  Laboratory  Service 

RIES  b  FITZPATRICK 

Phone  Gladstone  1521 
1128  N.  LA  BREA  AVENUE  HOLLYWOOD 


Howard  Anderson 

Special    Effects  —  Animations 

Culver  City  3021 


Mitchell   Motor 

Gear   Box 

FOR    RENT   OR   SALE 

MITCHELL  CAMERA 

Silenced  and  Re 

milt  by  Mitchell — 35  mm  ;  50  mm  ;  75  mm  ;  105  mm 

Pan    Tachars    Lenses 

D.   B.    KEYES 

FIRST  CAMERAMAN       wY„,»i„K  si39 

CRestview   7255 


W.  A.  SICKNER 

FIRST  CAMERAMAN 
Complete  Akeley  Equipment 

HEmpstead    1128 


Gladstone    5083 


ARTCRAFT  SCREEN  SERVICE 


1  66TITLES^      1 

-,'?  .                            16   mm.   -  35   mm.                                                  J£ 

O  6610  Santa   Monica  Blvd.                                             ** 

-"-'  Phone   Hollywood   9875                                                     Hollywood,    Calif,     g 


Phone  GLadsrone  4151 

HOLLYWOOD  STATE  BANK 

The  only   Bank   in  the   Industrial   District  of   Hollywood 
under  State  Supervision 

Santa   Monica   Boulevard  at  Highland  Avenue 


CINEX  TESTING   MACHINES  CINEX   POLISHING   MACHINES 

BARSAM-TOLLAR   MECHANICAL  WKS. 

7239  Santa    Monica    Blvd. 
Phone   GRanite   9707  Hollywood,    California 


1 


ILVTERS^ 

IN  WORLD-WIDE  USE 

produce  Moootyb}  mi  NiqMCf  facts  in  Daytime- 
Fvj  Scenes- ftiffusrifttns  and  many  »H»r  effects. 

WITH  ANY  CAMERA  -  IN  ANY  CLIMATE 

GEORGE  H.SCHEIBE 

ORIGINATOR  OF  EFFECT  FILTERS 


I927-W-78I2  ST. 


LOS  ANGELES, CAL . 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN  CORRESPONDING  WITH  ADVERTISERS 


Foi  ty-eight 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


July,  1933 


of  FecwxS 


Hon  to  Become  Two  Kinds 
of  a  Cameraman 

By  OTTO  I  IHM  I  \ 


The  above  silhouette  was  shot  from  a  high  hat  at  high  noon  and 
Jl^ortrays  two  cameramen.     One  good  and  one  not  so  good.     You  can 
not  tell  from  the  picture,  which   is  which,  nor  can  you  tell  from  the 
men  in  person.     The  only  way  to  settle  this  is  on  the  screen. 


We  have  had  several  requests  from  our  reader,  asking 
for  information  which  will  enable  him  to  become  a  camera- 
man. We  are  passing  this  information  along  to  readers 
of  this  page,  if  any,  and  for  reference  we  refer  you  to  the 
Guarantee  Building  and  Loan  Assassination.  Now  that 
we  have  your  attention  we  will  start  at  the  first  stage. 

This  is  the  time  when  you  have  a  Brownie  Camera 
and  show  your  friends  the  marvelous  picture  you  can  get 
with  it  and  explain  that  you  have  a  friend  that  has  a  cam- 
era that  cost  over  one  hundred  dollars  and  his  pictures  are 
not  as  good  as  yours.  We  will  skip  the  next  stage  where- 
in you  buy  the  more  expensive  cameras  and  come  to  the 
time  you  want  to  try  motion  pictures. 

It  will  be  necessary  to  take  a  few  dollars,  about  thirty- 
five  hundred,  and  with  this  sum  you  can  get  a  pretty  fair 
professional  outfit,  such  as  used  in  the  studios.  Of  course 
this  does  not  include  a  crane  or  dolly,  in  case  you  wish  to 
make  travelling  shots.  Take  your  outfit  west  of  the 
Rockies  and  expose  a  few  thousand  feet  of  film  at  four 
cents  a  foot  and  then  take  it  to  any  first  class  laboratory 
and  they  will  gladly  develop  it  for  cash.  After  this  you 
will  know  what  not  to  do  and  when  to  do  it  and  should 
apply  for  a  position  at  one  of  the  larger  studios. 

It  is  always  a  good  idea  to  check  up  on  all  your  rela- 
tives at  this  stage.  Some  people  do  this  in  order  to  get 
their  positions,  but  in  the  case  of  the  cameraman  it  is  a 
good  thing  to  know  where  you  will  be  able  to  eat  if  you 
are  not  working.  If  you  prefer  Western  pictures,  I  would 
suggest  that  you  practice  getting  kicked  by  horses  and 
putting  sand  in  your  food.  This  will  help  you  quite  a  bit 
when  you  are  sent  on  location.  Then  if  you  prefer  the 
drama  spend  some  time  around  the  morgue  or  emergency 
hospital  which  will  harden  you  to  the  point  that  you  will 
not  break  down  and  cry  when  your  star  is  emoting  all  over 
the  place.      In  the  event  it  is  comedies,  try  jumping  in 


front  of  trains  and  finding  out  how  close  an  automobile 
can  come  to  you  without  hitting  you. 

This  should  give  you  a  pretty  good  idea  of  how  simple 
it  is  to  become  a  cameraman.  The  only  thing  that  re- 
mains is  to  make  up  your  mind  what  kind  of  a  cameraman 
you  want  to  be.  I  can  tell  you,  however,  that  a  "not  so 
good  cameraman"  swears  when  his  scenes  are  out  of  focus 
and  a  good  cameraman  uses  up  his  short  ends  and  takes  his 
assistant  to  lunch.     So  it  is  up  to  you  to  make  your  choice. 


DO  YOU  KNOW 

That  Alex  Keighly  rates  a  Fellow  in  the  Royal  Photo- 
graphic Society. 

That  Alvin  Wyckoff's  career  as  an  actor  Avas  ruined 
when  Earl  Hines  offered  him  a  job  as  a  cameraman  at 
Selig's,  in  1906. 

That  Howard  Hurd  wrote,  produced  and  acted  in  a 
stage  show.     Yeah !     And  was  stranded  too. 

That  Faxon  Dean  knits. 

That  Ray  Fernstrom  would  like  to  know  what  filter 
Gene  Cour  used  to  get  ^iie  results  shown  in  his  illustra- 
tions on  dynamic  symmetry. 

That  (in)  The  way  of  the  transgressor  is  Hurd. 

That  if  they  pry  me  loose  from  my  hundred  dollars  in 
gold,  some  one  will  be  stuck  for  a  new  plate. 

That  Ted  LaBarba  was  Bantamweight  Champion  of 
the  Pacific  Coast  and  fought  the  main  event  when  the 
Legion  Stadium  was  opened. 

That  Henry  (Hank)  Noel  Kohler  left  a  good  job  in 
the  brick  yards  in  1906  to  go  into  Selig's  Lab. 

That  Harry  Forbes  attended  the  University  of  Cin. 
Located  at  Cincinnati,  Ojai-O. 

That  Tony  Gaudio  left  the  Imp  Co.  in  New  York 
in   1911  to  come  to  Hollywood. 

That  the  sale  of  this  magazine  on  the  news  stands,  in 
Los  Angeles  has  increased  over  200%  in  the  last  two 
months.     Maybe  it  is  the  new  set  up  and  covers. 

That  I  can  prove  I  was  not  the  way  you  think  I  was 
after  looking  at  my  "poortrait"  in  the  last  issue.  It  was 
not  the  heat,  but  the  humility. 

That  we  ought  to  get  together  and  present  Jimmie 
Palmer  with  another  idea.  How  about  a  basket  picnic? 
I've  got  a  basket. 

That  this  department  will  be  closed  all  day  July  4th. 
Legal  beer  holiday. 

That  the  G.   in   Charlie  Clark 
way. 

That    Norman 
California. 

That  Ave  received  a  subscription  from  England  and 
the   subscriber   wanted   to   know   if  we   had   a  button  or 


name  is  for  Gallo- 
Devol    attended    the    University    of 


badge   that  he 
bodv. 


could 


Th( 


ea   for  some- 


PAY  DAY 

Warner  Brothers  have 
"I  Loved  You  Wednesday.' 
Paramount. 


produced    a    picture   entitled, 
So  did  I  when  I  worked  for 


TOO  BAD  DEPARTMENT 

We  received  a  note  from  one  of  our  cameramen  stat- 
ing that  three  days  after  his  name  appeared  in  "On  the 
Firing  Line"  he  was  fired.     So  what? 


PLEASE  MENTION  THE  INTERNATIONAL  PHOTOGRAPHER  WHEN   CORRESPONDING  WITH   ADVERTISERS 


Down  to  the  sea  in 

LAMP  BULBS! 


O  In  their  unceasing  quest  for  lamp  improvements,  General 
Electric's  scientists  tracked  down  the  cause  of  that  light-reducing, 
black  deposit  on  the  inside  of  lamp  bulbs.  The  tungsten  filament, 
like  heated  water,  was  evaporating  and  then  condensing  on  the  glass. 
But  how  to  check  it  ? 

The  evaporation  of  water  can  be  checked  by  gas  pressure:  Anyone 
who  has  ever  driven  a  car  in  the  mountains  knows  that  water  boils 
more  readily  there  than  at  sea  level  where  the  pressure  of  the  atmos- 
pheric gases  is  greater.  Yet  experiments  tended  to  show  that  heated 
metals  in  the  presence  of  gas,  united  with  the  gas  and  disintegrated. 
Undeterred,  General  Electric's  fact-hunters  filled  some  lamps  with 
chemically  inert  gas. 

The  first  test  showed  no  improvement.  They  tried  it  again  .  .  . 
and  again  .  .  .  and  they  found  that  the  rate  of  filament  evaporation 
did  decrease!  Through  gas  pressure,  they  could  make  lamp  filaments 
"come  down  to  the  sea  from  the  mountains." 

But  the  vital  importance  of  this  discovery  for  you  springs  not  from 
its  use  to  lessen  bulb  blackening ;  other  means  were  found  to  do  that. 
General  Electric  seized  on  the  more  practical  application  which  gas 
pressure  offered :  the  ability  to  burn  the  filament  at  a  higher  tempera- 
ture, without  changing  the  rate  of  evaporation,  or  in  other  words, 
its  life.  This  gives  you  a  light  that  is  much  brighter,  and  photograph- 
ically more  effective! 

Such  research  is  typical  of  General  Electric's  constant  efforts  to 
provide  you  with  the  best  lamps  that  money  and  brains  can  produce. 
General  Electric  Company,  Nela  Park,  Cleveland,  Ohio. 


EDISON  MAZDA  LAMPS 


GENERAL 


ELECTRIC 


Insure  theMAXIMUMof  Efficiency 

Keep  Your  Camera  Equipment 


in  MAXIMUM  Condition 


Our  staff 


of  trained  camera 


maintainance  experts- 


Together  with  a  complete 

supply   of   parts  •  .  •  • 

enables  us  to  render 

prompt  and  effi- 


cient service  on 

all  repair 

work* 


Mitchell  Camera  Corporation 


665  N.  ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD,  CALIF. 


Cable  Address  "MITCAMCO" 


Phone  OXford  1051 


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HOTOGRAPHER 


HOLLYWOOD 


H  YEAR 


AUGUST   1933 


VOL.  5 

NO  .7 


CENTS 
A   COPY 


Scene  from  "The  Bowery"  First  Production  of  Darryl  Zanuck. 
Twentieth  Century  Pictures,  Inc. 


Photograph 

By    Kenneth    Alexander 


lOTION    PICTURE    ARTS    AND    CRAFTS 


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Under  INCANDESCENT  or  ARC  LIGHT 


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INTERNATIONAL 
PHOTOGRAPHER 

MOTION   PICTURE  ARTS  AND  CRAFTS 


Vol.   5 


HOLLYWOOD,  CALIFORNIA,  AUGUST,    1933 


Howard  E.   Hurd,  Publisher's  Agent 

Silas  Edgar  Snyder,  Editor-in-Chief 

Edward  T.  Estabrook,  Managing  Editor 

Ira  Hoke  and  Charles  Felstead,  Associate  Editors 

Lewis  W.  Physioc,  Fred  Westerberg,  Technical  Editors 

John   Corydon   Hill,  Art  Editor 

A  Monthly  Publication    Dedicated   to   the   Advancement   of  Cinematography   in   All 

Its  Branches;    Professional  and   Amateur;   Photography;   Laboratory  and   Processing, 

Film  Editing,  Sound  Recording,  Projection,  Pictorialists. 


2&  3 
4&  5 

6-7-8 


10 


11 


THE  COVER— By  KENNETH  ALEXANDER 
PAUL  PERRY  RETURNS  FROM  THE  ORIENT  AND  TELLS 
HIS    OWN    STORY      ---------- 

AERIAL  PHOTOGRAPHY,  ETC.        ------- 

By  Lieut.  R.  S.  Macrutn,  U.  S.  A. 
MARY  PICKFORD— AN   INSTITUTION         ----- 

By  Earl   Theisen 
SHOOTING  THE   EARTH'S    CURVATURE         -       -       -       - 

By  J.  M.  F.  Haase 
PROPS  IN  THE  EARLY  DAYS     -------- 

The  Editor 
AROUND  THE  WORLD— PART  HI  ------       - 

By  Herford  Tynes  Cowling 
FLYING  WITH  THE  LEICA  CAMERA    -       -       -       -       -       -       -    12  &  13 

By  Karl  A.  Barlehen,  Jr.,  F.R.P.S. 
LIGHT  FILTERS,  ETC.    ------------     14 

By  Emery  liuse  and  Ned  Van  Buren 
FILMO   PROFESSIONAL   AMATEUR        --------     16 

By  R.  Faivn  Mitchell 
EUROPEAN   SUPREMACY?    -       -       - -       -       -     17 

By  Philip  Tannura 
A  NEW  DEVELOPMENT  IN  CARBON  ARC  LIGHTING     -       -       -     18 

By  Elmer  Richardson 
ANENT  THE  MICROPHONE    -----------     19 

By  Charles  Felstead 
NEWSREELERS'   SCRAP   BOOK -       -       -       -     21 

By  Fred  Fclbingcr 
NEWSREEL  WORLD 22 

By  Ray  Fernstrom 
JUNIOR   MOTION    PICTURE    CAMERA    NOTES     -----     23 

By  George  Lancaster 
BRULATOUR    BULLETIN        -       -       -       -       -       -       -       -       -       -  24  &  25 

AUDIO   DYNAMICS    -------------     27 

By  Robert  Lothar  Kendall 
MINIATURE  CAMERA    ----- -     28 

By  Ralph  H.  Linn 

EASTMAN  ANNOUNCES        -       - -      -      -      -     JO 

ACES  OF  THE  AIR -       -     31 

HOLLYWOOD'S  ALLIED  INDUSTRIES  -       -       -       -       -       -       -    32  &  33 

ON   THE   FIRING  LINE  ----- 34  &  35 

CINEMATOGRAPHERS    BOOK   OF   TABLES      -       -       -       -       -    37  &  38 

By  Fred  Westerberg 
CARTOON— GLEN   R.  KERSHNER     ---------     40 

TY'S  HOLLYWOOD  NOTE  BOOK -     44 

By  Ty 

CLASSIFIED    -       -       - -       -     46 

OUT    OF    FOCUS  ----- 48 

By  Charles  P.  Boyle 
CARTOON— ROLLIE  TOTHEROH 


Entered    as    second    class    matter    Sept.    30,    1930,    at    the    Post    Office   at    Los    Angeles. 
California,  under  the  act  of   March   3,   1879. 


Copyright    1933    by   Local    659,    I.  A.  T.  S.  E.    and    M.  P.  M.  O.    of    the    United    States 

and  Canada 


Office    of    publication,    1605    North    Cahuenga    Avenue,    Hollywood,    California 

HEmpstead    1128 

James   J.   Finn,    1   West   47th    St.,   New   York,    Eastern   Representative 

McGill's,    179   and   218   Elizabeth   St.,    Melbourne,   Australian   and   New   Zealand   agents. 

Subscription    Rates — United    States   and    Canada,    $3    a   year.      Single   copies,    25    cents. 


This   Magazine   represents  the   entire   personnel  of  photographers  now  engaged   in 

professional  production  of  motion  pictures  in  the  United  States  and  Canada.    Thus 

THE  INTERNATIONAL  PHOTOGRAPHER  becomes  the  voice  of  the   Entire  Craft, 

covering  a  field  that  reaches  from  coast  to  coast  across  North  America. 

Printed  in  the  U.   S.  A.  at  Hollywood,  California 


Coming  in  September 

Herford  Tynes  Cowling  will  pause  long 
enough  in  his  trip  "Around  the  World"  to 
take  our  readers  "Around  the  Fair" — a  cam- 
era tour  of  inspection  through  "The  Century 
of    Progress." 


Mr.  Karl  A.  Barleben,  Jr.,  miniature  camera 
expert,  will  be  with  us  again  in  a  special 
article  entitled  "Random  Notes  on  the  Ele- 
ments cf  Miniature  Camera  Fhotography," 
with    illustrations    by    himself. 

9 

Emery  Huse  and  Ned  Van  Buren  will  be  in 
with  Part  III  of  their  fine  and  scholarly 
series  on  "Light  Filters  from  the  Cinema- 
tographer's  Viewpoint."  No  cameraman  with 
any  pretentions  to  virtuosity  can  afford  to 
miss  these  articles. 


Mr.  Earl  Theisen,  Honorary  Curator  of  Mo- 
tion Pictures  for  the  Los  Angeles  Museum, 
will  offer  as  a  high  light  of  his  series  "The 
Story    of    the    Newsreels." 


Mr.  Charles  Felstead  will  make  his  bow  as 
Associate  Editor  in  our  September  issue  with 
his  first  of  twelve  articles  on  the  general 
subject  of  "SOUND  RECORDINC.  The  out- 
line of  the  first  article  will  be  substantially 
as   follows: 

1.  The    field    of    sound    recording    viewed    as 
a   whole. 

2.  The    general    form    of    a    sound    recording 
channel. 

3.  The  chief  difference  in  the  recording  sys- 
tems  is   in   the   recording  devices. 

(a)  The    Rheoiight   and    flickering   lamps 

(b)  The   rocking  mirror    (Variable  area) 

(c)  The   light  valve    (variable   density) 

4.  The    motor    control    system. 


OUR   FRONT  COVER   FOR   AUGUST 

From  "The  Bowery,"  first  production  of  Darryl 
Zanuck  for  Twentieth  Century  Pictures,  is  taken 
the  still  which  forms  the  front  cover  of  our  mag- 
azine   this    issue. 

This  remarkable  picture  was  completed  in  only 
twenty  days  after  Mr.  Zanuck  took  the  helm  of 
ihe  new  company  operating  at  United  Artist  Stu- 
dios. 

On  the  still,  left  to  right:  Bert  Clennon,  first 
cinematographer;  Russ  Metty,  operative  camera- 
man: James  Cleason,  writer;  Ceorge  Raft,  heavy; 
Raoul  Walsh,  director.  Wallace  Beery  and  Jackie 
Cooper,  featured,  were  at  lunch  when  the  still 
was    shot.     Still    man,    Kenneth    Alexander. 

See  "On  the  Firing  Line,"  this  issue;  Col.  2, 
Page  35. 


80 


SERVICE -ENGRAVING  CO 


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INTERNATIONAL   PHOTOGRAPHER 


.  lugust,  1933 


Mr.    Perry   uses  Tantor,   the  elephant,   for  a   parallel. 


It  was  in  October,  1932,  that  Mr.  Tom  White,  of 
the  Continental  Film  Company,  left  Los  Angeles  for  the 
island  of  Ceylon  to  make  an  animal  picture,  "Dus-Tu- 
Ran,"  in  natural  colors. 

With  Mr.  White,  who  directed  the  picture,  went 
Karl  Heicke,  business  manager,  and  Capt.  Colin  Gordon, 
big  game  hunter,  linguist  and  engineer  in  the  service  of 
the  British  Government  in  India,  Ceylon  and  Burma,  as 
contact  man. 

The  writer  accompanied  the  expedition  as  chief  cine- 
matographer  in  color,  and  we  selected  Guy  Wilky,  pio- 
neer cameraman,  to  make  the  black  and  white  negative. 
At   Colombo 

After  making  a  leisurely  trip  to  the  Orient  and  visit- 
ing Japan,  China  and  the  Straights  Settlements,  we  ar- 
rived at  Colombo,  capital  and  largest  seaport  of  Ceylon, 
and  were  put  up  at  the  Planters  Club  in  Ratnapura  as 
guests  of  Capt.  Gordon,  and  in  that  pleasant  place  we 
sojourned  while  Gordon  and  White  went  out  to  choose  a 
location  and  assemble  the  animals  necessary  for  the  pic- 
ture. 

While  here  we  built  development  tanks  and  drying 
drums  to  take  into  the  jungles  and  at  the  end  of  two 
weeks  Capt.  Gordon  and  Mr.  White  had  collected  leo- 
pards, wild  boars,  four  large  pythons,  four  cobras,  honey 
bears,  monkeys,  mongoose,  black  bats  with  wingspread 
of  several  feet,  gigantic  lizards  four  to  six  feet  long, 
jackals,  many  birds  of   gorgeous  plumage,  elephants   and 


Paul  Perry  Returns 
From  the  Orient 

TELLS  HIS  OWN  STORY 


many   wild   denizens   of   the  green   hell   that   is  called  a 
iungle. 

The   Location 

The  location  selected  by  Capt.  Gordon  was  in  the 
south  of  Ceylon — the  estate  of  the  native  chief  and  an 
old  friend  of  the  captain — a  tract  of  many  thousands  of 
acres  upon  which  there  was  a  house  equipped  with  all 
modern  conveniences  and  a  retinue  of  servants,  among 
whom  was  a  cook  able  to  concoct  the  most  delicious 
culinary  tid-bits. 

In  this  delightful  place  we  constructed  our  sets,  and 
it  may  not  be  out  of  place  to  add  right  here  that  Wilky 
and  the  writer  had  a  great  workout  following  the  ox- 
carts that  carried  our  photographic  equipment  from  the 
railroad    to    this    location,    Mahawaletenna   by    name. 

We  had  hundreds  of  Ceylonese  working  for  us  as 
actors,  carpenters,  grips,  animal  tenders,  camera  hustlers, 
etc.,  and  there  never  was  a  more  willing  set  of  native 
workmen  any  place. 

The  most  annoying  thing  on  the  entire  trip  was  not 
wild  beasts,  but  the  unspeakable  leaches  and  wood  ticks! 


The   Crown    Prince   of   Solo   and   ex-Covernor    Roosevelt   of   the 
Philippines. 


Mr.  Perry  in  the  palace  of  the  Sultan  of  Solo. 

Ye  gods,   how  they  did  pester  us !     We  all   wore  shorts 
as  being  the  most  convenient  jungle  attire,  and  every  day 
when  we  came  home  from  work  our  legs  would  be  red 
from  the  blood  made  by  these  terrible  pests. 
Cobra  and  Mongoose 

Our  recreation  was  the  noble  game  of  Rummy  and, 
there  being  no  other  white  people  nearer  than  fifty  miles, 
we  had  to  play  among  ourselves,  and  there  were  spirited 
times  compared  to  which  a  fight  between  a  cobra  and  a 
mongoose  was  as  tame  as  a  gingerbread  picnic. 

On  Christmas  we  staged  one  of  these  fights  and  the 
mongoose  won  as  usual,  while  on  New  Year's  eve,  just 
it  midnight,  a  pack  of  jackals  came  down  from  the 
jungle  to  call  upon  their  kinfolk  we  had  in  captivity,  and 
-hey  certainly  did  howl  the  old  year  out  and  the  New 
Year  in. 

We  made  many  scenes  depicting  the  native  struggle 
for  existence,  but  the  most  terrible  strain  upon  our  sensi- 
bilities was  the  self  inflicted  torture  of  the  natives,  who, 
without  evidence  of  suffering,  pinned  their  lips  together 
with  skewers,  pushed  nails  and  hooks  through  their  cheeks 
and  tongues,  and  seemed  to  rejoice  in  mutilation ;  they 
never  shed  one  drop  of  blood. 

En   Route   Home 

When  our  picture  was  finished  and  we  had  packed 
and  shipped   our   film,    my  associates   returned   to    Ho'.ly- 


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August,   1933 


1'  li 


INTERNATIONAL   PHOTOGRAPHER 


Three 


wood,  while  I  sailed  over  to  Siam  to  make  some  more 
pictures.  There,  in  Bangkok,  I  had  the  pleasure  ot 
meeting  one  Luang  Kola  Karn  Chen  Chite,  who  for  years 
has  been  official  photographer  for  the  Siam  State  Rail- 
way, and  who  has  a  very  modern  studio  producing 
Chinese   and   Siamese  sound   pictures. 

This  man  is  a  genius,  and  in  consideration  of  the 
fact  that  he  has  never  visited  English  or  American 
studios,  he  has  accomplished  wonders  with  the  modern 
sound  cameras,   lights  and  other  studio  equipment. 

At  Bangkok  I  had  the  pleasure  to  meet  the  represen- 
tatives of  the  Srikrung  Press,  who  entertained  me  with 
royal  hospitality,  first  at  a  banquet  given  by  that  Siamese 
newspaper,  Srikrung  Press,  and  later  at  a  dinner  spon- 
sored by  a  group  of  Siamese  government  officials. 

Siam    Dinners 

In  Siam  official  dinners  are  no  joke.  You  eat  and 
then  you  eat  some  more  and — then  you  keep  on  eating 
until  at  least  three  hours  are  past — never  less.  An 
American  is  able  to  stand  the  gaff  because  there  are  no 
speeches  to   ruin   his  appetite. 

The  Siamese  toast  you  to  death  in  good  liquor,  but 
they  are  too  polite  to  make  speeches  except  when  they 
visit  America.  (Note:  After  the  dinner  the  editor  and 
proprietor  of  the  Srikrung  Press  honored  Mr.   Perry   by 


In  Shanghai — Left  to  right:   Bert  Wheeler,  Coolie,  Mr.   Perry, 
Bob   Miller,    Robert  Woolsey    (reading  our  magazine). 

making   him    honorary    editor    and    American    correspon- 
dent of  their  paper.) 

Siam  is  one  of  the  most  interesting  countries  in  the 
world.  It  is  colorful,  picturesque,  friendly,  progressive 
and  at  peace  with  the  world.  It  has  literally  thousands 
of  temples,  many  of  them  gorgeously  beautiful,  and 
everybody  of  consequence  seems  to  be  interested  in  photo- 
graphy. Jack  Smith,  who  spent  some  years  in  Siam, 
said  that  the  reigning  prince  during  his  stay  had  fourteen 
different  kinds  of  cameras,  from  a  35  m.m.  movie  cam- 
era to  a  pocket  kodak. 

Bennett    and    Roos 

After  making  some  pictures  of  several  of  the  most 
interesting  temples  and  grabbing  off  some  interesting 
shots  of  daily  life  in  the  metropolis,  I  left  this  lovely 
country  for  hot  old  Singapore,  where  I  was  rejoiced  to 
meet  Chester  Bennett  and  the  irrepressible  Len  Roos, 
both  cinematographic  globe  trotters  who  know  the 
Straights  Settlements  as  well  as  they  know  Hollywood 
Boulevard. 

They  were  out  on  an  expedition  for  Universal  and  I 
joined  them  for  a  jaunt  to  the  Dutch  East  Indies, 
whither  they  were  bound  to  the  island  of  Java  to  film 
one  of  the  most  brilliant  social  events  in  the  history  of 
that  part  of  the  earth. 

The   Sultan   of  Solo 

The  event  was  the  occasion  of  the  marriage  of  four 
daughters  of   the   Sultan   of   Solo,   probably  the   most   in- 


fluential native  ruler  in  the  East  Indies  and  a  particular 
pet  of  the  Dutch. 

This  Sultan  of  Solo  is  not  to  be  identified  with  the 
Sultan  of  Sulu,  your  Uncle  Sam's  protege  in  the  Philip- 
pines, but  he  is  far  richer  and  more  powerful,  with  forty- 
five   wives    (working  at   the   job),   several    hundred    lady 


Mr.   Perry   and    Mr.  White   with  their  pet  monkeys. 

friends  who  live  in  his  harem,  scores  of  sons  and  daugh- 
ters and  no  end  of  grandchildren  and  other  domestic 
animals. 

His  immediate  family  embraces  upwards  of  five  thou- 
sand people,  and  they  all  live  in  gorgeous  palaces  en- 
closed within  a  high  wall  not  unlike  an  old  feudal 
castle,  and  the  neighbors  do  say  that  the  good  Sultan 
has  literally  scores  of  fine  American  automobiles  in  his 
garages,  to  say  nothing  of  radios,  electric  lights  and  all 
other  imaginable  conveniences  throughout  his  demesnes, 
including  American  plumbing. 

Pageantry 

But — that's  nothing — \  counted  forty-seven  orches- 
tras of  the  Sultan's  very  own  stationed  along  the  road- 
side en  route  to  the  palaces  from  the  Dutch  Governor's 
residence — the  route  along  which  the  big  parade  passed 
on  the  opening  day  of  the  wedding  festivities. 

The  Dutch  military  made  a  brave  and  impressive 
showing  along  with  the  native  constabulary  and  the  Sul- 
tan and  his  Javanese  household  and  retainers  were 
dazzling  in  their  traditional  costumes  and  pageantry. 

The  Sultan  was  radiant  and  looked  happy  as  he  gave 
his  four  princesses  away.  Indeed,  he  reminded  me  of 
the  old  nobleman  in  that  charming  comic  opera,  "Girofle- 
Girofla" : 

In   me   you   see  a   father, 

A    father — a   father  : 

In   me   you   see   a   father, 

A    father — a    father  ; 

Tn    me    you    see   a    father, 

A    happy,   happy    father. 

Who's  just  got  rid  of  four  ! 

Wliu's  just  got  rid  of  four! 

Sans   Tails 

To  give  the  reader  an  idea  of  the  way  the  Sultan 
and  the  Dutch  put  on  the  dog  for  this  hymeneal  eistedfod 
Mr.  Roos,  Mr.  Bennett  and  the  writer  received  orders 
to  appear  in  full  dress  with  one  camera,  but  it  so  hap- 
pened that  none  of  us  had  the  tails  in  our  respective 
wardrobes  and  when  the  good  Sultan  heard  this  painful 
news  he  permitted  us  to  appear  in  our  dinner  jackets, 
to  the  great  satisfaction  of  three  perfectly  good  camera- 
men and  to  the  delight  of  some  thousands  of  charming 
Javanese  ladies. 

The  temperature  was  averaging  around  119  in  the 
shade,  and  it  was  a  four-day  job,  but  we  managed  to 
stick  it  out  with  the  aid  of  a  little  Javanese  boy,  who 
helped  us  with  our  saturated  garments,  or  rather  poured 
them  off  us  at  the  end  of  our  day's  work. 
(Turn  to   Page  29) 


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INTERNATIONAL       PHOTOGRAPHER 


August,   1933 


Aerial  Photography 
and  Its  Equipme 


By  LIEUT.  R.  S.  MACRUM,  U.S.A. 


The  value  of  aerial  views  has  been  recognized  since 
the  beginning  of  photography.  Cameras  were  sent  up 
on  kites,  balloons  and  rockets  in  an  attempt  to  obtain 
satisfactory  bird's-eye  views.  The  real  development, 
however,  was  started  during  the  World  War.  It  was 
proved  that  with  expert  interpretation  of  aerial  photo- 
graphs taken  at  successive  periods,  the  story  of  an 
enemy's  activities  and  probable  intentions  could  be  re- 
vealed. The  use  of  photographs 
for  obtaining  or  verifying  activities 
of  the  enemy,  his  fortifications  and 
works,  his  probable  intentions,  and 
for  making,  revising  and  supple- 
menting maps  were  the  lines  of 
development  during  the  war. 

Peace  time  aerial  photography 
developed  along  lines  which  aided 
in  preparation  of  maps,  real  estate 
development,     construction     work 


and  their  cones  may  be  attached  to  this  base  as  conditions 
require.     There  are  the  8%,  12,  and  24  inch  lenses. 

The  8^4  inch  lens  is  intended  for  use  at  a  low  altitude. 
It  has  a  fast  lens  and  medium  altitude  photography,  5,000- 
15,000  feet,  and  is  a  standard. 

The  24  inch  lens  is  for  large  scale  photographs  at 
medium  altitudes,  and  for  high  altitude  missions. 

All  three  of  these  lenses  and  cones  in  conjunction  with 
the  base  are  used  mainly  in  vertical 
photography.  They  may  be  adapted, 
however,  to  oblique  photography  by 
the  attachment  of  handles.  They 
have  a  between-the-lens  type  of 
shutter  operated  by  a  rod  from  the 
base. 

For  oblique  photography  the 
standard  camera  has  been  one  with 
a  20  inch  lens,  and  focal  plane 
shutter.     This    camera    takes    pic- 


such  as  roads,  oil  lines,  dikes,  quar- 
ries, etc. 

Military  aerial  photography 
has  also  been  developed  since  the 
war.  Compact  five  lens  cameras 
have  been  developed  for  map  work 
and  reconnaissance,  which  cover 
from  side  to  side  a  distance  of  ap- 
proximately 10}/2  miles  at  an  alti- 
tude of  10X100  feet. 

Single  lens  cameras  of  different 


tures  of  the  same  size  as  those  de- 
scribed above.  There  is  a  small 
light  weight  oblique  camera  also  in 
use  in  the  Air  Corps.  It  is  a  10 
inch  focal  plane  shutter  type.  Its 
value  is  in  its  small  size  and  light 
weight.  The  pictures  are  5x7 
inches. 

The  exposures  of  the  20  inch 
and  10  inch  focal  plane  shutter 
type  cameras  are  adjustable  down 


ii        ii         .u      i,„    „    u^_.      Print   from    5-lens   camera    showing  Oakland,    California.   ,."    i  /99Cfl,  „i  „  Camr,A       TK»  nthfr 
sizes   and   focal   lengths   have   been  &  to  l/zzjtn  or  a  second.      1  ne  otner 


developed  for  special  uses  and  for  use  in  different  flying 
conditions.  Stereoscopic  photography  has  been  studied  for 
its  military  value.  The  film  for  most  of  the  single  lens 
cameras  is  9^  inches  wide  in  rolls  75  feet  long.  One 
roll  of  film  allows  about  100  exposures  each  7x9  inches 
in  size.  The  multiple  lens  cameras  take  a  six  inch  film  in 
lengths   of    120   feet   and    380   feet. 

A  standard  base  for  cones  containing  lenses  varying  in 
focal  length  has  been  developed.     Three  different  lenses 


camera  for  the  8^4,   12,  and  24  inch  lenses  is  adjustable 
down  to  1/1 50th  of  a  second. 

Filters  are  used  in  aerial  work  to  secure  sufficient 
contrast  in  the  subject  so  that  objects  on  the  ground  may 
be  easily  identified  in  a  photograph,  and  to  eliminate  haze. 
So  yellow  filters  (blue  absorbing)  are  used.  The  "Aero 
1"  is  the  weakest  filter  used.  It  approaches  a  K-2  in 
strength.  The  "Minus  Blue"  is  a  very  strong  yellow 
filter.  It  is  a  good  haze  eliminator  and  gives  strong 
contrast. 


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August,   1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Five 


For  extremely  high  altitude  photography  an  Aero- 
pan  K  (Kryptocyanine)  film  is  used  with  a  deep  red 
filter.  This  requires  a  long  exposure  but  at  high  alti- 
tudes a  longer  exposure  may  be  given  without  danger 
of  movement  in  the  picture.  This  is  a  haze  penetrating 
combination. 

Filters  will  also  aid  in  detecting  color  camouflage. 
Color  camouflage  depends  on  the  inability  of  the  eye  to 
focus  on  a  mass  of  varying  colors.  The  eye  will  focus 
on  one  color  at  a  time  so  the  complete  mass  is  confusing. 
The  camera  reproduces  these  colors  as  shades  of  grey, 
allowing  the  eye  to  comprehend  the  whole.  The  use 
of  different  filters  aid  in  that  they  more  clearly  show 
the  outline  of  such  camouflage. 

In  taking  vertical  and  oblique  pictures  for  military 
use,  pilots  and  observers  must  know  for  what  purpose 
the  pictures  are  to  be  taken  and  obtain  pictures  suitable 
for  that  purpose.  For  instance,  a  highway  bridge  crosses 
a  stream  at  a  certain  point.  Several  views  from  different 
angles  and  altitudes  may  be  taken,  all  being  correct,  but 
each  in  a  special  manner. 

For  an  infantry  advance  in  the  face  of  fire,  the  pic- 
ture must  be  taken  more  on  the  horizontal  to  show  the 
various  peculiarities  of  the  terrain,  such  as  relief,  size, 
shape,  and  density  of  underbrush  and  wooded  areas ;  and 
possible  angles  of  enemy  fire.  This  would  be  used  in 
conjunction  with  a  large  scale  vertical  picture  for  the 
planning  of  the  advance  by  the  commander. 

If  the  picture  were  taken  to  show  the  bridge  as  a  tar- 
get for  bombardment  planes,  it  would  be  taken  as  an 
oblique   to  show   the   type  of   bridge,   the   composition   of 


The  5-lens  camera  mounted   in   plane;  view-finder  on 
floor  at   right. 

the  understructure,  and  the  approaches.  This  would  be 
used  in  conjunction  with  a  high  altitude  vertical  to  show 
the  position  of  the  bridge  in  relation  to  the  surrounding 
country,  as  it  would  appear  to  the  bombing  personnel. 
If  hostile  fire  prevented  low  altitude  pictures  to  be 
taken,  stereoscopic  views  (exaggerated)  would  be  taken 
with  a  long  lens  camera  at  high  altitudes.  Study  of 
these  views  in  a  stereoscope  would  reveal  not  only  the 
type  and  construction  of  the  bridge,  but  also  the  relief 
of  the  surrounding  terrain. 

Stereoscopy  is  also  invaluable  with  some  types  of 
camouflage.  When  shadows  are  not  present,  or  when 
color  is  used  with  good  results,  stereoscopy  will  often 
disclose  the  attempted  camouflage. 

Oblique  and  vertical  stereoscopic  views  may  be  taken 
with  a  single  lens  camera,  the  former  being  more  in- 
frequently   used    than    the    latter.      Normal    stereoscopic 


views  taken  on  successive  photographs  give  the  exact 
ground  distance  between  exposures  as  that  which  equals 
2Yx  inches  on  the  focal  plane  of  the  camera.  It  can  be 
roughly  estimated  that  the  distance  between  exposures 
should  be  one-fourth  the  altitude  of  the  plane,  using  a  12 


The  5-lens  camera,  bottom  view.    Notice  the  5  lenses. 

inch  camera.  For  interpretation,  exaggerated  views  are 
generally  used  as  very  small  differences  in  elevation  then 
stand  out. 

For  mapping  purposes  strips  of  individual  pictures  are 
taken  allowing  an  overlap  of  about  60  per  cent  on  each 
picture  along  a  strip  and  an  overlap  of  about  50  per  cent 
between  the  strips.  The  pictures  may  be  matched  together 
using  the  detail  of  the  ground  shown  on  the  picture  as  the 
control,  or  a  map  projection  may  be  prepared  to  scale  and 
the  photographs  placed  on  this  using  survey  notes  as  the 
control.  Thus  a  map  is  made  from  many  individual  pic- 
tures and  is  known  as  a  mosaic. 

All  pilots  and  observers  in  the  Observation  Branch  of 
the  Air  Corps  are  required  to  understand  the  care  and 
use  of  aerial  cameras.  A  basic  course  is  given  in  aerial 
photography  and  a  -certain  amount  of  practical  training 
is  required  every  year. 


(This   article  was   written   by   Lieutenant   R.    S.    Macrum,   U.  S.   Air 

Corps,    Commanding    Officer    1st    Photo    Section,    Brooks    Field,  Texas. 

Submitted     by     John     L.     Herrmann,     Paramount     News,     Local  644. — 
Editor's   Note.) 


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MARY  PICKFORD 

AN    AMERICAN    INSTITUTION 

By  EARLTHEISEN 

Honorary  Curator,  Motion  Pictures,  Los  Angeles  Museum 


America's   Sweetheart. 


Ask  a  close  friend  of 
Mary  Pickford  for  his  or  her 
opinion  of  her  and  he  will 
reply:  "There  is  something 
spiritual  about  her." 

Her  actor  foil  will  say: 
"She  is  easy  to  work  with." 

The  cameraman  will  reply  : 
"She  does  not  interfere." 
The  studio  carpenter  will 
tell  you  that  she  remembers  his  first  name  and  calls  him 
by  it. 

The  executive  says:    "She  bristles  with  ideas  like  a  por- 
cupine with  quills." 

No  one  has  any  idea  of  what  her  charm  really  is — to 
each  individual  her  personality  is  different.  Each  person 
sees  her  according  to  the  things  remembered  from  his 
younger  days.  To  me  she  is — as  an  actress — hardly  better 
than  average;  but  everything  about  her  is  generous  and 
lovely.  It  is  not  just  the  ornamental 
loveliness  seen  by  the  eye  but  the  ap- 
peal that  does  things  to  the  non-sensi- 
cal  heart.  I  remember  a  certain  soft- 
ness— a  heart  in  conflict  underneath 
her  Annie  Rooney  rags.  It  is  the  heart 
of  the  whole  of  the  underfoot  America 
which  knows  the  realitv  not  of  having 
the  dollar.  As  Will  Connell  says  of 
her:  "She  has  immortalized  and 
brought  to  the  screen  the  tradition  of 
the  typical  lesser-American." 

A  biographer  of  her  hopes  to  tell  of 
a  vivid  life,  of  big  deeds,  but  they 
seem  commonplace  on  paper.  To  write 
her  story  is  difficult ;  to  place  her  per- 
sonality on  paper  is  harder  still.  Her 
story,  while  full  of  incidents,  seems 
unimportant. 

She  was  born  in  Toronto,  Canada, 
on  April  8,  1893.  She  was  Gladys 
Smith  then  and  lived  like  any  other 
youngster  of  poor  family.  Her  father, 
John  Smith,  who  was  purser  on  a  lake 
steamer,  died,  following  an  accident, 
in  his  early  thirties,  and  left  her 
mother,  Charlotte,  with  a  family  of 
three  to  support  and  educate.  Gladys 
and  her  younger  sister,  Lottie,  were 
still  in  "pig-tail"  curls  and  brother 
Jack  was  a  babe.  To  Gladys,  who 
was  the  oldest,  fell  some  of  the  tasks 
and  responsibility  of  caring  for  the 
family.  Her  younger  days  were  spent 
always  in   the   shadow  of   want. 

Her  first  appearance  on  the  stage — with  the  Valentine 
Stock  Company — was  at  the  age  of  five,  when  she  played 
the  part  of  Little  Ted,  a  boy  in  a  play  called  "The  Sil- 
ver King."  Later  the  rest  of  the  Smiths  joined  the  com- 
pany. The  whole  family,  even  baby  Jack,  was  now  on 
the  stage.  For  stage  purposes  the  mother  took  the  ma- 
ternal grandmother's  name  of  Pickford  and  at  the  same 
time  changed  Glady's  name  to  Mary. 


Remember    her    in    this? 


There  followed  for  Mary  in  the  next  few  years  a  va- 
riety of  parts.  When  eight  years  old  she  was  traveling 
on  the  road  with  "The  Little  Red  Schoolhouse"  Com- 
pany. At  eleven  years  she  was  playing  with  Chauncey 
Olcott  in  "Edmund  Burke."  Shortly  thereafter  she  played 
the  part  of  Betty  Warren,  her  first  appearance  on  Broad- 
way, in  a  David  Belasco  production,  "The  Warrens  of 
Virginia." 

Though  a  star  on  Broadway,  life  was  little  more  than 
a  serious  thing  full  of  responsibilities.  She  had  no  time 
to  play.  Summers  were  particularly  sad  for  the  little 
family,  since  that  was  a  time  when  stages  were  dark.  All 
actors,  then,  were  trying  and  frantically  hoping  to  make 
ends  meet  until  the  next  season  opened.  During  the  win- 
ter those  that  were  lucky  had  saved  money,  that  perhaps 
carried  them  through.  Others  had  kind-hearted  land- 
ladies.   All  were  in  need. 

Among  these  was  Mary,  a  little,  sad,  big-eyed  girl  with 
a  grimly  brave  heart.    Until  now  there  had  been  no  fun 
for  her,  but  a  sunnier  day  was  coming 
soon. 

Little  did  she  foresee  in  the  future 
on  that  summery  day  in  June,  1909, 
when  she  went  in  search  of  a  job  to 
Griffith  at  the  Biograph  at  11  East 
Fourteenth  Street,  in  New  York.  She 
went  to  the  motion  picture  studio 
with  only  a  few  pennies  in  her  pocket. 
She  had  spent  her  last  nickel  for  car- 
fare. Back  of  her  wistful,  sixteen- 
year-old  eyes  was  the  weariness  of  a 
lifetime.  This  quality  with  its  brave- 
ness  won  the  heart  of  the  already 
famous  Griffith,  who  told  our  Mary 
to  return  the  following  day  for  a  job. 
But  Mary,  like  all  other  of  the 
stage  people  then,  looked  askance  at 
the  unartful  movies.  Though  she  had 
little  hope  of  a  part  on  the  stage  dur- 
ing the  summer,  she,  with  a  last  final 
hope,  went  on  her  street  car  transfer 
to  Times  Square  to  the  Theatrical 
Booking  Agencies.  There  were  no 
parts;  she  was  saved  for  the  motion 
picture. 

Her  first  experience  in  motion  pic- 
tures was  a  small  part  in  "The  Lonely 
Villa,"  which  was  released  June  10, 
1909.  The  Biograph  Bulletin,  num- 
ber 3577,  which  announced  this  pic- 
ture to  the  nickelodeon  theatres  shows 
it  to  have  been  750  feet  in  length.  In 
it  Marion  Leonard  played  the  lead  and  James  Kirkwood 
was  the  mustached  villain  who  said  "Fie"  to  the  hero  who 
arrived  just  in  time.  The  hero,  of  course,  responded, 
"Tut,  tut."  G.  W.  "Billy"  Bitzer  was  the  cameraman 
on  this  now  famous  picture. 

There  were  no  stars  then  ;  the  audiences  in  different 
communities  knew  their  favorites  by  nicknames.  Marion 
Leonard,  Florence  Lawrence,  Arthur  Johnson,  Mack 
Sennett,  and  the  rest  of  the  galaxy  of   Biograph  players 


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were  all  known  by  pet  names.  Mary  Pickford  cam?  to 
be  known,  later,  as  "Little  Mary"  because  D.  W.  Grif- 
fith specified  her  as  Mary  in  the  titles.  That  was  a 
token  of  esteem  to  her  from  Griffith. 

Her  first  picture  in  which  she  played  the  lead  was 
"The  Violin  Player  of  Cremona."  This  part  came  three 
days  after  her  arrival  at  Biograph.  It  was  made  after 
Griffith's  famous  theme,  "The  Powerful  Influence  01 
the  Greater  Love,"  in  fact,  that  was  the  sub-title  on  the 
handbills  of  the  period  which  announced  the  picture.  It 
was  a  masterpiece  in  its  day  in  a  length  of  963  feet.  An 
insight  into  the  regard  the  Biograph  officials  had  for  the 
curly  haired  Mary  may  be  gleaned  from  the  fact  that 
this  picture  was  released  on  June  7,  1909,  or  three  days 
before  her  earlier  pictures  wherein  she  played  only  ex- 
tra parts.  It  went  out  to  the  theatres  by  itself  without 
the  usual  comedy  of  the  common  program  pictures. 

This  picture,  as  well  as  practically  all  others  then  and 
now,  used  the  last  five  feet  for  a  happy  ending  kiss. 
That  last  kiss,  it  seems  according  to  the  consensus  of 
opinion  among  picture  makers,  is  the  "box  office  appeal." 

From  the  first,  Mary  was  popular  ;  her  whole  life  had 
been  spent  in  preparation  of  the  themes  she  now  chose 
to  portray  on  the  screen.  Her  earlier  contact  with  the 
seamy  side  of  life  had  served  to  give  her  an  insight  into 
wistful  human  nature.  As  Palma  Wayne  has  said:  "The 
life  stream  in  rushing  past  did  not  carry  her   away,   but 

served  in  polishing  her.  She  was  saved      

for  something  bigger." 

Picture  audiences  then  expected  pic- 
tures to  move ;  action  was  wanted. 
An  actor  was  not  permitted  a  moment 
of  stillness  on  the  screen.  He  kept 
moving.  Frequently  the  director 
would  go  into  a  frenzy  of  exhortation 
in  telling  the  players  to  "Keep  mov- 
ing." At  this  Mary  was  a  success. 
Wallace  Clendenin,  who  chuckles 
over  the  memories  of  those  early  pic- 
tures, says  that  Mary  moved  more 
than  any  of  them.  She  never  was  still 
a  moment ;  always  some  part  of  her 
body  was  moving.  If  she  was  sitting 
down  her  hands  and  face  were  mov- 
ing; if  she  was  supposed  to  be  talking 
to  another  player,  she  would  be  pos- 
turing and  enthusiastically  gesturing. 
The  expression  on  her  face  was  con- 
tinually changing.  If  she  wasn't  smil- 
ing she  was  crying.  And  she  could 
cry  real  tears,  too !  I  remember  my 
mother  often  commenting,  "Look  at 
her  cry,  and  with  real  tears."  Mary 
never  used  onions  or  glycerine  for 
tears ;  they  were  there  along  with  any 
other  emotion  that  might  be  wanted. 

She  remained  with  Biograph  until 
the  fall  of  1910,  when  she  was  lured 
away  by  an  emissary  of  Carl  Laem- 
mle's  to  his  IMP  Company  (Inde- 
pendent Motion  Pictures)  at  an  ex- 
horbitant  salary  of  $175  a  week. 
Along  with  her  went  Owen  Moore, 
the  hero  of  most  of  her  Biograph  pictures.  Here  she 
worked  with  Thomas  H.  I  nee,  who  also  was  a  new  ac- 
quisition for  Uncle  Carl.  Ince,  with  a  large  diamond  and 
colorful  clothes  for  the  part,  was  a  new  director  then. 

The  first  Mary  Pickford  IMP  picture  was  entitled 
'The  First  Misunderstanding."  For  nine  months,  making 
one  and  two  pictures  a  week,  she  remained  at  IMP.  Then 


The  late  Mrs  Charlotte  Pickford  and  her 
daughter,  Mary 


THE  LONELY  VILLA 


viftr  .in. I   T 


Bursting    in   the   fronl    d 
dreadful  panic,  as  I  he  i  f« 

hu.bind  speeding  farther  i- 
abled  and  he  is  obliged  lo  h, 
telephone  his  wife  of  his 
cries  of  his  terrified  wife  inii 
Slowly  but  surely  breaking 
pistol,  but  alas  ii  is  empty  and  h 


burglai 


i  alls  .,  policeman  and  they 
brtftikntK k  speed,  and 
om  gnung  closer  and 

huddled     in     Ihelibr; 


u raging    word*    ol  i  he  hu 
>ut  of  the 


LENGTH     750     FEET. 

A    NEW     TRICK 


>rt  and  snappy  A  young  lady,  while  ttrollinj 
hich    is  picked  up  by  a  fellow  in  her  wake.     S 

this  moment  a  couple  of  Kan'  Rah ys  Comi 

lo  get  it  back  H>  a  shorf  ■  ui  the)  gi  I  ahead 
.  procure  his  pot  of  red  paim  aod  pallet  kmfi 
.   paint,  one  lie*  down  with  It  *tuck  under  his 


Out   jumpi   Ihe     other     boy     am 

■vide net    is   so   strong-  that  the  thief  is  i arced  to  disgorgi     and  the  purse  i*.  returt 
LENGTH      223     FEET  No.   3565         CODE     WORD     Revogad? 

Produced  and  Controlled  Exclusively  by 

BIOGRAPH     COMPANY 

II  East  14th  Street,  New  York  City. 


Handbill  of  Mary's  first  motion   picture 


Carl  Laemmle  took  a  long 
delayed  vacation — that  was 
a  signal — the  newly  formed 
Majestic  raided  Laemmle's 
IMP  and  among  many  othei 
stars  acquired  our  Mary. 
This  Majestic  concern  was 
ambition  itself  and  was  the 
pride  of  H.  E.  Aitken,  who 
until  now  had  been  a  mere 
exhibitor.  Mary's  salary  here 
was  $275  a  week — a  rather 
unheard  of  salary — but  now 
the  box-office  was  becoming 
star  conscious.  Her  first 
Majestic  picture  was  "The 
Courting  of  Mary,"  released 
on   September   26,    1911. 

She  made  very  few  pic- 
tures for  the  Majestic.  She  was  dissatisfied.  She  had  a 
story  to  tell ;  a  bigger  story  than  had  heretofore  come  to 
the  screen.  Both  the  IMP  and  the  Mutual  were  inde- 
pendents and,  like  all  of  their  tribe,  their  pictures  were 
slapstick  and  carelessly  made.  To  her  the  desire  to  make 
better  pictures  was  urgent. 

Biograph's  pictures  were  the  best  then,  so  Mary,  with 
trumpets  blowing,  returned  to  them  at  a  less  salary.  Here 
she  stayed  for  nine  months,  when  she  had  an  offer  from 

the  great  Belasco  to  again  go  on  the 

stage  in  one  of  his  productions.  She 
returned  to  the  stage  for  one  season, 
playing  the  part  of  Juliet,  the  blind 
girl,  in  "A  Good  Little  Devil."  It 
opened  at  the  Republic  Theatre  in 
New  York,  on  January  8,  1913.  That 
was  the  first  time  a  motion  picture 
star  was  recognized  by  the  austere 
stage.  It  was  a  prelude  to  much  fame 
for  the  outland  movie.  Terry  Ram- 
save  says:  "It  was  about  the  end  of 
the  Middle  Ages  of  Screen  History." 
Now  things  began  to  happen.  Like 
Michelangelo  in  Renaissance  art. 
Adolph  Zukor  wanted  to  better  pic- 
tures. He  had  faith  in  the  movies; 
he  knew  that  bigger  pictures  must  be 
made.  Heretofore,  practically  all  the 
pictures  had  been  in  single  reel  length. 
Too,  he  wanted  to  wed  the  stage  and 
screen.  Zukor  enlisted  the  aid  of 
Daniel  Frohman,  a  name  with  which 
to  conjure  in  the  theatrical  world. 
Through  Frohman  many  of  the  stage 
stars  condescended  to  make  pictures. 

Incidentally,  it  seems,  Mary  Pick- 
ford, the  big  thing  in  movies,  also 
aligned  with  Zukor.  This  was  in  the 
summer  of  1913.  She  was  going  to 
make  feature  length  pictures,  a  dream, 
long  standing,  with  her.  Her  first 
picture,  "Caprice,"  however,  was  not 
released  immediately.  The  second, 
"In  the  Bishop's  Carriage,"  starring 
besides  Mary  Pickford,  House  Peters, 
who  was  famous  on  the  stage,  and  David  Wall,  was  re- 
leased September  10,  1913,  as  her  first  Zukor  Famous 
Players  picture.  The  likable  Lyman  Broening  was  the 
photographer  on  this  famous  picture. 

The  public  demanded  Pickford  pictures!  The  theatre 
owners  needed  them!  Both  Biograph  and  IMP  started 
to  re-issue  their  old  single  reel   Pickford  pictures.     The 


"-'         :  "'    • "      '  '   '       ■'    ;'-      "'    ■  ■"       !■■  ■'.-■-■  ■(■''       'ihiei  I.    I. Ill     XL- 

icidenls  are  of  a  dicidi-dh  mak;i.il  nature,  and  also  claim 
ilensely  ihnlhng  gripping  the  spectator  from  si  an  to  finish 
ides  in  a  very  beautiful  country  villa,  tar  removed  from 
id  about  twenty  units  from  lb*  cit)  He  iv  .  .["-■■  hug  a  visit 
to  arrive  ID  the  Clt)  from  the  We  i  the  nexi  morning  rhis 
i  couple  of  crooks  who  plan  to  gel  Cutlison  awaj  ov.  .  I  i 
jtter  by  an  apparent  1)  idiotic  countr)  bumpkin  which  reads 
,n  earlier  tram,     Will  arrive  in  New  York  [0  )0  P    M       Men 


children,  ihe  bunipkm  is  taking  in 
he  doorway  Realizing  he  is  leaving 
en  the  doors  and  windows  securely, 
disguised  bumpkin  slyly  extracts  the 

larm  the  folks  and  throw  them  into  a 

:n  suddenly  his  machine  becomes  dis- 
tnn       Here    an    idea    Strikes    him     lo 


bant 


3S77         CODE     WORD -Re 


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Eight 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


studios  were  conspiring  for  the  services  of  the  demure 
little  Mary.  Among  the  picture  makers  there  were  secret 
meetings !  There  was  much  artificial  warming  of  the 
heart!    And  cigar  buying. 

To  the  picture  public  she  was  like  a  priestess  of  old. 
She  was  worshipped  and  in  turn  she  served  as,  perhaps,  a 
priestess  should.  She  was  the  motion 
picture. 

At  the  end  of  her  first  contract,  for 
reason  of  better  pictures  and  friendship 
for  the  likable  Adolph  Zukor,  she 
turned  down  offers  that  were  as  high 
as  $208,000  a  year  and  again  signed 
with  him  at  a  salary  of  $104,000  for 
the  year.  That  was  on  November  28, 
1914;  a  famous  day  for  the  Famous 
Players  idea  of  Zukor. 

If  possible,  her  popularity  grew. 
She  was  bringing  to  the  screen  the 
theme  of  the  wornout  masses ;  she  was 
showing  to  audiences  the  troubles  of 
others.  She,  and  her  curls,  came  to  be 
kown  as  the  "Sweetheart  of  America." 

Back  of  Mary  Pickford  through  all 
this  was  her  mother.  As  a  result  of 
their  early  hardships  together  they  were 
very  close  to  each  other.  Between  them 
existed  a  beautiful  love.  Her  mother 
largely  took  care  of  Mary's  worries 
and  business  dealings.  Of  her  mother, 
Mary  says:  "I  fully  realize  that  with- 
out her  I  never  could  have  accomplished 
any  lasting  success."  This  mutual  assistance  and  affection 
was  vital  in  Mary's  life  and  lasted  until  her  mother's 
death  on  March  21,  1928. 

In  1916,  on  June  24,  Zukor  and  Mary  again  renewed 
their  contract,  which  called  for  a  guarantee  of  $1,040,- 
000  with  an  additional  bonus  of  $300,000  bonus.  This 
was  to  be  in  the  form  of  a  $10,000  a  week  salary.  At 
this  time  the  Mary  Pickford-Famous  Players  Corporation 
was  formed  and  it  was  to  receive  half  of  the  profits  of 
the  box-office,  which  ran  into  millions. 

That  was  real  money.  But  the  motion  picture  and  its 
stars  had  cut  their  teeth  on  the  dollar  sign  and  in  so  do- 
ing had  developed  an  appetite  for  it.  The  flowing  of 
money  was  their  life  blood.  They  vied  with  each  other ; 
jealousies  sprang  up  over  incomes,  while  the  producers 
sat  back  in  the  reflected  attention  bestowed  by  the  public 


The  busy  little  girl 


upon  their  stars.  It  left  its  imprint  upon  the  box  office. 
John  R.  Freuler  manipulated  for  Mary's  favor  ;  Albert 
E.  Smith  wanted  her  in  Vitagraph's  pictures ;  so  did 
others,  but  she  remained  loyal  to  what  she  thought  was 
better  pictures.  She  is  like  that.  Persistency  to  the  cause 
is  her  forte  in  life.  She  is  untiring.  Alvin  Wyckoff,  her 
cameraman  in  "Coquette,"  says  she  has 
an  unhuman  capacity  for  work.  After 
she  has  rehearsed  a  scene  for  hours 
under  the  intense  heat  of  the  studio 
an  unhuman  capacity  for  work.  After 
she  has  rehearsed  a  scene  for  hours  un- 
der the  intense  heat  of  the  studio  lights 
— with  the  cameraman  wondering  when 
the  grease  paint  will  start  running — 
she  will  look  up  with  the  whimsical 
"Pickford  Smile"  that  says  all  is 
dandy.  That  smile  remains  cheerful — 
not  as  an  everlasting  grin — even 
though  she  be  exhausted.  And  she 
never  complains ! 

Among  the  more  notable  pictures 
made  by  her  under  the  Zukor  contract 
were  "Tess  of  the  Storm  Country," 
"Madam  Butterfly,"  "Hulda  From 
Holland,"  "The  Little  Princess," 
"Poor  Little  Peppina,"  "A  Romance  of 
the  Redwoods,"  directed  by  Cecille 
deMille,  as  was  "The  Little  Ameri- 
can," "The  Poor  Little  Rich  Girl," 
"Rebecca  of  Sunnybrook  Farm," 
"M'liss,"  "Amarilly  of  Clothesline  Al- 
ley," "Stella  Maris,"  "Johanna  Enlists,"  and  "Captain 
Kid  Jr.,"  which  was  the  last  Zukor  picture. 

On  November  11,  1918,  she  signed  a  contract  to  release 
her  pictures  through  the  First  National  Exhibitors 
Circuit,  which  established  her  as  an  independent  pro- 
ducer. The  first  picture,  and  incidentally  considered 
one  of  her  best  under  this  new  contract,  was  "Daddy- 
Long  Legs."  She  next  did  "The  Hoodlum"  and  finished 
the  contract  with  "Heart  o'  the  Hills,"  from  the  famous 
book  by  John  Fox,  Jr. 

Before  the  camera,  she  is  not  as  much  an  actress  as 
she  is  a  person  living  a  life.  Her  work  does  not  need  to 
be  forced.  There  is  a  naturalness  in  her  that  is  close 
to  life — in  fact  so  close  that  there  seems  to  be  almost  a 
lack  of  personality. 

(Turn  to  Page  47) 


Top — Left  to  right:    Jack  Holt,  Mary  and  Hobart  Bosworth  in  "Little  American";   "Suds";   "Little   American";    Mary;   Owen    Moore   and    Mary 

in  their  first  Zukor  picture. 
Below — House  Peters,  Mary,  David  Wall  in  "Bishop's  Carriage";  "Annie  Rooney";  Mary  and  Doug  in  "Taming  of  the  Shrew";  "Annie  Roonie"; 

Mary  and   David  Wall   in   "Bishop's  Carriage."     (Notice   Mary's  O.K.) 


August.  1933 


The       INTERNATIONAL       PHOTOGRAPHER 


Nin 


Shooting  Earths  Curvature 

AERIAL    PHOTOGRAPHY    FROM 
GREAT    DISTANCES 


By  J.   M.   F.   HAASE 


As  my  good  friend,  Jerry  MacMullen,  of  the  San 
Diego  Union,  wrote:  "When  a  seafaring  gentleman 
named  Columbus  came  out  flat-footed  in  the  15th  cen- 
tury and  declared  that  the  rotundity  of  the  earth  was  his 
story  and  he  would  stick  to  it,  little  did  he  realize  that 
anyone  would  go  up  some  three  miles  or  more  in  the  air 
and  bring  back  visual  proof  that  he  was  right." 

This  came  through  the  efforts  of  Dr.  C.  W.  Fred- 
ericks, of  Eastman  Kodak  Company,  his  son  Lieutenant 
T.  R.  Fredericks,  U.  S.  Navy,  and  the  writer. 

Dr.  Fredericks  had  been  working  on  special  negative 
emulsions  and  filters  to  use  with  them  and  believed  that 
by  using  the  horizon  of  the  ocean  more  positive  results 
would  be  obtained  to  show  this  curvature.  With  this  in 
mind,  he  forwarded  some  of  the  plates  with  the  camera 
already  equipped  with  the  filter  to  his  son,  Lieutenant 
Fredericks,  who  was  attached  to  the  squadrons  of  the 
U.S.S.  Saratoga,  based  at  San  Diego. 

Lieutenant  Fredericks,  knowing  the  writer  to  be  in- 


sand    feet    above    15,000    each    one    of    us    was    informed 
as  to  the  other's  condition. 

No  physical  discomfiture  was  experienced  by  either 
of  us,  though  in  lifting  the  camera  and  moving  about  all 
action  was  slow  and  deliberate.  At  19,000  feet  any  fast 
or  violent  movement  was  noticeable  in  breathing. 
Clothed  in  fur  lined  suits,  no  notice  was  taken  of  the 
cold. 

As  planned,  photographs  were  made  directly  from  a 
point  immediately  above  Point  Loma  and  by  compass 
bearings  from  the  plane,  i.e.,  west,  south,  east  and  north 
— this  to  eliminate  any  guesswork  on  where  a  place  may 
be  when  you  can't  see  it. 

Now  to  the  technical  data.  The  plates  used  were 
coated  with  an  emulsion  known  as  "Kryptocyanine"  or 
Pan  K.,  and  the  filter  a  deep  red  89-A.  Exposure  one- 
twentieth  of  a  second. 


Upper  right — Dark  strip  this  side  horizon  is  the  Gila  range  of  mountains    in    Arizona.      By    laying   a    straight-edge    at    both    ends   of    the 
horizon   the   hump   of   the   earth's   curvature   will   be   seen    in   center.     Pacific  Ocean   in  foreground;  then   La  Jolla. 


terested  in  any  experiment  pertaining  to  photography, 
enlisted  his  aid  to  handle  the  "box"  while  aloft.  Plans 
were  laid  and   a  favorable   morning   presented   itself. 

Our  plan  was  to  attempt  an  altitude  of  at  least 
25,000  feet,  but  we  were  frustrated  in  this  attempt  when 
we  reached  some  19,000  feet  by  clouds  that  were  form- 
ing so  fast  as  to  obliterate  the  ground  and  sea  below. 
No  elaborate  plans  were  made  regarding  the  use  of 
oxygen  tanks,  electric  heated  suits,  etc.,  as  both  of  us 
had  operated  at  these  altitudes.  The  senior  medical 
officer,  on  hearing  of  the  proposed  flight,  requested  us  to 
keep  a  record  of  the  effect  upon  us  as  we  reached  the 
higher  altitudes.      By  the  exchange  of   notes  each   thou- 


Aerial    Photography   From    Great   Distances 

(Translation  from  the  French  L'Aeronautique  by  Paul  Ivano,  Local  659) 

The  United  States  Army  Air  Corps  has  made  a 
thorough  study  of  aerial  photographs  from  great  dis- 
tances. From  a  military  standpoint  this  technique  has 
extremely  interesting  applications,  especially  for  oblique 
views.  Because  of  the  slowness  of  the  emulsions  em- 
ployed one  has  to  use  very  fast  lenses,  but  eventually  one 
will  be  able  to  use  teleobjectives,  that  will  permit  re- 
cording at  distances  over  60  miles.  This  will  be  espe- 
cially useful  for  works  of  entrenchment  and  fortifications, 
but  for  this  work  one  must  have  faster  emulsions. 
(Turn  to  Page  20) 


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Ten 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


August,  1933 


ii 


PROPS 


» 


Production  in  the  Early  Days 
of  Hollywood 


In  the  early  days  of  the  cinema  in  Hollywood,  Ken- 
neth McGaffey,  director  of  publicity  of  the  original 
Lasky  lot,  drew  a  pen  picture  of  a  prop-man  whom  he 
labeled  "Pete   Props." 

Pete  was  a  living,  breathing  wonder,  but  wonderful 
as  he  was,  he  had  nothing  on  Joe  Murphy,  first  Ameri- 
can prop-man  to  the  cinema  and  celebrated  in  Hollywood 
as  "The  Mayor  of  Cahuenga   Boulevard." 

In  these  days  a  prop-man  is  a  real  "brass  collar"  in 
the  studios,  with  a  million  props  to  choose  from,  the 
power  to  spend  money  for  more  and  the  right  to  an 
expense  account,  but  in  the  days  of  Joe  Murphy  the 
prop-man  had  to  be  a  combination  horse  thief  and  con- 
fidence man,  and  he  had  to  anaconda  his  props  if  he 
procured  any  at   all,   and  anaconda  means  "hook." 

The  redoubtable  Joe  Murphy  was  born  in  Al  Smith's 
old  village  and  did  his  first  cine  work  at  Baltimore  in 
Horsley's  Arlington  Studio  of  Moto-Photography,  a 
"glass"  stage  with  diffusers  and  everything.  Here  he 
crashed  the  gate  at  a  stipend  of  $3.00,  which  the  actors 
usually  chiselled  off  him  before  pay  day  came. 

Here  Joe  pulled  off  his  first  big  coup.  The  producer 
needed  a  baby  for  a  short  shot,  and  Joe  was  brusquely 
ordered  to  go  and  get  one.  After  an  hour's  search  he 
found  a  cute  baby  asleep  in  a  perambulator  in  the  park 
and  his  colored  nurse  also  was  asleep.  The  set-up  was 
perfect.  Joe  simply  gumshooed  over  to  the  sleeping 
infant  and  gently,  but  firmly,  trundled  him  over  to  the 
studio,  where  the  scene  was  shot,  and  the  baby  was 
awarded  two  silver  dollars  for  his  work.  Murphy  was 
trusted  with  the  money  and  ordered  to  get  the  baby  back 
home — but  how? 

He  just  called  up  police  headquarters  and  asked  if 
a  baby  was  missing.     One  was. 

"Well,  somebody  left  a  baby  here  at  the  studio.  He's 
asleep   and  all   right." 

"Hold  him,"  said  the  cops.  "We're  coming,"  and  in 
ten  minutes  the  police  arrived  with  the  frantic  colored 
nurse. 

But  the  two  dollars — how  to  get  'em  into  the  hands 
of  the  baby's  parents.     Said  Murphy  to  the  cops: 

"Y'  see,  officers,  when  we  found  this  baby  it  looked 
so  darn  cute  that  the  director  said  he'd  like  to  put  it  in 
a  scene,  and  while  waitin'  for  you  to  come  we  put  him 
into  the  picture  and  he  earned  two  dollars  for  his  folks." 

And  the  cops  said  Murphy  was  a  great  guy,  while 
Boss   Horsley   gave   him   a   raise  of  $2.00. 

Murphy  then  went  to  the  Nestor  Studio  at  Mariners' 
Harbor,  Staten  Island,  where  three  companies  were 
working  under  the  direction  of  Tom  Ricketts,  Milton 
Farney  and  Al  Christie. 

Later  Mr.  Horsley  came  to  Hollywood  with  the 
three  directors  here  named  and  Murphy  came  along. 
They  landed  here  in  Hollywood  October  27,  1911,  and 
that  was  the  beginning  of  the  cinema  on  the  West  Coast. 

Murphy  was  a  busy  boy.  All  he  had  to  do  was  to 
procure  what  the  director  asked  for  and  not  talk  back. 
If  the  great  god  of  the  megaphone  wanted  an  iceberg 
or  a  thousand  legged  worm  or  mayhap  a  Gila  monster, 
he  merely  revealed  his  lack  to  Joe,  and  Joe  produced  it 
without   delay. 

One  day  while  shooting  "The  Music  Master"  Vivian 


Rich  (remember  that  delicious  bit  of  girly  sweetness;) 
needed  a  pair  of  long  stockings  with  stripes  running 
around  them  and  Murphy  was  ordered  to  find  a  pair. 

A  schoolboy  passed.  He  wore  a  pair  of  long  striped 
stockings.  Murphy  went  into  conference  with  the  lad. 
An  hour  later  the  prop  man  presented  a  freshly  laund- 
ered pair  of  striped  hose  to  Vivian,  while  a  new  face 
appeared  in  the  cast  in  the  person  of  a  barefoot  boy. 

Now  Director  Tom  Ricketts  was  a  lover  of  flowers 
and  his  house  in  those  days  was  a  veritable  bower  of 
plants  and  posies.  He  also  loved  portieres  on  his  sets, 
and  one  night  he  startled  our  prop-man  by  giving  him 
peremptory  orders  to  have  his  new  set  embellished  with 
five  portieres  and  all  the  flowers  in  Hollywood — 8  A.M. 
the  next  day  was  the  zero  hour. 

Morning  came,  and  when  Director  Ricketts  saw  the 
set  he  was  entranced.  Flowers  were  everywhere,  and 
the  required  portieres  were  there,  too.  He  slapped 
Murphy  on  the  back  and  told  him  he  was  the  only 
prop-man  in  the  world. 

But  wait. 

The  next  morning  Mr.  Ricketts  arrived  at  the  stu- 
dio with  a  jaundiced  expression  in  his  eyes  and  a  large 
shillalah  in  his  gnarled  mitt.  Quietly  he  asked  for 
Murphy,  but  Murphy  had  gone  down  to  Malibu  Beach 
for  a  day  or  two. 

You  see,  while  Mr.  Ricketts  was  out  of  town  for 
a  few  hours  Murphy  backed  a  few  trucks  up  to  his  home 
and  took  away  to  the  studio  every  plant,  fern,  cactus  and 
flower  he  had  on  the  place,  including  his  portieres.  But 
the  picture  was  good,  so  Murphy  was  forgiven. 

On  another  occasion,  while  filming  a  Western,  Direc- 
tor Ricketts  suddenly  demanded  a  water  hole  and  he 
wanted  it  instanter.  Murphy  went  temporarily  insane, 
for  there  wasn't  any  water  within  many  miles.  As  usual, 
he  didn't  say  a  word,  but  started  the  old  brain  box  to 
clicking.  He  went  out  behind  a  prairie  schooner  and 
began  to  tell   his   troubles  to  Zeke,  his  pet  horned  toad. 

He  heard  a  rumble  in  the  trail,  and  to  his  joy  a 
Victorville  dairyman  came  along  with  sixteen  cans  of 
milk  in  a  big  borax  wagon.  Half  an  hour  later  Murphy 
reported  that  the  water  hole  was  ready. 

"Marvelous,"  said  Director  Ricketts,  as  he  looked 
at  the  water  hole,  "but  isn't  the  water  a  bit  white?" 

"Oh,  that's  all  right,  sir,"  jittered  Murphy.  "You 
see  it's  the  alkali  in  the  water." 

And  when  the  first  of  the  month  bills  came  in  Mr. 
Horsley  wondered  what  the  heck  Ricketts'  company  did 
with  all  the  milk  Murphy  bought  on  that  desert  location. 

The  famous  Poverty  Row  had  its  beginning  in  1918 
when  Murphy  went  into  production  on  his  own  account. 
His  capital  was  six  bits,  and  he  started  out  to  make  three 
five-reel  Westerns.  His  cameramen  were  Art  Reeves, 
Russ  Fisher,  Joe  Brotherton,  Jack  Rose,  Harry  Fowler 
and  Joe  August. 

And  when  Joe  Murphy  tells  me  he  made  those  three 
Westerns  with  six  bits  I  believe  him.  There  was  never 
anything  like  it  in  the  entire  history  of  motion  pictures. 
The  cameramen  were  willing  to  wait  for  their  money. 
He  chiseled  the  Park  Board  for  six  days'  use  of  Griffith 
Park.  He  chiseled  the  Western  Costume  Company  for 
guns,  ammunition  and  wardrobe.  He  sold  Earl  Hines 
of  the  H.  &  H.  Laboratory  the  idea  of  handling  the  film 
for  the  glory  of  the  thing  and,  after  brief  negotiations, 
he  secured  the  loan  of  thirty  head  of  horses  and  six 
burros  from  a  gang  of  stranded  road  workers  in  Topango 
Canyon. 

Feed?      Easy.      Simply    went    to    a    feed    dealer    and 
asked  him  for  enough  feed  to  see  him  through  the  eigh- 
teen days  of  production.     Pointed  out  what  a  gold  mine 
there  was  making  Westerns,  and   promising  him  all  the 
(Turn  to  Page  27) 


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AROUNDtheWORLD 

No.  3 
With  HERFORD  TYNES  COWLING 

"On  the  Road  to  Mandalay" — Burma 


The  "Road  to  Mandalay"  stretches  northeast  from 
Rangoon,  the  capital  of  Burma,  350  miles  by  land  or  up 
the  Irrawaddy  River  to  the  Pagoda  City  of  Mandalay. 
While  the  overland  trip  by  motor  or  rail  is  the  quicker  by 
far,  the  most  picturesque  and  comfortable  is  by  deluxe 
river  steamers  that  ply  up  and  down  the  Irrawaddy 
River,  towing  immense  barges  that  are  literally  floating 
bazaars  or  department  stores. 

Two  of  these  double  deck  merchandising  marts  are 
attached  to  the  river  steamers  (one  on  each  side)  and 
move  only  during  the  day.  At  important  landings  they 
stop  thirty  minutes  while  large  crowds  of  natives  rush 
on  board  to  shop  and  exchange  their  wares,  hides,  chick- 
ens, lacquer  ware,  pottery,  vegetables  and  stones  of  jade 
and  rubies.  Even  amber  is  bartered  for  cloth  and  other 
manufactured  goods. 

The  shop  keepers  are  chiefly  Bombay  Indians  who 
drive  a  shrewd  bargain  quickly,  and  as  the  gang-plank 
is  pulled  in,  many  late  shoppers  jump  into  the  river  to 
avoid  being  carried  away.  Nearly  a  thousand  miles  up 
the  river  these  floating  merchants  trade,  while  at  night 
a  screen  is  erected  on  shore  and  moving  pictures  pro- 
jected from  the  steamer  to  the  portable  screen,  space  be- 
ing roped  off  at  about  two  cents  per  admission. 

The  Burmese  are  a  very  picturesque  people,  cheerful, 
artistic  and  amusement  loving.  The  women  are  well 
treated  and  attractive  looking.  Men  and  women  alike 
are  well  clad  and  delight  in  gay  colors  and  silk  attire. 
Both  sexes  wear  a  cylindrical  dress  called  lungyi,  which 
is  folded  over  in  a  simple  fold  in  front  and  reaches  to 
the  ankles.  The  men  wear  also  a  single  breasted  short 
jacket  of  sombre  hue  called  an  aingyi.  The  women's 
garments  are  similar,  but  double  breasted,  and  usually 
white. 

In  religion  they  are  almost  entirely  Buddhist,  with 
the  exception  of  the  hill  tribes,  which  are  not  Burmese, 
but  Shans.  Every  Burman  is  supposed  to  spend  a  cer- 
tain part  of  his  life  (usually  about  a  year)  as  a  novice, 
wearing  the  yellow  robes  in  the  Monastery.  During 
that  time  he  must  beg  his  food  morning  and  night  from 
the  populace.  The  shaven  headed  monks  are  the  school- 
masters of  the  country,  performing  this  duty  in  return 
for  the  support  they  receive  from  the  people,  and  a 
Hpoongyi  (or  monk)  is  the  spiritual  head  of  every 
village. 

The  Burmese  picturesque  dance-acting  is  a  constant 
(Continued  on  Page  45) 

Left — Beginning  at  top — reading  down — The  great  Lion  Pagoda  on 
the  Irrawaddy  River  .  .  .  Some  of  the  many  shrines  around  the  great 
Shwe  Dagon  Pagoda  at  Rangoon  .  .  .  The  famous  Reclining  Buddha 
in  Burma;  note  steel  roof  recently  built  over  image  for  protection 
.  .  .  Native  Burmese  oil  well  dug  beside  a  modern  derrick;  the 
natives  dig  a  hole  about  four  feet  square  and  three  or  four  hundred 
feet  deep;  the  digger  is  lowered  on  a  rope  while  air  is  pumped  into 
the  shaft  by  hand  pumps  operated  by  the  women  above  .  .  .  Women 
pumping  down  air  .  .  .  Close-up  of  native  oil  well. 

Right — Beginning  at  top — reading  down — Myself  lined  up  to  shoot  on 
the  base  of  Lion  Pagoda  ...  An  interior  shot  of  the  great  Shwe 
Dagon  Temple  at  Rangoon,  Burma;  this  pagoda  covers  ten  city 
blocks  and  is  surrounded  by  hundreds  of  small  shrines,  sacred  places 
of  worship  .  .  .  Huge  image  of  the  blessed  lord  Gautama  Buddha, 
erected  on  a  sacred  spot  .  .  .  Resting  our  yoke  of  bullocks  en  route 
with  my  equipment  to  Mandalay  .  .  .  Raft  of  teakwood  on  the  Irra- 
waddy; these  rafts  are  floated  down  the  river  800  miles;  the  natives 
in  charge  live  on  the  rafts  and  raise  chickens,  pigs  and  other  live 
stock;  teak  logging   is  very  profitable  ...  A   Burmese  male  dancer. 


Twelv< 


The      INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


Flying  with  the  Leica  Camera 

By  KARL  A.  BARLEBEN,  JR.,  F.  R.  P.  S. 


— Photo  by  Ruth  Nichols. 
Clarence   Chamberlin   and    Mr. 
Barleben. 


Aviation  is  no  longer  the 
dangerous  adventure  it  used 
to  be  and,  to-day,  thousands 
of  people  travel  by  air  each 
year  as  a  regular  thing.  It 
is  but  natural  that  many  of 
these  thousands  would  like 
to  make  a  pictorial  record 
of  their  air  trips  but  are 
prevented  from  so  doing  by 
the  idea  that  special  photo- 
graphic apparatus  is  neces- 
sary. The  truth  of  the  mat- 
ter is  that  aerial  photogra- 
phy as  practiced  profession- 
ally does  demand  special 
equipment,  but  for  amateur 
record  purposes  almost  any 
camera  will  turn  out  cred- 


itable work  if  used  intelligently. 

The  one  big  disadvantage  of  the  average  camera  in 
aerial  photography  is  the  leather  bellows  which  join  the 
camera  body  to  the  lens — it  does  not  take  a  very  strong 
gust  of  wind  to  cave  the  bellows  in  to  such  an  extent 
that  photography  becomes  impossible  until  they  are  again 
placed  in  their  proper  position.  All  aerial  cameras,  it 
will  be  noted,  are  constructed  entirely  of  metal,  and  what 
is  ordinarily  the  bellows  of  a  regular  camera  is  a  strong 
metal  cone  which  tapers  down  to  the  lens  on  the  aerial 
camera.  Most  amateurs  are  not  easily  discouraged  and  we 
find  that  those  who  enjoy  making  aerial  photographs,  and 
who  cannot  or  do  not  care  to  invest  in  a  regulation  aerial 
camera  (they  cost  hundreds  of  dollars),  build  metal  shields 
which  fit  over  and  around  the  camera  bellows  in  such  a 
manner  as  to  protect  them  from  wind.  Such  home-made 
devices  seem  to  work  out  satisfactorily. 

Aerial  photography  presents  strange  and  often  diffi- 
cult problems  in  one  sense,  yet  on  the  other  hand  this 
work  is  extremely  simple.  For  average  occasional  air  pic- 
tures the  amateur  photographer  need  not  invest  in  the 
special  cameras,  for  his  own  equipment  can  be  made  to 
serve  nicely,  if  possibly  somewhat  awkward  and  bulky. 
The  problem  of  cameras  best  suited  for  air  work  is,  of 
course,  an  individual  one,  and  depends  greatly  upon  the 
type  of  equipment  already  in  the  individual's  possession. 

For  example,  a  large  view  camera,  8x10,  would  hardly 
make  aerial  work  a  pleasure  due  to  its  design  and  bulk. 
A  reflex  type  of  camera,  such  as  the  Graflex,  is  better  be- 
cause of  its  smaller  size  and  focal  plane  shutter.    Folding 


cameras,  such  as  the  Kodak,  can  be  used,  as  can  also  the 
lowly  box  Brownie,  but  in  each  case  special  handling  is 
required.  I  am  a  firm  believer  in  the  miniature  type  of 
camera,  yes,  even  for  aerial  work — and  I'll  tell  you  why. 

The  majority  of  'planes  are  small  and  offer  at  best 
cramped  quarters.  Space  is  at  a  premium.  We  cannot 
alter  the  'plane,  nor  make  it  larger  to  suit  our  conven- 
ience, but  we  can  use  smaller  cameras  which  will  permit 
us  greater  freedom  and  latitude.  Score  one,  then,  for  the 
tiny  size  of  the  miniature  camera.  It  can  be  whipped 
into  action  on  a  moment's  notice — a  half-dozen  pictures 
can  easily  be  recorded  with  the  miniature  camera  in  the 
same  time  that  is  required  for  one  exposure  in  the  aver- 
age camera  of  conventional  size  and  type.  This  is  im- 
portant in  aerial  photography.  Then,  too,  there  is  the 
matter  of  re-loading  the  camera  while  in  the  air.  The 
majority  of  miniature  cameras  make  sixteen  exposures  to 
the  roll  of  film.  Those  using  cinema  film,  producing  nega- 
tive images  lxl Yz  inches,  are  capable  of  recording  thirty- 
six  pictures  per  loading.  What  does  this  mean?  It  simply 
means  that  the  photographer  is  required  to  load  his  camera 
fewer  times,  hence  he  can  record  many  more  pictures  be- 
cause the  time  lost  in  re-loading  is  reduced  substantially. 
Again,  the  miniature  camera  is  not  only  easily  loaded,  but 
quickly  loaded  ;  hence  there  need  be  no  lost  time  to  be 
compensated  for  in  re-loading  while  in  the  air. 

The  Leica  camera  seems  to  be  the  ideal  miniature 
camera  for  aerial  work  because  of  its  (a)  small  size  (b) 
precision  mechanism  and  optics,  (c)  focal  plane  shutter 
with  speeds  up  to  l/500th  of  a  second,  and  (d)  the  bat- 
tery of  lenses  with  which  it  may  be  equipped.  Because 
standard  35  mm.  cinema  film  is  used  in  this  camera,  a 
wide  range  of  emulsions  can  be  used.  This  allows  the  pho- 
tographer to  select  the  appropriate  film  for  various  con- 
ditions and  filters.  The  majority  of  pilots,  who  play  with 
photography  as  a  hobby,  are  equipped  with  the  Leica, 
for  they  know  its  value  in  their  particular  activities. 

Before  continuing,  it  might  be  well  to  bring  up  a 
question  that  invariably  comes  up  when  the  miniature 
camera  is  discussed  in  connection  with  aerial  photography, 
and  that  is  the  matter  of  results — can  the  resultant  prints 
compare  with  the  results  of  larger  cameras?  That  is  the 
all-important  question.  The  answer  depends  entirely  upon 
the  individual,  for  I  have  seen  small  enlargements  which 
were  perfectly  terrible,  and  again  I  have  seen  tremendous 
enlargements  which  were  as  clear  and  sparkling  as  con- 
tact prints.  Some  workers  can  do  it,  others  cannot,  but 
where  there  is  a  will  there  is  a  way,  and  the  real  minia- 


Leica    shots   of    New   York    City    taken    by    Mr.    Barleben. 
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August,  1933 


T  h 


INTERNATIONAL       PHOTOGRAPHER 


Thirteen 


ture  camera  enthusiast  usually  finds  a  way  out  of  all  his 
difficulties — if  he  really  wants  to.  It  is,  of  course,  ad- 
mitted that  miniature  photography  is  still  in  its  infancy, 
and  therefore  is  not  to  be  indulged  in  by  "rule  of  thumb" 
methods.  New  facts  are  being  constantly  revealed,  new 
formulas  are  being  compounded,  new  methods  of  reducing 
grain  are  being  discovered  right  along.  It  is  mainly  be- 
cause miniature  photography  is  still  somewhat  in  the  ex- 
perimental stage  that  many  people  shun  it  as  being  im- 
practical.   The  fact  is,  however,  that  perfect  results  can 


Leica  shot  of  the  Statue  of  Liberty. 

be  produced  with  the  tiny  cameras  if  a  little  care  is  used. 
For  example,  take  the  question  of  film.  In  aerial  work 
with  the  miniature  camera  a  fine-grain  film  is  necessary. 
A  contrasty  film,  too,  is  desirable.  Fine-grain  developing 
of  the  negative  becomes  important.  Fortunately,  because 
the  Leica  uses  cinema  film,  we  can  select  our  films  from 
a  wide  variety.  For  aerial  work  the  DuPont  J4-Speed 
Pan  is  ideal,  for  it  possesses  the  usual  panchromatic  quali- 
ties, is  extremely  fine-grained,  and  has  just  the  proper  de- 
gree of  contrast.  Develop  this  film  in  a  reliable  fine-grain 
formula,  and  enlargements  up  to  11x14  are  easily  pos- 
sible— and  without  sacrificing  sharpness  or  producing 
grain  in  the  print.  Each  tiny  detail  will  stand  out  in  sur- 
prising relief.  Or  again,  there  is  the  Agfa  Plenachrome 
film.  This  film,  while  not  of  panchromatic  characteristics, 
possesses  excellent  qualities  for  aerial  work — fine-grain, 
speed,  and  excellent  color  values,  considering  that  it  is 
an  orthodox  film.  Other  fine-grain  ortho  films  include 
Perutz  Persenso  and  Gevaert  Express  Superchrome.  Nat- 
urally, there  will  be  times  when  a  full  panchromatic  film 
with  exceptional  speed  will  be  needed,  and  in  such  cases 
fine-grain  will  have  to  be  sacrificed  somewhat — although 
by  means  of  special  developing,  fine-grain  results  can  be 
obtained.  Films  in  this  class  include  DuPont  Superior 
Pan,  Eastman  Kodak  Supersensitive  Pan,  and  Agfa  Super- 
pan. 

Shutter  speeds  are  of  tremendous  importance  in  aerial 
work,  for  the  speed  and  vibration  of  the  'plane  demand 
speedy  exposures.    There  is  but  little  question  as  to  the 


value  of  the  focal  plane  shutter  for  aerial  work.  All  spe- 
cial aera  cameras  use  this  type  of  shutter,  not  only  be- 
cause of  its  fast  speeds,  but  also  because  the  movement 
of  the  shutter  can  be  made  to  travel  in  the  opposite  direc- 
tion to  the  movement  of  the  object — in  this  case  the  land- 
scape as  it  flits  under  the  'plane.  Investigation  has  shown 
that  proper  thought  and  consideration  of  this  matter  defi- 
nitely improves  the  results.  The  Leica,  with  its  highly 
efficient  and  accurate  focal  plane  shutter,  can  be  made 
to  produce  the  same  results  as  those  made  with  aero 
cameras. 

Lens  equipment  requires  careful  thought,  for  it  seems 
that  a  great  many  amateurs  believe  a  telephoto  lens  to  be 
necessary  for  aerial  work.  While  a  long  focus  lens  is 
sometimes  desirable,  it  is  better  to  select  a  shorter  focal 
length  lens  for  general  work  in  the  air,  for  it  does  not 
pick  up  vibration  as  does  the  telephoto.  The  telephoto 
lens  requires  a  proportionately  shorter  shutter  speed  than 
the  shorter  focus  lens  for  this  very  reason,  and  fast  shutter 
speeds  become  impossible  in  many  cases — such  as  when 
deep  filters  are  being  used  to  cut  through  haze.  The  pro- 
fessional cinematographers,  who  make  a  specialty  of  aerial 
photography  for  the  studios,  do  not  often  use  telephoto 
lenses  on  their  motion  picture  cameras  except  under  ex- 


Vf  i 


%  r 


A  Leica   photograph  of  the    Empire  State   Building, 
from  the  air. 


tremely  favorable  conditions.  The  miniature  camera 
equipped  with  the  usual  50  mm.  focus  lens  is  capable  of 
turning  out  as  satisfactory  aerial  photographs  as  the  one 
equipped  with  a  battery  of  various  telephoto  and  speed 
lenses,  although,  as  has  been  mentioned  before,  there  may 
arise  conditions  which  demand  these  extra  lenses. 

All  lenses  for  the  Leica  are  solidly  attached  to  the 
camera,  that  is  to  say,  there  are  no  bellows  to  worry  about. 
The  battery  of  Leica  lenses  offers  several  excellent  objec- 
tives for  aerial  use  which  seem  to  strike  a  happy  medium — 
not  too  long,  and  not  too  short  in  focal  length.  I  refer 
to  the  Hektor  f  :1.9,  73  mm.  lens  and  the  Elmar  f:4,  90 
mm.  lens.  It  will  be  noted  that  the  above  mentioned 
(Turn  to  Page  42) 


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Foui  leu 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


LIGHT  FILTERS 

FROM  THE 

CINEMATOGRAPHERS 
VIEW  POINT 

By  EMERY  HUSE  and  NED  VAN  BUREN 

A  Series— Part  II. 


It  will  be  observed  that  in  the  photographic  spectro- 
grams in  Figure  3  the  ordinary  sensitized  emulsion  has 
its  maximum  sensitivity  at  approximately  470  millimi- 
crons. In  the  case  of  the  orthochromatic  materials,  a 
maximum  occurs  in  the  green  at  a  wave  length  of  approxi- 
mately 560  millimicrons.  This,  of  course,  is  in  addition 
to  its  normal  blue  sensitivity.  The  panchromatic  emulsion 
of  the  super-sensitive  type  shows  a  peak  of  red  sensitivity 
at  wave  length  approximately  640,  also  in  addition  to  its 
blue  and  green  sensitivity.  It  can  be  quite  clearly  seen 
by  comparing  the  visibility  curve  of  Figure  4  with  the 
emulsion  sensitivity  curves  in  Figure  3  that  the  photo- 
graphic emulsions  and  the  human  eye  observe  colored  ob- 
jects quite  differently! 

This  subject  of  wave  length  sensitivity,  transmission, 
etc.,  necessitates  consideration  of  the  emission  spectra  of 
various  light  sources.  In  the  problem  with  which  this 
paper  deals,  i.e.,  the  study  of  filters  as  applied  to  dramatic 
cinematography,  almost  exclusive  use  is  made  of  daylight 
(including  sunlight).  As  a  matter  of  interest,  there  is 
presented  in  Figure  5  two  wedge  spectrograms  made  on 
Super-sensitive  Panchromatic  Negative  to  both  daylight 
and  tungsten  sources.  Although  it  is  very  rare  in  the 
natural  sequence  of  events  in  black  and  white  photography 
to  use  filters  on  a  studio  set  illuminated  with  tungsten, 


Daylight 


Tungsten 


Figure  5. 

it  will  be  of  interest  to  cameramen  to  observe  the  differ- 
ence in  the  emission  spectra  of  these  two  sources  as  re- 
corded   by    super-sensitive    film.      Examination    of    these 

t  Figures   No.    1-2-3-4  are  to  be  found   in   The   International   Photog- 
rapher for  July. 

*  West    Coast    Division,    Motion    Picture    Film    Department,    Eastman 
Kodak    Co. 


spectra  will  show  that  there  is  a  greater  degree  of  red 
emission  in  tungsten  than  in  daylight  as  recorded  by  the 
super-sensitive  film.  There  are  other  spectral  differences 
but  they  are  not  of  as  great  importance  as  this  red 
difference. 

An  inter-comparison  of  Figures  3,  4,  and  5  enables 
one  to  make  a  complete  interpretation  of  a  scene  in  terms 
of  the  perception  of  it  by  the  eye  and  also  by  the  photo- 
graphic material  when  illuminated  by  either  daylight  or 
tungsten.  The  eye  discerns  an  object  in  a  scene  by  virtue 
of  its  difference  in  brilliance  contrast,  hue  contrast,  or 
saturation  contrast.  The  photographic  emulsion  records 
the  scene  in  quite  a  different  manner  due  to  the  existing 
difference  between  eye  sensitivity  and  emulsion  color  sen- 
sitivity. Of  course  both  factors,  visual  and  photographic, 
are  governed  by  the  quality  of  the  light  emitted  by  the 


.'  1    1 

S     >- 

X         m 

I     ■ 

WAVE      LENGTH 


Figure  6. 

source.  Now,  added  to  these  factors  when  filters  are  in- 
troduced into  the  photographic  system,  is  the  spectral 
transmission  of  the  various  filters  which  are  selected  for 
use. 

The  Wratten  light  filter  booklet  published  by  the  East- 
man Kodak  Company  contains  the  spectrophotometric 
curve  of  each  Wratten  light  filter.  A  typical  example  of 
one  of  these  curves  is  illustrated  in  Figure  6,  which  is 
representative  of  filter  No.  58.  In  this  chart  there  are 
two  vertical  axes,  one  of  density  increasing  from  0.00  to 
3.00  and  one  of  transmission  decreasing  from  100%  to 
.10%.  It  will  be  remembered  that  there  is  a  very  definite 
relationship  existing  between  density  and  transmission. 
This  is  shown  bv  formula 

1 

Density  =  logarithm 

transmission 
From  the  figure  it  can  be  seen  that  a  density  of  0.00  has 
100%  transmission,  which  is  to  be  expected.   At  a  density 
of   1.00  the  transmission  is   10%.    At  a  density  of  2.00 


the  transmission 


(Turn   to  1- 


aijv 


a  density  of   3.00  the 
36) 


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August,   1933 


The       INTERNATIONAL       PHOTOGRAPHER 


Fifteen 


Range  of  Shutter 
Speeds  In  Any 


am  era 


Jr 


*&%. 


s<xf- 


\0 


a.   <§" 


w?a 


"T^l^^f 


CD     JO  *.<»*,* 


OS? 


ONE IECOND 
Vz  SECOND 
fl/4  SECOND 


mnd 
fractions 
between 


IN  ADDITION 
TO  REGULAR 
SPEEDS  OF 
'/loTO 

Tsoosecoi 


With  Universal 

Control  of  the 

Full  Second 

MODEL  F 

Now  the  LEICA  Camera  MODEL  F  has  mastered  the  complete  second!      For  the 

first  time  a  camera  with  a  focal  plane  shutter  makes  possible  speeds  of  1,   y<>,  }4* 

and    Vs    seconds,    including    all    intermediate    speeds,    in    addition    to    the    regular 

speeds  between   l/20th  and   l/500th  seconds.      Instantly  set   for  any   speed.      No 

confusing  scales  to  adjust. 

Accurancy  and  scope  of  shutter  performance  that  is  unequalled  by  any  other 
camera  today.  Night  photography,  indoor,  still  life,  portrait,  architectural, 
press  photography,  have  broad  new  possibilities  with  this  range  of  shutter 
speeds,  especially  when  used  in  combination  with  the  new  super  speed  films. 

And  here  is  another  new  LEICA  feature: 
MAGNIFIED  FOCUSING  IMAGE 

A  new  optical  system  provides  for  the  magnification  of  the  image  seen  in 
LEICA"S   built-in  range   finder  compensating   for  differences   in  eyesight. 
Other  modern  features  by  which  the  LEICA  Camera  sets  the  standard  for 
speed,  accuracy,  and  convenience  of  picture  taking: 

1.       Eighl    interchangeable   lenses   for   every    photographic    need    (including   telephoto,   speed, 
wide   angle   lenses   and   others). 
2.       Over   300    accessories    and    attachments    to    choose    from. 

3.       Built-in    Short    Base    Range    Finder   give?,   you    perfect    focus    instantly.     No    guesswork. 
4.       36    pictures    from    a    single    roll    of    standard    cinema    film.        (Sharp    negatives.       En- 
largements  up    to    12  x  18   inches.) 
5.      Small,    light,    compact,    fits    the    pocket. 
Write     for    free     illustrated     booklet     "Why    LEICA?**     and     also    booklet     1216    giving 
complete    information    about    Leica    Model    F. 


LEICA  now  offers  the  new  U  ESTO\  LEiCAMETER,  smallest  and  most  compact  of 
Weston  Exposure  Meters.  Fits  the  hand.  Glides  the  answer  for  correct  expasure 
instantly,  insures  sharper,  clearer  pictures,  saves  film  spoi'age.       Ask  for  Circular  EL. 


DEPT.    334 


E.  LEITZ,  Inc., 

60  EAST  10th  STREET  NEW  YORK 


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Sixteen 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


Filmo  Professional  Amateur 

By  R.  FAWN  MITCHELL 

Written    for    The    International    Photographer 

When  one  looks  back  over  the  rapid  development  of 
the  16  mm.  field,  one  is  struck  by  the  rate  at  which  lb 
mm.  film  has  grown  out  of  its  role  as  a  purely  amateur 
standard.  Even  in  the  early  days,  executives,  doctors,  and 
other  professional  men  who  bought  lb  mm.  equipment 
were  enthused  by  the  possibilities  of  using  this  equipment 
in  their  business  or  profession. 

With  the  introduction  by  Bell  &  Howell  of  the  spring 
driven  camera  equipped  with  many  features  hitherto  found 
only  on  professional  cameras,  the  amateur  was  able  to 
emulate  the  professional  type  more  and  more  successfully. 

Once  the  amateur  had  a  taste  of  the  possibilities  of 
the  more  elaborate  and  professional  effects,  the  demand 
for  still  greater  flexibility  grew  with  increasing  rapidity. 

Bell  &  Howell,  in  line  with  its  long  established  policy, 
has  meticulously  endeavored  to  avoid  obsoleting  existing 
equipment.  They  have  always  felt  that  insamuch  as  they 
did  their  best  to  make  equipment  stand  up  for  many  years, 
they  wanted  to  protect  owners  against  unnecessary  obso- 
lescence of  their  Bell  &  Howell  equipment.  For  this  rea- 
son, the  new  professional  features  that  are  now  available 
for  Filmo  owners  have  been  worked  out  so  that  they  can 
be  installed  on  any  existing  70  or  70-D  camera.  The  very 
first  Filmo  70  cameras  that  were  sold  can  be  equipped 
with  the  new  range  finder,  motor,  magazine,  etc. 

Let  us  review  for  a  minute  the  various  features  which 
can  be,  and  have  been,  added  to  the  first  Filmo  cameras 
sold.   This  will  give  an  idea  as  to  the  most  important  de- 


was  the  case  with  the  professional  cameraman  and  his 
Bell  &  Howell  studio  camera,  (the  first  to  utilize  the 
turret),  the  amateur  soon  found  that  a  turret  was  an  in- 
dispensable feature  and  practically  all  of  the  modernized 
cameras  are  accordingly  equipped  with  turrets. 

The  next  development  was  a  more  flexible  finder — a 
necessary  concomitant  to  a  turret.  It  was  not  much  use 
to  turn  over  a  turret  to  change  the  lenses  quickly  if  one 
could  not  set  the  finder  to  correspond  in  an  equally  short 
time.  The  well  known  drum  type  viewfinder  as  intro- 
duced in  the  70-D  camera  has  met  with  such  favor  that 
this  type  of  finder  has  been  fitted  to  many  of  the  older 
70-A  cameras. 

For  several  years  past,  Filmo  cameras  have  been  fitted 
with  hand  cranks  to  enable  the  entire  100'  roll  to  be  run 
off  without  stopping.  It  was  soon  found  that  the  hand 
crank  was  very  desirable  for  backing  up  the  film  in  the 
making  of  lap  dissolves,  using  the  iris  of  the  lens  in  lieu 
of  a  dissolving  shutter.  It  is  possible  to  back  up  a  foot  or 
two  of  film  in  this  manner  quite  satisfactorily,  so  that  this 
desirable  professional  feature  was  obtainable  without  in- 
creasing the  bulk  or  weight  of  the  camera. 

With  the  introduction  of  the  Eyemo  camera  equipped 
with  motor  and  magazine,  it  was  a  logical  development 
to  equip  the  Filmo  camera  accordingly.  This  method  of 
adding  such  features  to  the  camera  has  several  important 
advantages,  apart  from  avoiding  obsolescence  of  existing 
equipment.  The  motor  can  be  supplied  in  either  a  12 
volt  or  110  volt  specification.  With  the  12  volt  motor 
the  camera  can  be  operated  very  satisfactorily  by  a  couple 
of  six  volt  automobile  ignition  dry  cells  which  are  obtain- 
able anywhere.  Due  to  the  low  current  consumption  of 
the  motor,  these  cells  will  expose  at  least  five  or  ten 
thousand    feet   of    film.     Then    again,    all    airplanes    are 


J   ». 


n 


«Uf>^\ 


Nfei 


1 — Knob  for  turning  over  motor  by  hand  for  threading.  2 — Starting  button.  3 — Lever  to  throw  gravity  catch  in  or  out 
of  engagement.  A — Handcrank  socket  on  camera.  5 — This  pin  is  operated  by  closing  door  latches.  It  opens  mag- 
azine valves  when  camera  door  is  being  opened.  6 — Magazine  locking  screw  engages  here.  7 — Screw  which  locks 
motor  in  place.  8 — Range  finder  dial.  9 — Range  finder  lever  "in"  position.  10 — Prism  on  eyepiece  to  enable  user's 
head   to   clear   the   magazine.     11 — Optics   of   range   finder. 

velopments  in  the  progress  of  more  and  more  elaborate  lb  equipped   with    twelve   volt   generators   so   that   a   motor 

mm.  equipment.    The  first  development  was  the  changing  drive  of  this  specification   is  invaluable  for   aerial  work, 

of  the  governor  to  give  various  speeds.     Instead  of  being  The  camera  can  be  mounted  on  the  wing  or  fuselage  of  a 

content  with  8  and   lb  speeds,  the  range  was  changed  to  plane  and  controlled  by  a  convenient  switch  in  the  cock- 

12,  lb  and  24,  and  then  to  lb,  24  and  32.   The  range  on  pit.    For  analysis  of  landing  gear  in  action,  for  example, 

the  70-D  types  of  cameras  is  from  8  to  b4  pictures  per  this   installation    becomes   invaluable.     The   camera   thus 

second.     This    is    adequate    for    any    purpose    normally  equipped  can  run  24  feet  at  a  winding  of  the  spring,  or 

considered.  the  entire  roll  can  be  run  off,  either  by  hand  crank  or 

The  next  development  was  a  turret  holding  three  lenses  electric  motor,  as  may  be  most  convenient, 
so  that  the  user  could  switch  from  the  regular  lens  to  a  The  regular  camera  governor  is  used  to  regulate  the 

wide  angle,   speed   or  telephoto  lens  at  short   notice.    As  speed.    This  is  calibrated  to  within   two  percent — as  ac- 

*  Manager,   Technical    Service.   Bell  &  Howell.  Chicago.  (Turn    to    Page    26  J 

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August,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Seventeen 


EUROPEAN 

SUPREMACY? 

By  PHIUP  TANNURA 

Not  long  ago  whenever  motion  pictures  were  talked 
about  in  Europe  the  names  of  American  companies  were 
mentioned  loudly,  also,  very  quietly,  Ufa  and  Gaumont- 
British.  Later  an  agreement  was  reached  between  Ufa 
and  G.  B.  to  exchange  stars  with  the  help  of  British 
finance.  This  worked  out  quite  successfully  until  Heir 
Hitler  came  along  and  wiped  the  Ufa  and  several  other 
companies  off  the  map.  This  left  a  grand  opening  for 
G.  B.  She  did  not  wait  a  minute — while  America  was 
in  the  slump  of  depression  and  Europe  on  the  brink  of 
war  Gaumont-British  quietly  went  on  their  way  building 


What  a  break  a  cameraman  gets  for  the  handling  of  his 
lights  on  this  scaffolding. 


MacWilliams 

Clen  McWilliams,  cameraman,  and  Anatol  Litwak,  director,  watch  the 

rehearsal  of  a  scene  for  "Sleeping  Car,"  a  Gaumont-British  picture. 

a   gigantic   studio,    with    five    stages,     at     Lime     Grove, 
Shepherds  Bush. 


This  studio  was  finished  last  June  at  a  cost  well  over 
$250,000.  The  studio  is  a  striking  tribute  to  the  go- 
ahead  and  far  seeing  policy  adopted  by  Gaumont-British. 
There  are  numerous  offices  for  executives  and  clerical 
staffs,  a  main  theatre  with  accommodation  for  250  people 
and  also  three  smaller  ones  for  daily  rushes.  Eleven 
modern  cutting  rooms  are  a  paradise  for  film  editors  with 
the  laboratory  in  the  south  wing.  In  the  north  wing 
are  the  carpenter  shops,  electrical  stores,  camera  shop, 
still  lab  and  rehearsal  rooms,  a  canteen  large  enough 
to  accommodate  200  people  simultaneously,  and  a  res- 
taurant to  handle  an  additional  300. 


The  stages  have  been  equipped  with  up-to-date  light- 
ing apparatus  on  the  style  of  Hollywood's  best  studios. 
The  biggest  feature  (which  is  a  surprise  that  Hollywood 
has  not  used)  is  the  scaffolding  for  lights,  platforms,  and 
for    everything   and    anything   conceivable    to    the    mind. 


Speaking  of  breaks — 1  must  say  that  the  employees 
of  Gaumont-British  are  getting  theirs  in  the  way  of 
having  such  marvelous  executives  at  the  head  of  the 
studio.  In  the  old  days  of  motion  picture  producing  in 
the  United  States  the  heads  used  to  take  a  personal  in- 
terest in  the  doings  of  their  employees — the  employees  in 
return  used  to  work  endless  hours  to  give  satisfaction 
in  the  hope  of  producing  an  excellent  picture — but  alas, 


What    can    be   done    with    new   scaffolding — all    sizes   and    shapes   of 

cranes    can    be    made    at    short    notice.      This    picture    shows    Philip 

Tannura    and    the    Director    Milton    Rosmer    on    the    crane    making    a 

scene  from  "Channel  Crossing." 

what  has  happened    in    Hollywood — the   same   employees 
and  executive    heads  are   going  in   different   directions. 


Not  so  with  Gaumont-British.  Mr.  M.  E.  Balcon, 
in  charge  of  production,  is  never  too  busy  to  see  every 
day's  rushes  —  these  from  five  different  companies  — 
never  too  busy  to  go  on  the  floor  and  give  workers  an 
encouraging  word  when  the  stuff  is  good — and  when 
the  stuff  is  bad  he  doesn't  fly  off  the  handle  as  most 
Hollywood  producers  do  but  gives  the  persons  involved 
another  encouraging  word  in  the  most  convincing  and 
gentlemanly  way  and,  in  return,  each  and  every  employee 
is   breaking   his   back   to   give   service   in   a   happy   mood, 


Van  Enger. 

Chas.  Van  Enger  and  Victor  Saville  on  location  at  Welwyn  Garden  City 

where  wartime  scenes  of  the  Belgium  village  of  Roulers  were  filmed 

for  the  Gaumont-British  picture,  "I  Was  a  Spy." 

all  seriously  hoping  that  every  picture  made  is  better 
than  the  last.  Such  cooperation  between  the  executives 
and  employees  is  one  main  reason  why  Gaumont-British 
has  dominated  the  European  market  and  also  making 
great  strides  towards  the  American  market. 


This  company  has  stopped  at  nothing  in  getting  tech- 
nical   experts    behind    the    cameras.      Three    Hollywood 
camera  and  lighting  experts  have  been  engaged  and  when 
(Turn    to    Page   41) 


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Eighteen 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


A    NEW    DEVELOPMENT    IN 

CARBON  ARC  LIGHTING 


By  ELMER  C.  RICHARDSON 

of  Mole-Richardson,  Inc. 


In  this  motion  picture  industry  technical  develop- 
ments are  ever  progressive.  A  new  development  in  raw 
film  stock  can  easily  bring  sweeping  changes  in  lighting, 
make-up  technique,  applications  of  filters  and  lenses  to 
the  new  medium. 

One  of  the  leading  firms  in  the  field  of  color  motion 
pictures  has  developed  a  process  of  photography  in  which 
the  lighting  may  best  be  supplied  from  carbon  arcs. 

Though  there  are  available  in  the  studios  Sun  arcs 
and  80  amp  Rotaries  whose  operation  is  satisfactory  in 
conjunction  with  sound  recording,  there  has  been  no 
development  of  general  broadside  lighting  units  during 
the  past   ten   years.     Though   the  old  side  arcs  served   a 


The    new    high    intensity   lamp   delevoped    by    Mole- 
Richardson,    Inc.,    and    National    Carbon    Company. 

very  useful  purpose  in  the  days  of  silent  pictures,  the 
requirements  of  modern  technique  demand  equipment 
that  is  superior  to  those  formerly  used. 

For  the  new  colored  process  mentioned  above,  there 
is  required  a  lamp  which  will  produce  an  illumination 
level  of  200  foot  candles  as  measured  at  15  feet  with  a 
standard  Weston  photometer. 

In  order  that  the  actors  may  not  be  subject  to  the  eye 
injury,  known  to  physicians  as  simple  conjunctivitis,  but 
popularly  called  "Klieg  eye,"  it  is  essential  that  carbon 
arc  radiation  be  filtered  through  glass  having  high  lead 
content. 

Since  it  is  customary  to  make  "pictures  takes"  which 
frequently  extend  over  several  minutes,  it  is  necessary  that 

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the  light  source  be  comparatively  uniform  at  all  times, 
which  of  course  is  a  relatively  simple  thing  to  do  with 
filament  lighting,  but  quite  a  different  problem  when 
required  in  the  design  of  a  broadside  arc  lamp. 

The  old  t\  pe  of  studio  side  arc  fails  to  meet  the 
demands  of  the  sound  department  for  quiet  operation. 
In  designing  modern  equipment,  next  to  the  fulfillment 
of  the  photographers'  demands,  quiet  operation  probably 
is  the  next  essential  factor. 

With  the  objectives  enumerated  above,  the  problem 
of  meeting  these  requirements  was  put  up  to  the  firm 
of  Mole-Richardson,  Inc.,  and  after  several  months  of 
experimental  development  and  tests,  they  have  produced 
their  Type  29 — 1-0  ampere  Twin  Arc  Broadside,  designed 
to  operate  on  115  volt,  D.  C.  current. 

This  new  lamp  appears  to  have  fully  met  the  re- 
quirements specified  and  embodies  the  application  of  en- 
tirely new  principles  of  arc  control.  Instead  of  striking 
the  arcs  and  controlling  their  position  while  in  operation 
by  means  of  a  single  current  coil  as  has  heretofore  been 
the  common  practice,  each  pair  of  carbons  in  the  new 
lamp  is  controlled  by  an  independent  system  of  energiz- 
ing coils,  armatures,  and  connecting  linkage  which  per- 
mits independent  feeding  of  each  of  the  two  arcs  and 
prevents  the  intermittent  blinking  so  often  experienced 
in  the  old  type  of  equipment. 

In  the  new  design  advantage  has  been  taken  of  the 
modern  lightweight  materials.  Sheet  metal  parts  are  of 
duralium.  Reflectors  are  chromium  plated,  and  liberal 
use  of  high  grade  aluminum  castings  is  made  throughout 
the  entire  assembly. 

The  high  intensity  of  this  lamp  has  been  obtained 
by  utilizing  a  new  type  of  Flame  Arc  carbon  which  was 
developed  through  co-operation  of  Mole-Richardson,  inc., 
and  the  National  Carbon  Company,  whose  engineers 
know  more  about  the  application  of  carbon  arcs  to  pho- 
tography than  anyone  in  America,  if  not  the  world.  The 
new  carbons  are  8  m.m.  in  diameter,  approximately 
5/16ths  of  an  inch  and  are  lightly  copper  coated 
to  produce  satisfactory  conductivity.  The  coring  of  these 
arcs  has  been  effected  so  that  from  a  photographic  stand- 
point their  radiation  is  comparable  to  mid-day  sunlight, 
and  their  small  diameter  combined  with  the  coring  has 
for  a  given  amperage  increased  the  illumination  over  50 
per  cent.  In  fact  this  carbon  trim  when  used  in  the 
new  lamp  with  its  superior  reflecting  surfaces  produces 
illumination  of  an  intensity  three  times  as  great  as  that 
afforded  by  the  old  type  arcs  when  both  types  are  com- 
pared operating  open.  The  new  lamp  when  used  with 
the  special  diffusing  glass,  whose  high  lead  content  im- 
pedes the  transmission  of  ultra  violet  light  so  injurious 
to  the  eyes,  affords  more  than  twice  the  illumination  sup- 
plied by  the  old  arcs  when  they  were  operated  open. 

While  filament  lamps  have  undoubtedly  demonstrated 
their  advantage  as  an  illuminant  for  many  types  of  mo- 
tion picture  photography,  there  are  many  scenes  which 
may  be  more  advantageously  photographed  under  arcs 
or  by  a  combination  of  arc  and  filament  lighting.  Cine- 
matographers  will  doubtless  be  interested  in  the  use  of 
these  new  broadside  lamps  both  as  utilized  in  the  fields 
of  colored  and  black  and  white  motion  pictures. 


.Unjust,   1133 


T  h 


INTERNATIONAL       PHOTOGRAPHER 


Nineteen 


ANENT  THE  MICROPHONE 


By  CHARLES  FELSTEAD 


There  are  several  forms  of  the  microphone;  but  three 
of  them  will  be  discussed  here  because  they  are  of  par- 
ticular interest  to  the  motion  picture  soundman.  The 
single  and  double-button  carbon  microphones  will  not 
be  considered  because  they  are  practically  useless  for  high- 
quality  recording,  primarilj  on  account  of  the  carbon  hiss 
that  is  present  in  this  type  of  microphone.  Although 
there  have  been  occasions  when  the  double-button  car- 
bon microphone  was  used  for  emergency  recordings 
where  the  moisture  in  the  air  has  made  condenser  micro- 
phones inoperative. 

The  foremost  of  the  three  forms  of  microphones  em- 
ployed for  sound  recording  is  the  condenser  microphone. 
Briefly,  this  is  a  device  that  resembles  a  small  fixed  con- 
denser with  a  gaseous  dielectric,  whence  its  name.  The 
condenser  is  formed  by  two  metal  plates  spaced  one- 
thousandth  of  an  inch  apart.  One  of  these  plates  is  thick 
and  heavy,  but  perforated  with  many  small  holes.  The 
other  plate  is  of  very  thin  duralumin  and  is  so  tightly 
stretched  that  its  resonant  frequency  is  well  above  the 
principal  audio  range  employed  in  recording. 

The  thin  plate  forms  the  diaphragm  of  the  micro- 
phone, and  vibrates  readily  when  the  alternate  rarefac- 
tions and  compressions  of  the  air  that  constitute  a  sound 
wave  impinge  on  it.  The  space  between  the  two  plates 
is  varied  by  this  movement  of  the  thin  plate.  This  varia- 
tion results  in  a  change  of  capacity  of  the  condenser, 
which  is  translated  to  pulsations  of  electric  current  in 
the  grid  circuit  of  the  vacuum  tube  associated  with  the 
condenser  transmitter. 

The  vacuum  tube,  besides  matching  the  extremely 
high  electrical  impedance  of  the  condenser  transmitter 
to  a  low-impedance  transmission  line,  amplifies  these 
minute  current  variations  to  a  value  that  may  be  trans- 
mitted without  interference  from  crosstalk  along  a  cable 
to  the  main  recording  amplifiers.  These  very  weak  speech 
currents  are  again  enormously  amplified  in  these  main 
amplifiers  and  then  supplied  to  the  recording  devices. 

The  space  between  the  plates  of  the  condenser  micro- 
phone is  filled  with  an  inert  gas.  The  holes  in  the  heavy 
back  plate  are  provided  to  permit  the  passage  of  the  gas 
to  a  closed  chamber  back  of  this  plate  when  a  sound- 
pressure  wave  drives  the  diaphragm  backward.  An  in- 
genious device  that  compensates  for  changes  in  atmospheric 
pressure  is  combined  with  this  chamber ;  but  it  is  too 
complicated  to  describe  in  the  space  available. 

The  great  disadvantage  of  the  condenser  microphone 
is  that  it  is  so  closely  associated  with  its  vacuum-tube 
amplifier  that  the  two  must  be  built  into  an  integral 
unit.  The  resulting  microphone  is  bulky  and  heavy,  a 
rather  difficult  thing  to  handle  with  any  ease  on  the  end 
of  a  long  microphone  boom.  Also,  the  condenser  micro- 
phone is  susceptible  to  dampness.  A  considerable  amount 
of  moisture  in  the  air  will  cause  a  condenser  micro- 
phone that  has  been  exposed  to  it  for  some  time  to  be- 
come noisy. 

The  second  type  of  microphone,  which  has  recently 
come  into  use  for  sound  recording,  is  the  ribbon  micro- 
phone. This  form  of  microphone  is  much  simpler  than 
the  condenser  microphone.  It  consists  essentially  of  a 
rather  wide  but  very  thin  ribbon  of  duralumin  that  is 
corrugated  by  running  it  between  the  teeth  of  coarse 
gear  wheels.  This  ribbon  is  suspended  loosely  by  its 
ends  between   the   two   poles   of   an    electromagnet,    and 


transversely  of  the  magnetic  field  of  force  between  the 
poles.  The  electromagnet  is  energized  by  current  from 
a  local  battery. 

A  sound-pressure  wave  striking  the  thin  ribbon 
causes  it  to  vibrate  in  the  same  fashion  that  the  diaphragm 
of  the  condenser  microphone  vibrates.  This  movement 
of  the  ribbon  in  the  magnetic  field  of  the  electromagnet 
causes  an  electric  current  to  be  set  up  in  it,  operating 
under  the  electrical  law  that  a  conductor  moving  in  a 
magnetic  field  has  an  electromotive  force  induced  in  it 
by  its  action  in  cutting  the  magnetic  lines  of  force  of 
the  field.  The  magnitude  of  the  induced  emf  is  equal 
to  the  rate  of  change  of  the  magnetic  flux  through  the 
circuit.  Which  means  that  the  greater  the  movement 
of  the  ribbon,  the  larger  will  be  the  voltage  induced  in  it. 

The  minute  alternating  current  within  the  ribbon  is 
fed  through  a  transformer  to  the  grid  circuit  of  a  vacuum 
tube.  But  in  this  microphone,  the  impedance  of  the 
line  transmitting  the  current  from  the  microphone  to  the 
amplifier  is  low ;  so  the  microphone  can  be  used  at  a  con- 
siderable distance  from  its  amplifier  without  ill  effects. 
Ibis  is  a  great  advantage;  for  the  ribbon  microphone  itself 
is  extremely  light  in  w-eight  and  can  be  handled  very  easily. 
Because  of  its  small  size,  it  may  be  concealed  readily  in 
the  furnishings  of  a  motion  picture  set. 

Another  advantage  of  this  type  of  microphone  is  that 
it  is  decidedly  directional.  Only  sounds  coming  from  the 
two  quarters  facing  the  flat  sides  of  the  ribbon  will  cause 
the  ribbon  to  vibrate  and  produce  speech  currents.  Sounds 
originating  in  the  other  two  quarters  strike  the  edges  of 
the  ribbon  and  have  no  effect  upon  it. 

The  great  objection  to  the  ribbon  microphone  is 
that  the  loose  suspension  of  the  ribbon  allows  the  slightest 
physical  vibration  of  the  microphone  support  to  make  the 
ribbon  tremble,  which  movement  produces  sound  currents 
just  as  readily  as  do  sound-pressure  waves.  These  extra- 
neous currents  interfere  so  seriously  with  the  recording 
that  the  greatest  care  has  to  be  exercised  to  prevent  the 
microphone  from  receiving  mechanical  shocks. 

The  third  type  of  microphone,  the  dynamic  transmit- 
ter, seems  to  have  the  greatest  inherent  possibilities  ;  al- 
though due  to  mechanical  difficulties  these  possibilities 
have  not  yet  been  fully  realized.  A  coil  is  attached  to  the 
back  of  the  diaphragm  of  this  microphone.  This  coil  is 
supported  in  a  magnetic  field,  just  as  the  ribbon  of  the  rib- 
bon microphone  is  suspended  between  the  poles  of  an  elec- 
tromagnetic. And  like  the  ribbon,  the  coil  attached  to  the 
diaphragm  moves  in  the  magnetic' field  when  a  sound- 
pressure  wave  strikes  the   diaphragm  of   the   transmitter. 

The  movement  of  the  coil  in  the  magnetic  field  sets 
up  a  current  in  it  which  varies  in  accordance  with  the 
variation  in  the  movement  of  the  diaphragm  under  the 
influence  of  the  sound  wave.  The  higher  the  frequency 
of  the  sound,  the  more  rapid  will  be  the  movement  of 
the  coil  and  the  higher  will  be  the  frequency  of  the 
electric  current  generated  in  it ;  and  vice  versa.  Likewise, 
the  greater  the  amplitude  of  the  sound  wave,  the  greater 
will  be  the  movement  of  the  coil,  which  will  result  in  a 
larger  electric  current  being  produced  in  it. 

The  variations  of  current  in  the  moving  coil  are  sent 
through  a  transformer  to  the  grid  circuit  of  a  vacuum- 
tube  amplifier  ;  but,  like  the  ribbon  microphone,  the  con- 
necting line  is  of  low  impedance.  That  permits  the 
transmitter  and  its  amplifier  to  be  separated  by  a  consider- 
able distance  without  very  great  attenuation  of  the  speech 
(Turn  to' Page  20,  Col.  1) 


Formerly    Sound    Engineer,    Universal    Pictures    Corp. 

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Twenty 


The      INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


SHOOTING  EARTHS  CURVATURE 

(Continued  from  Page  9) 
In  continuing  research  work  on  screens  and  on  emul- 
sions sensitive  to  red  and  infra-red  rays,  one  will  be  able 
maybe  under  certain  conditions  to  obtain  aerial  photos 
through  light  veils  of  fog  or  mist  of  objects  very  little 
visible  on  the  ground.  One  of  the  peculiarities  of  this 
technique  lately  carried  on  is  that  the  plate  registers 
images  completely  hidden  to  the  eye  by  the  blue  mist 
characteristic  of  long  distances.  Usually  aerial  views  are 
limited  to  a  distance  of  40  to  55  miles.  One  obtains 
now  photos  of  four  times  that  distance. 

In  a  remarkable  picture  taken  recently  from  a  great 
distance  by  Capt.  A.  W.  Stevens,  one  can  see  Mt.  Rai- 
nier, photographed  from  the  Mt.  of  Three  Sisters,  a 
distance  of  230  miles.  This  record  was  exceeded  last 
January  by  the  same  specialist  a  distance  of  331  miles, 
in  a  view  of  Mt.  Shasta,  taken  from  eight  miles  south 
of  Salinas,  California,  and  at  an  altitude  of  21,000  feet. 
The  shutter  was  worked  approximately  60  miles  from 
the  point  where  the  mountain  ceases  to  be  visible  to  the 
eye.  For  this  reason  the  camera  was  pointed  with  the 
aid  of  an  oriented  map  at  Mt.  Diablo,  serving  as  a  land- 
mark. In  this  photo,  if  the  curvature  of  the  earth  did 
not  limit  the  view,  one  could  have  seen  a  surface  of  41,- 
800  square  miles.  The  land  visible  in  that  photo  is 
estimated    11,000  square  miles. 

Emulsions 

The  research  laboratories  of  the  Eastman  Kodak  Co. 
were  studying  the  possibility  of  increasing  the  sensitivity 
of  photographic  emulsion  to  other  radiations  than  the 
blue  and  violet.  It  realized  accidentally  an  emulsion 
showing  a  sensitivity  to  radiations  of  wave  lengths  be- 
tween 0,760  millimicrons  to  0,800  millimicrons,  and  also 
fast  enough  to  be  exposed  in  normal  light  conditions 
by  an  exposure  of  1/20  at  F:4.5.  This  emulsion,  sensi- 
tive to  red  and  infra-red,  is  the  same  as  used  by  astron- 
omers, only  it  has  to  be  kept  on  ice  until  loaded  into 
the  magazines,  and  developed  right  after  exposure.  The 
life  of  these  plates  is  not  over  five  days.  Many  tests 
have  been  unsuccessful  on  account  of  the  loss  of  sensi- 
tivity of  the  plates. 

There  is  as  yet  no  market  for  such  plates,  but  a  few 
sizes  have  been  coated  with  this  emulsion,  which  is  still 
in  the  experimental  stage.  It  allows  an  exposure  of 
1/25;  development  is  as  usual,  only  the  time  is  doubled. 
This  emulsion  has  to  be  used  with  special  filters.  Any 
of  the  red  filters  can  be  used.  The  one  used  for  the 
illustration  of  this  article  was  an  89-A  of  Wratten, 
which  is  made  by  the  Eastman  Kodak  Co.  The  pur- 
pose of  this  filter  is  to  cut  the  haze  and  to  clarify  the 
contours  of  objects  hidden  by  the  haze. 


The  factor  that  does  more  than  any  other  to  encour- 
age the  use  of  the  dynamic  microphone  is  that  it  is  not 
affected  by  changes  of  atmospheric  pressure  nor  by  mois- 
ture, as  is  the  condenser  microphone.  Condenser  micro- 
phones will  not  operate  satisfactorily  at  high  altitudes 
without  alteration,  due  to  the  low  atmospheric  pressure, 
and  so  the  dynamic  microphone  is  employed  almost  ex- 
clusively for  high  altitude  recording,  such  as  encountered 
in  the  mountains  or  in  airplanes. 

The  single  disadvantage  of  the  dynamic  microphone 
is  that  mechanically  it  is  difficult  to  produce  a  moving 
coil  which  has  sufficiently  low  mass  so  that  its  inertia 
will  not  suppress  the  higher  musical  frequencies.  The 
lighter  the  diaphragm,  of  course,  the  more  readily  it  will 
vibrate  at  high  frequencies ;  but  when  a  moving  coil, 
which  even  with  the  most  skillful  mechanical  construction 
has  a  definite  weight,  is  attached  to  the  diaphragm,  the 
diaphragm  will  not  respond  readily  to  those  higher  fre- 
quencies. 

This  slight  inertia  of  the  moving  coil  causes  the  trans- 
mitter to  respond  more  readily  to  the  lower  frequencies, 
resulting  in  a  slight  over-emphasis  of  those  frequencies. 
The  effect  of  this  characteristic  is  to  give  the  quality 
of  sound  recorded  with  the  dynamic  microphone  a  slightly 
boomy  quality.  This  deepness  of  tone,  if  it  be  called 
such,  of  the  dynamic  transmitter  is  not  particularly 
noticeable  in  speech,  but  it  is  plainly  evident  in  recorded 
music.  By  combining  a  condenser  microphone  and  a 
dynamic  microphone  in  recording  music,  a  very  pleasing 
effect  may  be  obtained. 


ANENTTHE  MICROPHONE 

(Continued  from  Page  10) 
current.     This  gives  the  dynamic  transmitter  all  the  ad- 
vantages of  the  ribbon  microphone,  such  as  light  weight, 
compactness,    and   smallness,    except    that    the    directional 
effect  secured  with  the  ribbon  microphone  is  not  present. 


INTRODUCING  MR.  FELSTEAD 

With  this  issue  of  The  International  Photog- 
rapher Mr.  Charles  Felstead,  of  Hollywood,  joins  our 
staff  as  an  associate  editor. 

He  will  specialize  in  sound  as  it  applies  to  cinema- 
tography, but  will  serve  also  in  general  lines  of  technical 
editorial  work. 

His  record  is  enviable,  as  will  be  observed  from  the 
data  herewith  following,  and  he  is  most  cordially  wel- 
comed by  the  entire  staff. 

Mr.  Felstead's  major  work  will  be  a  series  of  twelve 
articles  which  will  constitute  an  exhaustive  study  of 
sound  recording  and  sound  equipment,  and  students  who 
are  interested  in  this  subject  will  do  well  to  miss  none 
of  these. 

A  brief  sketch  of   Mr.  Felstead  follows: 

In  charge  of  the  construction  and  operation  of  limited  commercial 
radio  stations  KDBG,  KFQI  and  KZY  at  the  Thos.  H.  Ince  Studio, 
1923-24;  attended  University  of  Southern  California,  1924-2/;  majoring 
in  journalism  and  electrical  engineering ;  assistant  to  chief  engineer, 
Gilfillan  Radio  Corporation,  1928;  supervising  construction  and  installa- 
tion of  radio  stations  KGHV  and  KGHW  at  the  Universal  Pictures 
Corporation,  1928;  sound  engineer,  Universal  Pictures  Corporation,  1928 
to  1933;  union  member  since  1928,  belonging  originally  to  Locals  No.  37 
and  No.  40,  and  a  member  of  Local  695  since  its  organization;  techni- 
cal writer  on  radio  and  motion  picture  sound  recording  engineering  for 
the  past  ten  years  with  more  than  two  hundred  published  articles.  Now 
employed  as  a  free  lance  professional  writer.  A  pioneer  in  radio  in  Los 
Angeles,  beginnnig  as  an  operator  in  1915,  and  holding  a  commercial 
radio  license  almost  without  interruption  since  that  date.  Special  writer 
for  the  National  Radio  Institute;  member  Society  of  Motion  Picture  En- 
gineers and  Institute  of  Radio  Engineers;  honorary  member  National 
Advisory  Council  of  the  American  Radio  Association ;  lieutenant,  977th 
(AA)    CA-Reserve.    Communications    Officer,    1st    Battalion. 


UPS 


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August,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Twenty-one 


NEWSREELERS' 
SCRAP   BOOK 

By  FRED  FELBINCER,  Chicago 

To  the  east  of  proud  old  Michigan  Avenue,  in  Chi- 
cago, a  new  magic  world  has  come  into  being.  ...  A 
Century  of  Progress  .  .  .  The  World's  Fair  .  .  .  It's  a 
symphony  of  wonders  to  the  visitor  .  .  .  Unique  archi- 
tecture aspiring  to  the  skies  .  .  .  and  at  night  a  melody 
of  color  .  .  .  all  the  marvels  and  the  romance  of  the  world 
blended  into  the  modern  spectacle  .  .  .  The  World's 
Fair  .  .  .  Daily  hundreds  of  thousands  make  the  pil- 
grimage, to  be  conquered  by  the  glamour  of  Modern 
Progress  .  .  .  and  in  that  happy  holiday  army  of  tourists 
passes  an  unseen  army  of  tired  Knights  of  the  Celluloid, 
the  666  Newsreelers  .  .  .  They've  been  at  it  night  and 
day  .  .  .  burning  up  miles  and  miles  of  the  old  Super- 
sensitive .  .  .  it's  the  heaviest  grind  that  has  hit  that 
weather-beaten  gang  from  the  Windy  Village  .  .  .  they're 
popping  fast  over  at  the  Fair  now  for  the  gang !  .  .  . 
Come  along,  watch  the  old  guard  with  the  biggest  head- 
ache ever  handed  them  from  the  work  angle  .  .  .  Here's 
an  assignment  that's  going  to  last  five  months  for  them 
...  a  new  yarn  busting  every  few  minutes  ...  all  in 
the  Fair  Grounds  .  .  .  Here's  Jack  Barnett  and  Charlie 
Geis  batting  out  a  little  feature  story  on  the  first  wedding 
in  the  Midget  Village  .  .  .  Look  up  there,  the  west  tower 
of  the  Skyride  .  .  .  What  are  those  two  specks  at  the 
tip  of  it  .  .  .  600  feet  up  in  space !  .  .  .  Why,  no  specks 
at  all,  just  Eddie  Morrison  and  Sheik  Lippert  dangling 
from  an  eye-beam,  exercising  the  hand  cameras  on  a  few 
thrill  angles  to  chill  movie  audiences  into  what  a  spec- 
tacle the  show  is  looking  down  from  the  highest  point 
in  town  .  .  .  There's  Tony  Caputo  and  his  dial  twister, 
Ralph  Saunders,  taking  in  the  "Streets  of  Paris"  .  .  . 
with  their  equipment,  of  course  .  .  .  Quaint  old  "Belgian 
Village"  .  .  .  with  the  native  folk  dances  .  .  .  that's 
Emilio  Montemuro  perched  up  on  the  balcony  making 
impressions  on  celluloid  for  posterity  .  .  .  Look  at  those 
two  boys  trying  to  chauffeur  trucks  through  that  sea  of 
humanity  .  .  .  it's  just  Wayman  Robertson  with  the  Para- 
mount truck  and  Phil  Gleason,  behind  the  wheel  for  Fox, 


trying  to  edge  down  to  the  other  end  of  the  park  for 
another  setup  .  .  .  Why  there's  old  Herford  Tynes  Cowl- 
ing over  there  taking  in  the  Fair  with  his  Eymo  .  .  . 
Six  P.  M.  now  ...  no  wonder  Martin  Barnett  is  hot- 
footing it  for  the  'phone  booth  .  .  .  Martin's  a  married 
man  now  .  .  .  gotta  call  up  the  little  woman  and  explain 
that  he  just  simply  won't  be  able  to  make  it  for  dinner 
tonight  .  .  .  Floyd  Traynham  is  just  dashing  for  the  gates 
to  ship  in  his  stuff  on  a  little  feature  he  has  batted  out 
.  .  .  and  now  the  gang  is  ankling  over  to  the  opening  of 
"Hollywood  at  the  Fair''  .  .  .  this  is  supposed  to  be  the 
movie  exhibit  at  the  Fair  .  .  .  There's  Charlie  David  up 
on  a  parallel  .  .  .  Inkies  are  blazing  from  all  directions 
.  .  .  just  like  a  genuine  Hollywood  premiere  .  .  .  Charlie's 
the  official  cameraman  at  the  Hollywood  exhibit  .  .  . 
Wallie  Hotz  is  dial  twister  in  the  same  park  .  .  .  Billy 
Strafford,  the  666  helmsman,  is  cooling  off  with  a  stein 
of  3.2  .  .  .  but  his  dogs  are  not  so  cool  .  .  .  Billy  makes 
the  round  trip  almost  daily  through  the  park  .  .  .  and 
with  the  big  thermometer  in  the  center  of  the  grounds 
reading  100  doesn't  help  the  puppies  any,  complains  Billy 
.  .  .  inside  of  "Hollywood"  you  spot  a  couple  of  news- 
reelers who  have  grown  desks  and  white  collars  .  .  . 
Charlie  Ford,  of  Universal,  has  the  missus  out  tonight 
.  .  .  and  Norman  Alley,  one-time  Eymo  genius,  but  lately 
Mr.  Alley,  Picture  Editor  for  a  local  sheet,  is  sporting 
a  white  suit  .  .  .  mebbe  he'll  be  wearing  a  cane  next  .  .  . 
providing  the  weight  guesser  muffs  him  by  three  pounds 
.  .  .  Around  midnite  drop  over  to  the  "Streets  of  Paris" 
.  .  .  watch  the  old  film  foggers  draw  up  in  rickshaws  .  .  . 
just  sailors  on  a  day  off  .  .  .  It's  the  World's  Fair  .  .  . 
night  and  day  .  .  .  the  old  gang  of  Newsreelers  are 
making  it  .  .  .  sometimes  a  mammoth  headache  to  them 
.  .  .  story  after  story  .  .  .  sometimes  a  lot  of  play  .  .  . 
but  it's  the  show  of  shows  .  .  .  worth  seeing  .  .  .  worth 
crossing  the  continent  for  .  .  .  Those  666  Newsreelers 
won't  admit  it  .  .  .  but  it's  colossal. 
*        * 

SHORT  ENDS  ...  Got  an  invite  from  Charlie 
Ford  t'other  day  to  drop  up  and  gaze  at  a  preview  of 
his  brain  child,  "Thrills  of  the  World!"  .  .  .  it's  a  two- 
reeler  showing  his  shock  troops  in  action  .  .  .  News- 
reelers recording  all  the  goose-flesh  events  of  the  past 
few  years  .  .  .  it's  one  of  the  first  real  send-offs  the  news- 
reeler  has  got  .  .  .  sort  of  going  to  give  audiences  a  look 
(Continued  on  Page  46) 


1 

ROY    DAVIDGE             ■ 

I 

FILM    LABORATORIES           ■ 

1 

••• 

■ 

I 

An  Exclusive  "Daily"  Laboratory 

I 

1 

670  1 

Quality  and   Service 

6715     SANTA     MONICA     BOULEVARD 
GRanite    31  OS 

■ 

■ 

■     ■ 

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Movietone   sharpshooters   set    up   to    photograph    New    York's    Easter    parado 
in  front  of  St.  Patrick's. 

Stockholm  Sweden,  to  my  way  of  thinking  is  the  most 
nearly  perfect  city  to  live  in,  of  all  the  places  this  news- 
reel  cameraman  has  ever  seen.  Here  they  have  servants 
at  $20.00  a  month,  boatlandings  at  your  front  door  and 
Chevrolets  with  fine,  strong  comfortable  custombuilt 
Swedish  bodies  at  very  little  more  than  our  American 
prices.  For  you  fellows  who  like  food,  this  city  of  600,- 
000  people  offers  a  different  place  to  lunch  every  day 
for  a  year.  And  such  FOOD !  Bruno  Lessing  can 
boast  of  the  continental  taste  and  eats,  but  I  herewith  go 
on  record  as  placing  Swedish  food  above  all  other. 

This  is  my  third  visit  here  in  eight  years,  and  the 
modern  city  has  all  conveniences  desired  by  us  Americans 
plus  a  few  more  that  we  will  soon  see  and  learn  about. 

In  the  last  few  years  the  picture  studios  of  Sweden 
have  increased  in  both  numbers  and  the  amount  of  pic- 
tures released.  Strange  as  it  seems  they  make  no  pic- 
tures in  English,  only  Swedish,  French  and  German. 
These  pictures  practically  always  MAKE  MONEY,  so 
there  is  little  we  can  show  them.  We  may  feel  that 
our  camera  and  sound  equipment  is  superior,  but  the 
high  cost  of  American  workmanship  has  no  doubt  kept 
such  perfected  material  out  of  reach  of  these  people. 

The  Swedish  Aga-Baltic  sound  recording  system  is 
very  reasonably  priced  and  remarkably  effective.  Their 
cameras  are  mostly  DeBries  and  very  light  and  quiet. 
The  new  Super  Parvo  of  this  manufacture  is  really  a 
remarkable  box,  and  I  note  by  the  present  issue  of  our 
valued  INTERNATIONAL  PHOTOGRAPHER 
that  this  camera  is  now  advertised  for  the  American 
trade. 

I  have  one  of  their  silent  outfits  with  me,  on  an 
Akeley  tripod,  constituting  what  I  claim  to  be  the  best 
and  lightest  silent  camera  for  all  round  newsreel  work. 
My  camera  was  entirely  rebuilt  in  the  excellent  ART- 
REEVES  shop  back  home  in  Hollywood.  We  also  added 
full  studio  equipment  of  matte  box  and  filter  holders. 
My  filters  are  all  made  especially  for  this  camera  by 
our  filter  expert  Harrison. 

I  have  come  to  the  conclusion  that  two  filters  no 
one  can  work  without  under  all  travel  conditions  and 
still  get  excellent  results,  are  those  good  old  friends 
the  AERO  2  and  the  23A.  I  have  been  using  these 
two  alone  so  far  on  Eastman  Super  Sensitive,  and  see 
no  reason  for  any  other  filters  yet.  If  you  will  watch 
UNIVERSAL  NEWSREEL  you  will  'see  the  results 
of  mv  use  of  these  filters  and  this  negative  with  the  de- 
lightful DeBRIE. 

Sweden  has  many  fan  magazines  of  all  sizes,  prices 
and   classes,    but   one   of   them,    the    FILMJOURNAL, 


Newsreel  World 

By  RAY  FERNSTROM 

This  paper  has  a  large  sale  and  issues  ONCE  A  WEEK 
to  an  ever  growing  circulation. 

Movie  theaters  here  have  to  be  run  especially  for 
the  local  customs  and  habits.  With  such  a  beautiful  city 
and  many  scenic  walks  it  is  not  unexpected  that  the 
Stockholmer  takes  an  evening  walk  from  habit.  This 
he  does  after  a  hearty  meal  of  substantial  Swedish  food 
and  the  ever  present  Akvavit  or  SNAPPS  which  is  a 
grand  appetizer.  Hence  the  movie  houses  are  closed 
until  he  has  taken  the  evening  promenade. 

Dinner  is  generally  eaten  at  five  thirty  and  lasts  until 
six  thirty.  His  hike  lasts  usually  for  half  an  hour,  ne 
is  then  ready  for  a  rest  and  relaxation.  Picture  per- 
formances begin  at  seven  and  second  shows  at  nine.  All 
seats  are  reserved  and  ordered  by  telephone.  Telephones 
cost  very  little  and  are  owned  by  the  State,  as  are  water 
power  companies,  railroads,  cigar  companies,  liquor  stores 
and  many  others.  American  movies  are  very  popular  but 
the  added  Swedish  titles  distract  an  American  here  as  he 
sits  and  listens  to  a  performance. 

Programs  are  sold  in  their  entirety  so  that  all  shorts 
get  a  rather  poor  break,  yet  newsreels  are  among  the 
most  popular  forms  of  movie.  This  makes  me  think  that 
Stockholm  is  a  good  place  to  try  out  a  NEWSREEL 
Theater,  if  the  "offstage"  were  in  Swedish. 

The  climate  here  this  summer  is  as  nearly  ideal  as 
man  could  desire  and  photographic  conditions  ideal. 
Great  big,  fat,  round,  solid  clouds  every  day  and  daylight 
until  eleven  at  night. 

My  friend  of  olden  days,  Bertil  Norberg,  with  whom 
I  live  at  Tegnerslunden  4,  Stockholm,  has  the  interna- 
tional distinction  of  being  the  only  press  photographer 
specially  appointed  by  H.  M.  King  Gustaf  as  Court 
Photographer  to  his  Royal  Majesty.  Bert  is  now  called 
Hovfotographen,  for  everyone  has  a  title.  Here  I  am 
always  referred  to  as  Filmfotografen  Herr  Fernstrom,  it 
being  very  impolite  to  address  anyone  without  his  title 
until  very  close  and  long  friendship.  The  ceremony  of 
dropping  titles  and  calling  each  other  YOU  is  always 
performed  over  a  glass  of  snapps — potato  alcohol.  The 
older  person  takes  the  first  step  and  then,  glasses  are 
lifted,  emptied  .  .  .  followed  by  grave  and  hearty  hand- 
shakes and  immediate  use  of  the  free  YOU,  or  in  Swedish 
DU.  So  far  in  ten  days  I  have  enjoyed  the  ceremony 
of  laying  aside  two  titles. 

To  get  back  to  the  subject  of  movies  in  general  I 
find  that  some  of  our  stars  enjoy  great  popularity,  but 
they  feel  here  that  Clark  Gable  shows  his  dimples  too 
much.  Janet  Gaynor,  Jeanette  MacDonald  and  Chester 
Morris  are  extremely  well  liked.  Our  American  photog- 
raphy is  recognized  as  superior  and  always  remarked 
upon.  Just  let  a  foreigner  try  to  break  into  the  exclu- 
sive studios  for  a  job.  They  feel  that  we  have  too  many 
expectations  in  every  regard  and  demand  too  high  salaries, 
but  why  shouldn't  we  ? 

THE  INTERNATIONAL  PHOTOGRAPHER 
is  on  sale  here  in  the  great  N  K,  the  Nordiska  Kom- 
paniet,  the  largest  department  store  in  the  North,  where 
every  language  under  the  sun  is  spoken  by  special  inter- 
preters and  guides.  Our  great  magazine  enjoys  a 
healthy  sale  among  people  here  who  wish  to  keep  up  with 
Hollywood  and  our  Movie  World. 

Sweden  is  a  virgin  land  for  film  talent  scouts.  Her 
women  are  among  the  most  beautiful  I  have  ever  seen. 
I  enclose  herewith  but  one  of  many  charming  girls  who 
(Turn  to  Page  45) 


gives  the  best  indication  of  the  Swedish  love  for  movies. 

Please  mention  The   International   Photographer   when   corresponding   with  advertisers. 


August,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Twenty-three 


junior  Motion  Picture 
Camera  Notes 

By  GEORGE  J.  LANCASTER 

B.  &  H.  MONTHLY  SHOW 

With  an  exceptional  attendance  of  sixteen  millimeter 
enthusiasts,  the  iJell  &  Howell  movie  show  under  the 
direction  of  J.  A.  Dubray,  Western  District  Manager, 
was  held  in  the  auditorium  of  the  big  camera  firm  at 
716  North  La  Brea  Avenue,  Hollywood,  July  21.  Gen- 
eral criticisms  of  each  movie  subject  screened  was  ap- 
preciated by  those  who  brought  their  films  for  the  even- 
ing's entertainment.  It  was  evident  that  in  a  great  many 
cases  the  camera  operator  "pammed"  too  fast,  spoiling  the 
otherwise  good  reel. 

A  semi-professional  picture  filmed  with  a  70-D 
FILMO  by  the  L.  A.  Department  of  Playgrounds  and 
Recreations,  was  shown. 

J.  H.  Brown,  of  Beverly  Hills,  showed  his  ability 
in  composition  and  general  make-up  in  his  film  that  had 
been  photographed  in  the  Hot  Springs  reservation  on 
the  Fiji  Islands. 

The  recent  1933  National  Air  Derby  held  here  was 
a  thrilling  subject  in  its  entirety,  photographed  on  a 
70-D  model  camera  by  C.  E.  Brochett. 

Burton  Holmes'  travelogue  of  the  Chicago  World's 
Fair  closed  the  evening's  program.  Many  of  the  16 
M.M.  fans  went  home  with  new  ideas  and  renewed 
hopes. 


Question:  Where  can  I  obtain  information  about  the  making 
of   newsreel    subjects? 

Answer:  There  is  a  book  published  with  the  title, 
"Cash  from  Your  Camera,"  by  Snyder  and  Barleben. 
You  can  also  obtain  ideas  from  "Free-lance  Journalism," 
by  Mallinson,  and  the  "Complete  Press  Photographer," 
by  Bell.     These  books  will  help  you. 

Question:  Is  it  possible  to  make  Kodacolor  films  indoors  with 
artificial   light? 

Answer:  Yes,  providing  you  have  enough  illumina- 
tion. You  should  have  enough  light  to  stop  the  lens 
down  to  f  :8  when  using  regular  black  and  white  film; 
then  there  will  be  sufficient  light  to  make  Kodacolor 
films. 


Question:     Can    "still 
of  mcvie  film? 


enlargements    be    made    from    a    frame 


Answer :  Yes,  there  are  several  good  devices  on  the 
market  which  will  permit  the  enlarging  of  movie  film. 
Be  careful  not  to  attempt  too  great  a  magnification, 
because  the  grain  will  be  enlarged  with  the  image,  and 
be  careful  not  to  select  scratched  film. 

Question:  Several  scenes  in  a  recently  exposed  reel  of  film 
show   white   streaks   down    the   center.      What   causes    that? 

Answer:  Probably  a  ray  of  sun-light  is  striking  the 
lens  from  the  side ;  in  other  cases  a  strong  diffused  light 
from  the  side  will  cause  a  general  light  fog  over  the 
entire  frame  and  will  degrade  the  tone  values  of  the 
picture.  Always  use  a  sunshade  and  your  pictures  will 
be  greatly  improved. 

Question:    What   does   U.   S.   mean    on   some    lens   markings? 

Answer:  U.  S.  stands  for  Uniform  System.  Where 
the  numbers  are  in  direct  proportion  to  the  exposure 
times  the  lens  markings  are  abbreviated  U.  S.  Stop  8 
and  stop   16  have  one  to  two  relations  so   that   1  /125th 


Clark  Cable  indulges  in  his  favorite  hobby,  personal  movie- 
making, and  is  using  his  Bell  &  Howell  Filmo  movie  camera 
to  "shoot"  Helen  Hayes,  with  whom  he  appeared  in  the 
Metro-Coldwyn-Mayer  picture  "The  White  Sister."  Both  Miss 
Hayes  and  Mr.  Cable  have  become  enthusiastic  amateur  movie 
photographers  since  living  in   Hollywood. 

on  16  would  need  l/50th  at  16  in  the  f:  system  which 
is  generally  used,  the  exposures  are  in  relation  to  the 
squares  of  the  f  numbers. 

Question:     Can    I    obtain    a    very    short    focus    lens    for    my    16 
M/M.  so  as  to  get  objects   nearby  which  are  too  wide  for  the  film? 

Answer:  Short  focus  lenses  shorter  than  25  M/M 
have  been  made  from  time  to  time,  down  to  20  M/M. 
There  are  some  interesting  samples  made  with  a  new 
Hypar  of  15  M/M  focal  length  placed  on  the  market 
by  the  C.  P.  Goerz  American  Optical  Co.  The  ordinary 
lens  equipments  on  regular  movies  have  angles  about 
(Turn   to  Page  38) 


New  fi+C+E*  Combination 
Sunshade  —  Filter  Holder 


LIGHT  —  COMPACT  —  SIMPLE 

QUICKLY  ATTACHED 

Approved  by  world's  foremost  camera  manufacturers  and  pho- 
tographers. Made  to  fit  any  still  camera  lens;  also  16  mm.  and 
35   mm.   motion   picture   camera   lenses. 

CUT  YOUR  COST 

Two-piece  construction  holds  filter  firmly  and  permits  change  of 
filters   without    use   of   individual   holder    for    each    filter. 

A  BOON  TO  LEICA  AND  CONTAX  USERS 

Permits     shooting    toward     light    and     eliminates     lens    and    filter 

glare. 

HOLDER,    $3.50    and    up FILTERS,    $1.50    and    up 

//     your     dealer     cannot     supply    you—order     direct. 
Designed    and   Manufactured    by 

Hollywood    Camera    Exchange 

Dealers    in    Everything    Photographic 

1600      N.      Cahuenga     Blvd.,  Hollywood,      Calif. 

Phone    HOllywood    3651 


Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


EASTMAN 
FILMS 


BRULATOl 


WHAT'S    WHAT! 


Published  Monthly  by  J.  E.  Brulatour,  Inc.,  Distributors. iasl 


CAMERACRAFT 
ACCLAJMED 

Saturday  Evening  Post  Pays  Tribute  To  Photographers 


More  years  ago  than  we  care  to  ad- 
mit, and  long:  before  we  had  traveled 
west  any  further  than  Chicago ;  about 
the  time  we  began  making  our  living 
in  a  branch  of  the  motion  picture  in- 
dustry, we  remember  with  what  great 
interest  we  read  the  first  inside  stories 
about  production  in  Hollywood.  These 
pen  pictures  were  drawn  for  the  world 
by  Rob  Wagner  (now  picture  editor  of 
Liberty  Magazine),  and  periodically  ap- 
peared   in   the  Saturday   Evening   Post. 

Since  then  this  latter  publication  has 
presented,  from  time  to  time,  other 
stories  from  the  pen  of  Mr.  Wagner, 
and  also  from  other  authors  of  national 
and  international  reputation.  We  have 
read  all  about  the  tricks  of  the  trade ; 
intimate  stories  of  the  stars;  of  direc- 
tors ;  of  writers ;  producers ;  but  we 
believe  the  Saturday  Evening  Post  nor 
any  other  national  periodical  has  ever 
previously  devoted  feature  editorial 
space  exclusively  to  the  cameramen  of 
1 1 1  >ll>  wood. 

It  remained  for  Palma  Wayne  to  write 
the  first  great  story  of  the  "Aces  of 
the  Camera,"  which  appears  in  the  Post, 
issue  of  July  22nd.  Copyright  restric- 
tions prohibit  reproduction  or  reprint  of 
any  part  of  this  story.  It  is  intelli- 
gently, interestingly,  truthfully  and  gra- 
phically presented.  It  is  a  revelation 
to  many  members  of  the  cameracraft. 
It  is  bound  to  impress  the  producers 
themselves,  and  every  person  who  makes 
his  living  in  any  branch  of  our  indus- 
try. Also  it  will  make  far  reaching  and 
favorable  appeal  to  the  box  office  pub- 
lic. It  will  increase  the  world's  respect 
for  the  cameraman  and  his  importance  to 
this,  the  largest  branch  of  the  entertain- 
ment   business. 

In  recent  years  it  has  been  the  aim 
and  the  purpose  of  individual  and  or- 
ganized cameramen  to  obtain  public 
credit    for    their    achievements. 

Not  so  many  months  ago  at  the 
annual  installation  of  officers  of  the 
American  Society  of  Cinematographers, 
President  John  Arnold  (of  the  A.  S.  C.) 
in  his  speech  on  policy  and  procedure 
pledged  to  the  assembled  cameramen  the 
desire  and  intention  of  the  A.  S\  C. 
toward  obtaining  proper  recognition 
from  the  critics,  newspaper  and  maga- 
zine writers,  throughout  the  world.  At 
this  meeting  Charles  J.  Ver  Halen,  busi- 
ness manager  of  the  A.  S.  C,  and  editor 
of  the  American  Cineniatographer,  was 
instructed  by  President  Arnold  to  ex- 
tend the  Society's  campaign  with  re- 
newed   effort    and    encouragement. 

We  have  kept  closely  in  touch  with 
the  progress  of  this  campaign,  and  on 
January  first  of  this  year  we  inaugu- 
rated a  press  clipping  service  for 
cameramen,  whereby  we  have  received 
from  our  home  office  in  New  York  and 
from  our  Chicago  branch  newspaper 
clippings  on  the  reviews  of  all  pictures 
opening   and   playing   in    eastern    cities. 

Generally  these  critiques  have  ex- 
pressed opinions  regarding  the  box  office 
values  of  the  pictures  ;  they  have  praised 
or  condemned  the  writers,  directors  and 
actors  ;  but  too  seldom  have  they  even 
credited     or    mentioned  'the     cameramen. 

Exceptions  have  been  made  where  in 
the  opinion  of  the  writers  the  camera- 
men contributed  outstanding  achieve- 
ments   to    the    production.       However,    as 


UNIVERSAL 

ARTHUR  EDESON  continues  in  pro- 
duction on  that  very  intricate  photogra- 
phic assignment,  "The  Invisilbe  Man," 
which  is  being  directed  by  James  Whale. 
King  Gray  rides  the  perambulater — 
while  Jack  Eagan  changes  focus,  etc. 

CHARLES  STUMAR  is  busy  placing 
the  lights  on  another  picture  here.  This 
one  is  "Saturday's  Millions,"  a  foot- 
ball story.  We  saw  some  of  the  U.  S. 
C.  football  players  on  the  set  so  Charley 
should  have  some  real  inside  informa- 
tion for  the  coming  games.  It  won't  be 
long  now.  Edward  Sedgwick  is  the  di- 
rector and  Will  Cline  is  operating  the 
camera.  Johnny  Martin  holds  down  the 
assistant's  job  very  nicely  too. 

GEORGE  ROBINSON  was  the  un- 
named photographer  referred  to  in  the 
Saturday  Evening  Post  story,  "The 
Well  Dressed  Man  in  Grey."  George 
is  finishing  another  of  those  hilariously 
funny  ZaZu  Pitts-Slim  Summerville 
features  directed  by  Eddie  Buzzell,  titled 
"Love  Honor  and  O'Baby".  The  oper- 
ative cameraman  is  Jimmy  Drought  and 
Llovd   Ward    is   assisting. 

MERRIT  GERSTAI)  continues  in 
production  with  John  M.  Stahl  direct- 
ing "Only  Yesterday."  Merrit  is  turn- 
ing in  a  very  nice  photographic  job  as 
usual.  His  crew  comprises  Al  Jones, 
at  second,  Paul  Hill  and  Ross  Hoffman 
assistants. 

TONY  GAUDIO  has  completed  an  ex- 
cellent piece  of  camera  work  on  "Lilies 
of  Broadway."  directed  by  Mr.  Dupont. 
Studio  officials  here  are  high  in  their 
praise  of  Tony's  latest  effort.  Dick 
Fryer  was  the  man  on  the  camera  and 
Bill    Dodds   the    assistant. 

JOHNNY  HICKSON  and  BILL 
STCKNER  have  completed  their  serial 
"Gordon  of  Ghost  City,"  which  Ray 
Taylor  directed.  The  second  cameraman 
was  Howard  Oswald.  The  assistants 
were:  Buddy  Weiler.  Carl  Meister. 
Charles    Crane   and   Bennv   Trafton. 

LEN  POWERS  has  completed  sev- 
eral more  comedies  for  Warren  Doane 
and  at  the  moment  is  ready  to  start  an- 
other one — that  is.  if  his  sprained  ankle 
will  permit  it.  He  swears  it  happened 
while  working  in  the  garden.  James 
Horn  naturally  was  the  director  and 
the  assistant  cameraman  was  Walter 
Williams. 


PARAMOUNT 


MeCLUNG  RESUMES  AT  U.  A. 

HUGH  MeCLUNG.  after  too  long  ? 
vacation,  returns  to  his  former  positior 
of  laboratory  technician  for  U.  A.  Witl" 
the  added  production  of  Twentieth  Cen 
tury  Pictures  at  LTnited  Artists,  Mac 
will  be  kept  plentv  busy  when  Sam  Gold 
wyn   swings   into  action. 


stated,     this     has      been      the      exceptior 
rather    than    the    rule. 

We  hope  and  we  believe  that  th 
Saturday  Evening  Post  story  referred  ti 
will  have  a  very  definite  psychologies 
effect  upon  these  writers,  and  tha 
henceforth  their  critiques  will  at  leas 
identify  the  cameraman  who  is  respon 
sible   for   the   photography. 

In  conclusion  of  the  Saturday  Evening 
Post  story  we  are  gratified  to  note  th: 
highly  complimentary  reference  to  the 
introduction  of  Super-sensitive  Panchro- 
matic negative  which,  as  is  known  to 
the  entire  cameracraft,  was  introduced 
by  Eastman  Kodak  Company  and  J.  E. 
Brulatour,    Inc.,    in    February    of    1931. 


HENRY  SHARP,  who  did  such  good 
work  on  the  Charles  Rogers  pictures,  is 
now  shooting  the  Four  Marx  Brothers 
(when  he  can  find  them).  The  picture 
is  directed  by  Leo  McCarey.  Otto 
Pierce  and  Freddy  Mayer  are  keeping 
in  trim  shoving  the  pan  handle  around. 
Art  Lane  and  Neil  Burger  do  the  as- 
sisting. 

CHARLEY  LANG  continutes  on  the 
Maurice  Chevalier  picture,  "The  Way 
To  Love,"  and  is  getting  along  right 
well.  We  enjoyed  Charley's  crack  about 
what  makes  an  ace  cameraman  an  ace. 
Bob  Pittack  and  Cliff  Shirpser,  as 
usual,    are    Charley's    photographic    asso- 

VIC  MILNER,  who  did  such  a  gor- 
geous job  on  "Song  of  Songs"  with  Mar- 
Iene  Dietrich,  is  shooting  "Design  For 
Living,"  that  highly  sophisticated  com- 
edy directed  by  Ernst  Lubitsch.  Vic  has 
Bill  Mellor  operating  the  camera,  and 
Guy  Roe  as  assistant.  These  two  boys 
seem  to  have  a  fairly  steady  job  with 
Mr.   Milner. 

The  studio  officials  liked  THEODOR 
SPARKUHL'S  work  on  his  first  picture- 
so  well  that  they  immediately  signed  him 
to  a  long  term  contract.  Sparkuhl  is 
now  in  production  on  his  second  pic- 
ture, "Too  Much  Harmony."  The  pic- 
ture is  directed  by  Eddie  Sutherland 
and  stars  Bing  Crosby  and  Jack  Oakie. 
Frank  Titus,  Buddy  Williams,  Francis 
Burgess  and  Eddie  Adams,  make  up  a 
very   efficient    staff    for    Sparkuhl. 

MILT  KRASNER  is  in  Pendleton, 
Oregon,  making  exterior  scenes  for 
"Golden  Harvest,"  Charley  Rogers'  epic 
of  the  wheat  fields.  Ralph  Murphy  is 
directing.  "Golden  Harvest"  is  Kras- 
ner's  fourth  production  with  Mr.  Rog- 
ers.  Need  we  say  more?  Harry  Hallen- 
berger,  Lloyd  Ahearne  and  Irving  Class- 
man make  up  the  camera  crew  on  the 
trip  with  Milt.  And  a  very  nice  crew 
too,    if    you   ask   us. 

AL  GILKS  finished  "Glory  Com- 
mand" at  RKO  and  has  been  assigned 
to  "Captain  Jericho"  at  this  studio.  This 
will  be  the  initial  directorial  effort  of 
McNutt  and  Jones,  the  famous  writing 
pair. 

GORDON  and  DEV  JENNINGS, 
those  two  little  fellas,  have  been  doing 
splendid  work  on  their  miniature  and 
trick  effect  work,  which  does  so  much 
to  add  production  value  to  the  Para- 
mount pictures.  The  double  exposure 
work  in  "Midnite  Club"  was  especially 
well   done. 

FARCIOT  EDOUARD.  in  charge  of 
the  transparency  process  here,  has  sent 
Dewey  Wrigley,  one  of  his  ace  camera- 
men, to  Baton  Rouge.  Louisiana  to 
make  background  shots  for  "White- 
Woman, "  a  forthcoming  Paramount  pro- 
duction.  Farciot  has  been  doing  some 
very  interesting  work  in  "Design  for 
Living,"  and  other  Paramount  produc- 
tions. 


RKO 


M.G.  M. 


JIMMIE  HOWE,  who  made  so  many 
fine  pictures  at  Fox,  with  Bill  Howard, 
is  photographing  "Beauty,"  directed  by 
Boleslavsky.  Jimmie  says  he's  having  a 
>well  time  and  M.  G.  M.  is  a  great  lot. 
Dick  Wade  is  Jimmie's  second  camera- 
-nan,    and    Wilbur    Bradley    does    the   as 

"CHARLTE  CLARKE,  another  old- 
imer  from  the  Fox  lot,  has  been  doing 
licely  here,  thank  you.  He  has  beer 
issigned  to  the  new  Tarzan  pictur< 
vhich  will  star  Johnny  Weismuller. 
"Iiarlie  is  a  quiet,  efficient  workman  anc' 
irtist,  respected  for  his  unfailing  calm 
n<l    good   temper. 

NORBERT  BRODTNF  is  back  on  the 
ot,  having  completed  "Deluge"  for  Sarr 
3ischoff    at    Tiffany.       Norbert    is   nhoto 
■raphing   "The   Late   Christopher   Bean," 
eing  directed  by  Sam  Wood. 
OLLIE   MARSH  continues  on  "Danc- 
ing   Lady."    the    Joan    Crawford    picture 
bi  me    directed    by    Bob    Leonard.      (Yes. 
cs.   Eddie   Fitzsrerald  is  the  second  cam- 
eraman     and      Kyme      Meade     does     the 
work.) 

HAL    ROSSON    has    finished    nroduc- 
(Continned   on   Page  45) 


HENRY   GERRARU  is   b 
of     his     previous     photograph, 
ments     on     that     popular    stor 
Women,"     which    is    being    d 
George     Cukor,     who,     with 
Hepburn,     Joan     Bennett,     1 
and    Paul   Lukas  all  vouch  for 
statement.      Bob   De  Grasse  o 
camera    and    George    Diskant 
doing    the    thousand    and   one 
assistant    is    called    on    to   do.    f 

DAVE  ABEL  must  have  cl 
on    his    first     RKO    picture    bi 
mediately   upon   completion  of   .( 
ter     Romance")      he     was      a 
"Ann    Vickers,"    in    which    ] 
well   is  directing  Irene  Dunn. 
Oliver,    Walter    Huston,     Bun    I 
and   Conrad   Nagel.     The  opera  ■  c 
eraman    is    Joe    Biroc,   and  Jim    1, 
handles     the     assisting    job. 

NICK   MUSURACA  has  I 
busy    month    doing   all    the   si 
on    Al    Gilks'    Annapolis    pictu 
Command,"   and   also  shot  st 
comedies.      Associated   with   Nic.mtt 
"Musicomedy    No.   2,"   which 
ing    directed     were     Second    i 
Harry    Wild   and    Eddie   Pyle, 
tennis   player,    and    Willard    i 
Barth  and  Charlie  Burke,  assist;,;.  ^ 
the     "Clark     and     McCullough  p.  4 
Nick     had     Second     CameramerHarr 
Wild     and     Eddie     Hendersoi 
Barth    and     Bill    Clothier    we 
sistants. 

ROY    HUNT   and   his  assi- 
Davol,    completed    their   work   in  io  i 
Janeiro,   S.   A.,  and  flew  to  M 
ida,    for    additional    shots   for 
cotning    Dolores    del    Rio   pictur  "F 
ing   Down   to   Rio." 

JACK    MacKENZIE    finish, 
added    sequences    on    his     last    atari 
"The    Doctor,"    with    Lionel    B.vmtir 
and    Dorothy    Jordan,    and    al 
golf   games,    which    he   reports  ;  berte 
than     on     his     last    exhibition    i  i    > 
Narrator,   he   returned   to  the 
photographed      a      Brock     coined    "I 
and  Washington,"  which  former  men 
man  George  Stevens  directed, 
ative    cameramen    were    Eddie    1 
Jeff     Gibbons,     glad    to    see 
The   assistants   were    Charley  Hi     ap 
Harold    Welhnan. 

CHARLES— Commodore— RCjlBB 
through     the     aid     of      Western  "r.ion 
Postal     Telegraph     and      U. 
Guard,    was    located    at    Catalina  n  hi 
yacht     and     returned     to    the    st  o   b 
shoot     the     Constance     Bennett    !l 
"Without     Glory."       He    natur;     j 
associated    with    him    that    vei 
second   cameraman,    Frank   Redn  ,  a 
likewise,    lack    Coonev,  assist. 

VERNE  WALKER,  head  of  tl(RB 
Trick  and   Process   Departmem 
ing    day    and    night    on    the    m  itu»i 
nous    scenes    he    is    called    upon  i 
He   has    Roy    Hunt,   as  above 
shooting     background     shots 
America     and     Miami,      Florida,  jl 
Perry    has    been    added    to    Walk  -  ' 
partment    and    he    is    shooting 
miniatures    at    the    Pathe    lot, 
has    two    complete    stages   tied   u; '»'» 


POCKEJU 

LEO    TOVER   draws   one  of  t   '" 
issignments  of  the  month.     11 
ng  Mae  West  in  "I'm  No  Angel,     ; 
s  being  directed  by  Wesley  Run-     ' 
avorite   director.      With   the  I 
)opularitv    of    Mae   West's   pn 
ure,   "She   Heme   Him  Wrong,"  I  ' 
)f   the   industry   will   naturally  b( 
lext   production,   and  of   course  tip 
eraman    will    also    have    addition:!  tt< 
tion  focused  upon  him.  , 

Tover,   though   young  in   years 

.    having    received   1    "'> 


m    experience. 


training    witn     unie    iuaisu    .>• 
48th    Street   Studios   in   New  /orf™™ 
Ollie  was  shooting  Norma  and  Lo  anv 
Talmadge.      From   there   he   went 


i  BULLETIN 


EASTMAN 
FILMS 


eo-r-jPtU^" 


F  ms,  in  Cooperation  with  The  International  Photographer 


WHO'S    WHO! 


FOX 


PALMER    is    well    into    pro- 

a    new     Charlie     Chan    opus 

dieted    by    McFadden.       Palmer 

Anderson    steering    the    camera 

ey    Little    and    Robert     Mack 

ts. 

LANCK  returned  from  a  short 
onpid  leaped  into  production  on 
version  of  "Woman"  being 
y  Reinhardt.  Bob  has  been 
it  well  at  Fox  for  the  past 
Planck  is  seconded  by  Art 
1  assisted  by  Roger  Sherman 
bovitz. 

lOHR  is  in  production  with 
st  Woman  in  Paris."  Monte 
recting.  Bill  (Loopth  Loop) 
Irving  Rosenberg  are  Mohr's 
left  bowers,  while  Bob  Sur- 
'aul  Lockwood  hold  the  slates 
focus. 

MILLER    has    started    pro- 

ith     Dave     Butler      on       ".My 

Last   month   Artie   made    a 

th   Tinling   and    the   month    be- 

eted  one  with   McFadden.    One 

ntr  s  a   good   average.      The    Fox 


must  like  Artie's  work, 
hmitz  and  Joe  La  Shalle  peer 
e  cameras  and  Bill  Abbot  and 
ins  are  the  assistants. 
ARMES  has  finished  work  on 
Madness,"  the  latest  Bly- 
uction  starring  Spencer  Tracy 
Ka;  Wray.      Lee    will    photograph 


production     before     he     takes 
rst   directional    assignment    for 
Siiley    (Beau    Brummel)     Cortez 


s    the     camera     for     Lee,     and 

uze  and  Lou  Kunkel  assist. 
y  ie  crew,  too,  says  Mr.   Garmts. 

E     SCHNEIDERMAN     fin- 

pjluction     with     Jack     Ford     on 

ffllKogers   picture,    "Life's    Worth 

?,"ind    is    standing     by     for    any 

aliments   that   may    turn    up. 

AMMERAS,  the  projection 
roil  expert,  goes  to  Virginia 
He  y  King  to  make  background 
B  ting's  forthcoming  production. 
aer  will  be  accompanied  by  a 
etecamera  staff,  which  has  not 
ass  led  as   we   go   to   press. 

ELL  ROACH  STUDIOS 

ItJLOYD    and    HAP     DEPEW. 

'■■>'■    s    tavorite    cameramen,    have 

sy  as  the (write   your 

during  the  past  month,   photo- 

ngictures  for  the  Laurel-Hardy, 
y  and  Our  Gang  series  of  pic- 
■w  these  boys  can  turn  them 
very   well   photographed   too. 


space  at    RKO. 

AYLOR    is    working    overtime 

■  ion     shots     on     probably     the 

rangement     in     portable     pro- 

i     paratus    which     was    designed 

''■  1  :r.       Lynn       Dunn       is       very 

ii  ie   nptical   printer   getting   out 

I    gags    for    unusual    wipe-offs, 

as  ere  seen   in    "Melody    Cruise" 

"  RKO   pictures. 

i  abte  of  thanks  to  Eglinton's  ef 

Htants,  Ted  Winchester,  Ledgi 

H  Emmett     Bergholz     and     Jo< 

r  leir    ever    courteous    co-opera- 


ElVIEWS 


Long    Island    Studios,    where 
om   assistant    to    second,    ant 

ameraman. 
oduction  was   discontinued   it 

came  to  California,  and  pho 

several    pictures    for    Herbert 

the   United   Artists   Studios 

Studio    was    the    next    stop. 

cture  there  was  with   Wesley 

"Street    Girl,"    from    which 

•  ssociation  that  still  continues. 

ong  string   of    pictures    which 

in   the    Richard    Dix    produc- 

Great  Jasper,"  Tover  moved 
nt.  Here  he  was  again  asso- 
RttRgles  in  the  production 
:  Humor,"  currently  being 
ie  theatres. 


WARNER-FIRST 
NATIONAL 


BARNEY  (CHICK)  McGILL  has 
finished  another  fine  photographic  job 
on  "Bureau  of  Missing  Persons,"  and 
after  a  few  days  rest  started  another 
one,  "The  Kennel  Murder  Case,"  which 
is  being  directed  by  Michael  Curtiz. 
William  Powell  and  Mary  Astor  are  the 
principal  players.  Ken  Green  con- 
tinues to  handle  the  camera,  while  Bill 
Whitley  is  the  boy  who  does  the  assist- 
ing   job. 

SID  HICKOX  is  a  smart  boy.  Dur- 
ing the  Warner  shutdown  he  photo- 
graphed several  features  for  Monogram, 
but  when  Ruth  Chatterton  was  ready 
to  start  she  requested  Sid  to  shoot  her 
current  picture,  "Female,"  which  Wil- 
liam Dieterle  is  directing.  And  it  is 
only  natural  that  we  find  Tommy  Bran- 
nigan  operating  the  camera.  Wesley 
Anderson  is  the  assistant,  and  among 
other  things,  keeps  pretty  well  occupied 
making  up  pan  glasses  for  Sid  to  break 
or   lose. 

JIMM'IK  VAX  TREES  has  finished 
"I  Loved  a  Woman,"  the  picture  he 
shot  for  Al  Green  in  which  Eddie  Rob- 
inson starred.  And  now  James  reports 
to  Twentieth  Century,  with  whom  he 
has  signed  a  contract,  and  his  first  pic- 
ture is  scheduled  to  be  "Broadway 
Through  a  Keyhole."  For  a  long  time 
we  have  seen  Lou  Jennings  associated 
with  Van  Trees  as  second  cameraman 
and  no  doubt  we  will  continue  to  see 
him  at  United  Artists ;  also  the  same 
assistant,  Jimmie,  Jr.,  will  probably  be 
holding   the   slates   and   what   not. 

SOL  POLITO  after  years,  it  seems, 
on  musicals,  "42nd  Street,"  "Gold  Dig- 
gers of  1933,"  and  more  recent,  "Foot- 
light  Parade,"  is  now  on  a  big  heavy 
drammer  entitled,  "The  World  Changes." 
Mervyn  Le  Roy  directs  Paul  Muni  in 
this  one.  It  is  only  natural  that  Sol's 
shadow,  Mike  Joyce,  would  continue  on 
as  the  operative  cameraman — and,  well — 
look  who  is  the  assistant — none  other 
than    Lou    De    Angelis. 

We  are  very  happy  to  see  a  new- 
comer to  this  lot  and  herewith  extend 
our  welcome  and  best  wishes  to  LEON 
SHAMROY,  who  has  been  loaned  to 
Warner  Bros,  during  a  lull  in  B.  P. 
Schulberg  Productions.  Leon  is  photo- 
graphing a  very  colorful  production, 
"Ever  in  My  Heart,"  with  Barbara 
Stanwyck.  Archie  Mayo  is  the  direc- 
tor. The  second  man  is  Al  Green. 
Carl    Guthrie    is    the   assistant. 

ARTHUR  TODD,  the  old  sage  of 
Westwood  Village,  finished  "Wild  Boys 
of  the  Road,"  and  just  to  keep  the  ok 
eye  in  practice  (not  that  it  is  necessary) 
spent  most  of  his  spare  time  shooting 
via  16  M/M  the  antics  of  the  heir  tc 
the  Todd  bankroll.  Now  Arthur  is 
back  in  production  again  photographing 
"The  House  on  56th  Street,"  whicl 
Robert  Florey  is  directing.  The  same 
crew,  Billy  Schurr,  second ;  Vernon 
Larson,    assistant. 

GEORGE  BARNES  is  finishing  th< 
itory  unit  of  "Footlight  Parade"  whicl 
Lloyd  Bacon  directs.  Warren  Lynch 
vvho  aided  Lee  Garmes  so  efficient^ 
it  Fox,  is  George's  second.  Jack  Koff 
riann  is  the  assistant. 

JOHN  SEITZ  has  been  loaned  b; 
Fox  to  Warner  Bros,  to  photograph  th' 
orthcoming  Richard  Barthelmess  pic 
ure. 

FRED  JACKMAN'S  department  is 
Toing  at  full  speed.  Rex  Wimpy  has  re 
urned  from  Chicago  and  now  he  i; 
msy  here  with  the  regular  staff:  Hans 
Koenekamp.  Bun  Haskins,  Fred  Jack 
man,  Jr..  Willard  Van  Enger,  Charlie 
Boyle  and   Russ   Collins. 


EDDIE   CRONJAGER   RACK 

EDDIE  CRONJAGER  has  returned 
to  HoMywood  from  London  and  resumes 
his  old  spot  at  RKO,  where  he  immedi- 
ately started  his  cameras  on  a  new  pro- 
duction. 


SUPER  MINIATURE 
ASTOUNDS 

Ned  Mann  Achieves  Triumph  in  "Deluge"  Production 


Importance  of  the  genius  of  the  camera 
technician  has  been  advancing  by  leaps 
and  bounds,  particularly  during  the  past 
three  or   four    years. 

Trick  and  Effect  Departments  are  con- 
tributing vital  punches  to  about  ninety 
per  cent  of  the  feature  productions  of 
today. 

Miniatures  have  played  an  important 
part,  not  only  for  their  visual  value,  but 
in  majority  of  instances  for  their  eco- 
nomic  importance    to    the    producer. 

A  year  has  passed  since  we  rolled 
across  the  Mojave  Desert  with  Sam 
Bischoff  en  route  to  the  High  Sierras 
while  he  told  us  with  great  enthusiasm 
about  his  acquisition  of  the  story, 
"Deluge." 

Basically  we  agreed  with  Mr.  Bis- 
choff that  it  offered  great  possibilities 
for  a  production.  We  further  agreed 
with  him  when  he  stressed  the  point 
that  its  success  or  failure  was  largely 
dependent  upon  the  achievement  in  ac- 
tion and  photography  of  the  miniatures 
which  formed  such  an  important  part 
of   the  production. 

Months  were  spent  in  preparation 
of  the  script  and  this  completed,  Mr. 
Bischoff  made  his  first  move  on  staff 
for  production  by  calling  back  to  Holly- 
wood from  the  east,  where  he  was  on 
vacation,  Ned  Mann,  in  whose  hands 
was  placed  the  entire  responsibility  for 
design,  construction,  operation  and  pho- 
tography   of    the    miniatures. 

Tin-  production  has  just  been-  com- 
plied, and  the  few  who  have  been  privi- 
leged to  see  it  are  enthusiastic  in  their 
praise   of   Mr.    Mann's   achievement. 

An  interesting  sidelight  is  Mann's 
own  enthusiasm  as  expressed  to  us.  "1 
have  been  identified  with  many  splendid 
productions,"  he  said,  "and  naturally  I 
have  learned  something  from  every  one 
if  them.  However,  'Deluge'  is  the 
first  picture  I  have  ever  worked  upon 
where  I  have  been  given  full  responsi- 
bility with  relative  authority.  I  can't 
iay  enough  in  praise  of  Messrs.  Bischoff, 
Kelly  and  Saal  in  appreciation  of  what 
hey  have  done  for  me.  They  gave  me 
.he  script  and  told  me  what  they  hoped 
:o  accomplish,  and  then  turned  me  loo?? 
vith  full  authority  to  spend  money 
vhere  and  when  1  thought  it  was  ab- 
solutely necessary,  and  not  once  during 
he  entire  production  did  they  or  any 
ither  executive  of  the  studio  ever  inter- 
ere  with  me.  True,  they  at  times  gave 
ne  suggestions  which  were  valuable,  and 
[  was  allowed  to  work  these  out  with- 
mt    restriction. 

"This  is  probably  one  of  the  largest, 
ind  certainly  the  most  intricate,  job 
)f  miniature  work  ever  done  in  any  pro- 
m-linn." 

"Principal  specification  was  for  an  ex- 
ict  replica  of  the  city  of  New  York, 
ts  waterfront  and  downtown  district. 
\n  earthquake  and  tidal  wave  bring 
ibout  complete  destruction  of  the 
.vaterfront,  ships,  docks  and  the  city 
itself,    all    with    amazing    reality. 

"We  spent  as  much  money  on  the 
miniatures  as  the  average  program  pic- 
ture costs.  Following  construction, 
weeks  of  preparation  and  testing  were 
necessary,  naturally,  because  the  de- 
struction must  occur  in  a  matter  of 
seconds,  completely  demolishing  and  de- 
stroying the  structures  and  properties 
which    we    had    taken    months    to    build. 


"For  the  earthquake  effect  on  the 
skyscrapers  in  the  downtown  district 
we  built  a  platform  of  approximately 
100  feet  square,  and  this  was  cut  into 
eight  sections.  Each  of  these  sections 
was  mounted  on  rollers  upon  separate 
undulating  tracks,  similar  to  a  roller 
coaster  structure.  Springs  were  oper- 
ated electrically  to  produce  a  desired  ef- 
fect. 

"We  took  no  chances  in  missing  any 
part  of  the  action  from  any  angle.  When 
the  time  came  for  the  actual  photographic 
and  sound  recording  of  this  part  of  the 
picture.  I  had  eight  cameras  on  the  set. 
The  motors  were  started  on  the  cameras 
and  on  the  platforms.  Slight  vibrations 
developed  into  severe  jolts  and  shocks. 
Sections  of  the  platform  separated,  open- 
ing large  crevices  in  the  earth's  foun- 
dation. The  entire  platform  moves  to- 
ward the  cameras.  The  buildings  shake 
and  crumble.  The  destruction  was  as 
dramatic    as    it    was    complete. 

"It  must  be  realized  that  everything 
had  to  hit  the  first  time.  Here  was 
one  scene  on  which  there  could  be  no 
retakes  without  ruinous  expenditure  of 
money  because  when  the  buildings  and 
properties  were  demolished  once,  it  nat- 
urally follows  that  a  repetition  would 
mean  reconstruction  of  the  entire  set, 
which  would  take  at  least  two  months 
and  which  would  call  for  the  expendi- 
ture  of   many    thousands   of   dollars." 

Associated  with  Mr.  Mann  as  chief 
photographer  was  Billy  Williams,  who 
deserves  high  credit  for  his  intelligent 
work,  and  also  Eddie  Tiffany,  head  of 
the  camera  department  of  the  K.  B.  S. 
Studio,  who  adjusted  the  movement  of 
the  cameras  to  operate  at  ten  times 
norma!  speed.  This  was  absolutely  nec- 
essary in  order  to  properly  and  con- 
vincingly produce  the  desired   effect. 

Production  is  the  inaugural  directorial 
effort  of  Felix  Feist,  Jr.,  and  dramatic 
sequences  and  dramatic  cast  action  was 
photographed  under  the  supervision  of 
Norbert    Brodine. 

The   following   second    cameramen    and 
assistants      were      associated      with      Mr. 
Mann    in    the    miniature    department  : 
SECOND  CAMERAMEN 
Jeff    Gibbons  Harry   Parsons 

Vic   Schuerich  Reggie   Lyons 

Carl   Wester  Pierre   Moles 

Art   Reed  Harry    Davis 

Ernie  Smith  Fred    Kaifer 

Ernie    Crockett 

ASSISTANTS 
Carl   Guthrie  Bob    Bessette 

Leo   Hughes  Bob   Cough 

Rod    Tolmie  Leo  Ward 

John   Echert  Dave  Smith 


LEN  ROOS  RETURNS 

LEN  ROOS  has  just  returned  from 
an  eight  months'  absence  from  our  fair 
city.  He  was  commissioned  by  Univer- 
sal to  accompany  Chester  Bennett  in 
charge  of  the  expedition.  Len  is  an 
old  veteran  world  traveller,  having  been 
on  several  previous  expeditions  of  this 
nature. 

On  this  trip  they  worked  in  Singa- 
pore, Java,  Sumatra  and  the  Federated 
Malay  States.  One  of  the  many  inter- 
esting subjects  photographed  was  a  wed- 
ding ceremony  which  took  place  in  a 
palace. 

(Continued  on  Page  45) 


Twenty-six 


The      INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


FILMO  PROFESSIONAL  AMATEUR 

(Continued  from  Page  16) 
curately  as  most  professionals  can  (or  could)  crank. 
Therefore,  for  the  amateur,  who  is  not  experienced  in 
cranking  the  camera  steadily  and  evenly,  the  governor  con- 
trol is  very  desirable  because  he  merely  cranks  as  fast  as 
the  governor  will  allow,  with  the  assurance  that  the 
camera  is  operating  at  the  exact  speed  it  should  be.  When 
the  motor  is  fitted,  the  governor  is  set  at  the  speed  desired 
and  the  motor  likewise  drives  the  camera  at  the  pre- 
determined setting.  Incidentally,  the  motor  shaft  is 
equipped  with  a  knob  at  the  end  to  facilitate  turning  the 
camera  over  by  hand  for  threading. 

Now  as  to  the  magazine  installation.  It  is  to  be  ex- 
pected that  with  the  motor  drive,  even  though  the  regular 
100  ft.  capacity  is  equal  in  picture  length  to  250  feet  of 
35  mm.  film,  this  footage  is  inadequate  for  many  purposes, 
such  as  the  airplane  use  suggested  above.  Doubling  this 
capacity  gives  the  equivalent  picture  length  of  500  feet  of 
standard  film,  enough  for  practically  all,  if  not  all,  of 
the  work  that  ordinarily  would  be  handled  on  16  mm. 
film.  Therefore,  while  400  foot  magazines  could  readily  be 
made,  they  have  not  been  put  out  as  yet  for  this  reason, 
apart  from  the  fact  that  the  facilities  of  the  developing 
stations  in  various  parts  of  the  world  may  have  to  be 
modified  to  handle  longer  lengths  of  film.  Also,  as  far 
as  is  known,  16  mm.  reversal  film  is  not  yet  available  in 
400  foot  lengths. 

In  order  to  fit  magazines  to  the  Filmo  camera,  the 
back  of  the  frame  has  to  be  cut  open.  Instead  of  cutting 
slits  in  the  edge  of  the  frame  to  slip  the  film  through  in 
threading,  the  back  of  the  frame  is  cut  out  in  the  shape 
of  the  letter  "U."  This  still  allows  the  magazine  to  be 
changed  at  any  time,  irrespective  of  how  many  feet  have 
been  exposed,  yet  strengthens  the  frame  more  than  the 
ordinary  type  of  construction  would  allow.  The  maga- 
zine itself  is  ruggedly  made  of  very  light  metal,  is  of  the 
same  design  practically  as  the  magazine  used  in  the  pro- 
fessional camera,  and  is  equipped  with  the  same  type  of 
light  valves.  When  the  camera  door  is  closed,  it  operates 
the  plunger  in  the  magazine  and  opens  the  valves.  As 
soon  as  the  door  latches  are  turned  to  open  the  door,  the 
plunger  is  released,  closing  the  valves  and  thereby  pro- 
tecting the  film.  This  arrangement,  of  course,  allows  the 
film  to  have  a  free  passage  without  risk  of  abrasion, 
scratches,  static,  or  other  difficulties.  As  will  be  seen  from 
the  illustration,  the  magazine  is  attached  to  the  Filmo 
camera  by  means  of  the  same  type  of  screw  as  used  in  the 
professional  camera.  A  suitable  drive  pulley  is  fitted  to 
the  pulley  in  order  to  operate  the  magazine  take-up  by 
means  of  a  regular  take-up  belt. 

With  the  magazine  it  is  possible  to  back  up  the  camera 
by  reversing  the  hand  crank  to  take  up  the  entire  24  feet 
of  film.  Of  course,  when  the  hand  crank  is  backed  up,  it 
winds  up  the  main  spring  of  the  camera  so  that  the  limit 
of  film  that  can  be  backed  up  is  determined  by  the  amount 
the  spring  is  unwound. 

The  question  is  sometimes  asked  as  to  whether  the 
operation  of  the  equipment  is  interfered  with  if  the  motor 
or  hand  crank  is  to  be  used  when  the  main  spring  is 
partly  wound.  The  hand  crank  socket  to  which  the  motor 
drive  is  fitted  is  in  the  form  of  an  over-running  clutch, 
so  that  if  the  camera  main  spring  is  wound  up  it  is  not 
necessary  to  run  the  camera  entirely  down  before  attach- 
ing an  external  magazine,  motor,  or  hand  crank. 

A  very  interesting  adjunct  now  available  for  the  Filmo 
camera  is  the  gravity  catch  release.  Just  a  little  to  the 
right  and  below  the  starting  button  is  a  small  knurled 
■disc.  When  this  is  pressed  downward,  it  engages  the 
gravity  catch  so  that  when  the  starting  button  is  raised 
•s'owly,  the  gravity  catch  will  operate  and  the  camera  will 


continue  to  run.  The  camera  must  be  set  in  this  manner 
when  the  motor  or  hand  crank  is  to  be  used.  For  certain 
types  of  single  picture  work,  it  is  desired  to  tap  the  start- 
ing button  with  the  assurance  that  only  one  frame  will 
be  exposed.  If  the  camera  is  set  at  16  or,  preferably  8, 
speed,  this  can  be  done  very  readily.  To  prevent  any 
possible  chance  of  the  gravity  catch  operating,  the  little 
knurled  disc  is  moved  to  the  "up"  position,  disengaging  the 
catch  entirey.  Thus  the  operator  at  will  can  throw  the 
catch  in  or  out  of  use,  as  may  be  found  desirable  for  the 
particular  conditions  confronting  him. 

The  range  finder  unquestionably  is  the  most  striking 
attachment  now  available  for  Filmo  cameras.  This  finder 
is  of  a  precision  never  before  available  in  such  compact 
form.  It  is  mounted  as  an  integral  part  of  the  viewfinder 
and  is  equipped  with  a  lever  by  which  the  range  finder 
can  be  thrown  in  or  out  of  operation.  Incidentally  it  will 
be  noticed  in  the  illustration  that  the  finder  eyepiece  is 
fitted  with  a  little  offset  prism,  so  that  the  operator  can 
look  in  at  an  angle  and  thereby  avoid  interference  with 
the  magazine.  This  particular  method  is  used  so  that  the 
front  of  the  finder  will  be  as  close  as  possible  to  the  pho- 
tographic lens,  thereby  cutting  the  errors  of  parallax  to 
a  minimum.  At  the  same  time,  those  who  have  invested  in 
the  well-known  focusing  alignment  gauge  can  still  utilize 
that  valuable  accessory. 

Therefore,  when  one  looks  through  the  eyepiece,  one 
sees  the  subject  in  the  regular  way.  By  throwing  the 
lever  up  into  the  "engage"  position,  one  sees  two  images 
of  the  object.  This  double  image  is  in  the  form  of  a  double 
circle.  The  smaller  image  in  the  middle  comes  from  the 
top  window.  The  larger  (outer)  image  comes  from  the 
bottom  window.  The  arrangement  is  that  when  the  lever 
is  thrown  up  into  the  operating  position,  a  split  beam 
prism  is  placed  in  line  with  the  eyepiece  of  the  finder.  The 
dial  of  the  range  finder  is  then  turned  until  the  two  por- 
tions of  the  image  align  correctly.  Incidentally,  it  is  im- 
material which  way  the  dial  is  turned.  The  unit  is  de- 
signed so  that  the  two  images  do  not  overlap  completely, 
but  are  displaced  slightly  in  the  horizontal  plane.  This 
makes  it  very  much  easier  to  decide  when  the  point  of  cor- 
rect focus  is  obtained.  For  this  purpose  it  is  preferable 
to  use  horizontal  lines  in  the  subject. 

The  finder  dial  is  calibrated  2',  2l/z  ,  3',  3^',  4',  5', 
6',  7',  8',  10',  12',  15',  20',  30',  50',  100',  and  infinity. 
Due  to  the  accuracy  of  its  construction  and,  perhaps,  in 
part  due  to  the  method  of  alignment,  it  is  possible  to  dif- 
ferentiate a  quarter  of  an  inch  at  a  distance  of  three  feet, 
or  a  distance  of  an  inch  at  ten  feet.  The  range  finder 
allows  the  proper  distance  to  be  determined  at  any  time 
without  stopping  the  camera  so  the  lenses  can  be  reset  by 
scale  as  necessary.  This  range  finder  presents  possibilities 
for  the  professional  also,  because  it  can  be  installed  on 
the  Eyemo  camera,  just  as  readily  as  the  Filmo. 

It  is  hoped  that  further  features  will  be  developed 
that  will  still  further  increase  the  flexibility  of  this 
apparatus. 

Inasmuch  as  the  camera  can  be  used  in  the  regular 
way  for  ordinary  purposes,  it  is  not  necessary  to  carry  the 
extra  attachments  except  where  special  work  is  to  be 
done.  This  is  very  desirable  where  the  camera  is  to  be 
taken  on  climbing  jaunts,  tours,  etc. — where  one  doesn't 
want  to  be  encumbered  with  more  weight  than  absolutely 
necessary.  At  the  same  time,  the  extra  units  can  be  at- 
tached at  a  minute's  notice  whenever  special  work  is  con- 
templated. As  stated  before,  the  hand  crank  fitting  adds 
no  weight,  so  one  always  has  this  feature  on  hand.  There- 
fore, a  maximum  of  flexibility  is  available  even  when 
traveling  light.  In  this  respect  the  advanced  amateur  is 
right  up  with  the  professional. 


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August,  1933 


T  1 1 


INTERNATIONAL      PHOTOGRAPHER 


Twenty-seven 


More  About  Audio  Dynamics 

By  ROBERT  LOTHAR  KENDALL 

President  Kendall  b  Dasseville,  Inc. 

With  the  advent  of  dialogue  motion  pictures  into  the 
field  of  projected  sound,  some  very  interesting  and  highly 
important  disclosures  were  made.  It  was  tor  quite  some 
years  supposed  that  all  sound  waves,  whether  produced 
mechanically  or  originating  trom  the  human  voice,  were  of 
one  and  the  same  torm.  This  torm  was  supposedly  more 
or  less  in  cloud-like  formation — increasing,  not  only  in 
volume,  but  also  in  amplitude  as  the  distance  from  the 
sound  source  or  projecting  agent  increased. 

We  do  not  wish  to  bore  the  reader  with  a  multitude 
of  theoretical  and  difHcult-to-prove  references,  suffice  it 
to  say  that  scientists  now  freely  admit  the  existence  of 
varied-form  projected  sound  waves.  Proof  also  exists  that 
each  general  form  also  has  its  sub-divisions,  or  deflections 
from  the  "parent  wave." 

To  enumerate  just  a  few  of  the  more  commonly  known 
forms,  we  begin  with  the  one  most  frequently  encoun- 
tered— the  dialogue  wave.  It  is  now  believed  that  a  dia- 
logue wave  in  its  true  and  undistorted  form  is  shaped 
like  a  rod.  While  no  actual  measurements  have  been  pos- 
sible, it  is  the  concensus  of  opinion  that  the  length  varies 
from  a  fraction  of  an  inch  to  many  feet,  the  cross-sectional 
measurements  being  in  proportionate  accordance. 

Giving  credence  to  this  statement  lies  in  the  fact  that 
when  one  projects  dialogue  into  a  given  area  with  a 
straight-line  projecting  agent,  a  definite  sound  foci  is  ap- 
parent, since  only  the  "spill"  serves  the  area  immediately 
adjacent  to  the  sound  path,  transversely  forward  of  the 
projecting  agent. 

"How,  then,"  one  queries,  "is  the  auditorium  served?" 

Under  the  standard  formulae  laid  down  by  the  major 
electrics,  this  is  accomplished  by  deflection.  Serving  an 
auditorium  thusly  is  known  as  "volume  content"  service. 

This,   we   believe,   is  not   altogether   correct  and   has 


far  too  many  drawbacks.  Suppose  we  analyze  what  takes 
place  under  such  circumstances  ?  In  serving  by  deflection, 
transverse  waves  of  three  general  forms  are  set  into  mo- 
tion and  are  used  to  conduct  the  sound  to  the  hearer's  ears. 

When  we  trace  a  longitudinal  wave  from  its  point  of 
projection  in  an  average  theatre  auditorium,  we  note  that 
it  does  not  follow  the  theoretical  path  to  the  rear  of  the 
structure,  but  takes  a  sharp  upward  curve,  in  most  in- 
stances, within  twenty  feet  of  the  projection  screen.  Then, 
it  deflects  into  a  series  of  semi-perpendicular  and  oblique- 
transverse  waves ;  which  in  turn  again  deflect  themselves 
into  another  series,  gradually  taking  on  horizontal-trans- 
verse proportions.  This  continues  until  complete  dissipa- 
tion has  taken  place. 

The  natural  impulse  would  be  to  step  up  the  fader 
to  the  point  at  which  these  unwanted  transverse  waves 
would  be  penetrated.  Unfortunately,  this  only  aggravates 
the  conditions  as  outlined  and  has  caused  millions  of  dol- 
lars to  be  spent  needlessly  on  absorption  and  other  sound- 
trapping   and    controlling   materials. 

The  reader  can  thus  readily  understand  why  serving 
an  auditorium  on  an  "area  distribution"  basis — which  au- 
tomatically eliminates  the  perpendicular — and  oblique- 
transverse  forms — is  best  suited  for  present  day  practice. 

Research,  experimental  work  and  actual  operation  in 
theatre  and  other  auditoriums  of  all  sizes  and  types  is 
now  in  its  fourth  year.  The  study  and  application  of  the 
service,  known  as  "Audio-Dynamics,"  has  gained  a  con- 
siderable foothold.  According  to  contemporary  scientific 
standards,  this  method  of  sound  distribution  seems  to  be 
the  most  logically-correct  and  it  is  quite  possible  that  it 
will  be  generally  accepted  in  the  very  near  future. 


FAIRBANKS  IN  CHINA 

It  is  reported  that  Douglas  Fairbanks  is  organizing 
an  expedition  to  make  his  next  picture  in  China.  Chuck 
Lewis,  who  has  charge  of  production,  is  handling  the 
preliminary  negotiations. 


PROPS 

(Continued  from  Page  10) 
business  on  the  next  hundred  pictures  to  be  shot. 

The  title  of  the  picture  was  "The  Red  Riders,"  the 
featured  players  being  Helen  Gibson,  Leonard  Clapham 
and  Edward  Burns.  They  also  lent  encouragement  to 
the  rising  young  producer  by  agreeing  to  share  in  the 
profits. 

And  when  the  third  picture  was  finished  Joe  still 
had  his  original  capital  unimpaired. 

\  es.  The  pictures  were  released  and  everybody  was 
paid. 

Can  you  beat  that  at  six  bits? 

Just  one  thing  more.  Who  knows  how  to  make 
twelve  horses  out  of  three  horses  and  five  buckets  of  paint? 

Joe  Murphy. 

V  ou  see,  our  prop-man  was  later  making  Westerns 
over  at  Riverside  for  Universal.  The  horses  were  taken 
there  from  Los  Angeles  and  sometimes  Director  Henry 
McRae  of  Universal  would  grab  most  of  them  for  his 
own  picture  before  Murphy  could  get  'em  off  to  River- 
side, and  here  the  paint  buckets  came  in  handy. 

Murphy  would  take  to  Riverside  the  horses  left  him 
by  McRae  and,  with  a  specially  prepared  water  color 
paint,  would  change  their  colors  as  required — sorrel, 
gray,  black,  bay,  roan,  dun,  calico,  pinto,  etc.  The  paint 
was  easily  washed  off  and  the  horses  were  unharmed. 
And  this  was  the  life  of  the  prop-man  in  the  early  his- 
tory making  days  of  motion  pictures. 


WAKE  UP,  CHARLIE! 


Time  you  were  "Shouldering  Arms"  again. 
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Twenty-eight 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


YOUR  TIE-UP  WITH  F.  D.  R. 

Colonel  Louis  McHenry  Howe,  Secretary  to  Presi- 
dent Roosevelt,  has  started  a  series  of  weekly  broadcasts. 
He  will  be  interviewed  by  Walter  Trumbull,  nationally 
famous  newspaper  correspondent,  every  Sunday  evening 
at  10  P.  M.  (EDST)  over  WEAF  and  a  nationwide 
NBC  network  and  weekly,  thereafter,  at  the  same  time. 
These  interviews  will  have  Trumbull  representing  the 
citizenry  of  the  country  and  Colonel  Howe  with  the 
knowledge  that  his  position  gives  him,  frankly  discuss- 
ing the  interesting  problems  confronting  the  nation  and 
its  citizens. 

The  radio  audiences  are  asked  to  use  Trumbull  as  their 
spokesman  and  urged  to  write  him  asking  for  answers 
to  such  questions  as  interest  them,  or  concerning  moves 
made  in  Washington,  the  purpose  and  probable  result 
of  which  they  do  not  clearly  apprehend. 

Since  it  will  not  be  possible  to  answer  every  question, 
those  received  will  be  sorted  and  classified  and  the  inter- 
view will  be  designed  to  cover  subjects  which  appear 
to  have  the  greatest  interest  or  importance.  At  present 
the  White  House  is  receiving  an  average  of  4,200  letters 
a  day — over  ten  times  as  many  as  were  averaged  during 
the  previous  administration. 

Colonel  Howe,  as  Secretary  to  President  Roosevelt, 
for  the  past  21  years  may  be  depended  upon  to  give  frank, 
forthright  replies  to  queries  concerning  the  government. 
The  discussion  will  be  non-political.  In  simple  lan- 
guage he  will  endeavor  to  clarify  the  problems  and  hap- 
penings of  official  Washington  and  how  they  affect  the 
welfare  of  every  man  and  woman  in  the  country. 

A  Wonderful  Miniature 


The  highlite  moment  of  the   BKS  production   "Deluge,"   which 
depicts  the   results  of  the  amazing  technique  of  modern    pro- 
cess photography.    For  further  details  see  the   Brulatour  Bulle- 
tin in  this  issue. 


NEWSREELERS'  TO  GET  A  BREAK 

A  recent  article  in  Motion  Picture  Herald  by  Fred 
Ayer  reads:  "The  intrepid  newsreel  cameraman  at  last 
is  going  to  'get  a  break'  on  motion  picture  screens.  Allyn 
Butterfield,  editor  of  Universal  newsreel,  has  assembled 
a  two  reel  production  titled  'The  World's  Greatest 
Thrills, '  which  portrays  daring  feats  and  exploits  of 
cameramen  in  all  parts  of  the  world.  The  public,  prob- 
ably for  the  first  time,  will  be  given  an  opportunity  to 
witness  the  actual  hazards  which  at  times  confront  the 
news  cameraman. 

"There  are  spectacular  fires  and  rescues,  hurricanes, 
auto  and  motorcycle  races  ending  in  disaster,  a  head-on 
locomotive  wreck,  air  feats  and  some  of  the  most  spec- 
tacular air  crashes  ever  seen  on  the  screen.  There  are 
26  separate  sequences  and  according  to  Mr.  Butterfield 
there  is  no  question  of  exploitation  for  Universal  or  its 
newsreel. 

'The  picture   is  primarily  entertainment   and   is   in- 


MINIATURE  CAMERA 

The  35  mm.  Still  Camera  on  the  Set 

By  Ralph  H.  Linn 

To  camera  enthusiasts  in  general,  whether  professional 
or  amateur,  the  advent  of  the  35  mm.  still  outfit  meant 
the  acquisition  of  a  new  and  delightful  toy  and  to  many  it 
has  remained  just  that. 

But  very  early  in  the  game  there  were  several  groups 
who  immediately  seized  upon  it  as  a  decidedly  practical 
and  efficacious  adjunct  to  their  regular  work.  The  uses 
to  which  the  press  photographer  puts  the  little  boxes  in  his 
"candid  camera"  activities  need  no  comment.  No  lens- 
dodging  celebrity  was,  any  longer,  safe  anywhere — even 
in  bed !  And  almost  from  the  very  outset  not  a  few  among 
the  ranks  of  the  professional  cinematographers  recognized 
the  fact  that  a  light,  handy  aide  had  come  into  being  for 
quickly  making  test  shots  on  the  set. 

Among  the  earliest  of  these  was  Jackson  Rose,  who, 
experimenting  with  his  Leica  strictly  along  the  lines  of  his 
own  specialty,  speedily  evolved  a  set  of  accessories  adapted 
to  professional  requirements  in  the  way  of  lens  shades, 
filter-holders,  etc.,  which  enabled  the  miniature  instru- 
ment to  enter  upon  a  field  of  activity  not  foreseen,  it  is 
safe  to  say,  even  by  the  manufacturers. 

Using  precisely  the  same  emulsion  he  will  use  later, 
when  expensive  principals  are  doing  their  stuff  before  his 
twenty-four-frames-per-second  Mitchell  or  Bell  &  How- 
ell, the  cameraman  can  shoot  ten  or  twenty  tests  with  vari- 
ous filters,  lightings,  and  from  as  many  angles  as  he 
chooses,  all  in  a  few  minutes — and  all  without  going 
through  the  time-consuming  operation  of  lining  up  with 
the  more  bulky  motion  picture  camera.  And  in  another 
few  minutes  he  can  have  the  answer  developed  then  and 
there.  Much  time  and  effort  has  been  saved  and  from  this 
test  the  cameraman  knows  exactly  what  to  do  and  in  the 
course  of  months  of  shooting,  many  dollars  worth  of  film 
has  been  saved. 

Farciot  Edouart,  head  of  the  transparency  department 
at  Paramount,  uses  his  35  mm.  outfit  in  selecting  locations 
as  well  as  for  filter  and  light  tests,  while  in  preparing  for 
transparency  and  other  special  shots  he  finds  it  most  effi- 
cient. 

"By  using  a  fast  soup  and  a  quick-drying  compound," 
he  declares,  "I  can  have  an  8  x  10  or  11  x  14  print  deliv- 
ered back  on  the  stage  in  from  twelve  to  fifteen  minutes 
from  the  time  the  shutter  clicks,  thereby  enabling  the  di- 
rector and  whoever  is  lining  up  the  shot  to  get  a  pre-view 
of  the  set-up,  light  values,  etc." 

And  this  includes  developing,  fixing,  rinsing  and  dry- 
ing both  negative  and  print,  so  that  the  latter  can  even  be 
mounted  if  desired — surely  the  last  word  in  convenience, 
not  to  say  luxury! 

Numerous  other  examples  might  be  cited,  but  Mr. 
Edouart's  application  of  35  mm.  materials  alone  contains 
sufficient  factual  and  suggestive  matter  to  interest  any 
cinematographer,  director  or  art  director  not  at  present 
making  use  of  them,  while  there  might  be  more  than  one 
pregnant  thought  for  the  wardrobe  and  property  depart- 
ments contained  therein. 

tended  as  a  tribute  to  the  newsreel  cameramen  of  all 
countries  and  companies,'  he  says.  'Wherever  one  finds 
a  man  risking  his  life  in  some  sort  of  stunt  or  wherever 
human  beings  face  danger,  there  you  will  find  a  camera- 
man, frequently  staking  his  life,  too,  in  order  to  get 
pictures  of  the  event.' 

"The  greater  part  of  the  picture  is  in  sound,  recorded 
on  'the  scene  of  battle.'  Graham  McNamee,  radio  an- 
nouncer and  Universal's  'Talking  Reporter,'  provides  the 
narrative." 


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August,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Twenty-nine 


PAUL  PERRY  RETURNS 

(Continued  from  Page  3) 

The   Colonel   Arrives 

One  day  as  we  were  setting  out  to  shoot  a  parade 
of  soldiers  we  began  to  shout  to  each  other  about  photo- 
graphing the  scene.  At  the  time  a  man  who  looked  very 
much  like  a  European  was  standing  not  far  away  in  con- 
versation with  the  Sultan.  Our  exchanges  attracted  the 
attention  of  the  stranger,  who  immediately  approached 
us  with  smiling  display  of  dental  equipment.  He  did 
not  pause  to  introduce  himself,  but  thrust  out  his  hand 
in  hearty  greeting  and  said: 

"Well,  what  do  you  know  about  this!  I  didn't 
know  you  fellows  were  Uncle  Sam's  boys  until  you  be- 
gan to  talk.  Thought  you  were  Dutch !  The  English 
language  sounds  mighty  good  to  me.  I'm  Theodore 
Roosevelt.     If  I  can  help  any,  let  me  know." 

"Glad  to  meet  you,  Governor,"  we  all  spoke  at  once 
and  immediately  we  became  friends.  Thus  did  the  Col- 
onel introduce  himself. 

The  ex-Governor  General  of  the  Philippines  was 
full  of  pep,  like  his  father,  and  he  immediately  took  hold 
of  things.  He  arranged  to  parade  and  inspect  the  troops, 
which  was  a  great  help  to  us,  and  in  many  other  ways 
boosted  our  game. 

The  Colonel  and  Mrs.  Roosevelt  were  among  the 
honor  guests  present,  and  it  was  a  joyous  event  to  meet 
them  under  such  happy  circumstances. 

Boro-Badur 

Now  everybody  who  visits  Java  must  go  to  see  the 
celebrated  Buddhistic  ruins  of  Boro-Badur,  built  many 
centuries  ago  in  honor  of  that  great  World  Teacher,  the 
Blessed  Lord  Gautama,  whom  Sir  Edwin  Arnold  called 
The  Light  of  Asia. 

These  marvelous  ruins  are  among  the  greatest  of  the 
world's  wonders  and  it  is  said  of  them  that  when  the 
Mohammedans  attacked  Java  away  back  in  the  twilight 
of  history,  the  Javanese  were  so  devoted  to  their  Buddha 
that  they  completely  buried  the  temple  and  it  was  not 
until  a  century  ago  that  this  miracle  of  architecture  was 
restored  to  the  people  who  love  it  most.  I  got  some 
good  shots  of  it,  herewith  produced. 


Our  work  in  Java  over,  we  returned  to  Singapore, 
whence  Mr.  Roos  and  Mr.  Bennett  started  home  via 
London,  while  I  went  to  Shanghai  to  meet  our  old  friend, 
Jack  Smith,  who  has  been  for  several  months  in  Manila 
and   Chinese   ports. 

I    Meet  Old   Friends 

Here  I  met  also  Leon  Britton,  producer,  and  Sidney 
Lund,  his  sound  man.  They  took  me  out  to  Chapei  to 
see  the  studio  where  they  are  working.  It  was  built  and 
is  operated  by  John  Jensen,  another  old  time  Hollywood 
cameraman,    who   for    years    has   sojourned    in    Shanghai. 

Here,  also,  we  met  the  celebrated  comedy  team,  Bert 
Wheeler  and  Robert  Woolsey,  and  on  the  day  I  sailed 
from  Shanghai  for  home  I  met  Bob  Miller  of  659, 
photographer  attached  to  the  S.S.  President  Hoover. 

We  all  lunched  and  rickshawed  together,  and  I  re- 
luctantly left  the  gang  as  you  see  them  in  the  picture,  and 
please  note,  Mr.  Editor,  a  copy  of  The  International 
Photographer   in   the  hands  of   Mr.   Woolsey. 

Handling   Our    Film 

A  great  number  of  cameramen  have  asked  me  how 
we  handled  our  film  in  the  tropics.  It  is  a  very  hard 
question  to  answer,  inasmuch  as  all  places  are  peculiar 
to  their  own  conditions.  For  instance,  when  my  brother 
Harry  and  I  were  in  Morocco  Algeria,  and  Tunisia  we 
found  that  the  conditions  were  practically  the  same  as 
on  our  American  deserts — while  it  was  terribly  hot  and 
humid  in  the  daytime  at  night  the  conditions  were  about 
the  same  as  in  Hollywood,  cool  and  dry. 

In  Ceylon  we  had  about  the  same  conditions,  but  in 
Siam,  Straits  Settlements  and  the  Dutch  East  Indies 
we  had  to  unload  every  night  and  put  our  film  in  humi- 
dors containing  calcium  chloride  for  24  hours,  both  ex- 
posed and  unexposed  film,  with  the  paper  in  which  the 
film  was  wrapped.  After  the  paper  and  film  were  per- 
fectly dry  we  would  reload  in  cans,  tape  it  up  and  cover 
the  tape  with  melted  tallow.  This  procedure  prevented 
mildew  and  the  film  will  remain  in  perfect  condition  for 
months.  I  might  add  that  any  cases  with  metal  parts 
should  be  painted  to  prevent  rusting  and  plenty  of  oil 
should  be  used  on  all  metal  parts  of  camera,  also  all 
metal  parts  of  tripod. 


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CABLE  ADDRESS  ARTREEVES 


Representative 

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HOLLYWOOD,  CALIFORNIA,    USA 


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Thirty 


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INTERNATIONAL      PHOTOGRAPHER 


.hunt  st,   1933 


EASTMAN  ANNOUNCES 

IMPROVED    INFRA-RED 

SENSITIVE  PLATES 

For  several  years  photograph)  by  invisible  infra-red 
radiation  has  received  wide  public  attention  through  the 
newspapers  and  the  scientific  press,  but  until  quite  re- 
cently commercial  photographers  and  advanced  amateurs 
have  been  concerned  only  with  photography  by  visible 
light.  Photographic  materials  sensitive  to  visible  light 
have  amply  met  the  requirements  of  these  groups,  even 
for  distant  landscapes — which  were  photographed  with 
a  panchromatic  emulsion  and  a  red  filter  for  eliminating 
haze. 

Plates  sensitive  to  invisible  infra-red  light  have  been 
extremely  useful  to  scientists,  especially  astronomers. 
Moreover,  because  this  light  penetrates  through  hazy 
atmospheres  far  better  than  visible  light,  such  plates  have 
been  used  successfully  for  photography  at  great  distances. 
A  mountain  at  a  distance  of  331  miles  has  been  clearly 
recorded  on  such  a  plate. 

Enterprising  press  photographers,  hunting  for  unusual 
pictures,  have  used  infra-red-sensitive  plates  within  the 
past  few  months  to  make  some  remarkable  distance  views 
from  New  York's  tallest  buildings,  showing  clearly 
scenes  that  are  never  or  practically  never  visible  to  the 
eye  because  of  a  blanket  of  obscuring  haze. 

Recent  improvements  in  infra-red-sensitive  plates,  both 
in  speed  and  in  the  character  of  their  infra-red  sensitivity, 
make  them  more  practical  for  the  use  of  photographers 
who  wish  to  take  advantage  of  the  special  results  and  the 
unusual  effects  they  offer.  This  information  is  contained 
in  a  current  announcement  by  the  Eastman  Kodak  Com- 
pany. 

Photography  at  considerable  distances  is  perhaps  the 
widest  present  possible  use  of  infra-red  sensitive  mate- 
rials. They  may  also  be  used  for  fantastic  night  effects 
b\  daylight,  or  to  produce  a  nearby  landscape  of  un- 
usual character.  The  blue  sky  photographs  black  while 
green  foliage,  which  is  a  very  strong  reflector  of  infra- 
red, photographs  a  silvery  white. 

Photographs  "in  total  darkness"  are  another  trick 
possible  with  these  plates.  Deciphering  of  obscure  docu- 
ments is  a  practical  use. 

For  several  years  the  Kodak  Research  Laboratories 
have  supplied  plates  for  infra-red  photography  under  the 
names  "Eastman  Extreme-red  Sensitive"  and  "Eastman 
Infra-red  Sensitive."  Recent  advances  in  the  prepara- 
tion of  sensitizing  dyes  have  made  it  possible  to  manu- 
facture improved  plates,  and  these  plates  are  now  stand- 
ardized under  the  following  designations: 

"Eastman  Infra-red  Sensitive  Plates,  Type  I-R," 
"Eastman  Infra-red  Sensitive  Plates,  Type   I-P," 
"Eastman  Infra-red  Sensitive  Plates,  Type  I-K." 
The  Type   I-R  plates  are    recommended   for   general 
infra-red   photography,    including   landscape   work,    docu- 
mentary  photography,    etc.,    and    for    the    infra-red    pho- 
tography  of   non-luminous   hot    bodies,    such    as   flatirons 
and   furnaces.     These  plates  permit  the  shortest  possible 
exposures  to  be  given. 

The  Type  I-P  plates  are  a  somewhat  faster  variety 
of  the  plates  previously  sold  as  "Eastman  Infra-red  Sen- 
sitive." They  are  suitable  for  "photography  in  total 
darkness"  (with  a  Wratten  Filter  Number  87  covering 
powerful  tungsten  lamps). 

The   Type   I-K   plates   are    those   previously   supplied 


C.  S.  SHOEDSACK  BRINGS  TO  HOLLYWOOD 
SACRED  CARPET  OF  MECCA 

G.  S.  Schoedsack  has  just  received  from  a  friend  in 
England  a  wonderful  relic  in  the  form  of  a  small  piece 
(about  2y2  by  3  feet)  of  the  last  sacred  carpet  woven  to 
cover  the  Kaaba,  the  big,  black  stone  at  Mecca  from 
which  the  prophet  Mohammed  ascended  to  heaven. 

The  carpet  is  fabricated  of  silk,  very  heavy  and  made 
by  hand,  of  course,  with  Arabesques  and  heraldic  de- 
signs worked  into  the  fibre — and  being  a  genuine  relic, 
it  is  priceless. 

These  sacret  carpets  were  originally  woven  in  Egypt 
and  constituted  the  gift  of  that  country  to  the  annual 
pilgrimage  to  Mecca,  which  was  the  great  event  of  the 
Mohammedan  world. 

It  was  the  law  that  when  the  new  carpet  arrived  at 
Mecca  the  old  carpet  should  be  given  to  the  reigning 
king,  who  disposed  of  it  by  cutting  it  into  small  pieces 
and  presenting  them  to  his  friends.  After  this  fashion 
the  last  sacred  carpet  fell  into  the  hands  of  the  late  King 
Hussein  of  Hedjaz,  Grand  Sherif  of  Mecca,  who  gave  a 
liberal  cutting  of  the  carpet  to  Col.  Cyril  Wilson,  of 
the  British  Army,  who  in  turn  sent  it  to  his  sister-in-law, 
Mrs.  C.  Stuart  Wilson,  of  Yew  Banks,  Oakley,  Hants, 
England. 

It  was  Mrs.  Wilson,  who  for  courtesies  extended  to 
her  by  Mr.  Schoedsack  aboard  ship  enroute  from  the 
Orient  to  England,  rewarded  him  and  his  family  with 
the  wonderful  Mohammedan  relic  which  he  is  so  proudly 
exhibiting  to  his  friends  among  The  International  Pho- 
tographers. 

This  is  believed  to  be  the  only  relic  of  the  kind  ever 
to  come  out  of  the  Mohammedan  countries. 


OTTO  K.  OLESEN  SOUND  STUDIOS 

The  Otto  K.  Oleson  Sound  Studios,  recently  opened 
division  of  the  Otto  K.  Oleson  Illuminating  Company, 
may  aptly  be  called  the  "Building  of  Memories."  Those 
who  remember  the  good  old  days  will  recall  that  Para- 
mount Studios  once  occupied  this  site.  Mary  Pickford 
had  a  dressing  room  in  this  very  building;  Gloria  Swan- 
son  created  her  early  successes  under  its  roof ;  Douglas 
Fairbanks  and  a  myriad  of  stars  once  called  the  studio 
at   1560  North   Vine  Street  their  moving  picture  home. 

Far  seeing  Mr.  Oleson  believes  that  Hollywood  is 
destined  to  become  the  artist  center  of  the  radio  world. 
Joseph  G.  Catanich,  formerly  of  Electrical  Research 
Products,  and  a  graduate  of  Stanford  University,  is  at 
the  head  of  the  new  sound  studios.  Sterling  M.  Stevens 
is  at  the  head  of  production  and  Mr.  Cliff  McDonald 
is  chief  in  charge  of  recording. 

as  "Eastman  Extreme-red  Sensitive."  For  most  purposes, 
the  new  Type  I-R  plates  will  take  their  place. 

For  infra-red  photography  with  these  plates,  the 
Wratten  A  (Number  25)  Filter  may  be  used  on  the 
lens  of  the  camera.  Other  red  filters  (Number  70,  Num- 
ber 89A,  etc.)  are  equally  effective  but  offer  no  ad- 
vantages. The  Number  87  filter,  which  transmits  no 
visible  light,  must  be  used,  over  the  light  source,  for 
"photography  in  total  darkness" ;  but  it  can  be  used 
only  with  Type  I-P  plates. 

In  infra-red  photography  it  is  important  to  avoid  the 
use  of  hard-rubber  slides  in  plate  holders,  the  Kodak 
Company's  announcement  warned.  Such  slides  are  trans- 
lucent to  infra-red  rays  unless  the  rubber  contains  suffi- 
cient composition  to  make  them  opaque.  Fiberboard 
slides  and  metal  slides  are  safe  in  this  respect. 


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August,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Thirty-one 


"ACES  OF  THE  CAMERA 


if 


In  The  Saturday  Evening  Post  of  July  22,  appears 
an  article  by  Palma  Wayne  entitled  "Aces  of  the 
Camera,"  a  yarn  dealing  with  the  vicissitudes  of  the 
men  who  put  the  move  in  movies. 

Miss  Wayne  has  evidently  been  a  keen  observer  of 
the  cameraman  in  action  and  her  story  will  be  of  great 
interest  to  those  who  wonder  what  the  cameraman  does 
and  how  he  does  it. 

In  giving  attention  to  the  cameraman  The  Satur- 
day Evening  Post  is  to  be  congratulated,  for  these  knights 
of  the  camera  are  the  sine  qua  non  of  the  motion  picture 
personnel  and  the  camera,  itself,  is  the  fulcrum  upon 
which  the  entire  industry  turns. 

Glorifying  the  cinematographer,  Miss  Wayne  says: 
"To  see  the  cameraman  in  The  Big  Cage — in  gray  spats, 
gray  gloves  and  a  perfectly  tailored  gray  suit,  looking 
like  a  Parisian  boulevardier — directing,  but  never  touch- 
ing the  camera,  was  an  imposing  sight." 

The  cameraman  is  not  always  a  symphony  in  gray, 
as  Miss  Wayne  has  him  here,  but  it  is  admitted  that 
when  he  does  set  out  to  give  attention  to  his  sartorial 
adornment  his  appearance  is  something  to  brag  about, 
especially  when  he  tops  the  tout  ensemble  with  his  high 
hat. 

Miss  Wayne,  in  her  Post  story,  could  give  attention 
to  only  a  few  of  the  "Aces  of  the  Camera."  In  Holly- 
wood, Chicago,  New  York,  London,  there  are  many 
"aces"  and,  perhaps  in  the  days  to  come,  she  will  find 
some  interesting  yarns  about  those  to  whom  she  could 
give  no  attention  in  this  her  first  venture  into  Camera- 
landia. 


NEW  FINE  GRAIN  NEGATIVE 

Kodak  Panatomic  Film,  a  panchromatic  film  of  ex- 
ceedingly fine  grain,  is  currently  making  its  debut  for 
use  with  miniature  cameras.  The  fine  grain  permits 
generous  enlargements  from  diminutive  negatives.  Pana- 
tomic Film  has  the  same  speed  as  N.  C.  Film  in  day- 
light and  is  twice  as  fast  by  artificial  light. 

Panatomic  Film  is  being  manufactured  in  three  types 
of  rolls:  F127,  for  cameras  taking  16  pictures  on  the 
"vest  pocket"  roll;  Fl  17  for  Rolleiflex  cameras;  and  a 
30-exposure  daylight-loading  roll  for  Leica  cameras. 

Filter  factors  for  Panatomic  Film  are  the  same  as 
for  Kodak  Super  Sensitive  Panchromatic  Film.  As  in 
the  case  of  Super  Sensitive  Panchromatic,  a  piece  of  black 
adhesive  tape — supplied  with  each  roll  of  film — must  be 
used  to  cover  the  camera's  red  window  when  the  film 
is  actually  being  wound  to  a  new  number. 

Kodak  Panatomic  Film  will  be  distinguished  by  a 
"Kodak  yellow"  carton  with  a  blue  and  black  saw-tooth 
border.  Each  carton  will  contain  a  direction  sheet  giv- 
ing the  developer  formulae.  The  new  film  should  be 
developed  under  the  same  conditions  as  Kodak  Super 
Sensitive  Panchromatic  Film. 

Simultaneously  with  the  new  film,  the  Eastman  Kodak 
Company  announced  the  addition  of  another  miniature 
model  to  its  line  of  European-type  cameras — the  Kodak 
Vollenda  equipped  with  a  Radionar  Anastigmat  f .4.5 
lens  and  a  Pronto  shutter  with  speeds  up  to  l/100th 
second  and  with  bulb,  time,  and  a  built-in  self-timer. 
The  Vollenda  with  an  f .3.5  lens  has  been  sold  in  the 
United  States  for  about  a  vear. 


The  B  &  H  Rotambulator 

When  the  first  of  the  new  Bell  &  Howell  Rotambulators  was  rolled  onto  an 
M-G-M  sound  stage  at  Culver  City,  perfection  had  come  to  another  phase  of  cine- 
matography. The  utmost  smoothness  and  precision  in  camera  mobility  had  arrived. 
And  movies  since  made  with  the  Rotambulator  attest  this  fact.  They  include: 
"Turn  Back  the  Clock,"  Hold  Your  Man,"  "Hell  Below."  The  camera  may 
be  rotated,  panned,  raised,  lowered,  and  tilted  at  will — with  amazing  freedom  and 
steadiness — with  every  movement  smooth  and  sure.  Write  for  complete  technical 
description. 

B  &H  Cooke 
VARO  LENS 

The  B  &  H  Cooke  Varo  Lens, 
originated  to  overcome  limita- 
tations  of  dolly  shots  in  awk- 
ward situations,  has  lead  to  pic- 
ture results  far  heyond  those 
originally  contemplated.  This 
ingenuity  in  the  use  of  new 
products  on  the  part  of  camera- 
men is  matched  only  by  the  in- 
genuity of  the  Varo  Lens  it- 
self. The  lens  varies  focal 
length  while  automatically  re- 
taining critical  focus  and  cor- 
rect exposure.  Current  results: 
"Stranger's  Return,"  "Night 
Flight." 


The  New  B  &  H  Rotambulator 


Write   for   complete   data    and    prices.     Available    on    rental    to    responsible    studios. 

BELL  &  HOWELL  COMPANY 

1849  Larchmont  Ave.,  Chicago,  111.;   11  West  42nd  St.,  New  York;  716  North  La  Brea  Avenue,  Hollywood;  320  Regent  St.,  London 

(B  &  H  Co.,  Ltd.)   Est.  1907 


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Thirty-two 


The      INTERNATIONAL      PHOTOGRAPHER 


August,  1931 


Hollywood's  Allied  Industries 


ART  REEVES  GOES  EAST 

Art  Reeves,  of  the  famous  Artreeves  organization,  is 
sojourning  in  the  east  on  business  in  connection  with  his 
concern.  He  will  visit  New  York,  Boston,  Detroit, 
Washington  and  other  important  points  and  en  route  re- 
turning will  visit  the  Century  of  Progress  exposition  and 
incidentally,  will  fraternize  in  the  newsreel  miracle  men 
of  Local  666. 


WESTERN  ELECTRIC 

The  Western  Electric  Studios,  Inc.,  at  their  Metro- 
politan lot,  have  installed  wide  range  recording  systems 
according  to  Mr.  R.  J.  Engler,  sound  director.  They 
also  recently  installed  new  Western  Electric  vertical  disc 
recording  equipment  to  be  used  for  radio  transcriptions. 
They  record  Western  radio  material  for  the  New  York 
World  broadcasts. 

In  addition  to  their  four  fixed  studio  sound  channels 
they  maintain  four  location  units,  all  Western  Electric. 
The  location  units  are  very  complete  and  compact,  using 
White  trucks  with  113  inch  wheelbase,  allowing  them 
to  follow  the  proverbial  Ford's  path.  Besides  tbe  regular 
"mike"  boom  equipment  they  also  carry  a  40  inch  sound 
concentrator  "mike." 


LEICAMETER 


A  special  model  of  the  Weston  exposure  meter  known 
as  the  Leicameter  is  being  featured  by  E.  Leitz,  Inc., 
which  has  become  popular  among  Leica  and  similar 
camera  users.  It  is  calibrated  in  accordance  with  the 
lens  and  shutter  settings  on  the  Leica  camera  ( 1  second 
to  l/500th  second).  The  indicator  moves  over  a  double 
scale.  The  top  scale  refers  to  super  pan  films,  while 
the  lower  is  for  modern  ortho  films.  The  price  of  this 
meter  is  $22.50. 


AGFA-ANSCO  EXPANDS 


The  Agfa-Ansco  Corporation,  in  order  to  provide  for 
future  expansion,  have  just  completed  the  construction  of 
a  modern  film  storage  warehouse  and  a  new  laboratory 
for  processing  Agfa  16  m.m.  Reversible  film,  at  No.  1043 
South  Olive  Street,  and  has  transferred  the  stock  and 
offices  of  the  Agfa  Raw  Film  Corporation,  a  subsidiary, 
to  this  address  also.  The  new  warehouse  and  lab.  is 
under  the  management  of  E.  M.  St.  Claire,  who,  for 
the  past  five  years,  has  been  in  charge  of  the  branch  at 
223  W.  Third  Street,  Los  Angeles. 

For  the  benefit  of  their  technical  interests  as  related, 
especially,  to  the  motion  picture  industry,  they  have  also 
established  technical  and  research  offices  at  No.  1426^ 
Beachwood  Drive,  Hollywood,  in  the  heart  of  the  picture 
industry,  which  are  under  the  personal  supervision  of 
Dr.  Herbert  Meyer.  In  this  laboratory  a  service  is 
maintained  for  the  benefit  of  all  Agfa  film  users — where 
technical  questions  and  problems  are  solved.  An  East- 
man Kodak  sensitometer,  which  is  standard  equipment 
in  all  labs,  is  a  part  of  the  equipment  used. 

Long  leases  have  been  taken  on  the  two  locations 
above  noted,  which  action  is  indicative  of  the  faith  Agfa- 
Ansco  Corporation  have  in  the  future  of  the  general  pho- 
tographic industry  in  Southern  California. 


MITCHELL  CAMERA  IN  JAPAN 

A  standard  Mitchell  camera  has  recently  been  shipped 
to  the  Dai  Nippon  Celluloid  Company  of  Tokio,  the 
largest  manufacturer  of  motion  picture  film  in  Japan. 
The  camera  will  be  used  in  their  research  department 
for  testing  purposes. 


NEW  BASS  BARCAINCRAM 

The  Bass  Camera  Company  of  Chicago  announces 
the  new  Bass  Bargaingram  No.  211  of  16  m.m.  ap- 
paratus and  supplies  as  now  being  ready  for  distribution. 

Anyone  interested  in  16  m.m.  equipment  can  secure 
a  copy,  which  will  be  mailed  free  upon  request.  This 
Bargaingram  has  a  most  complete  list  of  approved  ac- 
cessories for  the  amateur  movie  maker. 


CRASHING  THE  GATES 

As  a  lecturer  our  own  Glen  Kershner  is  crashing 
the  gates  to  success.  On  July  6,  he  lectured  at  Robin- 
son's on  the  subject  "The  South  Seas,"  and  1800  people 
were  turned  away.  In  addition  to  his  lecture  he  ex- 
hibited three  reels  of  his  own  film  shot  south  of  the 
equator.  His  fan  mail  has  been  averaging  as  high  as 
fifteen  letters  a  day. 


U.  S.  N.  USES  STINEMAN  SYSTEM 

The  portable  developing  outfit  used  during  the  United 
States  Navy's  recent  aerial  survey  in  southeastern  Alaska 
is  manufactured  by  R.  P.  Stineman,  the  inventor  of  the 
well  known  Stineman  developing  system.  The  Stine- 
man system  has  been  carried  into  the  far  corners  of  the 
earth  and  this  is  only  just  another  instance  of  its  con- 
venience and  adaptability. 


BELL  &  HOWELL  ELECTS  FRED  M.  HALL  TO  V.-P. 

Bell  &  Howell  Company,  Chicago, 
motion  picture  equipment  manufactur- 
ers, announce  the  election  of  Fred  M. 
Hall  as  Vice-President,  in  charge  of 
their  eastern  offices,  with  headquarters 
in  New  York  City. 

Mr.  Hall  has  been  with  the  Bell  & 
Howell  Company  five  years,  first  as 
traveling  sales  representative  and  then 
as  manager  of  the  company's  New  York 
offices. 

He  graduated  from  the  University  of  Wisconsin  with 
a  B.A.  degree  in  1915  and  was  on  the  staff  of  the  St. 
Paul  Association  of  Commerce  until  May,  1917,  when 
he  enlisted  in  the  Army.  He  was  commissioned  second 
lieutenant  in  August  of  that  year,  went  to  France  in 
the  spring  of  1918,  and  was  promoted  to  first  lieutenant 
in  October.  After  the  armistice  he  was  stationed  in 
Germany  and  later  was  detailed  to  Rusisa  under  the 
American   Relief  Administration. 

Before  joining  the  Bell  &  Howell  Company,  he  was 
district  manager  for  the  Franklin  Automobile  Company 
and  Regional  Supervisor,  Group  Insurance  Division,  for 
the  Metropolitan  Life  Insurance  Company. 


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August,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Thirty-three 


NEW  TELEPHOTO  LENS 

The  Hugo  Meyer  Company  is  bringing  out  this 
month  two  new  Telephoto  lenses  for  16  m.m.  and  35 
m.m.  cameras  for  special  work.  These  are  7  inch  and 
10  inch  F:5.5  Tele-Megor  telephoto  lenses. 

They  are  particularly  useful  for  extremely  long  dis- 
tance shots  and  in  photographing  wild  life,  birds,  sports, 
etc.,  where  the  cinematographer  would  be  unable  to  se- 
cure a  picture  without  an  extremely  long  focus  lens. 
These  lenses  can  be  adapted  to  any  of  the  16  m.m.  and 
35  m.m.  cameras  now  in  use. 


HELEN   MITCHELL 

Miss  Helen  Mitchell  (Mrs.  Oliver  Morosco)  is  pro- 
ducing a  series  of  six  features,  the  first,  "Waffles,"  now 
in  production  at  the  California  Tiffany  Studios.  The 
second  will  be  entitled  "Dance  Clown." 


THE  FEARS  ON  VACATION 

The  Fearless  Educational  camera  blimps  with  the  im- 
proved focus  and  follow  finder  controls  are  proving  very 
popular.  Twelve  of  them  have  been  delivered  in  the 
last  ninety  days.  Mr.  and  Mrs.  Ralph  Fear  are  on  a 
combined  business  and  pleasure  trip  to  the  East.  At 
last  reports  they  were  in  the  northernmost  parts  of  the 
Province  of  Quebec,  Canada. 


ROACH  BUYS  MITCHELLS 

The  Hal  Roach  Studio  at  Culver  City  has  recently 
purchased  two  of  the  new  silent  Mitchell  Cameras,  both 
equipped  with  the  new  type  finders,  new  rolling  tripods 
and  other  accessories.  It  is  understood  that  these  cameras 
are  being  used  without  any  covering  whatsoever  and  are 
proving  most  satisfactory. 


SPECIAL  TIMING  CAMERA 

During  the  National  Air  Meet  Races  held  in  Los 
Angeles  the  first  part  of  July  the  camera  played  a  very 
important  part.  The  Western  Electric  Timing  Camera 
adopted  as  the  official  timing  system  of  the  Aeronautic 
Association  was  used.  The  same  crew  that  operated 
this  timing  camera  at  the  National  Air  Meet  at  Cleve- 
land last  year  also  officiated  at  the  Los  Angeles  Air 
Meet.  They  were  Charles  Fetter  and  Harry  Day,  both 
of  the  Electrical   Research   Products,   Inc. 


ACTIVITY  ABROAD 

From  reports  reaching  this  magazine  there  appears  to 
be  considerable  motion  picture  activity  in  the  foreign  field. 
On  the  first  of  last  June  the  China  Sound  &  Color  Film, 
Ltd.,  officially  opened  their  studio  and  laboratory  at 
Kiangwan,  China.  This  company  has  a  complete  studio 
and  laboratory  and  is  equipped  to  photograph  black  and 
white  and  color. 

The  directors  of  this  company  are  W.  H.  Jansen, 
W.  D.  Gande,  Chang  Nieh-Yun,  J.  Edgar,  L.  R.  Morse, 
R.  E.  Stewardson  and  W.  A.  White. 


NEW  MODEL 

E.  Leitz,  Inc.,  60  East 
nounces  the  new  Model  F 
includes  besides  the  usual 
l/500th  second  exposure, 
from  one  full  second  to  one 
speeds  may  be  secured  by 
two  calibrated  speeds ;  thu 
tween  4  and   8,   a  shutter 


LEICA  CAMERA 

10th  Street,  New  York,  an- 
Leica  camera,  a  camera  that 
shutter  range  of  l/20th  to 
slow  shutter  speeds  ranging 
-eighth  second.  Intermediate 
setting  the  pointer  between 
s  if  the  indicator  is  set  be- 
speed  of   1  /16th  second  will 


result.  The  new  shutter  speed  control  consists  of  a  tiny 
knob  situated  near  the  lens  on  the  front  of  the  camera 
and  operates  independently  of  the  regular  shutter  speed- 
setting  dial  on  top  of  the  camera. 

A  new  magnifier  lens  built  into  the  range  and  view- 
finders  permit  a  larger  image  to  be  seen.  Another  re- 
finement is  the  inclusion  of  eyelets  built  into  the  camera 
body  to  accommodate  a  special  carrying  strap  equipped 
with  snap  hooks  which  permits  carrying  of  the  camera 
without  the  case,  as  well  as  serving  to  steady  the  camera 
when  slow  exposures  are  made  with  the  camera  held  in 
the  hands.  The  strap,  however,  is  not  included  in  the 
price  of  the  camera. 

Booklet  1216  describing  this  new  Leica  Camera  may 
be  procured  from  local  dealers  or  by  writing  E.  Leitz 
direct. 


SCIENTIFIC  SUBJECTS 

Milt  Moore  has  completed  the  first  of  a  series  of 
six  one  and  two  reel  pictures  on  scientific  subjects  as 
follows:  "Earthquake,"  "Sun  God,"  "Goddess  of  the 
Night,"  "The  Ice  Age,"  "Lightning,"  and  "The  Cosmic 
Ray." 

The  first  picture,  "Earthquake,"  was  photographed 
at  the  Seismological  Laboratory  at  Cal-Tec  and  Carnegie 
Institute,  the  producing  company  being  organized  as  the 
Cine-Science  Associates. 

Mr.  Moore's  associates  are  Dr.  Russell  Otis,  Ph.D. 
and  B.S.,  and  Archibald  McKaig,  B.S.,  economist  and 
electrical  engineer. 

Mr.  Moore  and  his  distinguished  co-operators  are  to 
be  congratulated  upon  the  high  plane  of  their  produc- 
tions. 


THREE  COLOR  TECHNICOLOR 

The  new  three  color  process  which  has  been  used 
during  the  past  year  by  Walt  Disney  for  his  "Silly 
Symphonies,"  is  at  last  to  be  employed  in  a  feature 
length  picture  as  yet  untitled.  The  Pioneer  Pictures, 
Inc.,  organized  by  John  Hays  Whitney  and  Cornelius 
Vanderbilt  Whitney,  will  produce  this  picture  for  the 
RKO  1933-34  program.  It  will  be  personally  supervised 
by  Meriam  C.  Cooper. 

Those  who  have  been  fortunate  in  seeing  this  new 
Technicolor  process  have  been  loud  in  their  praises  of 
what  they  term  perfect  color  photography. 


THE  NEW  VICTOR  ANIMATOPHONE 

Alexander  F.  Victor,  President  of  the  Victor  Anima- 
tograph  Corporation,  with  the  Victor  engineering  staff, 
have  given  their  attention  for  many  months  to  the  de- 
veloping and  perfecting  of  the  new  Victor  model  12-B 
"Blimp"  Type  Sound  on  Film  Animatophone. 

The  Victor  Company  claims  to  have  perfected  a  thor- 
oughly practical  16  m.m.  sound  on  film  projector.  Con- 
trary to  the  belief  of  many  16  m.m.  fans,  sound  on  film 
presentations  need  not  be  limited  to  small  room  areas  or 
small  30  or  40  inch  pictures. 

The  projection  equipment  of  the  Animatophone  is 
sufficiently  powerful  to  produce  a  brilliant  image  at  a 
distance  of  100  feet  or  more.  The  sound  equipment 
has  sufficient  volume  for  auditorium  service  and  may 
be  used  in  many  places  where  heretofore  only  35  m.m. 
equipment  would  have  been  practical. 

It  is  also  ideal  for  small  room  presentations  wherever 
low  volume  is  desired.  Silent  pictures  may  also  be 
projected  by  ignoring  the  sound  head  and  threading  as 
in  silent  projection.  Speed  is  adjustable  for  16  frames 
per  second  as  well  as  for  24  frames  per  second. 


Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


ON  THE 

FIRING    LINE 


On  location  with  the  "Stranger's  Return"  company  of  M-G-M,  featuring 

Miriam   Hopkins,  King  Vidor  directing.    Miss  Hopkins,  mounted,  has  just 

entered  the  scene.    Lionel   Barrymore  on   the   right  is  resplendent   in  the 

suspenders. 

PARAMOUNT  STUDIOS 

Virgil  Miller,  Head  of  Camera  Department 

"WAY  TO  LOVE."  Producer,  Benjamin  Glazer;  stury  and  screen 
play  by  Benjamin  Glazer  and  Gene  Fowler;  additional  dialogue  by 
Claude  Binyon  and  Frank  Butler ;  director,  Norman  Taurog ;  assistant, 
Jack  Mintz ;  first  cameraman,  Charles  Lang;  operative  cameraman, 
Robert  Pittack ;  assistant,  Clifford  Shirpser ;  stills,  Mack  Elliott;  re- 
cording engineer,  Eugene  P.  Merritt ;  assistant,  Luther  Pitt ;  film  edi- 
tor, Hugh  Bennett;  assistant,  H.  T.  Fritch ;  art  director,  Hans  Dreier ; 
chief  electrician,  Henry  Schuster ;  chief  grip,  Roy  vVatson ;  chief  prop, 
Clem   Jones. 

Cast :  Maurice  Chevalier,  Sylvia  Sydney,  Edward  Everett  Horton, 
Arthur  Pierson,  Minna  Gombell,  Blanche  Frederici,  Nydia  Westman, 
George   Rigas. 


"BIG  EXECUTIVE."  Producer,  Bayard  Veiller ;  original  story 
by  Alice  Duer  Miller;  screen  play  by  Laurence  Stallings ;  director,  Erie 
C.  Kenton;  assistant  director,  Jo  Van  Ronkel ;  first  cameraman,  Harry 
Fischbeck ;  operative  cameramen,  William  Rand  and  Daniel  Fapp ;  as- 
sistants, Lucien  Ballard  and  Neal  Beckner ;  stills,  Sherman  Clark ;  re- 
cording engineer,  Harry  D.  Mills ;  assistant,  Eben  Kerr ;  film  editor, 
James  Smith ;  assistant,  S'tuart  Gilmore ;  art  director,  Ernst  Fegte ; 
chief  electrician,  Stanley  Williams;  chief  grip,  Jimmy  Hosier;  chief 
prop,    Ernie    Johnson. 

Cast :  Ricardo  Cortez,  Richard  Bennett,  Elizabeth  Young,  Sharon 
Lynne,  Dorothy  Peterson,  Barton  MacLane,  Charles  Middleton,  Pop 
Kenton,   Maude   Eburne,    Albert   Hart,  Jean    Beaks. 


METRO-GOLDWYN -MAYER  STUDIOS 

John  Arnold,  Head  of  Camera  Department 

"DANCING  LADY."  Producer,  John  Considine ;  author,  James 
Warner  Bellah ;  screen  play  by  P.  G.  Wolfson  and  Allan  Rivkin  ;  direc- 
tor, Robert  Z.  Leonard ;  assistant  director,  R.  A.  Golden ;  first  camera- 
man, Oliver  Marsh ;  operative  cameraman,  Eddie  Fitzgerald ;  assistant, 
Kymie  Meade;  stills,  James  Manatt;  recording  engineer,  Douglas 
Shearer;   film  editor,   Margaret   Booth;   chief  electrician,  Ted  Wurtenberg. 

Cast :  Joan  Crawford,  Franchot  Tone,  Grant  Mitchell,  Frank  Mor- 
gan, Jean  Malin,  Ted  Healy,  Winnie  Lightner,  Jean  Howard,  Ferdinand 
Gottschalk. 

"ANOTHER  LANGUAGE."  Producer,  Walter  Wanger ;  author. 
Rose  Franken ;  screen  play  by  Herman  J.  Mankiewicz  and  Donald  Og 
den  Stewart;  director,  Edward  H.  Griffith;  assistant,  Joe  Newman 
first  cameraman,  Ray  June;  operative  cameramen,  Lester  White,  Charles 
Lawton  and  Rich  Wade ;  assistants,  Wilbert  Bradley  and  Sam  Cohen 
stills,  Milton  Brown;  recording  engineer,  Douglas  Shearer;  film  editor 
Hugh  Wynn :  art  director,  Frederic  Hope;  chief  electrician,  Lew  Rob 
erts ;    chief  prop,    Bob   McQuellis. 

Cast :  Louise  Closser  Hale,  John  Beal.  Henry  Trayers,  Margaret 
Hamilton,  Willard  Robertson,  Irene  Cattell,  Minor  Watson,  Hal  K. 
Dawson,    Maidel   Turner,    Robert    Montgomery,    Helen    Hayes. 


'MARCH  OF  TIME."  Producer,  Harry  Rapf ;  author,  Moss  Hart ; 
screen  play  by  Edgar  Allen  Woolf ;  director,  Willard  Mack;  assistant, 
John  Waters ;  first  cameraman,  William  Daniels ;  operative  cameraman, 
Al  Lane;  assistant.  Bill  Riley;  stills,  Frank  Tanner;  recording  engineer, 
Douglas  Shearer;  film  editor,  Bill  Gray;  chief  electrician,  Floyd  Porter; 
chief   grip,    Tommy    Griffin  ;    chief    prop,    Bert    Sterling. 

Cast:  Alice  Brady,  Frank  Morgan,  Russell  Hardie,  Madge  Evans, 
Eddie  Quillan,  Jackie  Cooper,  Mickey  Rooney,  Eddie  Brophy,  Ruth 
Channing,    Jean    Howard,    Edwin    Maxwell. 


INTERNATIONAL  FILM  STUDIOS 

"ROAD  TO  RUIN."  Producer  and  author,  Willis  Kent;  screen 
play  by  Mrs.  Wallace  Reid  and  Norton  Parker;  directors,  Mrs.  Wallace 
Reid  and  Melville  Shyer ;  assistant,  George  Curtner ;  first  cameraman, 
James  Diamond;  assistant,  Lee  Crawford;  stills,  Madison  Lacey ;  re- 
cording engineer.  Homer  Ackerman ;  assistant,  Al  Lavck ;  film  editor, 
Roy  Luby  ;  chief  electrician,  Jack  Wallace;  chief  grip,  Red  Miller;  chief 
prop,   Al   Romero. 

Cast:  Helen  Foster,  Glen  Roles,  Nell  O'Day,  Mae  Busch,  Paul 
Page,    Dick    Hemingway,    Richard    Tucker,    Robert    Quirk. 


FANCHON  ROYER  STUDIOS 

"NEIGHBORS'  WIVES."  Producer,  Fanchon  Royer ;  author, 
John  Francis  Atteford ;  director,  Breezy  Eason ;  assistant,  Davidson; 
first  cameraman,  Ernest  Miller;  assistant,  John  McBurnie;  recording  en- 
gineer Carl  O'Laughlin  ;  film  editor,  Jean  Spencer;  art  director,  Paul 
Palmentoli  ;    chief    electrician,    Shellenberger. 

Cast:  Dorothy  MacKaye,  Owen  Moore,  Mary  Kornman,  Vivien 
Oakland,    Cyril    Rine. 


By   HELEN    BOYCE 


FOX  STUDIO 

C.  J.  Fischer,  Head  of  Camera  Department 

"THE  WORST  WOMAN  IN  PARIS."  Producer,  Jesse  L.  Lasky ; 
author,  Monta  Bell;  screen  play  by  Martin  Brown;  director,  Monta  Bell; 
assistant,  Les  Selander ;  first  cameraman,  Hal  Mohr;  operative  camera- 
men, W.  Skall  and  I.  Rosenberg ;  assistants,  R.  Surtees  and  P.  Lock- 
wood  ;  stills,  Anthony  L'grin ;  recording  engineer,  Al  Von  Kirbach ;  as- 
sistant, E.  O'Brien;  film  editor,  Paul  Weatherwax ;  art  director,  Max 
Parker. 

Cast :      Benita    Hume,    Adolph   Menjou,    Harvey    Stephens. 


"MY  WEAKNESS."  Producer  and  author,  B.  G.  De  Sylva :  con- 
tinuity by  David  Butler  and  Bert  Hanlon ;  additional  dialogue,  James 
Ryan;  director,  David  Butler;  assistant,  Ad  Schumar ;  first  cameraman, 
Arthur  Miller;  operative  cameraman,  J.  La  Shelle  and  J.  Schmitz ;  as- 
sistants, W.  Abbott  and  E.  Collins ;  stills,  Eugene  Kornman ;  recording 
engineer,  Joseph  Aiken ;  assistant,  R.  Strickfaden ;  film  editor,  Irene 
Morra ;    art    director,    Gordon    Wiles. 

Cast :  Lilian  Harvey,  Lew  Ayres,  Sid  Silvers,  Charles  Butterworth, 
Harry  Langdon,  Irene  Bentley,  Dixie  Francis,  Barbara  Weeks,  Mar- 
celle    Edwards,    Susan    Fleming. 


"CHARLIE  CHANS  GREATEST  CASE."  Producer,  Sol  M. 
Wurtzel ;  author.  Earl  Derr  Biggers ;  screen  play  by  Lester  Cole  and 
Marion  Orth ;  director,  Hamilton  McFadden ;  assistant,  Percy  Ikerd ; 
first  cameraman,  Ernest  Palmer ;  operative  cameraman,  D.  Anderson ; 
assistants,  S.  Little  and  R.  Mack  ;  stills.  Cliff  Mauphin ;  recording  engi- 
neer, C.  Leverett ;  assistant,  T.  W.  Brent;  film  editor,  Alex.  Troffey ; 
art    director,    Duncan    Cramer. 

Cast :  Warner  Oland,  Heather  Angel,  Roger  Imhof,  John  War- 
burton,   Walter   Byron,   Frank  Atkinson,   Virginia   Cherrill. 

CALIFORNIA  TIFFANY  STUDIOS 

Edward  Tiffany,  Head  of  Camera  Department 

"WAFFLES."  Producer,  author  and  screen  play,  Helen  Mitchell; 
director,  Warren  Millais ;  assistant,  Roy  McDevitt;  first  cameraman, 
Peverell  Marley ;  operative  cameraman,  Harry  David ;  assistants,  Red 
Cawford,  Bert  Easton ;  stills,  Don  McKenzie;  recording  engineer,  Car- 
son Jewett  ;  assistant,  Martin  Jackson;  film  editor;  S.  E.  Graham;  as- 
sistant, Robert  Bradfield ;  art  director,  Ralph  DeLacey  ;  chief  electrician, 
Don  Donaldson;  chief  grip,  Ben  Bischoff;  chief  props,  Charles  Hanley 
and    Ken   Walton. 

Cast:  Sari  Maritza,  Buster  Collier,  Alan  Mowbray,  Barbara 
Luddy,  Ivan  Simpson,  Grace  Valentine,  Mary  Lee  Mannig,  Monali 
Lindley,  Rex  Irmond,   Bert  James,  Jack   DeWees. 

FREEMAN  LANG  STUDIOS 

"CRAWLING  DEATH."  Producer  and  director,  Charles  Hutchi- 
son; author,  Jacon  Cohn ;  assistant,  Mai  Delay;  first  cameraman,  Wil- 
liam Thompson;  assistant,  William  Jolly;  stills,  Paul  Ries :  recording 
engineer  West  Moreland ;  assistants.  Chick  Wells  and  Gary  Harris ;  film 
editor.  Rose  Smith ;  art  director.  Paul  Palmentola ;  chief  electrician,  Pat 
Patterson ;    chief    grip.    Walter    Gulp ;    chief    prop,    Walter   Hahn. 

Cast  :       Barbara    Bedford,    Robert    Fraser. 


THE  ASSISTANTS  TALK  IT  OVER 


tfUNHf\  Ke,?v 


What  do  you  think  of  the  National  Recovery  Act? 
Where  is  it  playing? 


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RKO  STUDIOS 

William  Eglington,  Head  of  Camera  Department 

"LITTLE  WOMEN."  Producer,  Kenneth  Macgowan ;  author, 
Louisa  M.  Alco-tt ;  screen  play  by  Sarah  V.  Mason  and  Victor  Heerman  ; 
director,  George  Cukor ;  assistant,  Ed  Killy ;  first  cameraman,  Henry 
Gerrard ;  operative  cameraman,  Kobert  DeGrasse ;  assistant,  Geoge  Dis- 
kant;  stills,  John  Miehle;  recording  engineer,  George  Ellis;  assistants, 
Ellis  Fesler  and  Victor  Appel ;  film  editor,  Jack  Kitchin;  assistant,  Des- 
mond Marquette;  art  directors,  Van  Nest  Polglase  and  Hobe  Erwin ; 
chief  electrician,  F.  H.  Barton;  chief  grip,  Tom  Clement;  chief  prop, 
Charles   Sayers. 

Cast :  Katherine  Hepburn,  Joan  Bennett,  Frances  Dee,  Paul  Lukas, 
Jean  Parker,  Louise  Closser  Hale,  Spring  Byington,  Douglass  Mont- 
gomery,   Henry    Stephenson,   John    Davis   Lodge. 


"ACE  OF  ACES."  Producer,  Sam  Jaffe  ;  author,  John  Monk  Saun- 
ders; screen  play  by  John  Monk  Saunders  and  H.  W.  Hanneman;  direc- 
tor, J.  W.  Ruben;  assistant^  Robert  Margolis ;  first  cameraman,  Henry 
Cronjager ;  operative  cameraman,  Frank  Kedman ;  assistant,  Cecil  Coo- 
ney ;  stills,  Fred  Hendrickson  ;  recording  engineer,  John  Tribby ;  assist- 
ants, R.  K.  Spotts  and  James  Field;  film  editor,  George  Hively  ;  assist- 
ant, Jack  Hively;  art  directors,  Van  Nest  Polglase  and  Al  Herman; 
chief  electrician,  P.  A.  Bristow ;  chief  grip,  Jim  Kirley  ;  chief  prop. 
Gene    Rossi. 

Cast :  Richard  Dix,  Elizabeth  Allan,  Ralph  Bellamy,  Theodore 
Newton,    Art   Jarrett    and    William    Cagney. 

"ANN  VICKERS."  Producer,  Pandro  Berman ;  author,  Sinclair 
Lewis ;  screen  play  by  Jane  Murfin ;  director,  John  Cromwell ;  assistant, 
Kenneth  Holmes ;  first  cameraman,  David  Abel ;  operative  cameraman, 
Joe  Biroc;  assistant,  James  Daly;  stills,  Gaston  Longet ;  recording  en- 
gineer, Clem  Portman  ;  assistants,  J.  G.  Stewart  and  E.  J.  Harman  ; 
film  editor,  George  Nicholls ;  assistants,  Bill  Morgan  and  Tommy  Scott; 
art  directors,  Van  Nest  Polglase  and  Charles  Kirk ;  chief  electrician, 
Jimmy    Almond;    chief    grip,    Sam    Redding;    chief    prop,    Kenny    Koontz. 

Cast :  Irene  Dunne,  Walter  Huston,  Conrad  Nagel,  Bruce  Cabot, 
Edna    May    Oliver,    Kitty   Kelly,    Robert    Benchley. 


UNIVERSAL  STUDIOS 

F.  S.  Campbell,  Head  of  Camera   Department 

"LILIES  OF  BROADWAY."  Producer,  Carl  Laemmle,  Jr.; 
screen  play  by  John  FYancis  Larkin ;  director,  E.  A.  DuPont ;  assistant 
director,  Vv'm.  Reiter ;  first  cameraman,  Tony  Gaudio ;  operative  camera- 
man, Richard  Fryer ;  assistant,  William  Dodds ;  stills,  Shirley  Vance 
Martin;  recording  engineer,  Fred  Feichter ;  assistant,  Vannemann ;  film 
editor,  Robert  Carlisle;  art  director,  Danny  Hall;  chief  electrician,  Irvin 
Smith ;    chief   grip,    Fred    Parkinson ;    chief   prop,    Harry    Gundstrom. 

Cast:  June  Knight,  Dorothy  Burgess,  Sally  O'Neil,  Mary  Carlisle, 
Neil  Hamilton,  Richard  Carle,  Ed.  Briese,  Oscar  Apfel,  Harvey  Clarke, 
Burton    Churchill,    Bonita,    Eddie    Phillips. 


"THE  NEW  DEAL."  Producer,  Bryan  Foy  ;  author,  Willard 
Back ;  screen  play  written  and  directed  by  Al  Bosberg ;  assistant  direc- 
tor, Lester  Weilson  ;  first  cameraman,  Joseph  A.  Valentine;  operative 
cameramen,  Al.  Wetzel  and  Jake  Badaracco ;  assistants,  Walter  Rankin, 
Paul  Salerno,  Henry  Cronjager,  Stanley  Horsley ;  stHls,  Fred  Grossi ; 
recording  engineer,  Lambert  E.  Day  ;  assistants,  John  Stack  and  William 
Montague;  film  editor,  Arthur  Hilton;  assistant,  George  Reid  :  art  direc- 
tor, Williard  Vogel ;  chief  electrician,  Chris  Borneman  ;  cruel  grip,  Hume; 
chief    prop.    Bill    Cain. 

Cast :  Myrt  and  Marge,  Clarence,  Trixie  Friganza.  Ted  Healy, 
Grace   Hayes,    Tommy   Jackson. 


"HE  COULDN'T  TAKE  IT."  Producer,  Warren  Doane ;  direc- 
tor, James  Home;  assistant  director,  Bill  Hackney;  first  cameraman, 
Len  Powers ;  assistant,  Walter  Williams ;  stills,  Bert  Six ;  recording 
engineer,  Jesse  Moulin;  assistant,  Bill  Richards;  film  editor,  Harry 
Marker;    chief   electrician,    Roy    Fullerton;    chief  grip,    Bert    Whalen. 

Cast:  Eddie  Nugent,  Sterling  Halloway,  Kay  Deslys,  Bert  Roach, 
Dorothy    Ward. 


"THE  INVISIBLE  MAN."  Author,  H.  G.  Wells;  screen  play  by 
R.  C.  Sherriff ;  director,  James  Whale;  assistant  director,  Joe  McWon- 
ough ;  first  cameraman,  Arthur  Edeson  ;  operative  cameraman,  King 
Gray  ;  assistant,  Jack  Eagan ;  stills,  Roman  Freulich ;  recording  engi- 
neer, William  Hedgecock ;  assistant,  John  Kemp ;  film  editor,  Theodore 
Kemp;  art  editor,  Dorry  Hall;  chief  electrician,  Mathewson ;  chief  grip, 
Peter    Abriss ;    chief    prop,    Wally    Kirkpatrick. 

Cast :  Claude  Rains,  William  Harrigan,  Gloria  Stuart,  Dudley 
Diggs,    Henry    Wavers,    Una    O'Connor,    E.    E.    Clive. 


"NATURE  IN  THE  ROUGH."  Producer,  Warren  Doane;  authors, 
Vernon  Smith  and  James  W.  Home;  director,  James  Hackney;  assist- 
ant director,  Morey  Lightfoot ;  first  cameraman,  Len  Powers ;  assistant, 
Walter  Williams ;  stills,  Andy  Anderson  ;  recording  engineer,  Z.  J.  Kegl  ; 
film    editor,    Harry    Marker;    assistant,    H.    Pivar. 

Cast:  Louise  Fazenda,  Bert  Roach,  Olive  Cooper,  Raymond  Hat 
ton,     Wally    Howe. 


"LOVE.  HONOR  AND  OH  BABY  "  Producer,  Sam  Jacobson ; 
screen  play  by  Norman  Krasna  and  Eddie  Buzzell ;  director,  Eddie 
Buzzell ;  assistants,  Dave  Selman  and  Ered  Frank ;  first  cameraman, 
George  Robinson ;  operative  cameraman,  James  Drought ;  assistant, 
Lloyd  Ward  ;  stills,  Dave  Farrell ;  recording  engineer,  Robert  Pritchard  ; 
assistant,  Don  Cunliffe ;  film  editor,  Phil  Kahn ;  assistant,  Murray  Sel- 
deen ;  art  director,  Stanley  Fleischer ;  chief  electrician,  Roy  Fullerton ; 
chief   grip,   Ralph   Johnson;   chief   prop,    Bob    Murdock. 

Cast :  ZaS'u  Pitts,  Slim  Summerville,  Venee  Teasdale,  Donald  Meek, 
Lucille    Gleason,    George    Barbier,    Purnell    Pratt,    Henry    Kolker. 


"SATURDAY'S  MILLIONS."  Producer,  Carl  Laemmle,  Jr.; 
author,  Dale  Van  Every ;  screenplay,  Dale  Van  Every ;  director,  Ed. 
Sedgwick;  assistant,  Ed.  Moehler ;  first  cameraman,  Charles  Stumar ;  op- 
erative cameraman,  Wilfred  Cline ;  assistants,  John  Martin  and  Martin 
Glouner ;  stills,  Joe  List;  recording  engineer,  Jesse  Moulin;  assistant, 
William  Richards;  film  editor,  Daniel  Mandell ;  assistant,  John  Hall; 
art  director,  Tom  O'Niel ;  chief  electrician,  Tommy  Valdez ;  chief  grip, 
Bert    Whalen ;    chief   prop,    Ed.    Keyes. 

Cast :  Robert  Young,  Lulu  Hymes,  Grant  Mitchell,  Richard  Tucker, 
Lucille    Lund,    Andy    Devine,    John    Mack    Brown,    Paul    Hurst. 


On   page  34  of  this  issue    is  the  complete   personnel   o 
"Waffles,"    the    first    offering    of    Helen    Mitchell    as 
producer.      The    scene     herewith    shows    the    technica 
crew  in  action   photographing  and   recording  one  of  th 
important  scenes  of  this   intriguing  picture. 

TWENTIETH  CENTURY  PICTURES,  INC. 

"THE  BOWERY."  Producers  .Joseph  M.  Schenck  and  Darryl 
Zanuck;  associate  producers,  Ray  Griffith  and  William  Goetz ;  authors, 
Michael  L.  Summons  and  B.  R.  Solomon ;  screen  play  by  Howard  Esta- 
brook  and  James  Gleason ;  drector,  Raoul  Walsh ;  assistant,  Fred  Fox ; 
first  cameraman,  Bert  Glennon ;  operative  cameramen,  Stuart  Thompson 
and  Russell  Metty;  assistants,  Harry  Webb  and  Hal  Carney;  stills, 
Kenneth  Alexander ;  recording  engineer,  Frank  Crewzbach ;  assistants. 
Jack  Noyes,  Don  Oswald ;  film  editor,  Ray  Curtis;  art  director,  Richard 
Day ;  chief  electrician,  Donald  Cartenson ;  chief  grip,  Tex  Hayes ;  chief 
prop,    L.    Hafly. 

Cast :      Wallace   Beery,   George    Raft,   Jackie   Cooper. 


WARNER  BROS.  FIRST  NATIONAL  STUDIOS 

Charles  Glouner,  Head  of  Camera  Department 

"FEMALE."  Producer,  Henry  Blanke;  director,  Wilhelm  Dieterle; 
assistant  director,  Frank  Mattison;  first  cameraman,  Sid  Hickox;  oper- 
ative cameraman,  Tom  Brannigan ;  assistant,  Andy  Anderson  ;  sails, 
Scotty  Welbourne ;  recording  engineer,  I.  A.  Brown;  film  editor,  Jack 
Killifer ;  art  director,  Jack  Okey  ;  chief  electrician,  Charles  Ferguson ; 
chief   grip,    Dude    Mashmeyer ;    chief   prop,    Clarence    Eurist. 

Cast :  Ruth  Chatterton,  Ferdinand  Gottschalk,  Laura  Hope  Crewes, 
Sterling    Holloway. 


"EVER  IN  MY  HEART."  Producer,  Robert  Presnell ;  director, 
Archie  Mayo ;  assistant,  Frank  Shaw ;  first  cameraman,  Leon  Shamroy ; 
operative  cameraman,  Al  Green;  assistant,  Carl  Guthria;  recording  en- 
gineer, Dolph  Thomas  ;y  film  editor,  Owen  Marks ;  art  director,  Anton 
Grot ;  chief  electrician,  'Alexander ;  chief  grip,  Glenn  Harris ;  chief  prop, 
Morris    Goldman. 

Cast :     Barbara    Stanwyck,    Otto    Krugar,    Ralph    Bellamy. 

'THE  WORLD  CHANGES."  Producer,  Robert  Lord;  screen  play 
by  Ed  Chadorov ;  director,  Mervyn  Le  Roy ;  assistant,  Bill  Cannon ; 
first  cameraman,  Sol  Polito ;  operative  cameraman,  Mike  Joyce ;  assist- 
ant, Lou  De  Angelis ;  stills.  Homer  Van  Pelt ;  recording  engineer,  Al 
Riggs ;  art  director,  Bob  Haas,  chief  electrician,  George  Whittemore ; 
chief   grip,    Harold    Noyes,    chief   prop,    Martin    Hershey 

Cast :     Paul   Muni,   Anna    Q.    Nilson,    Guy    Kibbee,   Aline   McMahon. 


"KENNELL  MURDER  MYSTERY."  Producer,  Robert  Presnell; 
director,  Michael  Curtiz,  assistant,  William  McGann ;  first  cameraman, 
Chick  McGill ;  operative  cameraman.  Ken  Green ;  assistant,  William 
Whitley ;  stills,  John  Ellis ;  recording  engineer,  Charles  Althouse ;  film 
editor,  Hal  McClernon ;  art  director,  Jack  Okey ;  chief  electrician,  Ken- 
nedy;  chief  grip,   Owen   Crompton ;   chief  prop,    Lymie   Plews. 

Cast :      William    Powell,    Mary    Astor. 


METROPOLITAN-WESTERN  SERVICE 
STUDIOS 

"GALLOPING  ROMEO."  Producer,  Monogram  Pictures  Corpor- 
ation; author,  R.  N.  Bradbury;  screen  play  by  Harry  O.  Jones;  direc- 
tor, R.  N.  Badbury ;  assistant  director,  Harry  O.  Jones;  first  camera- 
man, Archie  Stout;  assistant,  R.  Harlan;  stills,  Joe  Walters;  recording 
engineer,  Glen  Rominger ;  film  editor,  Carl  Pierson ;  art  director,  Ernest 
R.  Hickson ;  chief  electrician,  Edward  L.  Cox ;  chief  grip,  William 
Smith;    chief   prop,    William    Stratton. 

Cast :  Bob  Steele,  Doris  Hall,  George  Hayes,  Ed  Brady,  George 
Nash. 


"SENSATION  HUNTERS."  Producer,  Monogram  Pictures  Cor- 
poration ;  author,  Whitman  Chambers ;  screen  pay  by  Paul  Schofield ; 
dialogue  by  Albert  E.  DeMond ;  director,  Charles  Vidor ;  assistant,  Ver- 
non Keays ;  first  cameraman,  Sid  Hickox;  operative  cameraman,  Tom 
Brannigan;  assistant,  Wesley  Anderson;  stills,  Joe  Walters;  recording 
engineer,  John  A.  Stransky,  Jr.  ;  assistant,  J.  Roberts ;  film  editor,  Carl 
Pierson;  art  director,  Ernest  R.  Hickson;  chief  electrician,  Edward  L. 
Cox ;    chief   grip,    Tex   Hayes ;    chief   prop,    Bob    Lander. 

Cast :  Arline  Judge,  Marion  Burns,  Preston  Foster,  Kenneth  Mac- 
Ker.na,    Juanita    Hansen,    Creighton    Hale. 


Please  mention  The   International    Photographer  when  corresponding  with  advertisers. 


Thirty-six 


The      INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


announcing 
New  Hugo  Meyer 

TELEPHOTO   LENSES 


n 


TEL-MECOR   f/  5.5 


16 


n 


Characteristically  Hugo  Meyer  in  their  high  corrections  and  superior 
optical  quality,  these  new  and  powerful  Tele-Megor  lenses  are  compact 
objectives  of  real,  fixed  separation  telephoto  construction.  This  com- 
pactness is  illustrated  by  the  fact  that  their  focal  lengths  are  practically 
double  the  actual  distance  between  the  rear  lens  of  the  objective  and  the 
film  in  the  camera.  Needle-sharp  and  crisp  in  their  definition,  they 
reveal  in  infinite  and  sharp  detail,  vague  distances  imperceptible  to  the 

naked  eye.     They  are  adapted  to  all  35mm 

cameras. 


Literature    on    Request 


HUGO  MEYER  &  CO. 


245   WEST   55th   STREET 


transmission 
ship,  if 


LIGHT  FILTERS,  ETC. 

(Continued  from  Page  14) 
is  .10% 


According  to  the  above  relation- 
1 


D  =  l0£ 


T 


and  we  have  a  transmission  of  10%    (.10),  then 


1 


D 


1.00 


log  —  =  log  10 
.10 

The  horizontal  axis  is  an  axis  of  wave  length  scaled 
from  200  to  700  millimicrons.  The  visible  region  lies  be- 
tween wave  lengths  400  to  700  millimicrons.  However, 
due  to  the  fact  that  photographic  emulsions  have  very 
marked  sensitivity  in  the  blue-violet  and  violet  regions  of 
the  spectrum,  the  transmission  of  these  filters  is  given  be- 
low the  visible  limit  of  400  millimicrons. 

Referring  again  to  Figure  6,  filter  No.  58,  it  will  be 


observed  that  the  spectrophotometric 
curve  of  this  filter  shows  complete  ab- 
sorption, as  indicated  by  the  black 
area,  to  a  wave  length  of  approxi- 
mately 480  millimicrons.  The  shape 
of  the  curve,  i.e.,  the  steepness  of  it, 
indicates  the  "cut"  of  the  filter.  It 
will  be  observed  that  at  a  wave  length 
of  520  millimicrons  the  filter  has  its 
maximum  transmission.  This  is  in 
the  green  region  of  the  spectrum  and 
from  the  chart  shows  slightly  greater 
than  50%  transmission  at  that  point. 
Beyond  that  point  toward  longer 
wave  lengths  there  is  a  gradually  in- 
creasing absorption  until  at  a  wave 
length  of  approximately  630  millimi- 
crons there  is  again  complete  absorp- 
tion which  extends  to  695  millimi- 
crons, at  which  point  there  is  a  slight 
transmission  band  which  extends  be- 
yond 700  millimicrons. 

If  one  considers  spectrophotometric 
curves  of  this  type  and  analyzes  them 
in  the  above  manner  it  is  quite  simple 
to  determine  the  value  of  a  given  fil- 
ter for  a  given  scene  provided  the 
emission  of  the  light  source,  the  color 
of  the  objects  in  the  scene,  and  the 
sensitivity  of  the  photographic  emul- 
sion are  known. 

It  is  interesting  to  note  that  all 
dyed  gelatin  filters  transmit  light  very 
freely  in  the  infra-red  region,  i.e., 
that  region  beyond  800  millimicrons. 
Many  filters,  however,  have  definite 
absorption  characteristics  in  that 
region  of  the  spectrum  termed  the 
near  infra-red  and  which  lies  between 
wave  lengths  700  and  800  millimi- 
crons. Examples  of  such  curves  are 
contained  in  the  Wratten  light  filter 
booklet  but  filters  of  the  infra-red 
type  are  not  of  any  great  importance 
to  normal  motion  picture  work,  they 
are,  however,  of  great  value  in  photo- 
graphic work  with  infra-red  sensitive 
emulsions. 

Thus  far  in  this  article  all  of  the 
various  factors  which  deal  with  the 
spectral  characteristics  of  photography 
with  filters  have  been  discussed ; 
namely,  visual  sensitivity,  light  emis- 
sion, emulsion  sensitivity,  and  filter  transmission.  With 
a  knowledge  of  these  factors  a  more  intelligent  dis- 
cussion can  be  had  of  the  practical  side  of  filter  photog- 
raphy. Up  to  this  point  the  various  phases  of  filter  pho- 
tography have  been  discussed  from  an  almost  exclusively 
technical  point  of  view.  Before  entering  into  a  discussion 
of  the  practical  phases  we  must  limit  ourselves  to  certain 
rather  definite  items.  To  this  end  we  shall  deal  exclu- 
sively with  Wratten  light  filters  as  used  in  conjunction 
with  Eastman  Super-sensitive  Panchromatic  film  with  day- 
light as  the  chief  source  of  illumination.  The  general  fac- 
tors as  discussed  under  this  specific  setup  are  applicable 
to  other  types  of  filters  used  in  conjunction  with  films  of 
different  color  sensitivity  and  light  sources  with  different 
emission  factors.  The  specific  factors  contained  in  this 
paper,  however,  deal  with  the  filters,  film,  and  light 
source  as  indicated  above. 


NEW   YORK 


Please  mention  The   International    Photographer  when  corresponding  with  advertisers. 


August,  1933 


T  h 


INTERNATIONAL       PHOTOGRAPHER 


Thirty-seven 


Cinematographer's 

BOOK  of 
TABLES 

By  FREE)  WESTERBERG 


There  are  several  more  installments  to  come,  concluding 
with  the  November  issue,  1933,  and  when  completed  the  tables 
will  constitute  a  handy  reference  guide  welcome  to  all  cinema- 
tographers,  professional   and   amateur. 

Take   note  that  the   tables   are   so   placed   in  the   magazine 
as   to   be    easily   cut   out    and    bound    into    a   small    pocket    ring 
book.      Cut    down    the    middle    of    page    37;    then   trim   top    and 
bottom  to  fit  your  cover;  punch  holes  to  fit  rings  on  inner  and 
This    is    the    fifth    installment    of    the    Cinematographer's       outer   edges   of   magazine   pages   37    and    38.     When   all   tables 


Book  of  Tables  compiled  and  computed  by  Mr.  Fred  Wester- 
berg,  one  of  the  technical  editors  of  THE  INTERNATIONAL 
PHOTOGRAPHER. 


have  been  bound  into  your  ring  book  the  pages  will  number 
from  1  to  32  inclusive  with  complete  index  unless  others  are 
added. 

The   accompanying   cut   is    of   a    Lefax   cover.      It   may   be 
purchased   from   dealers   at  75   cents. 


23 


SENSITOMETRY 
COLOR  SENSITIVITY 


Relative  sensitivity  of  the  human  eye  to  colors  of  the  spec- 
trum. Data  from  Nutting  and  from  Ives,  also  from  the  report 
on    Nomenclature    and    Standards    of    the    I.    E.    S.,    1918. 


Photograph  of  Agfa  color  chart  showing  the  difference  in 
sensitivity  to  color  between  the  human  eye  and  a  typical  pan- 
chromatic emulsion.  In  the  original  chart  the  four  colors  matched 
their  accompanying  neutral  scale  in  brightness  at  100  under  day- 
light. The  photograph  was  made  without  a  filter,  using  daylight. 
Tests  of  this  sort  can  he  readily  made  with  ordinary  camera 
equipment. 


14 


DEPTH  OF  FIELD 
20  mm.  LENS 


Dis- 
tance 
in  Feet 

To 
Point 

of 
Focus 

Distances    In    Feet    Indicating   Limits   of   Cood    Definition 

F-1.4 

F-2 

F-2.8"" 

F-4 

1 

.94  to     1.07 

.91   to      1.10 

':-  1,-      11 

.84  to     1.20 

2 

1.8    to    2.2 

1.7    to    2.3 

1.6    to    2.7 

1.4    to    3.3 

3 

2.6     to     3.5 

2.5    to    3.8 

2.1    to    5.2 

1.9    to    7.3 

4 

3.3    to    5.1   . 

3.1     to    5.8 

2.6    to     9 

2.3    to  20 

5 

3.9    to    6.9 

3.7    to    8        j     3.0    to  17 

2.5    to  INF 

6 

4.6    to    8.8 

4.0    toll        j     3.3    to  30 

2.8    to  INF 

7 

5.1     to  11.3 

4.5     to  15 

3.7    to  INF 

3.1     to  INF 

8 

5.6    to  14.0 

5.0    to  21 

4.0    to  INF 

3.3    to  INF 

9 

6.0    to  17.5 

5.3    to  29 

4.3    to  INF 

3.5    to  INF 

10 

6.5    to  22 

5.7    to  43 

4.7    to  INF 

3.8    to  INF 

12 

7.3    to  36 

6.2    to  INF   |     5.2    to  INF 

4.2    to  INF 

15 

8.3    to  82 

7.0    to  INF        5.7    to  INF 

4.3    to  INF 

Based  on  an  allowable  circle  of  confusion  of  .002  of  an  inch. 


25  mm.  LENS 


Dis- 
tance 
in  Feet 

To 
Point 

of 
Focus 

Distances    In    Feet    Indicating   Limits   of   Cood    Definition 

F-1.4                       F-2 

F-2.8 

F-4 

1 

.97  to     1.03 

.96  to     1.05 

.94  to     1.07 

.91  to     1.10 

2 

1.87  to    2.14 

1.82  to    2.2 

1.76  to    2.3 

1.68  to    2.5 

3 

2.7    to    3.3 

2.6    to    3.5 

2.5    to    3.7 

2.3    to    4.2 

4 

3.5    to    4.7 

3.3    to    5.0 

3.2    to    5.5 

2.9    to    6.5 

5 

4.3    to    6.3 

4.0    to    7.0 

3.7    to    7.6 

3.3    to    9.8 

6 

5.0    to    7.5 

4.7    to    8.5 

4.3    to  10.2 

3.8    to  13.6 

7 

5.7    to    9.3 

5.2    to  10.7 

4.7    to  13.6 

4.2    to  23 

8 

6.3    to  11.1 

5.8    to  13.2 

5.2    to  18 

4.5    to  40 

9 

6.9    to  13.1 

6.3    to  16.2 

5.6    to  24 

4.8    to  95 

10 

7.4    to  15.3 

6.7    to  20 

5.9    to  33 

5.0    to  INF 

12 

8.5    to  20.6 

7.6    to  29 

6.6    to  72 

5.5    to  INF 

14 

9.4    to  27.3 

8.3    to  45 

7.0    to  INF 

6.0    to  INF 

16 

10.3    to  36 

9.0    to  75 

7.5    to  INF 

6.3    to  INF 

18 

11.0    to  48 

9.5    to  162 

8.0    to  INF 

6.5    to  INF 

20 

11.8    to  66 

10.0    to  INF 

8.4    to  INF 

6.7    to  INF 

Based  on  an  allowable  circle  of  confusion  of  .002  of  an  inch. 


Thirty-eight 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


August,  1933 


JUNIOR  MOTION  PICTURE  CAMERA  NOTES 

(Continued  from  Page  23) 
28  degrees  measured  between  vertical  boundaries  and  the 
16   M/M    with   its  standard   lenses   gives   about   25    de- 
grees.    The  use  of  a  35  M/M  lens  makes  possible  angles 
around  44  degrees  on  professional  him. 

Question:     What   is   meant   by   "Airmail   Outside    Handling"? 

Answer:  You  are  referring  to  your  question,  last 
month,  16  M/M  newsreel  subject.  All  newsreel  con- 
cerns have  agreements  with  the  post  office  department 
whereby  the  packages  mailed  by  cameramen  via  air  shall 
not  be  placed  in  the  pouches  and  shall  not  go  through 
the  regular  postoffice  routine. 

When  the  plane  lands  at  the  new  Brunswick  Field, 
New  York,  the  newsreel  company  sends  a  messenger  to 
meet  the  plane.  The  pilot  hands  the  package  to  the  mes- 
senger who  rushes  it  to  the  lab,  thus  saving  time  that 
would  delay  the  "stuff"  if  it  went  through  the  regular 
delivery.  Labels  are  provided  for  such  occasions,  which 
are  marked,  "Outside  Handling." 

Question:  Referring  to  microscopic  photography  I  note  the  word 
beam-splitter   used.     Can  you   tell   me  what  that  means? 

Answer:  Briefly,  it  is  a  prism,  mounted  on  the  side 
of  the  microscope,  which  allows  focusing  while  the  pic- 
ture is  being  made.  The  prism  permits  a  small  portion 
of  light  to  travel  straight  up  or  sideways  as  the  case 
may  be,  to  an  eye  piece,  while  the  rest  of  the  illumina- 
tion travels  toward  the  film. 


Question:  Is  it  better  to  focus  the  camera  visually  or  depend 
upon    the   calibrations? 

Answer:  If  the  lens  has  been  carefully  calibrated, 
it  may  be  relied  upon  to  be  more  accurate,  as  the  eye 
is  often  in  error. 

Question:  Is  there  any  way  I  may  determine  if  a  roll  of  raw 
stock    is    negative    or    positive? 

Answer:  There  are  several  identifying  features.  In 
most  instances  positive  is  perforated  with  square  cut 
holes,  although  some  positive,  particularly  for  process 
work,  has  Bell  &  Howell  perforations,  the  negative  with 
rounded  corners.  A  fresh  piece  of  positive  is  light  yellow 
and  feels  slightly  thinner  than  negative.  Since  it  is  all 
dyed,  the  color  is  of  a  darker  hue.  It  is  advisable  always 
to  do  the  testing  in  a  subdued  light. 

Question:  My  film  seems  to  bs  fogged  on  the  sides  at  the 
beginning  and  end   of  each   roll. 

Answer:  The  fault  is  entirely  yours.  You  are  get- 
ting what  is  known  as  "edge-fog."  This  comes  from 
carelessness  in  loading  and  unloading  the  camera  in  the 
daylight. 

Question:     Can    you    tell    me    some    extreme    speeds    of    lenses? 

Answer :  The  new  Astro  lenses  have  an  enormous 
speed  of  f  :0.95 ;  it  has  a  speed  twenty-two  times  that 
of  an  f:4.5  or  four  times  that  of  an  f :  1.9.  Carl  Zeiss 
announces  a  lens  with  a  guaranteed  relative  aperture  of 
f:0.85.  It  was  primarily  intended  for  X-ray  cinema- 
tography. 


13 


24 


MAKE-UP 


Panchromatic  Make-up  is  known  by  the  following  numbers 

Panchromatic  Grease  Paint — Nos.  21,  22,  23,  24,  25,  26. 
29,  30  and  31. 

Panchromatic  Powder — Nos.  21,  22,  23,  24,  25,  26,  27, 
30  and  31. 

Panchromatic  Liquid  Make-up — Nos.  21,  22,  23,  24,  25, 
28,  29,   30  and  31. 

Panchromatic  Lining  Color — Nos.  21   ar.d  22. 

Panchromatic  Lip  Rouge — Nos.   7  8  and  Studio  Special. 

Dermatograph    Pencil — Brown. 

Masque — Brown. 


27, 

28, 

28, 

29, 

26, 

27, 

TYPES 

Crease 
Paint 

Face            Lining 
Powder     1       Color 

Lip 
Rouge 

Liquid 
Make-up 

Blond 
Women 

26 

26 

22 

8   Studio 
Snecial 

26 

Brunette 
Women 

27 

27 

22 

Or 
8   Studio 
Snecial 

27 

Blond 

Mi  ii 

28 

28 

22 

7 

28 

Brunette 

Men 

Flderly 
Women 

29 

29 

22 

Or 

8   Studio 
Snecial 

29 

26 

26 

21 

7 

26 

Elderly 
Men 

28 

28 

22 

Or 

8    Studio 
Special 

28 

Children 

Girls 

25 

25 

21 

Or 

8   Studio 
Special 

25 

Children 
Boys 

25 

25 

21 

Or 

8    Studio 
Special 

25 

AVERACE   MAKE-UP    NUMBERS   USED   BY   DIFFERENT  TYPES   OF    PEOPLE 
FOR    USE    WITH    SUPERSENSITIVE    PANCHROMATIC    FILM 

For  extreme  types  the  numbers  may   vary  to   suit   the  conditions. 

In  special  cases,  some  children  and  young  men,  who  are  tanned 
to  the   right   shade,   photograph   well   without   make-up. 

The  problem  of  choosing  the  proper  shade  of  make-up  is  com- 
plicated by  the  fact  that  the  eye  and  the  film  do  not  "see"  color  in 
the  same  way.  Different  brands  of  film  also  vary  in  their  sensitive- 
ness to  various  make-up  colors.  The  color  of  the  light  source  must 
also  be  taken  into  consideration. 

The  only  safe  thing  to  do  is  to  make  photographic  tests  with  a 
specified  film  until  the  various  characters  register  in  their  proper  key 
under  the  same  light.  The  color  of  the  lips  should  be  carefully 
watched. 

'Numbers  used  designate  Max  Factor's  Panchromatic  Make-up 
especially  manufactured   for  use  with    Panchromatic   Film. 


PROJECTION 
16  mm.  FILM 


SIZE    OF    PICTURE    OBTAINED    IN    PROJECTION    WITH    DIF- 
FERENT LENSES  AT  VARIOUS   DISTANCES   FROM   THE 
SCREEN 


Size 
of  Picture 
On  Screen 
In  Inches 

DISTANCE    IN    FEET    FROM    PROJECTOR   TO   SCREEN 

1  inch 
Proj. 
Lens 

1 1/2  in. 
Proj. 
Lens 

2  inch 
Proj. 
Lens 

2V-,  in. 
Proj. 
Lens 

3  inch 
Proj. 
Lens 

3 Vi  in. 
Proj. 
Lens 

4  inch 
Proj. 
Lens 

9      bv  12 

2  ~ 

4.0 

5   1 

6.7 

8.1 

9.5 

10.9 

9.7  by  13 

2.9 

4.3 

5.8 

7.3 

8.7 

10  2 

11.7 

10.5  by  14 

3.1 

4.6 

6.2 

7.8 

9.3 

11.0 

12.6 

11.2  by  15 

^.i 

4.9 

6.6 

8.2 

9.9 

11.7 

13.4 

12.0  by  16 

3.5 

5.3 

7.0 

8.8 

10,6 

12.4 

14.3 

13.5  by  18 

3.9 

5.9 
6.6 

7.8 

9.9 

11.8 

13.8 

16.0 

15.0  by  20 

4.4 

8.8 

11.0 

13.2 

15.5 

17.7 

16.5  by  22 

4.8 

7.2 

9.6 

12.1 

14.5 

17.0 

19.5 

18.0  by  24 

5.3 

7.9 

in  i, 

13.2 

16.0 

18.6 

21.3 

19.5  by  26 

5.7 

8.6 

11.4 

14.3 

17.2 

20.2 

23.0 

21.0  by  28 

6.2 

9.3 

12.4 

15.4 

18.6 

21.7 

24.8 

22.5  by  30 

6.6 

9.9 

13.2 
14.0 

16.5 

19.9 

23.2 

26.6 

24.0  by  32 

7.0 

10.5 

17 .(. 

21.1 

24.8 

28.4 

25.5  by  34 

7.5 

11.3 

15.0 

18.7 

22.5 

26.2 

30.0 

27.0  by  36 

7.9 

11.  S 

15.8 

19.8 

23.6 

27.7 

31.8 

28.4  by  38 

8.3 

12.5 

16.6 

20.9 

25.0 

29.2 

33.5 

30.0  by  40 

8.8 

13.2 

17.6 

22.il 

26.4 

30.8 

35.3 

33.0  bv  44 

9.7 

14.5 

19.4 

24.2 

29.1 

34.0 

38.8 

36.0  by  48 

10.6 

15.8 

21.2 

26.4 

31.7 

37.0 

42.4 

39.0  by  52 
42.0  by  56 

11.4 

17.1 

22.8 

28.5 

34.3 

40.0 

45.8 

12.3 

18.5 

24.6 

30.7 

37.0 

43.0 

49.3 

45.0  by  60 

13.2 

19.8 

26.4 

33.0 

39.6 

46.0 

52.8 

48.0  by  64 

14.1 

21.1 

28.2 

35.2 

42.3 

49.3 

56.4 

54.0  by  72 

15.8 

23.7 

31.6 

39.5 

47.4 

55.3 

63.3 

60.0  by  80 

17.6 

26.4 

35.2 

44.0 

52.8 

61.8 

70.4 

o6.0  by  88 

19.4 

29.1 

38.8 

48.4 

58.0 

68.0 

77.6 

72.0  by  96 

21.1 

31.6 

42.2 

52.8 

63.3 

74.0 

84.5 

Based  on   Projection   Aperture   .284   by   .380  of  an    Inch 


August,  1933 


T  h 


INTERNATIONAL       PHOTOGRAPHER 


Thirty-nini 


CHORINES  DUCK  POLITO 

Sol  Polito,  cameraman  for  the  Busby  Berkeley  en- 
sembles which  are  to  decorate  Warner  Brothers  new  mu- 
sical, "Footlight  Parade,"  managed  for  two  days  to  escape 
a  promised  ducking  in  the  pool  provided  by  the  studio  for 
the  water  number  of  that  picture. 

Berkeley  himself  and  all  others  connected  with  the 
production,  accepted  the  inevitable  and  took  to  the  water, 
willingly  or  unwillingly,  when  the  hundred  and  twenty 
girls  working  on  the  set  decided  to  complete  each  day's 
work  with  a  general  baptism  for  the  crew. 

But  not  Polito.  He  managed  a  hurried  exit  every  time 
the  girls  started  in  his  direction.     His  downfall  came  on 


Left  to  right:  Sol  Polito,  Lt.  Valconi,  joe    E.   Brown 

the  third  day  when  Joe  E.  Brown  visited  the  set  with  Sol's 
countryman,  Lt.  Tito  Valconi,  Italian  air  ace,  as  his  guest 
and  Sol  was  asked  to  stand  in  for  a  still  picture  with  the 
aviator. 

Polito  agreed  enthusiastically  and  Buddy  Longworth, 
still  cameraman,  maneuvered  his  subjects  to  the  edge  of 
the  pol  and  pressed  the  button.  That  was  the  prearranged 
signal  for  the  girls,  and  Polito,  caught  in  the  net  by  his 
own  vanity,  got  a  quick  dunking. 

So,  incidentally,  did  Joe  E.  Brown.  The  girls  had 
mercy  on  the  Italian  flyer,  however,  and  he  retired  only 
slightly  splashed. 


Do  you  receive  your  INTERNATIONAL 
PHOTOGRAPHER  regularly?  If  you  have 
changed  your  address,  notify  us  immedi- 
ately, then  we  are  sure  you  will  get  it  regu- 
larly each  month. 


NOW     OPEN!! 


Faxon  Dean 

Cordially  Invites 
You  To  Visit 


The  New 

CAMERA 

HEADQUARTERS 


CAMERAS 

BOUGHT— SOLD  —  RENTED 
REPAIRED 


PROFESSIONAL 
AMATEUR 

TELEPHONE  Gladstone  2404 


CAMERA  SUPPLY 
COMPANY,  LTD. 

1515  N.  CAHUENGA  BLVD. 
HOLLYWOOD  CALIFORNIA 

• • 

Cable  Address  "CAMERAS'*  All  Codes 


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Forty 


The      INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


MEETING  FAXON  DEAN 

Faxon  Dean's  new  business  address  is  No.  1515  North 
Cahuenga  Boulevard,  Hollywood.  At  that  number  he 
has  installed  one  of  the  largest  camera  supply  stocks  on 
the  West  Coast  and  is  prepared  to  render  complete  service 
to  both  the  professionals  of  the  studios  and  to  the  amateurs 
and  novices  in  the  art  in  both  motion  and  still  equipment. 

Mr.  Dean's  announcement  gives  his  business  title  as 
Hollywood's  Camera  Supply  Co.,  Ltd.  He  is  the  man 
who  photographed  that  celebrated  production,  "The  Cop- 
perhead," featuring  Lionel  Barrymore  and  that  was  years 
ago. 

Mr.  Dean  needs  no  introduction  to  the  motion  picture 
industry  or  to  the  public  in  general.  Since  1912  his  name 
has  appeared  on  the  main  title  of  many  fine  pictures  and 
his  skill  at  the  motion  camera  has  helped  to  make  famous 
scores  of  stars  and  feature  players. 

Among  these  are  Mary  Miles  Minter,  Wallace  Reid, 
Agnes  Ayers,  Ethel  Clayton,  Thomas  Meighan,  Jack 
Holt,  Alice  White,  Loretta  Young,  Douglas  Fairbanks, 
Jr.  and  many  others  of  equal  fame. 

It  was  in  1912  that  he  began  his  career  as  a  cinema- 
tographer  on  the  Pathe  Weekly  shooting  newsreel  stuff 
in  New  York  and  Washington.  In  New  York  he  did 
general  news  work  and  in  the  Capitol  was  assigned  to 
covering  Congress. 

In  1913  Mr.  Dean  was  assigned  to  twenty-seven  mid- 
western  states  with  headquarters  at  Chicago  and  in  1914 
joined  Universal  and  began  his  brilliant  career  as  a  cine- 
matographer  of  dramatic  subjects. 

Mr.  Dean  was  later  on  the  camera  staff  of  the  Amer- 
ican, at  Santa  Barbara  ;  was  seven  years  with  Paramount ; 
and  later  with  MGM  and  Warners. 

He  was  in  France  two  years  with  the  A.  E.  F.  and 
returned  with  a  record  befitting  a  first  class  professional 
cinematographer,  a  gentleman  and  a  soldier. 

See  his  announcement  on  page  ....  in  this  issue.  THE 
INTERNATIONAL  PHOTOGRAPHER  extends  to 
Mr.  Dean  sincerest  wishes  for  a  successful  career. 


What  Wide  Range  Means 
in  the  Studio 

By  H.  B.  Santee 

Director  of  Commercial  Engineering,  Electrical 

Research  Products,  Inc. 

Western  Electric  Wide  Range  Recording  is  the  lat- 
est development  of  years  of  research  and  experimentation 
at  Bell  Telephone  Laboratories  to  remove  some  of  the 
limitations  previously  placed  upon  recording  and  repro- 
duction by  the  unsolved  problems  of  science.  It  has  ex- 
tended the  sound  frequency  range  that  can  be  recorded, 
produces  a  more  natural  and  distortionless  sound  and 
allows  for  a  greater  individual  expression  of  voice  tones 
and  musical  instruments. 

Despite  these  improvements,  however,  Wide  Range 
Recording  is  not  a  new  system  involving  radical  changes, 
but  rather  a  refinement  of  an  existing  sound  system  that 
had  proved  itself,  subject  to  the  limitations  of  scientific 
development,  eminently  satisfactory.  Like  many  another 
refinement,  developed  in  the  steady  march  toward  per- 
fection, it  involves  certain  changes  of  equipment ;  but 
the  attainment  of  the  ultimate  quality  of  Wide  Range 
Recording  depends,  equally  with  the  new  parts,  upon  a 
more  rigid  adherence  to  the  standards  of  optimum  re- 
cording. 

As  far  as  the  studio  is  concerned  no  drastic  changes 
are  necessary.  A  studio  that  was  considered  a  good 
studio  for  sound  recording  previously,  is  still  a  good 
studio  for  Wide  Range  Recording.  The  new  equip- 
ment necessary  to  introduce  Wide  Range  Recording  can 
be  enumerated  briefly  as  follows:  a  new  lens  system, 
an  improved  microphone,  minor  modifications  of  the 
amplifier  system  and  new  equalizers. 

To  make  the  change  over  effective  throughout  the 
studio,  it  is  necessary  to  provide  Wide  Range  equipment 
also  for  the  monitoring  system  and  the  review  rooms. 

The  modifications  of  the  studio  equipment  are  not 
in  themselves  complicated.  It  is  highly  essential,  how- 
ever, that  they  should  be  fully  and  expertly  applied  and 
that  the  entire  Wide  Range  Recording  installation  should 
be  thoroughly  coordinated  inasmuch  as  only  a  complete 
and  harmonizing  improvement  of  recording,  monitoring 
and  review  rooms  can  result  in  the  full  attainment  of 
quality  of  the  improved  sound  system. 


FROM  THE  FILM  DAILY 

The  story  in  back  of  Robert  Fogg's  Arctic  flight, 
carrying  photos  for  Paramount  News  of  the  Italian 
Armada's  arrival  at  Cartwright,  Labrador,  would  make 
a  highly  graphic  and  absorbing  film  in  itself.  .  .  .  Fogg 
covered  the  1500  air  miles  between  Cartwright  and 
New  York  in  18  hours  .  .  .  twice  he  was  forced  down 
in  isolated  harbors  .  .  .  flew  through  fog  for  hours  .  .  . 
and  for  a  stretch  of  100  miles  was  forced  by  the  fog 
to  fly  at  the  perilously  low  altitude  of  ten  feet  above 
the  St.  Lawrence. 

With  the  Arctic  aviator  was  Lou  Hutt,  Paramount 
News  cameraman,  who  brought  to  New  York,  along 
with  the  negative,  the  first  eye-witness  account  of  the 
arrival  of  the  Italian  airfleet  at  the  far  northern  port. 
The  film  these  two  adventurers  brought  to  New  York 
landing  field  was  tossed  to  waiting  dispatch  riders, 
rushed  to  the  lab  and,  within  four  hours,  prints  were 
airmailed  to  thousands  of  theaters  throughout  the  coun- 
try. Thus  another  newsreel  epic  passed  into  film  his- 
tory. It  seems  a  pity  the  public  cannot  see  the  graphic 
tale  of  this  hazardous  flight,  for  to  our  way  of  thinking 
it  would  be  more  interesting  than  the  newsreel  itself 
on  the  screen. 


Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


August,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Forty-one 


EUROPEAN  SUPREMACY 

(Continued  from  Page  17) 

these  pictures  were  reviewed  it  brought  new  criticism 
from  the  scribes.  One  went  so  far  as  to  mention:  "The 
best  of  our  producers  are  following  the  Americans  hot- 
foot along  the  road  to  technical  achievement.  Gaumont- 
British  is  the  most  striking  case  in  point.  This  week 
we  have  seen  two  new  Gaumont  films  in  London  cinemas. 
Both  these  films  set  up  new  standards  of  technical  ex- 
cellence for  this  country.  From  the  point  of  view 
of  camera-work  and  lighting  they  are  magnificent.  We 
have  every  reason  to  be  proud  of  them." 


By  way  of  news — Eddie  Cronjager  arrived  and 
started  making  tests  for  British  and  Dominion  studios 
on  the  MacDonald  and  Marshall  picture.  When  all 
was  set  they  found  out  that  time  was  too  short  for  the 
production  so  had  to  be  cancelled.  Eddie  is  talking 
about  returning  unless  he  signs  up  with  Columbia,  that 
is  if  they  pay  the  necessary  do-re-me.  Bob  Martin  is 
making  a  picture  for  an  Independent  outfit  on  loan  from 
A.  R.  P.,  starring  Anna  May  Wong.  Glen  MacWil- 
liams  just  finished  "Murder  Party"  and  is  on  a  vaca- 
tion to  Germany.  Charlie  Van  Enger  is  getting  ready 
to  start  another  after  getting  many  raves  over  his  last 
picture,  "I  Was  a  Spy."  After  resigning  from  Lon- 
don Films  I  signed  up  with  Gaumont-British  and,  at 
the  present  writing,  am  making  a  picture  called  "Channel 
Crossing,"  starring  Constance  Cummings.  Bob  LaPrelle 
is  my  operative  cameraman  with  C.  Knowles.  Les.  Row- 
son  returned  with  his  summer  tan  from  down  south  and 
is  making  tests  for  his  next  picture. 


Goringes,  the  book  store  which  caters  to  Americans, 
tells  me  that  the  demand  for  THE  INTERNATION- 
AL PHOTOGRAPHER  is  growing  with  every  issue. 
The  technical  photographs  of  picture  production  is  a 
big  item  with  the  sales.     Well  lads — cheerio ! 

So  Hollywood,  watch  out,  Gaumont-British  will  be 
a  name  to  contend  with  in  the  near  future. 


IT  IS  READY! 

The  book  that  thousands  of  miniature  camera  enthusi- 
asts have  been  waiting  for,  the  LEICA  DATA  BOOK, 
by  Karl  A.  Barleben,  Jr.,  F.R.P.S.,  Editor,  Miniature 
Camera  Departments,  American  Photography  and  Per- 
sonal Movies  magazines;  associate  editor,  Leica  Pho- 
tography magazine ;  formerly  instructor  of  Cinematog- 
raphy, New  York  Institute  of  Photography. 

The  Leica  Data  Book  is  a  handy  compilation  of  a  vast 
amount  of  information  which  Mr.  Barleben  has  assembled 
in  one  pocket-size  volume  to  aid  miniature  camera  own- 
ers to  make  BETTER  pictures.  It  is  essentially  a  book  to 
carry  with  you  afield — like  your  miniature  camera  it  will 
be  your  constant  companion — to  be  referred  to  often,  be- 
cause it  contains  scores  of  pages  of  valuable  tables,  formu- 
las, data,  etc.,  touching  upon  practically  every  phase  of 
miniature  photography.  Now  being  printed  and  ready 
soon.  Place  your  order  for  a  copy  NOW  with  your  pho- 
tographic dealer — or  order  direct.  Price  50c.  The  Fomo 
Publishing  Co.,  Sippo  Lake,  Canton,  Ohio. 


TO  CHICAGO 

Howard  Anderson,  well  known  special  effects  cine- 
matographer,  left  for  Chicago  July  7,  to  see  the  Big 
Show.  He  expects  to  be  back  by  August  10.  His  work 
is  being  carried  on  by  Frank  Booth,  expert  trick  cine- 
matographer. 


The  New  Voigtlander 

PROMINENT 

Ranger  Finder 

Eliminate 

Quesswork 

it 

•  finds  the   range 

•  focuses 
automatically 

•  measures  the 
exposure  time 

•  shows  you  direct 
vision  view 

All    without    any    outside    accessories.       All    extras 
are   BUILT   IN    the  new   Voigtlander   PROMINENT 

It  is  the  FIRST  and  ONLY  roll 
film  camera  with  built-in  Range 
Finder,  Exposure  Meter  and 
Double  Mask  Finder  taking 
Standard  Kodak  No.  120  Film 
for  either  8  pictures  2J4  x  ^Yi 
or  16  pictures  \Y&  x  2l/i. 
Range  Finder  can  be  used  with 
camera  open  or  closed.  Lens 
automatically  springs  out  to 
proper  focus.  Camera  is  equip- 
ped with  F4.5  Heliar  Lens  in 
Self  Timing   Compur    Shutter. 


$82 


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Including   Carrying   Case 

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Booklet   IP  P. 


WILLOUCHBYS 


110  West  32nd  Street 

Camera  Headquarters 


New  York  City 

Established  1899 


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Forty-two 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


August,   1933 


FLYING  WITH  THE  LEICA 

(Continued  from  Page  13) 

Hektor  is  a  speed  lens,  hence  is  the  logical  choice  when 
using  deep  filters  and  a  slow  film,  such  as  DuPont  x/\- 
Speed  Pan  or  DuPont  Infra-D.  (DuPont  Infra-D  has 
a  limited  but  important  use.  It  should  be  used  with  red 
filters  only  for  maximum  results,  as  its  characteristics  are 
of  such  a  nature  that  it  is  particularly  well-suited  to  long- 
range  photography  and  haze  cutting.  It  requires  a  64 
times  increase  in  exposure  when  using  the  majority  of 
Wratten  red  filters,  such  as  the  A,  F,  and  70). 

There  is  one  worry  off  the  photographer's  mind  when 
photographing  from  the  air,  and  that  is  focusing.  He 
can  forget  this  vital  matter  entirely — once  he  has  set  the 
lens  at  Infinity  focus,  and  made  certain  that  it  remains 
there  for  the  duration  of  the  light.  If  the  lens  mount 
is  worn  or  loose,  it  is  a  good  idea  to  wind  a  piece  of  ad- 
hesive tape  around  it  in  such  a  manner  that  it  cannot 
work  itself  around  out  of  position.  This  measure  will 
not  be  needed  with  the  vast  majority  of  lenses,  but  it  is  a 
good  idea  to  keep  this  in  mind.  A  roll  of  adhesive  tape, 
incidentally,  will  be  valuable  on  many  occasions  for  mak- 
ing repairs  or  adjustments  temporarily. 

The  matter  of  exposure,  however,  presents  a  different 
story.  In  aerial  photography  we  are  shooting  through  con- 
siderable space,  and  in  the  majority  of  cases  run  against 
aerial  haze,  which  demands  the  use  of  filters.  Needless 
to  say,  a  reliable  and  trustworthy  exposure  meter  should 
be  used  to  determine  the  actual  actinic  strength  of  the 
light.  Lighting  conditions  in  the  air  are  often  deceiving, 
and  the  amateur  who  guesses  is  merely  courting  ruined 
negatives  through  over-  or  under-exposure,  although  in 
most  cases  in  aerial  work  it  is  over-exposure. 

Haze  will  be  encountered  almost  every  day  in  a 
greater  or  less  degree.  What  is  known  as  aerial  haze 
consists  of  tiny  particles  of  moisture  suspended  in  the  air. 
These  minute  particles  reflect  an  abundance  of  blue  and 
ultra-violet  light,  causing  the  picture  to  show  that  char- 
acteristic "haze"  effect  which  obliterates  everything  in  the 
distance.  It  is  merely  a  case  of  over-exposure  in  those  sec- 
tions of  the  negative  where  the  haze  exists — in  the  dis- 
tance. Aerial  haze  is  to  be  found  everywhere,  and  can  be 
cut  through  with  the  intelligent  use  of  filters.  There  is 
another  type  of  haze  to  guard  against,  and  that  is  what 
might  be  termed  "city  haze."  This  is  simply  smoke,  sour, 
and  dust  particles.  Being  solid  matter,  no  filter  in  the 
world  has  any  effect  upon  it.  It  will  be  found  over  every 
city  and  town,  and  makes  photography  over  these  areas 
somewhat  difficult. 

To  combat  aerial  haze,  filters  are  used.  And  while 
there  are  several  hundred  different  filters  available,  the 
average  amateur  will  have  use  for  only  two  or  three  at 
most,  even  in  aerial  photography.  The  aerial  filters,  made 
especially  for  air  work,  such  as  the  Aero  No.  1,  Aero  No. 
2,  Minus  Blue,  etc.,  are  aH  very  well  for  the  man  who 
specializes  in  this  work,  but  for  ordinary  use  the  usual 
yellow  filters  will  be  found  satisfactory.  A  special  U.V. 
(ultra-violet)  filter  has  recently  made  its  appearance  ,,,i 
the  market,  and  is  excellent  for  haze  cutting.  It  is  nearly 
clear  glass,  that  is  to  say,  the  co'or  of  this  filter  is  so  pale 
as  to  be  hardly  distinguishable.  Tt  makes  a  dandv  filter 
for  those  who  photograph  at  high  altitudes,  such  as  in 
mountain  and  aerial  work.  These  filters  will  serve  for 
average  aerial  purposes,  but  for  extreme  distance  and  haze 
cutting  different  tactics  will  be  required.  A  special  film, 
such  as  the  DuPont  Infra-D.  and  a  red  filter,  such  as 
the  A  or  F,  can  be  used  to  eliminate  haze  and  bring  in 
distant  objects  with  great  clar>'tv.  Pictures  taken  with 
this  combination  show  a  rather  dark  sky — sometimes  black 

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— but  as  this  is  not  a  serious  nor  objectionable  matter, 
can  be  disregarded.  Captain  Stevens  secured  his  remark- 
able aerial  scenes  showing  objects  over  300  miles  away 
with  film  and  filters  of  this  type.  Captain  Stevens  could 
not  actually  see  what  he  secured  on  the  picture — he  made 
the  picture  by  compass,  trusting  the  special  film  and  filter 
(infra-red)  to  bring  in,  through  the  haze,  what  his  eyes 
couldn't  see. 

All  filters  are  available  in  Leica  camera  filter-mounts, 
which  makes  it  a  simple  matter  to  select  the  correct  filter 
needed  tor  any  given  purpose.  Just  recently  an  excellent 
little  combination  filter  holder  and  sunshade  was  intro- 
duced. Made  of  aluminum,  it  is  very  light  in  weight.  It 
slips  over  the  Leica  lens  and  is  locked  in  place  by  means 
of  a  set-screw.  The  charm  of  this  device  lies  in  the  fact 
that  gelatine  as  well  as  glass  filters  are  accommodated — 
this  effects  a  considerable  saving  in  buying  filters,  espe- 
cially for  test  purposes,  where  it  is  desirable  to  try  out 
various  types  and  kinds  of  filters.  The  gelatine  filters  are 
inexpensive,  and  the  average  amateur  can  easily  afford  to 
invest  in  from  one-halt  to  one  dozen  to  play  with,  whereas 
the  same  number  in  permanent  glass  would  cost  a  small 
fortune.  This  device  is  manutactured  and  sold  by  a 
Hollywood  photographic  supply  company. 

There  are  numerous  public  'planes  which  take  one  up 
for  a  short  hop  tor  a  tew  dollars.  Miniature  camera  own- 
ers desiring  to  try  their  luck  really  ought  to  buy  a  ride 
in  one  of  tnese  public  planes.  Photography  is  possible,  of 
course,  in  every  type  ot  'plane,  but  tor  the  sheer  pleasure 
of  flying  and  the  utmost  freedom  for  photography,  the 
open  cockpit  ship  is  my  choice,  although  the  cabin  plane 
is  more  comfortable.  If  a  cabin  'plane  is  used,  the  ama- 
teur is  cautioned  to  open  the  window  through  which  he 
photographs,  for  the  window-panes  may  often  result  in 
out-ot-tocus  or  distorted  pictures.  When  one  is  in  an  open 
cockpit,  the  entire  range  is  easily  within  aim  of  the  camera 
lens,  which  cannot  be  said  about  the  cabin  type  of  'plane. 

It  is  surprising  what  a  lot  depends  upon  the  pilot  in 
making  successful  aerial  pictures.  The  pilot  whose  knowl- 
edge ot  photography  is  limited  will  be  of  little  or  no  as- 
sistance, for,  not  knowing  conditions,  photographically 
speaking,  he  cannot  place  the  ship  in  the  best  position  so 
that  good  shots  are  possible.  I  have  flown  with  a  num- 
ber of  pilots,  but  I  must  say  that  Clarence  Chamberlin 
receives  my  vote  as  the  finest  pilot,  not  only  from  the 
standpoint  of  aviation,  but  photography  as  well.  Recently 
I  took  a  trip  with  him  and  Ruth  Nichols  in  his  seven- 
place  cabin  ship  which  he  designed  himself.  The  business 
end  of  the  'plane  consists  of  the  well-known  and  reliable 
Wright  J6  motor.  This  trip  was  a  friendly  photographic 
expedition,  as  it  were,  for  both  Chamberlin  and  myself 
are  Leica  enthusiasts.  Chamberlin's  Leica  was  equipped 
with  the  popular  Elmar  f:3.5,  50  mm.  lens  and  was 
loaded  with  Agfa  Plenachrome,  while  my  camera  had  the 
Hektor  f:1.9,  73  mm.  focus  lens  on  it,  and  a  Leica  yel- 
low filter  No.  3  screwed  into  it.  I  was  using  the  DuPont 
Superior  in  my  camera,  for  we  wanted  to  compare  results 
and  see  the  advantages  of  both  films  for  aerial  use.  Some 
of  Chamberlin's  unfiltered  shots  appear  herewith. 

The  day  was  clear  and  bright,  but  terribly  bumpy  in 
the  air,  as  I  discovered  soon  after  we  left  Holmes  Airport 
in  Jackson  Heights,  Long  Island.  Miss  Nichols  took  the 
controls  as  we  streaked  straight  towards  the  Atlantic 
ocean.  I  busied  myself  with  loading  the  cameras  and 
cleaning  lenses,  preparing  for  actual  work.  We  soon 
came  over  the  stretches  of  sandy  beaches  of  Far  Rocka- 
way,  at  which  point  Chamberlin  took  over  the  controls 
and  I  exchanged  places  with  Miss  Nichols.  I  was  nun 
up  front  in  the  co-pilot's  seat,  sitting  next  to  Chamberlin. 


August,  1933 


T  h 


INTERNATIONAL       PHOTOGRAPHER 


Fortv-three 


WOODBURY  STUDIO  MOVES 

James  E.  Woodbury,  who  for  many  years  has  oper- 
ated a  photographic  studio  in  Hollywood,  has  moved 
from  the  Tec  Art  Studios  to  5501  Melrose  Avenue, 
two  blocks  west  of  the  old  location. 

"Woody"  is  probably  one  of  the  oldest  and  best 
known  professional  still  photographers  in  Hollywood  and 
during  his  many  years  in  catering  to  the  motion  picture 
profession  he  has  photographed  practically  all  the  stars 
of  the  screen. 

The  new  location  occupies  a  corner  store  and  over 
the  door  he  has  placed  a  slogan,  "Prosperity  IS  on  the 
Corner." 

We  soon  became  active,  photographically,  and  I  was  sev- 
eral times  attracted  to  the  complete  mastery  Chamberlin 
had  over  his  ship.  There  is  a  pilot  if  ever  there  was  one. 
With  the  "stick"  between  his  knees  he  piloted  the  ship 
smoothly,  while  his  hands  were  busy  with  the  Leica, 
snapping  here  and  there.  We  skirted  the  coast  a  bit  and 
soon  came  over  New  York  Harbor,  where  the  Statue 
of  Liberty  was  waiting  to  be  recorded  on  film.  Chamber- 
lin circled  around  her  and  "banked"  the  'plane  so  that  I 
could  secure  a  better  angle  through  the  open  window.  As 
we  were  recording  Miss  Libert}  several  ships  were  seen 
steaming  their  way  to  foreign  ports,  one  of  them  the 
Conte  Savoy,  sister-ship  to  the  Rex.  We  streaked  over 
in  her  direction  and  idled  past,  making  several  exposures 
each  as  we  did  so. 

We  now  headed  up  the  harbor  towards  Manhattan, 
which  was  veiled  in  a  mantle  of  "city  haze,"  which  has 
been  previously  mentioned.  Nevertheless  we  flew  over 
New  York  City,  snapping  interesting  spots  in  an  effort 
to  see  just  how  much  soot  and  smoke  we  could  cut 
through.  The  Empire  State  tower  gleamed  in  the  sun- 
light straight  ahead,  like  a  giant  among  pigmies.  Natur- 
ally we  headed  for  it.  Chamberlin  circled  it  several  times, 
"banking"  and  dipping  to  give  us  both  the  best  vantage 
points  (how  well  I  remember  those  "banks" — several 
times  it  seemed  to  me  that  I  was  facing  Mother  Earth 
squarely,  despite  the  fact  that  I  was  comfortably  seated 
in  my  seat).  A  sample  of  the  tower  is  herewith  repro- 
duced. Farther  along  we  came  to  Central  Park,  where 
more  exposures  were  made.  At  this  point  1  again  changed 
places  with  Miss  Nichols,  who  again  took  over  the  con- 
trols while  I  unloaded  the  cameras.  We  had  shot  six 
rolls  of  film  between  us.  In  less  than  no  time  we  landed 
at  the  field  and  piled  out  after  over  an  hour's  sight-seeing 
tour  over  New  York  City. 

The  exposures  in  most  cases  were  1 /200th  of  a  second. 
Chamberlin's  lens  was  stopped  down  to  f:6.3  and  f  :9  at 
various  times,  while  my  lens  with  the  rather  heavy  yellow 
filter  was  set  at  f:3.2  in  some  instances  and  f:4.5  in 
others.  The  finishing  of  the  pictures  was  handled  by  the 
Fine  Grain  Laboratories,  Inc.,  and  the  prints  made  on 
5x7  glossy  paper,  ferrotyped. 

Chamberlin  has  long  recognized  the  value  of  the  Leica 
in  aerial  work,  and  he  seldom  goes  aloft  without  it.  He 
told  me  that  he  only  wished  he  had  known  of  the  Leica 
when  he  made  his  famous  flight  to  Germany  with  Levine. 
I  am  reproducing  a  few  of  his  Leica  pictures  here  with 
his  kind  permission.  A  rare  individual,  Chamberlin.  Quiet, 
reserved,  likable.  One  of  the  finest  men  I  know,  and 
what  a  pilot!  And  he  thoroughly  enjoys  photography 
with  the  Leica,  which  makes  him  a  pal. 

It  is  hoped  that  the  few  words  and  photos  contained 
in  this  article  will  be  of  some  assistance  to  those  who  have 
heretofore  felt  that  aerial  photography  was  "out  of  their 
range." 


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Forty-four 


T  li 


INTERNATIONAL   PHOTOGRAPHER 


August,  1933 


lollvtycm 


We  feel  called  upon  to  quote  Ickeymay  Ousemay  from 
a  recent  issue  of  Motion  Picture  Daily : 

"Hello,  everybody  I  Here  I  am,  writing  a  watcha-ma 
column  for  Motion  Picture  Daily!  Three  cheese  for  me! 
I'm  famous!  Oh  boy,  won't  Walt  get  Disney  when  he 
sees  this.  If  alt's  my  boss,  you  know.  He  says  his  job  is 
to  draw  me  in  pictures  and  my  job  is  to  draw  people  in 
theatres.     That   makes  it   even — a  draw   for   both   of  us." 


Recording  sound  effects  at  the  Disney  studio  is  more 
than  just  interesting.  It  is  like  a  page  from  a  fairy  tale. 
You  hear  the  director  asking  for  a  dog  bark,  or  a  sniff ; 
for  a  kiss  or  a  shivery  growl  .  .  .  for  a  door  slam  .  .  . 
for  a  howling  wind.  The  kisses  are  made  by  a  musician 
kissing  his  hand.  A  bottle  and  a  cork  in  their  hands  sound 
like  a  monkey  chattering.  A  tin  can  and  a  string  sounds 
like  Mickey's  trousers  tearing.  They  have  dog  barks  in 
all  pitches,  deep  barks  for  big  dogs ;  little  barks  for  little 
dogs.     And  yips  for  the  frightened  dog. 


\ou  hear  about  "comedy-relief,"  "financial-relief"  aim 
now  we  have  "Back-Patting-relief." 

PraKe  and  a  pat  on  the  back — to  pick  up  the  old  saw — is 
always  welcome.  We  each  find  it  necessary  to  do  so  much  of 
our  own  patting  that  it  is  a  pleasure  to  find  someone — not  too 
busy — to  relieve  us  for  a  moment  to  give  us  a  pat.  The  other 
day  I  saw  that  Bruce,  the  gas  station  attendant,  was  going  to 
give  me  one  and  I  found  myself  diplomatically  getting  in  po- 
sition— so  that  a  bigger  one  could  be  given  with  a  minimum 
of  effort.  It  was  so  different  from  the  kind  I  had  been  getting 
from  myself  that  it  was  a  welcome  change. 


To  producers  who  are  on  the  alert  for  story  ideas,  Doc- 
tor William  A.  Bryan,  director  of  the  Los  Angeles  Mu- 
seum, offers  an  idea  that  has  possibilities.  "Why  not  in- 
clude," he  says,  "in  the  repertoire  of  motion  picture  themes 
some  of  the  stories  used  by  historic  people  in  their  plays. 
If  the  people  of  old  could  enjoy  them  for  countless  cen- 
turies— why  then  present-day  audiences  could  find  enter- 
tainment in  them  for  one  evening.  And  that  would  serve 
a  dual  purpose  of  giving  entertainment  along  with  knowl- 
edge of  the  backgrounds  of  our  customs  today."  I  go 
even  further  than  Dr.  Bryan  ;  suggesting  that  if  producers 
insist,  the  love  element  might  be  added. 


Have    you    ever    visited    the    Los    Angeles    Museum? 

Producers  and  directors  should  avail  themselves  of  the 
staff  of  research  specialists  iii  the  employ  of  the  institu- 
tion. Information  on  any  subject  may  be  had  on  a  mo- 
ment's notice — and  this  information  may  be  relied  on. 
Everything  is  represented,  from  transportation  to  the 
raising  of  bugs.  They  actually  have  a  nursery  there  that 
is  devoted  to  the  study  of  insect  life  and  its  control.  Here 
they  raise  and  breed  caterpillars,  insects  and  study  their 
habits.  Here  they  study  the  various  parasites  that  infest 
the  bugs  that  in  turn  carry  off  men's  bread  and  butter. 


Doctor  John  A.  Comstoek  is  curator  of  this  nursery  lab- 
oratory. Recently  he  discovered  the  moth  that  has  been 
destroying  the  famed  Joshua  trees. 


Let's  take  some  of  the  Hollywood  Bugs  and  Parasites 
down  and  see  what  is  eating  them !    Pardon  me. 


Edward  Estabrook  suggests  that  some  smart  manufac- 
turer should  open  a  chisel  factory  here.  There  are  already 
plenty  of  chisel  grinders  here  to  keep  them  sharp. 


Dorothy,  the  soda-fountain  girl,  was  mixing  this  and 
that  in  a  busy  way  the  other  day  when  a  quavery  old 
woman  ambled  up  to  the  fountain,  asking,  "Do  you  have 
ice  cream?"  Dorothy  said  yes,  whereupon  the  teary-eyed 
one  said,  "A  nickel  dish,  please,  .  .  without  nuts."  When 
the  dish  was  set  before  her,  she  looked  at  it — hesitated  a 
moment — and  then  got  up  in  a  huff  and  walked  out, 
chirping  to  herself,  "Nerts — not  enough  for  a  nickel." 


Palma  Wayne,  who  is  responsible  for  the  recent  story  in 
the  Saturday  Evening  Post  about  cameramen,  did  some- 
thing to  me  the  other  evening.  Her  whimsical  attitude 
toward  those  little  human  things  impressed  upon  me  the 
fun  in  observing  them.  Without  any  folderold  or  gestures, 
she  showed  me  a  niceness  in  little  things  that  heretofore 
had  been  below  my  scrutiny.  She  slowed  down  my  whole 
tempo.  She  showed  me  the  silliness  of  the  jig-time  of  the 
great  American  frying  pan.     Thank  you,  "Waynee." 


Wally  Beery  and  Gloria  Swanson  'way  back  during  their 
Essanay  days  in  Chicago.  If  I  am  right,  that  was  in 
1913,  when  our  Gloria  was  the  light  of  Wally's  eye. 
That  was  the  time  when  the  industry  was  still  a  thing 
around  the  corner.  Two  years  or  so  later  they  moved 
to  the  corner  and  the  flabbergasted  stage  folks  found 
themselves  climbing  up  trees. 

"Humph,  I  know  so  much  about  that,  why — say,  it 
would  take  me  a  long  time  to  tell  you,"  so  sayeth  the 
Hollvwood   Ham  ! 


"Bob"  Newhard,  the  veteran  cameraman,  in  filming  the 
Ince  "Civilization,"  recalls  the  time  he  and  Bob  Roberts 
climbed  into  a  tree  and  while  in  the  tree  hung  an  oil 
stove  under  the  camera  to  avoid  static  markings.  They 
used  to  hang  lanterns,  bicycle  lamps,  moist  sponges,  or 
wrap  blankets  about  the  camera  to  avoid  the  then  ever- 
present  static.  It  was  finally  found  to  be  the  attribute 
of  the  film  base  that  was  being  used. 


Cus,  the  Gull  says  California  climate  may  be  all  right 
but  ain't  the  temperature  awful.  Gus  ain't  the  usual 
bird;  but  he  can  read,  write,  smoke  a  pipe.  And  he 
doesn't  go  near  the  beaches! 


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August,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Forty-five 


NEWSREELERS'  WORLD 

(Continued  from  Page  22) 

have  acted  for  little  DEBRIE.     How  does  she  look  to 
you,  Hollywood?     Yes,  and  she  speaks  English,  too! 

With  a  full  program  of  shooting  ahead  I  shall  have 
to  close  until  next  month.  Hope  you  have  as  few  signs 
of  depression  around  you  as  we  have  here  in  a  paradise 
of  the  north.     ADJO  SA  LANGE,  SKAL! 

The  ole  Swede  himself,  who  hopes  as  how  someone 
will  write  him. 

Ray  Fernstrom. 


AROUND  THE  WORLD— No.  3 

(Continued  from  Page  11) 

sight.  It  varies  from  a  kind  of  ballet,  with  music  and 
song,  to  acting,  singing  and  dancing  their  interpretation 
of  the  religious  plays,  excerpts  from  the  Ramayana  (the 
Buddhist  epic  poem)  in  which  there  are  over  3,000  acts. 
Usually  it  is  the  lighter  type  with  festivities  and  much 
clowning.  Young  men  and  women  both  take  part  in  the 
Pwes.  The  performances  take  place  in  the  open  air,  last 
all  night  for  several  nights  and  are  free  and  open  to 
all.  The  actors  are  paid  by  those  giving  the  enter- 
tainment. 

There  are  no  religious  objections  to  visitors,  who 
are  merely  asked  to  remove  their  shoes,  as  do  all  Budd- 
hists when  entering  the  temples.  The  temples,  pagodas, 
monasteries  and  other  sacred  places  are  open  to  all,  and 
a  friendly  welcome  is  given  by  the  priests. 

At  Rangoon  is  the  great  Shwe  Dagon  Pagoda,  one 
of  the  original  Seven  Wonders  of  the  World,  and  the 
most  venerated  and  the  most  universally  worshipped  by 
Buddhists.  Its  peculiar  sanctity  is  due  to  the  fact  that 
it  is  the  only  pagoda  known  to  the  Buddhists  which  is 
credited  with  containing  actual  relics,  not  only  of  Gau- 
tama (The  Buddha)  but  of  the  three  Buddhas  who  pre- 
ceded him  in  this  world. 

Countless  pilgrims  come  from  all  over  Asia  to  wor- 
ship at  this  shrine.  It  would  be  impossible  to  describe 
in  any  detail  the  myriad  objects  of  interest  that  are  gath- 
ered in  this  temple,  the  enclosure  of  which  covers  two 
square  miles. 

The  main  pagoda  is  represented  by  an  octagonal 
plinth  370  feet  in  height  and  having  a  circumference  of 
1,355  feet  at  its  base,  profusely  gilded  with  gold  leaf 
from  its  base  to  summit.  The  central  spire  is  surround- 
ed by  numerous  groups  of  lesser  spires,  temple  buildings 
and  shrines,  devoted  to  various  religious  relics. 

It  took  me  four  days  to  search  out  the  most  interest- 
ing bits  for  filming.  Each  day  I  went  to  the  temple 
wearing  golf  stockings,  knickers  and  tennis  shoes.  At 
the  border  I  removed  the  tennis  shoes,  slit  the  sole  of  the 
golf  sock  and  by  merely  turning  back  the  feet  I  was  able 
to  appear  barefooted  without  being  barelegged  also.  Since 
all  these  Burmese  go  barefooted,  the  "barefoot  rule" 
occasions  them  no  inconvenience  or  delay. 

Thousands  throng  the  temple  grounds  at  all  times, 
day  and  night,  as  they  are  never  closed.  And  one  fre- 
quently comes  in  contact  with  lepers  who  frequent  all 
temples  and  places  of  worship  in  the  Orient.  There- 
fore, every  precaution  must  be  taken  and  an  antiseptic 
foot  bath  is  recommended  several  times  daily. 

Politically,  Burma  is  a  province  of  the  Indian  Em- 
pire, but  geographically  it  is  a  part  of  Indo-China.  With 
its  three  seasons  cool,  hot  and  rainy,  it  forms  part  of  the 
great  Monsoon  region.  The  language  is  more  like  that 
of  the  Chinese  than  the  Indian  languages. 

I  shall  always  remember  Burma  as  a  country  of 
beauty,  and  though  it  has  passed  through  a  thousand 
years  of  tragedies  and  oppression,  it  has  come  forth  light 
hearted  and  filled  with  sweetness. 


BRULATOUR  BULLETIN 

(Continued  from  Pages  24  and  25) 

M.C.M. 

tion  with  Selwyn  on  "Turn  Back  the  ("lock"  and  has  been  assigned  to 
"Bombshell,"  jean  Harlow's  next  starring  vehicle.  Les  White  and 
Harry  Parkins  have  been  with  Rosson  for  several  pictures  now,  so  we 
imagine   they'll   be   with   him   on    "Bombshell." 

JACK  DRAPER  is  in  Mexico  for  Howard  Hawks,  picking  exteriors 
and   making   incidental   shots   for   "Viva   Villa,"   Hawks'   next  picture. 

HAROLD  LIPSTEIN.  who  does  most  of  the  photographing  in  the 
transparency  department,  turned  in  a  swell  job  on  the  process  scenes  in 
"Tugboat  Annie."  Harold  Marzoratti  collaborates  with  Lipstein  most 
ably   in   this   work. 

(Note  to  Editor):  I'm  not  sure  whether  I  >e  Yir.na  is  in  Sequoia 
National  Park,  Alaska,  Louisiana,  the  South  Seas  or  Africa.  He's 
around  some  place  though,  and  I'll  catch  up  with  him  sooner  or  later. 
The   Cub   Reporter. 


LEN  ROOS  RETURNS 

The  ceremony  required  nine  days,  which  must   have  been  some  ceremony. 

Through  devious  ways  and  means,  Roos  obtained  permission  to 
photograph  this  epic  ceremony,  and  it  is  the  only  time  in  history  that 
a   white  man   has  seen,   let  alone   photographed,   the   ceremony. 

Len  has  developed  some  lights,  which  he  used  to  very  good  advan- 
tage— in  fact  so  good  that  he  is  contemplating  the  manufacture  and  sale 
of  them  here.  Incidentally  Roos  has  some  very  complimentary  things 
to  say  about  the  quality  he  achieved  with  Eastman  Supersensitive  nega- 
tive,   under    very   trying   tropical   conditions. 

PAUL  PERRY,  another  world  travelling  cinematographer  happened 
to  be  in  this  part  of  the  country  on  an  expedition  with  Tom  White,  and 
upon  completion  of  his  work  with  White,  he  joined  Roos  in  Singapore. 
Paul   has   also   returned    to   Hollywood. 


EARL    HAYS    PRESS 

PRINTED  INSERTS 

The    most   complete    library    of    foreign    research 

material   in  the  industry. 

NEW  ADDRESS 

6510  Santa  Monica  Blvd.     Near   Wilcox  Ave. 

Phone:   Hollywood   9591 


Phone  GLadstone  4151 

HOLLYWOOD  STATE  BANK 

The   only    Bank    in   the    Industrial    District   of    Hollywood 
under  State  Supervision 

Santa   Monica   Boulevard  at   Highland  Avenue 


%l«iiiiiiiiiiiHiiikiiiiiiiiiiiinBHV ' 


TA&L^^iWoird 


II  I,  III  I,  III 


SOUND  RECORDING 
A  Quartz  Optical  Unit 


Cul  Shows  Optical  Unit 


□ 


Twice  Natural  Size 


For    Variable    Density  Recording     and     Reproducing 

Designed   to   focus  a   fine  line   of  light   on   the   film — some  distance 

away  from  the  optical  unit — thus  preventing  damage  to  the  sound 

track    from    dust,    etc. 

The  Optical  Unit  is  critically  set  in  a   Steel   Block — on  the   curved 

side   where  the   film   runs,   the  quartz   unit  being  just   opposite   the 

glow    lamp. 

Call    and    get    specimen    of    Sound    Track 


OR.   7331 


C.  C.  MINOR 

1806    Whitley    Ave. 


HOLLYWOOD 


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Forty-six 


r  i, 


INTERNATIONAL      PHOTOGRAPHER 


August,  1933 


INTERNATIONAL 

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dollar     per     insertion.       For     Rent — For     Sale — Wanted — For 

Exchange,  etc. 

FOR  SALE  AND  RENT— CAMERAS 

FOR  SALE  OR  RENT — Mitchell  and  Bell  &  Howell  silenced  cameras, 
follow  focus.  Pan  lenses,  free  head,  corrected  new  aperture.  Akeley, 
Da  Brie,  Pathe,  Universal,  Prevost,  Willart,  De  Vry,  Eyemo,  Sept, 
Leica.  Motors,  printers  lighting-  equipment.  Also  every  variety  of 
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bought,  sold,  rented  and  repaired.  Send  for  our  bargain  catalogue. 
Open  8  A.M.  to  10  P.M.  Hollywood  Camera  Exchange,  1600  Cahuenga 
Blvd.      Phone   Hollywood   3651.      Cable  address   Hocamex. 

MITCHELL  CAMERAS.  Silent  and  Speed.  Follow  focus.  Also  new 
Mitchell  motors,  extra  1000  foot  magazines,  motor  adapters,  baby  tripod, 
25-35  mm.  and  long  focus  lenses;  Mitchell  gear  box.  B.  B.  Ray, 
YOrk    4553. 

FOR  SALE  OR  TRADE 

MITCHELL  CAMERA  complete  with  speed  movement,  all  built-in 
features,  25  mm,  35  mm,  50  mm,  75  mm,  matched  Astro  Tachar  lenses, 
mounted  on  turret,  also  4^4  Heliar  lens  Mitchell  mounted,  2  tripod 
heads,  free  and  tilt,  six  400  foot,  two  1000  foot  magazines,  high  hat,  also 
Bell  &  Howell  camera  complete.  Address  Mervyn  Freeman,  1960  South 
Vermont   Ave.,    Los   Angeles,    Calif.      Phone:     REpublic   3171. 

FOR  SALE— CAMERAS 

SERIES  B  5  x  7  GRAFLEX  witli  cut  film,  holder  for  one  dozen  films. 
Leather  Carrying  Case.  Carl  Zeiss  F:4.5  21  cm.  lens.  This  camera  is 
in  perfect  condition  and  originally  sold  for  $160.00.  A  steal  at  $75. 
Camera    Supply   Co.,    Ltd.,    1515    Cahuenga    Blvd.,    Hollywood. 

LEICA  CAMERAS — New  and  secondhand — used  Leica  Enlarger — 5x7 
Graflex.  Fine  grain  enlarging  photo  supplies.  Morgan's  Camera  Shop, 
6305    Sunset    Blvd.,   Hollywood. 

NEW  AND  USED  HOME  MOVIE  CAMERAS— DeVry  Motion  Pic- 
ture Cameras — sound  on  film  portable  projectors  with  operators  for  rent. 
Photographic  supplies — fine  grain  finishing — courteous  service.  Educa- 
tional  Project-O    Film    Co.,    1611    North   Cahuenga,   Hollywood. 

OUR  SPECIAL  SUBSCRIPTION  OFFER  of  one  year  for  $2  expires 
November  15,  1933.  If  you  want  the  best  magazine  of  its  kind  sent  to 
you  each  month  send  your  subscription  in  now.  THE  INTERNA- 
TIONAL   PHOTOGRAPHER,    Hollywood,    California. 

FOR   RENT— CAMERAS 

TWO  THOROUGHLY  silenced  Mitchell  cameras.  Follow  focus  device, 
Pan  Astro  lenses,  Freehead — 1000  ft.  magazines.  J.  R.  Lockwood,  523 
No.    Orange   St.,   Glendale.      Douglas   3361 -W. 

WANTED  TO   BUY— CAMERAS 


SILENT   BELL   &    HOWELL  or    Mitchell 
Box  No.   95,   Salt   Lake  City,   Utah. 


Mervin    B.    Russell,    P.    O. 


BELL  &  HOWELL  late  model  35  mm.  camera — suitable  for  trick 
work — and  in  first  class  condition.  Must  be  cheap  for  cash.  Send  all 
particulars   to   Box   105 — The   International   Photographer. 

MITCHELL  CAMERA,  fully  equipped.  Must  be  cheap  for  cash.  State 
camera  number  and  give  list  of  equipment  and  price.  Box  110 — The 
International    Photographer. 

LEICA  OR  CONTAX  CAMERA,  new  or  used.  J.  R.  Lockwood,  523 
No.   Orange   Street,   Glendale,   Douglas   3361-W. 

FOR  SALE  OR   RENT— MISCELLANEOUS 

PRACTICALLY  NEW  12  VOLT  AKELEY  MOTOR.  Very  little  used, 
perfect  condition.  Equipped  with  variable  speed  control.  Tachometer. 
Underpriced  at  $125.  Camera  Supply  Co.,  Ltd.,  1515  Cahuenga  Blvd., 
Hollywood. 

MITCHELL  MOTOR— 1000  ft.  Mitchell  magazines.  J.  R.  Lockwood, 
Glendale.      Douglas  3361-W. 

FRESH  NEGATIVE  short  ends — Eastman  and  Dupont.  Kinema 
Krafts   Kompany,   6510    Selma   Ave.,   Hollywood. 

ONE  SET  of  4  inch  condensing  lenses  in  mount.  First  class  condition. 
Box    120 — The   International   Photographer. 

2  USED  MITCHELL  FINDERS,  inverted  image.  Impossible  to  tell 
from  new.  Cost  $100.00 — will  sell  for  $45  each.  Camera  Supply  Co., 
Ltd.,    1515    Cahuenga    Blvd.,    Hollywood. 

BUYERS  READ  these  classified  advertisements  as  you  are  now  doing. 
If  you  have  something  for  sale  or  exchange — advertise  it  in  these  col- 
umns. THE  INTERNATIONAL  PHOTOGRAPHER,  1605  No. 
Cahuenga   Ave.,   Hollywood. 

FOR  SALE — 75  mm.  Cooke  Lens.  F.2  in  Mitchell  mount  complete. 
5ii  and  75  mm.  Astro  lenses,  mounted  and  unmounted.  J.  R.  Lockwood, 
523    North    Orange    Street,   Glendale.      Douglas    3361-W." 

NEW  1000  FT.  MAGAZINES  to  fit  Bell  &  Howell  Cameras.  These 
de  luxe  magazines  are  absolutely  new  and  sell  for  $100.00.  We  now 
quote  them  at  $75.  Camera  Supply  Co.,  Ltd.,  1515  Cahuenga  Blvd., 
H  <  ill  v  wood. 

FOR  RENT — 25  and  35  mm.  lenses,  motor  adapters,  Mitchell  Standard 
tripod  head,  baby  tripod,  400  ft.  Mitchell  magazines.  J.  R.  Lockwood, 
523    North    Orange    St..    Glendale.    Douglas    3361-W. 

TRIPOD  HEADS— Matte  Boxes— Lenses— Rewinds  and  etc.,  all  types, 
at  the  lowest  prices.  Camera  Supply  Co.,  Ltd.,  1515  Cahuenga  Blvd., 
Hollywood. 


(Continued  from  Page  21) 
behind  the  scenes  and  make  them  realize  that  perhaps  it 
takes  a  few  heartaches  for  the  crank  twisters,  now  and 
then,  to  gather  screen  news  material  .  .  .  even  tins  oia 
cigar-chewing  war  horse  hung  onto  his  seat  as  Charlie's 
two  reels  unwound  on  the  screen  .  .  .  Found  that  miss- 
ing beret  of  mine  t'other  night  ...  it  was  perched  on 
the  dome  of  Playboy  Lippert  as  he  streaked  down  the 
boulevard  in  his  new  (second-hand)  roadster  .  .  .  Lip's 
got  all  the  modern  equipment  on  his  long  wheelbase 
puddle  jumper,  including  radio,  spotlight  .  .  .  and  blonde 
.  .  .  The  gang  turned  out  en  masse  to  cover  the  W.  C. 
T.  U.  convention  at  Milwaukee  .  .  .  they  got  some  splen- 
did interviews  on  the  ill  effects  of  the  alcoholic  contents 
of  3.2  beer  .  .  .  and  then  ankled  over  to  a  cool  oasis 
across  from  the  convention  hall  and  experimented  a  bit 
with  the  amber  fluid  .  .  .  well  they  didn't  exactly  agree 
with  the  W.  T.  C.  U.,  but  they  did  admit  those  steins 
were  a  bit  cooling  after  working  in  the  hot  sun  .  .  . 
Emilio  Montemuro  is  out  admiring  baby  buggies  .  .  . 
and  J.  Philip  Gleason  is  out  hunting  up  all  his  missing 
shirts  .  .  .  while  calm,  staid  Eddie  Morrison  now  has  a 
flare  for  "white  ducks"  and  blue  coats  .  .  .  Made  a  trip 
to  Kansas  City  the  other  day  and  while  there  discovered 
another  speed  demon  who  should  be  entered  in  the  annual 
500-mile  auto  classic  at  Indianapolis  .  .  .  after  alighting 
from  Billy  Andlauer's  car  I  realized  you  gotta  have  the 
gods  with  you  to  crash  so  many  red  lights  without  getting 
smacked  agin  the  curb  .  .  .  and  so  back  to  the  balance  of 
my  two  weeks  fishing,  but  by  the  time  you  birds  read 
this  I'll  probably  be  setting  my  tripod,  as  usual,  in  the 
way  of  Charlie  Geis  just  while  he  is  focusing  on  his 
next  shot  .  .  .  END. 

CAMERA  REPAIRING 

BELL  &  HOWELL  cameras  with  old  type  shuttles  silenced,  $150. 
Hollywood  Motion  Picture  Equipment  Co.,  645  No.  Martel  Ave., 
Hollywood. 

POSITION  WANTED 

EXPEDITION  CAMERAMAN,  recently  returned  from  India,  China, 
Japan  desires  to  join  company  contemplating  series  of  pictures  anywhere 
in  the  world.  Many  years  experience — color  or  black  and  white  pho- 
tography. Write  Expedition  Cameraman,  care  International  Photogra- 
pher. 

THE  INTERNATIONAL  PROJECTIONIST 

THE  INTERNATIONAL  PROJECTIONIST,  a  monthly  magazine 
published  in  the  interests  of  the  projectionist.  Interesting,  instructive. 
Yearly  subscription  U.  S.  and  possessions,  $2 ;  foreign  countries,  $2.50. 
James  J.   Finn   Publishing  Corp.,   1    West   47th   St.,   New  York. 

OUR  SPECIAL  SUBSCRIPTION  OFFER  of  one  year  for  $2  expires 
November  15,  1933.  If  you  want  the  best  magazine  of  its  kind  sent  to 
you  each  month  send  your  subscription  in  now.  THE  INTERNA- 
TIONAL   PHOTOGRAPHER,    Hollywood,    California. 

FINANCIAL  BACKING  WANTED 

CAMERAMAN  of  world-wide  experience  wants  responsible  party  to 
finance  series  of  pictures  to  be  made  in  S"outh  Sea  Islands ;  has  own 
equipment,  stories,  etc.;  excellent  opportunity;  best  of  references.  Box 
99.    International   Photographer. 

CAMERAMAN  of  proven  ability  and  many  years  production  experience 
wants  capital  to  exploit  commercial  and  advertising  pictures — contacts 
already  made  with  leading  manufacturers — unlimited  possibilities — prefer 
executive  who  will  actively  participate  in  company.  Care  International 
Photographer,   Box  X. 

OUR  SPECIAL  SUBSCRIPTION  OFFER  of  one  year  for  $2  expires 
November  15,  1933.  If  you  want  the  best  magazine  of  its  kind  sent  to 
you  each  month  send  your  subscription  in  now.  THE  INTERNA- 
TIONAL   PHOTOGRAPHER,    Hollywood,    California. 

THE  INTERNATIONAL  PHOTOGRAPHER 

SPECIAL  OFFER  for  limited  time  only.  One  year  of  12  issues  for 
$2.  The  most  instructive  and  interesting  magazine  published  on  the 
making  of  motion  pictures.  The  International  Photographer,  1605 
Cahuenga    Ave.,    Hollywood.    California. 

MISCELLANEOUS 

COMPLETE  COURSE  IN  FLYING— If  interested  in  aviation,  see  Roy 
Klaffki,    1605    North    Cahuenga    Ave.,    Hollywood. 

MINIATURE  CAMERA  USERS  can  get  the  best  Fine  Grain  Develop- 
ing and  Projection  Printing  possible.  Our  terms  are  not  necessarily  the 
lowest,  but  the  quality  is  the  best.  Linn  Clark  Laboratories,  1730  Hill- 
hurst   Ave..   Hollywood. 

WANTED — To  know  of  the  whereabouts  of  motion  picture  relics,  docu- 
ments, or  equipment  of  a  historical  nature  for  Museum  purposes.  Write 
Farl  Theisen,  care  of  International  Photographer,  1605  Cahuenga  Ave., 
Hollywood. 


Please  mention  The   International    Photographer   when   corresponding   with  advertisers. 


August,  1933 


T  1, 


INTERNATIONAL      PHOTOGRAPHER 


Forty- seven 


MARYPICKFORD 

(Continued  from   Page   8) 

She  is  loved  by  her  directors  for  her  trait  of  doing 
everything  she  is  told.  And  for  that  she  is  noted  above 
all  other  stars. 

Unlike  other  people  of  the  motion  picture  who  have 
helpers,  she  is  loyal  to  them.  They  stay  with  her.  Mark 
Larkin,  her  publicity  director,  joined  her  in  1918.  Eliza- 
beth Lewis,  her  secretary,  who  is  so  much  like  Mary 
Pickford  herself,  joined  the  staff  a  year  later.  N.  A. 
McKay,  her  business  manager,  came  to  her  in  1920. 
"Oppie"  Rahm,  her  still  man,  has  made  the  stills  of 
Mary  that  have  appeared  throughout  the  world  during 
the  last  twenty  years.  Lucille  Lipke,  another  Pickfordite, 
has  a  smile  wherein  there  is  much  of  Mary,  herself.  They 
are  like  a  large  family  together. 

On  February  5,  1919,  she,  along  with  Fairbanks,  Chap- 
lin and  Griffith,  joined  to  form  the  United  Artists.  Her 
pictures  for  United  Artists  were:  "Pollyanna,  "Suds," 
"The  Love  Light,"  "Through  the  Back  Door,"  "Little 
Lord  Fauntleroy,'  "Tess  of  the  Storm  County,"  "Rosita," 
"Dorothy  Vernon  of  Haddon  Hall,"  "Little  Annie 
Rooney,"  "Sparrows,"  "My  Best  Girl,"  "Taming  of  the 
Shrew,"  which  was  her  first  picture  with  Douglas  Fair- 
banks, "Kiki"  and  "Coquette." 

This  last  named  picture  was  her  first  in  sound.  Then, 
too,  it  was  famous  as  the  picture  that  was  made  after  she 
had  cut  off  her  curls.  Those  curls  had  been  her  trade 
mark.  When  her  hair  was  shortened  many  people  received 
the  news  like  the  passing  of  a  cherished  thing.  Many 
thought  it  a  sacrilege.  In  fact,  the  removing  of  her  curls 
was  almost  accompanied  with  a  ceremony.  Antoine,  the 
famous  French  hairdresser,  did  it  in  New  York  and  it 
was  headlines  in  the  papers. 

She  is  democratic.  She  will  chat  with  the  carpenter  or 
the  electrician  with  the  same  ease  as  with  the  visiting 
potentate.  The  laborer  will  tell  you  she  is  not  "high  hat." 
She  will  stop  and  he  will  tell  her  of  the  wife  and  kiddies, 
while  the  "important"  person  stands  on  one  foot  and 
then  on  the  other. 

Too,  she  does  not  forget.  An  illustrative  example  of 
this  was  the  time  that  Alvin  Wyckoff  was  filming  "Co- 
quette." Mary  had  not  seen  him  since  he  had  filmed 
"The  Little  American" — over  twelve  years  before — but 
when  she  heard  he  was  on  the  set  she  stopped  everything 
and  hunted  him  up.  She  found  him  in  the  camera  sound 
blimp.  They  had  a  talk-fest.  "Coquette"  was  filmed  by, 
besides  Wyckoff,  Charles  Rosher  and  Karl  Strauss. 

Now,  with  regret,  we  report  the  lack  of  Mary  Pick- 
ford  on  the  screen.  She,  like  so  many  stars,  after  years 
of  grind  in  bringing  pictures  to  the  screen  becomes  tired. 
She  has  climbed  to  the  top ;  the  public  has  given  her  every- 
thing. She  has  in  turn  given  the  public  many  light  mo- 
ments. In  her  last  picture,  "Secrets,"  there  seemed  to  be 
an  underlying  weary  quality,  just  tangible.  Even  in 
the  more  dramatic  sequences  her  old  fire  was  lacking ; 
which,  however,  is  overlooked  in  the  things  she  brings  to 
the  screen.     Please  make  more  pictures! 


The  author  gratefully  acknowledges  the  courtesy  of 
Alvin  Wyckoff  and  Lyman  Broening  for  loaning  the 
photographs  used  to  illustrate  this  story. 


16  M.M.  AT  WORLDS  FAIR 

A  series  of  16  m.m.  films  of  exceptional  interest  and 
universal  appeal,  an  unusually  complete  and  beautifully 
photographed  version  of  the  Chicago  1933  World's  Fair, 
are  now  available  from  Bell  &  Howell  dealers.  World- 
wide distribution  is  handled  exclusively  by  that  organiza- 
tion.    These  films  were  made  by  Burton   Holmes,   Inc., 


official    cinematographers    for    the    Century     of     Progress 
Exposition. 

A  list  of  the  films  now  available  are  as  follows: 
"Around  the  Fair  with  Burton  Holmes" — 100  feet,  and 
various  other  points  of  interest  in  100  foot  lengths: 
"Opening  Day  Ceremonies,"  "Streets  of  Paris,"  "Indian 
Village,"  "Wings  of  a  Century,"  "The  Lama  Temple," 
"The  Belgian  Village,"  "Enchanted  Island,"  and  "The 
Fair  at  Night." 


CINEX   TESTING   MACHINES 


CINEX   POLISHINC   MACHINES 


BARSAM-TOLLAR   MECHANICAL  WKS. 

7239   Santa    Monica    Blvd. 
Phone    CRanite    9707  Hollywood,    California 


Howard  Anderson 

Special   Effects  —  Animations 

Culver  City  3021  GRanite  3111 


TO  THE  CAMERAMAN 

We  Can  Supply  First  Class 
NEGATIVE  SHORT  ENDS 

KINEM A. KRAFTS  KOMPANY 

6510    Selraa    Ave.    .Hollywood,    Calif.      Phone:    GL.    0276 
A.   Gabbani  Members   of   Local   659  H.    Higueret 


30%  to  60%  CASH  SAVINGS  on  16  mm. 

and  35  mm.  Cameras,  Projectors 

and  Accessories 

Write  for  Bass  Bargaingram.     Specify  size  of  apparatus 

interested   in.     For  over  22  years  Value   Leaders   of  the 

nation. 

Your   copy   is   ready.      Write  for  it. 

BASS  CAMERA  CO. 

179  W.   Madison  St.  Chicago,   III. 


MY 

FILTERS 

ARE  USED 
BY  ALL 

HOLLYWOOD 


IN  WORLD-WIDE  USE  . ...  .T!*"-^ 
produce  MoontyM  and  NigMSf  facts  in  Daytime- 
Fee  Scenes-  DiffuscdTVcos  and  many  etW  effects. 
WITH  ANV  CAMERA     -  IN  ANY  CLIMATE 

GEORGE  H.SCHEIBE 

ORIGINATOR  OF  EFFECT  FILTERS 

I927-W-78IT  ST.  LOS  ANGELES.CAL. 


DR. 

G. 

FLOYD  JACKMAN. 

Dentist 

Member    Loeal 

No.    659 

706 

Hours 

Hollywood 
:    9    to    5 

First   Nat'l    Bldg., 
GLadstone 

Hollywood 
7307          At 

Blvd.    at   Highland 
d    by    Appointment 

M 

tch 

ell 

Motor 

FOR    REINT 

MITCHELL 

OR   SALE 

CAMERA 

Gear 

Box 

Si 

enced 

and  Rebuilt  by  Mitchell — 35  mm  ;  50  mm  ; 
Pan   Tachars   Lenses 

75  mm  ;  105 

mm 

D. 

I!. 

KEYES 

FIRST  CAMERAMAN 

WV« 

ming    C 

139 

Please  mention  The   Internationa!   Photographer  when  corresponding  with  advertisers. 


Forty-eight 


The      INTERNATIONAL   PHOTOGRAPHER 


August,  1933 


01  iOCUS 


eo-SCSEttS- 


By  OTTO  PHOCUS 


IT'S  FUN  TO  BE  FOOLED 


The  Scream  of  the  Stills 

The  Illusion 
This  beautiful  still  might  be  a  fragment  of  early  Cali- 
fornia, but  it  is  not.  It  is  a  pastoral  and  was  shot  be- 
tween two  fifteen  and  half  pastoral  two,  at  Van  Nuys, 
Calif.,  on  a  busy  day.  Anyone  witnessing  the  photograph- 
ing of  this  scene  would  have  noticed  that  the  subjects  had 
heads  that  were  perfectly  normal,  and  not  flat  on  top  as 
reproduced  in  this  little  gem.  At  a  distance  of  about  a 
mile,  it  would  appear  as  tho  Marjorie  Beebe  and  a  gentle- 
man were  being  photographed. 

The  Explanation 
It  was  a  busy  day  at  Van  Nuys,  but  the  business  was 
going  the  other  way,  so  we  see  no  business  in  the  back- 
ground. The  gent  that  photographed  this  view  had  been 
taught  when  a  child  to  look  up  until  everything  seemed 
all  right  and  then  look  down.  This  he  did,  but  snapped 
the  scene  when  looking  down,  thereby  cutting  off  the 
heads.  The  person  on  the  left  is  Bobby  Dunn,  who  looks 
beautiful  in  any  light  and  retains  the  charm  and  person- 
ality which  goes  to  make  a  beautiful  scene  like  this.  The 
gentleman  (?)  on  the  right  should  have  known  better — 
moved  his  arm  over  a  little  so  it  would  be  in  the  picture. 

Here's  the  Low-Down 

To  avoid  illusions  know  your  tricks,  but  don't  play 
them  on  other  people. 


DO  YOU  KNOW 

That  Paul  Ivano  was  born  in  France  and  attended 
the  Lycie  de  Nice.    Nice? 

That  the  Camera  Supply  Company  is  keeping  up  with 
the  times?    They  have  silver-plated  their  store  front. 

That  James  Nazareth  Giridlian  was  an  instructor  in 
the  United  States  Navy. 

That  Allen  Davey  parts  his  name  with  Milburn. 

That  I  am  the  sole  owner  of  my  viewing  glasses. 
Frame  by  Eastman  and  filters  by  Paramount. 

That  the  big  electric  sign  on  Cahuenga  Pass  adver- 
tises Eastside  beer  when  entering  Hollywood  and  Kel- 
logg's  Ant  Paste  when  leaving. 


That  this  department  now  has  two  readers  and  proof 
of  same.  I  received  two  fan  letters  last  month.  Thanks, 
Mrs.  T. 

That  Mac  Stengler  is  located  at  St.  Petersburg,  Fla. 
Box  16  A.   Thanks,  Mac,  it  came  in  handy. 

That  Lyman  Broening  and  Chuck  Geissler  have  com- 
pleted three  advertising  shorts  for  Stewart-Warner  Corp. 
of  Chicago. 

That  Henry  Kruse  is  another  father.    Another  girl. 

That  the  cute  little  dancing  girls  at  Warner's  Studio 
threw  Sol  Polito  and  Bert  Longworth  into  the  pool  upon 
the  completion  of  "Footlight  Parade." 

That  Charlie  Miller,  of  Maniller,  Philippine  Islands, 
representative  of  The  International  Photographer, 
increased  his  order  for  the  magazine  100%  last  month. 

That  the  Camera  Exchanges  on  Cahuenga  are  re- 
ferred to  as  "chisel  shops." 

That  J.  Joseph  (Johnny)  Mescal  has  a  lot  of  Euro- 
pean backgrounds  that  were  shot  for  projection  back- 
grounds and  will  part  with  same  for  a  monetary  consid- 
eration. 

That  Gene  Cour  writes  in  to  explain  that  the  filter 
used  on  the  snails  in  the  last  issue  was  as  follows:  The 
windows  in  the  laboratory  have  not  been  washed  for  years 
and  the  accumulation  of  soot,  grease  and  weather  have 
made  them  nearly  opaque.  So-ooo,  he  filtered  the  light 
thru  the  dirty  window  onto  the  dirty  snails  and  thereby 
got  the  dirty  results,  and  finished  his  letter  with  a  plug 
for  Hartley  Harrison's  filters. 

That  after  "resting"  all  summer  I  worked  for  four 
days  and  a  Postal  telegram  came  under  my  door  telling  me 
to  take  some  more  rest. 

That  Jack  Warner  explained  over  the  Radio  the  other 
evening  that  we  had  a  vegetable  that  would  make  us  cry. 
The  onion.  But  so  far  they  have  not  discovered  a  vege- 
table that  would  make  us  laugh. 

That  I  can  cook  vegetables  that  will  make  people 
laugh. 


Everyone  seems  to  be  in  favor  of  the  new  deal  but 
some  are  beginning  to  wonder  if  there  will  be  enough 
cards  to  go  around. 

On  Monday  night,  July  25th,  President  Roosevelt, 
in  a  talk  over  the  radio,  urged  shorter  hours.  The  follow- 
ing morning  our  organization  went  on  shorter  hours. 


NOTICE— CAMERAMEN! 

In  the  realization  that  many  cameramen  and  photo- 
graphic technicians  mav  have  overlooked  the  Tuly  twenty- 
second  issue  of  the  SATURDAY  EVENING  POST,  in 
which  appears  the  story,  "Aces  of  the  Camera,"  we  wish 
to  announce  that  we  have  obtained  numerous  copies  of 
this  issue,  and  that  you  can  obtain  one  at  the  Hollywood 
Brulatour  office  merely  for  the  asking. 

We  respectfully  urge  every  member  of  the  camera- 
craft  to  read  and  re-read  this  splendid  story. 

J.  E.  BRULATOUR,  INC. 


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EASTMAN     PRESENTS 

A  NEW  FILM 


EXHIBITING  extremely  fine  grain 
combined  with  reasonably  high 
speed,  Eastman  Background  Nega- 
tive admirably  fulfills  its  function 
as  a  negative  medium  for  composite 
shots.  Both  in  the  camera  and  in  the 
processing  laboratory  it  performs 
in  a  manner  that  makes  it  an  out- 
standing film  for  this  new  era  of 
the  motion  picture . . .  Make  your 
own  tests  of  it  as  soon  as  possible. 
Eastman  Kodak  Company.  (J.  E. 
Brulatour,  Inc.,  Distributors,  New 
York,  Chicago,  Hollywood.) 


EASTMAN 


BACKGROUND     NEGATIVE 


Back  of  the 

Mitchell  Camera 


is  a 


Complete  and  Efficient 
Engineering  ♦  ♦  ♦ 


Research  ♦  ♦  ♦ 


and  Service 


Organization 


Mitchell  Camera  Corporation 


665  N.  ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD,  CALIF. 


Cable  Address  "MITCAMCO" 


Phone  OXford  1051 


a  ucw  i 

fCHBEll 

is! 

iOTOG] 

RAPHE 

HOLLYWOOD 


H  YEAR 


SEPTEMBER    1933 


VOL.  5 
NO.  8 


CENTS 
A   COPY 


Scene  from  The  Universal  Picture  Corporation's  "The   Invisible  Man" 
Under  Direction  of  James  Whale. 


lOTION    PICTURE    ARTS    AND    CRAFTS 


THE<SEI)TRADE  MARK  HAS  NEVER  BEEN  PLACED  ON  AN  INFERIOR  PRODUCT 


In  BRIGHT  SUNLIGHT  or  DEEP  SHADOW 
Under  INCANDESCENT  or  ARC  LIGHT 


Reg.  U.  S.  Pat.  Oft. 


PANCHROMATIC 


will   give   better  results  than 
are  otherwise  obtainable 


SMITH  b  ALLER,  LTD. 

6656  Santa   Monica  Boulevard  HOIIywood  5147 

HOLLYWOOD,  CALIFORNIA 


PACIFIC  COAST  DISTRIBUTORS  FOR 

DuPONT  FILM   MFC.  CORP. 

35  West  45th  Street,  New  York  City 


THE(fflI)TRADE  MARK  HAS  NEVER  BEEN  PLACED  ON  AN  INFERIOR  PRODUCT 


INTERNATIONAL 
PHOTOGRAPHER 

MOTION  PICTURE  ARTS  AND  CRAFTS 

Vol.   5  HOLLYWOOD,   CALIFORNIA,   SEPTEMBER,   1933  No.   8 

Howard  E.   Hurd,  Publisher's  Agent 

Silas  Edgar  Snyder,  Editor-in-Chief 

Edward  T.  Estabrook,  Managing  Editor 

Ira  Hoke  and  Charles  Felstead,  Associate  Editors 

Lewis  W.  Physioc,  Fred  Westerberg,  Technical  Editors 

John  Corydon  Hill,  Art  Editor 

A  Monthly  Publication   Dedicated   to   the   Advancement   of  Cinematography   in   All 

Its  Branches;    Professional  and   Amateur;   Photography;  Laboratory  and   Processing, 

Film  Editing,  Sound  Recording,  Projection,  Pictorialists. 

THE  COVER— By  ROMAN  FREULICH 

STORY  OF  THE  NEWSREEL        ----------       3 

By  Earl  Theisen 
MOTION   PICTURE   SOUND   RECORDING         ------       6 

By  Charles  Felstead 
NOTES  ON  ELEMENTS  OF  MINIATURE  CAMERA 

PHOTOGRAPHY r 8 

By  Karl  A.  Barlebcn,  Jr. 
LIGHT  FILTERS    (FILTER  FACTORS)  -------     10 

By  Emery  Huse  and  Ned  Van  Buren 
SOUND   TRACK    MECHANISM  ---------     n 

By  Jay  Cleis  Kroesen 
AROUND  THE  WORLD— PART  IV         --------     12 

By  Herford   Tynes  Coivling 
SEVEN  SEAS  CORPORATION       ----------     13 

THE    NEWSREEL    WORLD  ----------     14 

By  Ray  Fernstrom 
AREA  DISTRIBUTION  vs.  VOLUME  CONTENT  SERVICE       -       -     16 

By  Robert  Lothar  Kendall 
IN  MEMORIUM— NORMAN  DE  VOL      --------     16 

CHICAGO  SCRAP  BOOK         -----------     17 

By  Fred  (Red)  Felbinger 
TY'S  HOLLYWOOD  NOTEBOOK        ---------     ig 

RECONSTRUCTION  SILENCING        ---------     20 

By  E.  T.  Estabrook 
PURSUIT  OF  THREE  DIMENSIONAL  PICTURES         -       -       -       -     22 

By  Edivard  H.  Kemp 
PIONEER  GOES  TO  HIS  LONG  HOME         -------     30 

(Contributed) 
ADVANTAGES  OF  VARIABLE  AREA  RECORDING  FOR  THE 

INDEPENDENT  AND  COMMERCIAL  LABORATORY    -       -       -     38 

(Contributed) 

HOLLYWOOD'S    ALLIED    INDUSTRIES -       26-27 

STUDIO  CHASE  TROUPE      -----------     28 

CINEMATOGRAPHER'S  BOOK  OF  TABLES       -----       29-30 

By  Fred  Westerberg 
MISCELLANEOUS- 
NEW  DeVRY  RECORDING  CAMERA      --------     31 

CLASSIFIED  SECTION     ------------     38 

OUT  OF   FOCUS  ..--.- 40 

By  Charles  P.  Boyle 

Entered    as    second    class    matter    Sept.    30,    1930,    at    the    Post    Office    at    Los    Angeles, 
California,  under  the  act  of   March   3,    1879. 

Copyright    1933    by   Local    659,    I.  A.  T.  S.  E.    and    M.  P.  M.  O.    of    the    United    States 

and  Canada 

Office    of    publication,    1605    North    Cahuenga    Avenue,    Hollywood,    California 

HEmpstead    1128 

James   J.   Finn,    1    West   47th    St.,   New   York,    Eastern   Representative 

McGill's,    179   and   218   Elizabeth   St.,    Melbourne,   Australian   and   New   Zealand   agents. 

Subscription    Rates — United    States   and    Canada,    $3    a   year.      Single   copies,    25    cents. 

This   Magazine   represents  the  entire   personnel  of  photographers  now  engaged   in 

professional  production  of  motion  pictures  in  the  United  States  and  Canada.     Thus 

THE  INTERNATIONAL  PHOTOCRAPHER  becomes  the  voice  of  the   Entire  Craft, 

covering  a  field  that  reaches  from  coast  to  coast  across  North  America. 

Printed  in  the  U.   S.  A.  at  Hollywood,  California 

oSSffiSSfc  80-gTggTT^- 

*^=2iiMiS*D  5 '  SERVICE  ENGRAVING  CO 


October  Offerings 

Mr.  Carroll  Dunning,  of  Dunning  Process 
Corp.,  will  tell  of  their  new  Dunning  Color 
Library  Shots  for  16  mm.  film;  color  in  film, 
good  on  any  projector. 


Associate  Editor  Charles  Felstead  will  pre- 
sent his  second  article  on  "Sound  Recording." 
Recording  devices  of  the  several  systems  will 
be  dealt  with. 


James  B.  Shackelford  tells  in  an  illustrated 
article  the  story  of  his  sojourn  among  the 
Cannibals  of  Australasia. 


Earl  Theisen,  our  historical  commentator, 
will  unreel  a  most  interesting  yarn  on  the 
subject  of  the  development  of  motion  picture 
equipment. 


Hollywood's  famous  Planetarium — the  inside 
of  it — will  be  told  by  Mr.  William  Hartman, 
of  the  Carl  Zeiss  Corporation. 


The    Firing    Line    left    out    of    this    issue 
because  of  readjustments,  will  appear  as  usual. 


OUR  COVER 

The  attractive  cover  this  month  is  made  from  a 
still  shot  by  Roman  Freulich  during  the  production 
of  Universal's  big  feature,  "The  Invisible  Man." 
The  picture  was  directed  by  James  Whale.  Arthur 
Edison,  as  chief  cinematographer,  did  an  extra- 
ordinarily fine  bit  of  photographic  directing  on 
the  production.  King  Gray  was  operative  camera- 
man;  Jack   Eagan,   assistant;   Bob   Lazlo,   props. 


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Two 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


September,  1933 


When  15000  of  a  dew  drop 


is  a 


FLOOD 


#  WATER  vapor  is  present  in  every  bit  of 
air  we  breathe.  Ordinarily,  we  cannot  see  it,  cannot 
feel  it.  Yet  inside  a  lamp  bulb,  General  Electric 
scientists  found  that  mere  traces  of  this  invisible  water 
vapor  become  as  destructive  as  a  mighty  flood ! 

For,  water  vapor  hastens  evaporation  of  the  lamp 
filament;  it  speeds  the  blackening  of  the  bulb;  and 
brings  a  corresponding  loss  of  light  and  lamp  life.  The 
presence  of  even  1  part  of  water  vapor  in  100,000  parts 
of  the  efficiency-increasing  gas  with  which  General 
Electric  Mazda  lamps  are  filled,  means  trouble! 

To  guard  against  this  destructive  force,  General  Elec- 
tric takes  extreme  caution.  The  "filling"  gas  is  specially 
dried;  every  bulb  is  washed  out  with  dry  gas  several 
times  before  it  is  sealed  in;  and  water-absorbing  chemi- 
cals are  left  within  the  bulb.  That  is  why  a  single  drop 
of  dew  contains  more  water  vapor  than  5,000  General 
Electric  MAZDA  lamps  of  the  size  most  commonly  used 
in  motion  picture  work. 

Such  microscopic  carefulness  is  typical  of  General 
Electric's  efforts  to  produce  the  best  lamps  for  your 
needs . .  .  from  "set"  lighting  to  special  "process"  work. 
General  Electric  Company,  Nela  Park,  Cleveland,  O. 


RAL  ($p 
MAZDA   LAMPS 


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September,  1933  The      INTERNATIONAL      PHOTOGRAPHER 

Story  of  the  Newsreel 

The   author   desires   to   thank   Geo.   J.    Lancaster   for   his   co-operation   and    the   Los   Angeles 
Museum   and    C.    M.    Kffinger    for   use   of    photographs. 

By  Earl  Theisen,  Honorary  Curator  L.  A .  Museum 


Three 


That  constitutes  an  or- 
for  tomorrow's  make-up  ?" 
der  from  the  newsreel 
editor  to  his  cameraman, 
an  order  to  get  a  story  for 
the  screen  !  It  is  this  com- 
mand that  takes  the  news- 
reeler  to  places  where 
often  his  life  hangs  by  a 
thread — where  the  risks 
are  against  him.  He  faces 
more  danger  than  the  sub- 
ject he  photographs. 

Wherever  you  find 
conflict,  or  trouble,  or 
"What  can  we  expect 
lives  being  lost — there  in  the  maelstrom  you'll  find  the 
newsreeler  gladly  doing  his  duty  for  the  picture-going 
public.  Where  you  find  a  daredevil  gambling  with  his 
life,  there  you  will  find  a  "Knight  of  the  Tripod."  His 
element  is  action !     And  by  action  he  lives ! 

Today,  within  a  few  hours,  you  may  see  on  the 
screen  events  from  all  corners  of  the  earth ;  thanks  to 
the  perseverence  of  the  newsreeler.  War  in  the  Orient, 
a  flight  in  the  Arctic,  or  the  newest  of  the  new  are 
put  on  the  screen  in  an  unbelievably  short  time.  Time 
is  an  important  thing  to  the  newsreeler ;  he  will  steal, 
break  bones,  blacken  eyes — anything  to  be  first  with  his 
picture  to  the  screen.  To  beat  the  opposition  newsreel 
is  his  law.  All  newsreel  business  is  transacted  by  wire 
and  telephone ;  all  films  are  sent  by  plane. 

The  ability  of  the  motion  picture  to  tell  a  story  with 
more  facility  than  printed  words  was  realized  long  ago. 
In  fact,  the  first  motion  pictures  were  in  the  form  of 
news  stories. 

Edison's  stories  on  the  screen  in  the  early  nineties, 
as  well  as  stories  of  other  pioneers  that  followed,  were 
topical  in  nature.  The  most  famous  of  the  early  topical 
stories  were  those  made  by  the  Lumiere  Brothers.  That 
was  because  their  camera  was  small  and  light ;  it  could 
be  taken  anywhere,  while  the  other  cameras  of  this  period 
were  anchored  to  the  studio  floor.  The  news  had  to 
be  BROUGHT  to  them  while  the  Lumieres  WENT 
to  the  news. 

At  the  McKinley  inaugural  parade  in  1896,  the  his- 
tory of  newsreel  photography  was  two  years  old.  At 
this  parade  could  be  seen  the  cameras  of  E.  H.  Amet, 
Biograph,  Edison  and  Lumiere  from  France.  In  the 
manner  of  present  day  newsreelers  they  could  be  seen 
struggling  for  points  of  vantage  for  their  cameras. 

After  political  wire  pulling  Amet  had  built  a  stand 
that  was  twenty  feet  high  for  his  camera.  A  position 
on  this  stand  was  a  coveted  place.  Spoor,  who  was 
Amet's  partner,  unknown  to  Amet  sold  a  place  to  the 
Frenchman  for  $50.  Already  the  desire  had  been  born 
to  get  the  best  picture.  Already  bribery  and  intrigue 
had  entered  and  were  justified  in  the  newsreelers'  code 
in  their  pursuit  of  the  first  picture. 

Through  the  prestige  of  the  McKinley  parade  picture, 
motion  pictures  acquired  a  new  dignity.  Biograph  went 
even  further ;  they  showed  pictures  of  McKinley  at  home. 


run  at  Hammerstein's  Olympia  Music  Hall.  This,  by 
the  way,  on  October  12,  1896,  was  the  premiere  show- 
ing of  Biograph  pictures. 

On  the  same  program  was  the  famous  picture,  "The 
Empire  State  Express."  Of  this  picture  Terry  Ramsaye 
says:  "Strong  men  stood  up  and  shouted  and  frail  women 
screamed  with  delicious  terror  as  the  great  locomotive 
of  the  screen  came  comet-like  into  a  rushing  close-up 
amid  the  uproar  of  the  orchestra."  Mind  you,  this  was 
in  1896,  when  pictures  as  a  novelty  had  become  estab- 
lished in  many  of  the  large  theatrical  houses.  They 
were  newsreels. 

Two  years  earlier,  in  July,  1894,  the  first  prizefight 
picture  was  being  staged  for  the  Edison  camera.  This 
was  staged  under  the  enterprise  of  Otway  and  Grey 
Latham,  Samuel  Tilden,  Jr.,  and  Enoch  Rector,  who 
made  a  special  camera  at  the  Edison  plant  that  would 
hold  150  feet  of  film,  since  the  regular  Edison  camera 
of  this  time  held  only  50  feet,  which  was  not  sufficient 
film  to  record  a  fight  round.  The  prizefight,  which 
was  between  Michael  Leonard  and  Jack  Cushing,  went 
in  the  peep-shows  to  the  picture-going  public  in  a  length 
of  six  rounds  or  about  1000  feet  of  film.  Shortly,  this 
fight  was  followed  by  a  more  pretentious  effort.  James 
Corbett,  then  the  heavyweight  champion,  agreed  to  fight 
Pete  Courtney  for  the  Latham-Tilden-Rector  enter- 
prise. 

The  Latham  Brothers  continued  showing  their  films 
in  the  Edison  Kinetoscope  until  they  prevailed  upon  their 
father,    Woodville    Latham,    to    build    a     machine     that 


When   the  recent  storm   broke  at  Shanghai  between   the   Japs 

and   the   Chinese   the   newsreelers  were   in   the   thickest  of   it. 

Showing  Newser,  Merv  Freeman,  where  the  bullets  rained. 

would  project  pictures  on  a  screen.  After  many  diffi- 
culties, on  May  20,  1896,  they  had  completed  a  crude 
projector,  at  which  time  they  showed  at  153  Broadway 
another  fight  picture  between  Young  Griffo  and  Battling 
Barnett.  That,  by  the  way,  was  the  first  showing  on 
Broadway  of  pictures  to  a  screen.  It  brought  wide  ac- 
claim for  the  Lathams.  They  were  the  heroes  of  the 
hour!  Life  size  pictures  on  a  screen  gave  birth  to  a 
new  desire  for  a  picture  hungry  people. 

In  the  meantime  Edison  had  prevailed  upon 
celebrities  to  come  to  his  studio  that  he  might  make 
"pictures  that  moved"  of  them.  Such  persons  as  Buffalo 
Bill;  Sandow,  the  Strong  Man;  Madame  Bertholdi,  the 
contortionist ;    Carmencita,    the   dancer ;    Broadway   favo- 


Through   it,    Biograph   enjoyed   the   privileges  of   a   long 

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Four 


The      INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


rites  and  other  noted  persons  were  duly  brought  before 
the  Kinetograph. 

Such  is  the  beginning  of  newsreeling ;  it  is  the  be- 
ginning of  the  motion  picture  itself ! 

In  the  course  of  the  next  few  years,  while  the  news 
idea  continued  on  its  way,  another  form  of  motion  pic- 
ture crept  in — that  was  the  dramatic  story.  While  the 
motion  picture  was  learning  to  tell  a  story  it  was  sup- 
ported and  abetted  by  the  news  stories  that  were  brought 
to  the  screen.  And,  wherever  things  happened,  the 
camera  could  be  found. 


In  1898,  Edward  H.  Amet  made  the  "Sinking  of 
Cervera's  Fleet,"  which  was  one  of  the  highlights  of 
the  Spanish-American  War.  At  the  time,  as  newsreelers 
have  since  done,  Amet  claimed  to  have  been  on  the 
scene  and  actually  photographed  the  battle.  Now,  how- 
ever, with  twinkling  eyes,  he  relates  how  he  made  a  pool 
in   the   back   yard    of    his    home    at   Waukegan,    Illinois. 


A  still  of  1898  showing  how  E.  H.  Amet  made  "The  Sinking  of 
Cevera's  Fleet"  in  miniature. 

After  the  method  of  the  best  trick  photography  crafts- 
men today  he  constructed  a  miniature  set  with  a  paint- 
ing on  canvas  for  a  background,  and  built  mountains  that 
were  similar  to  those  at  the  Bay  of  Santiago  de  Cuba 
where  the  battle  took  place.  He  made  replicas  of  the 
American  and  Spanish  ships — and  then  he  manipulated 
the  ships  in  battle ! 

Amet  was  busy ;  by  means  of  firecrackers  tied  to  the 
ships  which  he  set  off  by  punk  held  by  wires  that  ran 
under  the  water  out  of  camera  lines  he  made  the  ships 
fire  upon  each  other.  Clouds  of  smoke  arose,  waves 
rolled,  and  then  a  ship  would  sink.  Though  the  picture 
was  only  fifty  feet  in  length  it  brought  the  audiences  to 
the  edge  of  their  seats.  It  dramatized  the  battle  for  a 
news  hungry  public. 

The  picture  was  so  realistic  that  one  officer  who  par- 
ticipated in  the  battle  later  said,  upon  seeing  the  film, 
that  while  it  was  real,  he  wondered  how  Amet  could 
have  photographed  the  battle  since  it  occurred  at  night. 
Amet  replied:  "I  used  moonlight  film  and  a  six  mile 
lens." 

Another  picture  that  made  newsreel  history  was  the 
Biograph  version  of  the  San  Francisco  Fire  in  the  sum- 
mer of  1906.  George  E.  Van  Guysling,  who  was  then 
the  manager  of  the  Biograph  Company,  when  he  received 
news  of  the  fire  wired  to  O.  M.  Gove,  who  was  the 
Los  Angeles  representative  of  Biograph,  to  go  to  the  fire 
area  and  get  a  picture.  With  the  exception  of  wrecked 
buildings  and  debris,  Gove  could  not  get  anything  suit- 
able. So  Van  Guysling  decided  to  fabricate  the  burning 
city.  He  had  some  panoramas  of  San  Francisco  which 
he  turned  over  to  Frank  J.  Marion — the  same  Marion 


who  later  with  Samuel  Long  and  George  Kliene  formed 
the  Kalem  Company.  Marion,  with  the  assistance  of 
Joe  Harrington,  who  was  the  Biograph  scenic  artist,  and 
F.  A.  Dobson  built  a  miniature  of  San  Francisco  from 
the  cardboard  of  shoe  boxes.  It  was  built  on  a  large 
table.  From  the  panoramas  they  made  the  city  and  land 
contour  as  complete  as  possible  and  then  set  fire  to  it. 
As  the  great  San  Francisco  burned — on  the  table  top — 
the  cameras  recorded  it. 

It  was  a  scoop;  the  Biograph  pictures  were  "a  beat." 
They  were  running  in  all  their  realism  of  a  burning, 
crashing  city  at  the  Keith  Union  Square  just  four  days 
after  the  disaster.  Harry  Miles,  who  had  an  exchange 
in  the  fire  area,  though  he  had  lost  everything  else,  had 
managed  to  get  some  authentic  pictures  of  the  fire.  Miles 
hurried  with  his  pictures  to  New  York ;  but  in  the  code 
of  newsreelers  "get  the  picture  while  hot — regardless," 
Biograph  scored.  They  preceded  Miles  to  the  screen 
by  one  day.  As  a  newsreeler  would  say:  "Biograph 
scored  a  beat." 

And  the  Biograph  picture  was  realistic!  Eugene 
Schmitt,  who  was  the  mayor  of  San  Francisco  at  the 
time  of  the  fire,  when  he  saw  the  picture,  thought  it 
authentic.  And  so  did  Senator  James  Phelan,  the  famous 
California  U.  S.  Senator,  who  viewed  the  pictures  at  the 
Biograph  Studios.  Van  Guysling  offered  the  pictures  for 
what  they  were  worth ;  he  neither  claimed  them  to  be 
authentic,  nor  did  he  claim  otherwise.  Prints  from  the 
picture  sold  to  other  movie  makers  with  a  profit  to  Bio- 
graph of  about  $35,000,  big  money  in  those  days. 

Another  picture  made  at  this  time,  portraying  a  news- 
reeler's  ritual  of  getting  the  picture  first  was  the  hanging 
of  Mary  Rogers  in  Vermont.  She  had  drowned  her 
husband.  The  newspaper  headlines  were  lurid  and  pub- 
lic opinion  ran  high.     The  interception  of  the  governor 


PP^%;^  _ 


F.  A.  Dobson  putting  out  the  Biograph  version  in   1906  of  the 

San   Francisco  disaster.     The  city   had   been  fabricated  of  shoe 

boxes. 

had  been  asked.  There  was  doubt  until  the  last  as  to 
whether  she  would  hang.  So  Biograph  got  pictures  of 
the  prison,  a  description  of  the  hangman  and  Mary 
Rogers  and  proceeded  to  make  at  the  Biograph  Studios, 
New  York,  using  doubles,  two  versions — one  showing 
her  hanged  and  one  showing  her  going  to  freedom.  They 
were  ready  to  score  another  scoop.  That  is  the  accepted 
method  today  in  the  newsreel  world  of  getting  news 
to  the  screen  while  hot.  Elections  and  other  events 
wherein  the  final  outcome  is  doubtful  are  made  in  two 
versions  prior  to  the  happening.  That  is  the  answer 
to  the  question  of  the  audience  when  they  go  to  the 
theatre  a  few  minutes  after  a  football  game  and  see  the 
announcement  on  the  screen  of  the  victorious  team. 
(Continued  on  Page  24) 


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September,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Five 


■fwi 


From  Edison's  "Car- 
mencita,  the  Dancer." 
A   newsreel   of    1890. 


Sandow,     the     strong 

man      made     about 

1890. 


Hand  perforated  film 
of  the  early  nineties. 
It    was    a    trick    pic- 
ture. 


"Hanging     of      Mary 
Rogers."  From  a  Bio- 
graph  peep-show  card 
picture   in    1905. 


Full  size  Latham  film 
of  1895.  There  were 
no  shutters  on  their 
projector;  the  light 
being  turned  on  by 
contact  through  the 
holes  seen  on  the 
frame  line. 


Lumiere  —  McKinley 
inaugural      parade 
1896.  Single  perfora- 
tion  film. 


Edison   picture   of 
McKinley's  parade. 


A  Madison  Square 
fight  of   1898. 


Amet's     Spanish- 
American     War     pic- 
ture  of    1898. 


The  Patents  Com- 
pany in  1908.  Left 
to  right:  Ceorge  K. 
Spoor,  Samuel  Long, 
Albert  E.  Smith,  Wm. 
Selig,  J.  J.  Kennedy, 
Wm.  Scull,  Ceo. 
Kleine,  Edison,  Rich- 
ard N.  Dyer,  J.  A. 
Berst,  H.  N.  Marvin, 
).  Stuart  Blackton, 
Frank    Marion. 


Enoch    Rector's    Cor- 

bett-F  itzsimmons 

fight    in    Nevada    on 

March   17,   1897. 


Early  wide-film  made 
by  Gaumont  in   1898. 
It  was  a  topical  pic- 
ture. 


/ 


M'-r  hi. mm 


\ 


\ 


The    Delhi-Durbar    of 

1910,   made   by    Kin- 

ema-Color. 


The  Fox-Case  Movie- 
tone   showing    sound 
track  and  picture  on 
the  same  film. 


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Six 


The      INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


Motion  Picture 

Sound  Recording 


By  Charles  Felstead 

( The  first  of  a  series  to  run  twelve  months) 


Almost  overnight  the  science  and  art  of  recording 
sound  to  accompany  the  motion  picture  became  a  grown 
thing.  About  five  years  ago  there  was  a  time  when  it 
seemed  that  one  day  there  was  only  the  silent  motion 
picture,  and  that  the  next  day  it  had  combined  with  the 
science  of  electrically  recording  sound  to  become  the 
sound  motion  picture. 

The  industries  of  motion  picture  producing  and  sound 
recording  had  evolved  independently  to  high  degrees  of 
perfection  ;  and  prior  to  their  union  there  seemingly  had 
been  no  connection  between  them.  Naturally,  the  unit- 
ing of  these  two  industries  was  so  unexpected  and  revo- 
lutionary that  the  motion  picture  business  was  thrown 
into  turmoil ;  but  being  a  progressive  and  far-seeing  in- 
dustry, it  was  not  long  before  it  had  absorbed  this  new 
wonder  as  an  integral  part  of  itself. 

A  sound  recording  and  reproducing  system  represents 
merely  a  delay  circuit  that  is  designed  to  store  sound  in 
such  form  that  it  can  be  reproduced  at  any  future  time. 
In  the  ideal  recording  and  reproducing  system,  the  re- 
produced sound  is  so  nearly  identical  to  the  original 
sound  that  the  human  ear  is  unable  to  detect  any  differ- 
ence in  quality.  Such  perfection  is  not  realized  in  the 
present  sound  pictures ;  although  it  is  closely  approached. 

The  device  in  the  recording  system  that  produces 
this  time  delay  is  the  film,  or  wax,  recording  machine. 
This  machine  records  the  sound  either  on  the  edge  of 
a  strip  of  motion-picture  film  by  means  of  a  modulated 
light  beam,  or  on  a  soft  wax  record  by  the  action  of 
a  cutting  stylus ;  and  the  product  of  this  recording  process 
can  be  preserved  indefinitely.  The  film,  or  the  wax 
record,  serves  as  the  delay  material. 

To  accomplish  this  recording  of  the  sound,  it  is  neces- 
sary to  have  a  means  for  translating  sound  vibrations  into 
electric  currents,  equipment  for  amplifying  and  controll- 
ing these  electric  currents,  and  then  a  device  for  trans- 
forming this  electrical  energy  into  mechanical  energy  so 
that  it  will  leave  a  permanent  record  of  itself.  Such  a 
recording  system,  together  with  its  associated  and  com- 
plementary equipment,  forms  what  is  known  as  a  single 
recording  channel. 

In  the  reproducing  system,  there  must  be  a  means 
for  translating  this  permanent  record  of  the  sound  back 
into  electric  currents,  other  equipment  for  amplifying  and 
controlling  these  currents,  and  finally  a  loud-speaker  unit 
for  reconverting  them  from  electrical  to  acoustic  energy 
that  corresponds  faithfully  with  the  original  sound.  A 
motion  picture  theatre  has  at  least  one  complete  repro- 
ducing system  of  this  sort  associated  with  its  projection 
machines. 

The  Evolution  of  Sound  Recording 

The  development  of  the  electrical  apparatus  for  trans- 
lating, amplifying,  transmitting,  recording,  and  reproduc- 
ing sound  was  the  result  of  a  slow  and  tedious  evolution 
extending  over  a  period  of  many  years.  The  first  ap- 
parent beginning  of  this  development  was  in  the  inven- 
tion of  the  telephone  by  Alexander  Graham  Bell  in  1876, 
which  provided  investigators  with  a  means  for  converting 
sound   waves   into  electrical  waves,  of  transmitting  that 


electrical  energy  a  distance,  and  then  of  converting  it 
back  to  sound  waves. 

Following  closely  on  the  invention  of  the  telephone 
came  the  phonograph  of  Thomas  A.  Edison  in  1877,  and 
the  vacuum  tube  developed  through  the  efforts  of  John 
Ambrose  Fleming  and  Dr.  Lee  DeForest  in  1906. 

The  first  of  these  two  devices  made  it  possible  to 
record  sound  directly  in  a  groove  on  a  tinfoil-coated 
cylinder,  from  which  it  could  be  reproduced  at  will.  Wax 
cylinders  were  later  developed,  and  the  sound  engraved 
as  a  groove  of  varying  depth.  The  second  device  pro- 
vided power,  the  connecting  link  between  the  telephone 
and  the  phonograph ;  for  it  made  possible  the  amplifica- 
tion of  the  weak  speech  currents  of  the  telephone  to 
a  useful  value. 

But  even  so,  this  connecting  link,  the  audio-frequency 
amplifier,  was  of  no  value  in  sound  recording  until  the 
subsequent  development  of  an  electrical  recording  device 
provided  a  means  for  recording  the  electrical  equivalent 
of  the  sound  wave.  Then  the  sounds  picked  up  and  con- 
verted to  electric  currents  by  the  microphone  of  the  tele- 
phone could  be  transmitted  and  controlled  before  record- 
ing, providing  great  flexibility.  This  made  possible  the 
modern  high-grade  phonograph  recordings,  or  "electrical 
transcriptions." 

In  the  days  of  direct  sound  recording  in  the  pro- 
ducing of  phonograph  records,  an  orchestra  had  to  be 
crowded  closely  about  the  sound  collecting  horn  because 
of  the  small  acoustic  power  available.  With  the  develop- 
ment of  electrical  recording,  this  inconvenience  was 
eliminated;  and  an  orchestra  could  be  spread  out  in  the 
arrangement  most  satisfactory  for  the  director.  Then, 
by  regulating  the  amount  of  electrical  energy  received 
from  each  of  the  several  microphones,  a  perfectly  bal- 
anced recording  could  be  obtained. 

This  improvement  in  the  ease  of  recording  and  the 
superior  grade  of  records  that  were  produced  rejuvenated 
the  phonograph  industry  at  a  period  when  it  was  almost 
passe.  At  the  same  time,  it  made  possible  the  Vita- 
phone,  the  sound  recording  system  that  Warner  Brothers 
used  in  the  making  of  the  first  outstanding  sound  pic- 
tures. The  earliest  of  these  pictures,  "Don  Juan,"  was 
exhibited  in  New  York,  August  6th,  1926. 

Then  other  companies  came  forward  with  recording 
systems  that  involved  other  inventions,  such  as  the  Aeo- 
light,  the  rocking  mirror,  the  light  wave,  the  condenser 
microphone,  the  Selsyn  motor,  the  all-important  photo- 
electric cell,  and  an  endless  array  of  other  devices.  Some 
of  these  inventions  were  new ;  while  others  were  new  only 
in  their  application  to  this  infant  industry  of  sound  pic- 
tures. 

The  Several  Methods  of  Recording 

Being  still  a  comparatively  new  science,  sound  record- 
ing has  not  yet  been  simplified  to  one  single  method  of 
recording;  so  at  present  there  are  a  number  of  systems 
in  use.  As  the  several  methods  of  recording  sound  differ 
principally  in  the  recording  device,  that  portion  of  the 
recording  systems  will  be  emphasized  in  the  descriptions. 
The  four  main  systems  now  in  operation  are  known  as 


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September,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Seven 


the  Western  Electric  Sound  Recording  System,  the  RCA 
Photophone,  the  Fox  Movietone  System,  and  the  Warner 
Brothers  Vitaphone. 

The  Western  Electric  system  employs  both  motion- 
picture  film  and  wax  discs  as  its  recording  mediums. 
The  RCA  Photophone  and  the  Fox  Movietone  use  only 
film  as  their  recording  medium;  while  the  Warner 
Brothers  Vitaphone  records  only  on  wax.  This  latter 
system  will  not  be  discussed  in  these  chapters  because 
it  employs  practically  the  same  equipment  as  is  used  in 
the  wax  recording  portion  of  the  Western  Electric  sys- 
tem. 

Actually,  there  are  three  distinctly  different  types  of 
sound  record:  the  wax  record  discs,  the  constant-density- 
variable-area  film  sound  track,  and  the  variable-density- 
constant-area  film  sound  track.  The  hard  wax  discs 
(which  are  processed  from  the  soft  wax  discs  used  in 
recording)  resemble  phonograph  records;  but  they  are 
larger  in  diameter  and  are  rotated  slower.  The  two 
types  of  film  sound  track  are  recorded  directly  on  the 
edge  of  the  film  that  carries  the  picture,  which  provides 
them  with  a  distinct  advantage  over  the  wax  discs. 

The  sound  track  of  constant  density  and  variable  area 
is  produced  by  the  RCA  Photophone  recording  system; 
and  this  type  of  sound  track  closely  resembles  the  ser- 
rated edge  of  an  irregular  saw  blade.  The  saw-tooth 
portion  of  the  sound  track  is  of  a  uniform  black  color 
on  the  positive  print,  and  the  unexposed  portion  of  the 
track  is  almost  pure  white. 

The  Photophone  sound  track  is  produced  by  the  action 
of  a  rocking  mirror,  which  reflects  light  from  a  light 
source  of  constant  intensity  through  a  narrow  slit  of 
fixed  width  and  length  onto  the  moving  film.  Speech 
currents  from  the  recording  amplifiers  causes  the  mir- 
ror to  pivot,  or  "rock,"  so  regulating  the  amount  of  light 
that  is  reflected  onto  the  film.  This  device  is  a  specialized 
form  of  mirror  galvanometer. 

The  other  type  of  film  sound  track,  which  is  of 
variable  density  and  constant  area,  is  formed  of  bands, 
or  striations,  of  shade,  varying  from  gray  to  almost  jet 
black,  that  extend  across  the  whole  width  of  the  sound 
track.  This  type  of  track  is  produced  by  the  Western 
Electric  and  Fox  Movietone  recording  systems,  and  by 
most  of  the  recording  units  now  being  manufactured  by 
smaller  companies. 

The  Western  Electric  system  forms  the  track  by 
means  of  an  arrangement  like  a  vibrating  shutter  that 
permits  more  or  less  light  from  a  source  of  constant 
brightness  to  fall  on  the  moving  film;  while  the  Movie- 
tone system  produces  the  track  by  exposing  the  film  to 
a  light  source  that  is  continually  varying  in  brilliancy. 
In  the  first  place,  the  intensity  of  the  light  source 
is  constant  and  the  aperture  through  which  the  light 
reaches  the  film  is  varied  by  the  speech  current.  In  the 
second  case,  the  light  source  varies  under  the  influence 
of  the  speech  current  and  the  aperture  is  of  fixed  dimen- 
sions.    The  effect  on  the  film  is  the  same. 

Reproduction  from  Film 

The  two  types  of  film  sound  record  are  of  exactly 
the  same  width  ;  and  light  shined  through  either  of  them 
has  identically  the  same  action  on  the  photo-electric  cell 
in  the  reproducing  equipment.  This  feature  allows  them 
to  be  used  interchangeably  without  modification  in  the 
projection  apparatus.  Either  type  of  sound  track  shuts 
off  a  varying  amount  of  the  steady  light  that  is  shined 
through  it  when  it  is  being  reproduced. 

The  light  source  in  the  projector  is  of  constant  in- 
tensity and  the  aperture  that  permits  the  light  to  pass 
through  the  sound  track  on  the  film  is  of  fixed  size; 
so  as  the  film  travels  past  the  aperture,  it  shuts  off 
more  or  less  of  the  light  that  shines  through  it  onto  the 


photo-electric  cell.  The  amount  of  light  that  reaches  the 
cell  at  any  instant  is  dependent  on  the  degree  or  amount 
of  transparency  of  the  particular  portion  of  the  sound 
track  that  is  passing  the  aperture. 

With  the  variable-area  sound  track,  it  is  the  ratio 
of  exposed  to  unexposed  sound  track  that  regulates  the 
amount  of  light  the  film  will  pass.  With  the  variable- 
density  sound  track,  it  is  the  density  of  the  track  that 
governs  the  amount  of  light  that  passes  through  it.  Since 
the  electrical  output  of  the  photo-electric  cell  varies  di- 
rectly as  the  amount  of  light  that  shines  on  it,  the  elec- 
tric current  supplied  to  the  reproducing  system  will  be 
greatest  when  most  light  is  transmitted  by  the  sound 
track. 

Wax  Recording  and  Reproduction 

The  inscribing  of  the  sound  track  on  a  soft  wax 
record,  as  is  done  in  the  Vitaphone  and  Western  Elec- 
tric  recording  systems,   is  more  of  a   mechanical  process 


Please   mention   The    International    Photogra 


1.  A  section  of  variable  area  (Photophone)  sound  track,  showing 
sound  recordings  of  moderate  intensity. 

2.  Variable  density  (Western  Electric  or  Movietone)  sound  track 
having  the  uniform  striations  that  are  produced  by  a  sustained  note. 

3.  A  strip  of  picture  and  sound  track  from  a  recent  Universal 
picture,  illustrating  the  manner  in  which  the  sound  is  printed  adjacent 
to  the   picture. 

than  are  the  other  methods  of  recording.  Here  the 
speech  current  from  the  recording  amplifiers  is  fed  to 
an  electromagnetic  recorder  that  is  provided  with  a  cut- 
ting stylus. 

The  soft  wax  blank  revolves  beneath  the  recorder, 
which  travels  radially  across  the  face  of  the  disc.  During 
the  movement  of  the  recorder,  the  cutting  stylus  oscillates 
from  side  to  side  under  the  influence  of  the  speech  cur- 
rent, producing  a  wavy  spiral  groove  of  constant  depth 
in  the  wax. 

The  reproducer  for  this  form  of  sound  record  re- 
sembles the  reproducer  of  an  ordinary  phonograph;  and 
it  is  provided  with  a  pivoted  holder  that  carries  an  ordi- 
nary phonograph  needle.  As  the  needle  follows  the  wavy 
groove  in  the  hard  wax  record,  which  is  evolved  from 
the  soft  wax  blank  by  a  process  of  electroplating  and 
stamping,  it  is  oscillated  from  side  to  side  in  a  duplica- 
tion of  the  motion  that  formed  the  groove. 

This  lateral  movement  of  the  needle  generates  a  very 
small  electric  current  which,  after  sufficient  amplification, 
is  supplied  to  the  theatre  loud-speaker  units.  The  gen- 
erated current  is  a  reasonably  faithful  copy  of  the  re- 
corded speech  current. 

However,   the  difficulty  of  securing  exact  synchroni- 
zation  between   the   sound   record   and   the   picture,   and 
(Continued  on  Page  39) 
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Eight 


The      INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


RANDOM  NOTES  ON  THE  ELEMENTS 
OF  MINIATURE  CAMERA  PHOTOGRAPHY 


By  Karl  A.  Barleben,  Jr.,  F.R.P.S. 


The  miniature  camera  is  no  longer 
an  experiment!     It  has  been  abused, 
scoffed  at,  and  ignored !     It  has  with- 
stood the  test  of  time,  and  has  finally 
arrived  at  the  point  where  it  is  today 
hailed  by  all  who  know  photography 
— the  others  don't  count  anyway.  The 
baby  camera  can  be  seen  in  the  hands 
of    tyro    and    expert    alike,    the    rich 
man,  the  poor  man,  the  snapshooter, 
the  highly  skilled   photographic  tech- 
nician.    The  world  has  finally  come 
to  the  conclusion  that  the  miniature  camera   is  practical 
and   useful,   no   longer   regarded   as  a   toy,   or   a   passing 
"fad." 

Unfortunately — or  fortunately,  as  you  see  it — minia- 
ture cameras  require  a  somewhat  different  technique  and 
handling,  and  it  is  this  which  has  proven  to  be  the 
stumbling  block  for  so  many  who  have  not  been  willing 
to  learn  the  new  methods.  Miniature  photography  might 
be  said  to  have  introduced  a  new  form  of  photography, 
and  those  who  have  not  kept  astride  with  the  modern 
trend  are  hopelessly  old-fashioned  and  out  of  date.  Pre- 
vious to  the  introduction  of  the  miniature  camera,  who 
ever  bothered  about  fine  grain?  Such  a  thing  was  un- 
heard of,  for  there  was  no  need  to  worry  about  it  with 
the  larger  size  negatives.  Today  all  photographers,  still 
and  motion  picture  cameramen,  are  "fine  grain  con- 
scious" so  to  speak  because  the  miniature  camera  indi- 
cated the  necessity  of  fine  grain.  Can  anyone  deny  that 
photographic  results  are  better  today  than  they  were  five 
years  ago?  We  can  therefore  thank  the  miniature  camera 
for  many  of  our  improvements  and  better  technique  in 
photographic  matters. 

Miniature  cameras  are  still  cameras  which  produce 
a  negative  area  not  greater  than  3x4  cm.  (1^4  x  lj^ths 
in.),  strictly  speaking,  although  many  enthusiasts  using 
the  full  vest  pocket  size  negative  ( l^ths  x  2*/2.)  con- 
sider themselves  miniature  workers — but  let  us  not  split 
hairs.  Miniature  cameras  are  roughly  divided  into  two 
groups:  those  using  the  standard  vest  pocket  size  roll 
film  (No.  127),  and  those  accommodating  standard  35 
mm.  motion  picture  film.  Of  the  first  class  might  be 
mentioned  the  Dolly,  Makinette,  Rolleiflex,  Picco  Chic, 
Foth  Derby,  Pilot,  Pupille,  Vollenda,  Ranca,  Mickey, 
Eho,  Kolibri,  Baby  Ikomat,  Weeny  Ultrix,  Perkeo,  and 
Korelle  as  representatives.  Of  the  second  class  there  are 
comparatively  few,  although  they  are  exceedingly  popular 
for  obvious  reasons.  The  Leica,  Contax,  Peggy,  Memo, 
and  Korelle-K  are  the  chief  representatives  of  this  class 
in  the  United  States. 

This  second  class  is  subdivided  into  two  groups :  those 
producing  the  standard  silent  motion  picture  area,  24  x  1 
in.,  and  those  producing  a  double  standard  area,  1  x  \Yz. 
The  Memo  and  the  Korelle-K  make  the  single  frame 
area  while  the  Leica,  Contax,  and  Peggy  make  the 
double  frame  area. 

And  if  you  want  to  get  really  accurate  on  the  sub- 
ject, there  is  also  a  camera  accommodating  standard  16 
mm.  cine  film ;  the  Mini-Fex. 

However,  for  all  practical  purposes,  it  becomes  diffi- 


cult for  the  individual,  particularly  if  he  is  a  beginner, 
to  make  a  proper  selection.  All  miniature  cameras  avail- 
able in  America  are  highly  efficient  and  can  be  relied 
upon  to  produce  the  results.  Naturally  the  workman- 
ship and  quality  are  bound  more  or  less  by  the  price, 
so  after  the  individual  has  decdied  about  how  much  he 
wishes  to  pay  for  a  camera,  the  next  step  is  to  determine 
whether  it  should  use  roll  film  or  cine  film.  Let  us, 
for  a  moment,  pause  to  consider  just  a  few  of  the  "talk- 
ing points"  of  each. 

Roll  film  is  of  course  a  well-known  medium,  and 
can  be  purchased  on  a  moment's  notice  in  nearly  every 
drug  store — and  there  is  a  drug  store  on  every  corner 
these  days.  Score  one  for  roll  film.  One  can  always 
get  a  supply  of  fresh  film,  no  matter  where  he  is.  Then, 
too,  roll  film  does  not  require  rolling  onto  spools  or  into 
magazines — it  can  be  taken  from  the  carton  and  loaded 
directly  into  the  camera.  Score  two.  Every  commer- 
cial finisher — and  some  of  them  certainly  are  finishers — 
is  equipped  to  handle  roll  film,  which  means  that  one 
does  not  have  to  scout  about  seeking  a  special  process- 
ing station.  Score  three.  Economy  means  much  these 
days,  and  the  miniature  camera,  due  to  the  small  negative 
area  produced,  gives  sixteen  pictures  to  the  roll  instead 
of  eight  as  is  customary  in  the  usual  run  of  folding 
cameras — in  other  words,  one  gets  twice  his  money's 
worth  with  the  miniature  camera.     Score  four. 

As  for  standard  35  mm.  film  stock,  we  find  first 
of  all  that  a  variety  of  emulsions  are  available.  The 
user  can  select  the  type  of  film  best  suited  to  his  indi- 
vidual needs  of  the  moment.  Thus  for  ordinary  snap- 
shots he  can  use  ortho  film,  for  color  correction,  filter, 
or  night  work  he  can  use  a  pan  film,  for  micro-photog- 
raphy there  is  a  contrasty  pan  film — DuPont  j4~sPeed 
pan,  for  copying  black  and  white  material  such  as  book 
pages,  legal  documents,  etc.,  where  strong  contrast  is 
desired,  there  is  regular  positive  film  to  be  had.  Even 
infra-red  sensitive  emulsions  are  available  for  long  dis- 
tance work,  haze-cutting,  and  trick  effects. 

A  film  for  every  purpose  would  be  a  good  slogan  for 
motion  picture  film  as  used  in  miniature  cameras.  Roll 
film  cannot  begin  to  compare  with  cine  film  in  this  re- 
spect. A  big  score  one.  Cine  film  is  more  economical 
than  roll  film,  for  sixteen  or  eight  exposures  per  foot 
of  film  may  be  made — and  you  know  how  much  a  foot 
of  film  costs.  A  big  score  two.  Cameras  using  cine 
film  ordinarily  accommodate  sufficient  film  for  from  36 
to  50  exposures  per  loading — in  one  case,  the  Korelle-K, 
100  exposures  are  made  to  one  loading.  This  means  that 
cameras  have  to  be  re-loaded  less  frequently.  A  big 
score  three. 

It  can  be  seen  where  the  beginner  would  have  diffi- 
culty in  making  a  selection  from  the  standpoint  of  sensi- 
tive material.  It  appears  that  the  more  advanced  workers 
lean  towards  cameras  using  motion  picture  film  while 
in  general,  the  snapshooter  with  little  or  no  experience 
likes  the  roll  film  camera  because  of  its  greater  sim- 
plicity. This  is  not  a  rule,  understand,  but  merely  a 
rough  estimate. 

Fine  grain  is  of  vital  importance  in  miniature  camera 
photography,   and   he  who   is  not   willing  to    realize   this 


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September,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Nine 


fact  can  never  hope  to  attain  success.  The  entire  founda- 
tion of  small  camera  work  is  laid  upon  this  fine  grain 
problem.  We  are  not  yet  out  of  the  woods,  for  better 
results  can  and  will  be  produced  right  along  in  respect 
to  fine  grain.  As  it  is,  excellent  progress  has  been 
made,  and  today  there  are  at  least  two  dozen  fine-grain 
formulas  available,  any  one  of  which  will  keep  the  grain 
bugaboo  down  to  neglible  proportions.  A  fine-grain  emul- 
sion, too,  is  considered  quite  necessary,  and  in  this  con- 
nection it  is  well  to  remember  that  the  slower  ortho 
films  have  less  grain  as  a  rule  than  the  pans.  The  speed 
pans  are  of  a  necessity  somewhat  grainier,  yet  they  will 
find  use  under  certain  light  conditions.  But  even  with 
these  speed  pan  emulsions,  fine  grain  results  may  be  se- 
cured through  the  proper  and  careful  selection  and  use 
of  developing  formulas. 

The  optics  on  miniature  cameras  are  of  the  highest 
type,  and  some  cameras  even  permit  the  interchange  of 
lenses,  which  makes  it  possible  to  use  speed  and  telephoto 
lenses  along  with  the  usual  two  inch  focus  lens  which 
is  usually  supplied  as  regular  equipment.  Those  who 
know  about  hyperfocal  distances  are  apt  to  become  some- 
what careless  in  focusing  their  cameras.  While  it  is 
true  that  shorter  focus  lenses  produce  a  greater  depth 
of  field,  it  must  not  be  forgotten  that  actually  only  one 
plane  is  actually  critically  sharp — the  distance  the  lens  is 
set  for.  In  contact  prints  the  entire  picture-area  may 
appear  sharp,  due  to  the  depth  of  field  possessed  by  the 
lens,  but  when  enlargements  are  made,  this  depth  rapidly 
falls  off  in  proportion  to  the  degree  of  enlargement.  The 
lens  should  therefore  be  critically  focused  upon  the  prin- 
cipal object  in  the  picture,  and  in  order  to  do  this  accu- 
rately, a  distance  meter  or  range  finder  should  be  used. 
Some  cameras  provide  an  automatic  focusing  device  which 
incorporates  a  range  finder  coupled  to  the  lens  so  that 
as  the  lens  is  focused,  the  range  finder  immediately  indi- 
cates when  the  lens  is  in  proper  focus.  Do  not  trust 
too  much  to  judgment  in  estimating  distances — it  is  risky 
business. 

Lenses  require  cleaning  from  time  to  time,  and  about 
the  most  satisfactory  and  least  injurious  material  to  use 
for  this  purpose  is  Japanese  lens  cleaning  tissue,  a  soft, 
fibrous  paper  which  is  obtainable  in  any  optical  or  photo- 
graphic store  at  an  insignificant  price.  Chemicals  should 
by  all  means  be  avoided.  It  often  happens  that  certain 
chemicals,  such  as  Xylol,  for  example,  will  seep  in  be- 
tween the  glass  elements  and  dissolve  the  Canada  balsam, 
thus  ruining  the  optical  characteristics  of  the  lens. 

Filters  require  the  same  care  as  lenses,  especially  the 
gelatine-cemented-between-glass  type.  Keep  them  clean 
and  do  not  expose  them  to  excessive  heat  or  moisture. 

A  sunshade  is  of  greater  importance  than  can  be 
imagined.  An  exposure  without  a  sunshade  should  never 
be  made,  for  the  shade  eliminates  flatness  and  lack  of 
contrast.  The  Hollywood  Camera  Exchange  makes  an 
ideal  combination  sunshade  and  filter  holder  for  the  Leica 
camera  which  is  a  dandy,  and  every  owner  of  a  Leica 
should  certainly  get  one — and  be  sure  to  use  it.  Try 
a  shot  without  a  sunshade,  then  do  the  same  scene  over 
with  a  sunshade  in  place  over  the  lens.  I'm  certain 
you  will  note  the  difference  and  never  again  do  without 
the  shade.  Sunshades  of  all  kinds  are  available,  or  if 
you  will,  you  can  make  your  own,  but  naturally  the 
manufactured  type  are  to  be  preferred. 

Exposure  is  the  one  big  nuisance  in  the  life  of  nearly 
every  amateur  photographer.  The  human  eye  has  often 
been  proven  a  poor  judge  of  photographic  light — in  fact 
the  light  we  see  by  is  not  entirely  the  same  light  used 
to  make  the  photographic  impression  on  the  emulsion. 
How  then  can  anyone  claim  to  know  exposures?  True, 
with  experience  one  can  determine   fairly  accurately  the 


proper  exposure,  but  were  it  not  for  the  more  or  less 
tremendous  latitude  of  the  photographic  emulsion,  our 
efforts  at  judging  photographic  light  conditions  would  be 
indeed  feeble. 

How  can  one  be  sure  of  exposure?  As  far  as  we 
have  progressed  in  this  matter,  I  believe  I'm  safe  in 
saying  that  the  photronic  cell  meter  such  as  the  Weston, 
is  the  most  accurate  and  reliable.  These  meters  are 
actually  marvels  of  accuracy,  and  because  of  this,  they 
are  exceedingly  popular  with  not  only  amateurs  but  pro- 
fessional workers  as  well.  Meters  of  this  type  are  avail- 
able   for    studio    and    laboratory     use — a    box-like     affair 


Who  would  have  believed  that  the  tiny  Leica  could  contain  so 
many   parts.     First  time  published. 

which  is  extremely  sensitive  and  in  general  photographic 
use.  Of  the  latter  there  are  special  types  for  still  cameras, 
amateur  cine  cameras,  and  just  recently  a  model  was 
introduced  calibrated  for  use  with  the  Leica  and  other 
miniature  cameras.  There  is  really  no  excuse  for  not 
owning  one  of  these  meters,  and  take  my  word  for  it,  if 
the  best  results  are  to  be  expected,  it  will  be  found  an 
absolute  necessity.     Why  guess  when  you  can  be  sure  ? 

In  short,  then,  miniature  photography  can  be  figured 
upon  a  scientific  basis.  It  is  practical.  It  is  economical. 
It  is  reliable.  Failure  or  success  in  this  field  amount 
to  merely  the  manner  in  which  it  is  attacked.  Excellent 
results  can  be  obtained  from  the  very  first  by  the  indi- 
vidual who  takes  the  time  to  learn  something  about  it. 
But  those  who  are  not  willing  to  adopt  the  new  ways, 
nor  treat  miniature  photography  as  a  new  science,  will 
be  out  of  luck,  to  put  it  bluntly. 

Try  miniature  photography.  If  you  follow  the  few 
simple  rules  I  can  assure  you  that  you  will  never  return 
to  the  larger  camera. 


BIG  MOVIE  PROGRAM 

With  a  battery  of  75  portable  16  mm.  sound-on-film 
projectors,  just  purchased  from  Bell  &  Howell  Company, 
the  Plymouth  Motor  Corporation  is  embarking  on  its 
most  ambitious  program  of  selling  via  movies. 

Seven  one-thousand-foot  talking  pictures,  built  for 
the  most  part  around  human  interest  and  dramatic  stories 
illustrating  the  advantages  of  the  Plymouth  car,  will  be 
used  with  the  projectors. 

The  pictures  are  designed  not  only  for  special  dealer 
meetings,  sales  conventions,  and  for  use  by  retail  sales 
managers,  but  also  for  special  showings  to  the  general 
public. 


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The      INTERNATIONAL   PHOTOGRAPHER 


LIGHT  FILTERS 

FROM  THE 

CINEMATOGRAPHERS 
VIEW  POINT 

By  EMERY  HUSE  and  NED  VAN  BUREN 

A  Series — Part  III — Filter  Factors 


September,  1933 


It  is  improbable  that  any  practical  cinematographer 
thinks  of  the  use  of  light  filters  without  giving  con- 
sideration to  the  "filter  factor"  of  whatever  filter  he  is 
desirous  of  using.  The  filter  factor,  or  multiplying  fac- 
tor, of  a  filter  is  defined  as  that  factor  by  which  an 
exposure  without  a  filter  must  be  increased  when  the 
same  degree  of  exposure  is  desired  for  the  same  scene 
when  photographed  through  a  filter.  For  example,  if 
a  filter  has  a  factor  of  4,  such  as  the  3N5,  the  proper 
use  of  it  calls  for  an  increase  in  the  exposure  over  that 
normally  given  without  a  filter  of  four  times.  Let  us 
assume  that  an  exterior  scene  is  to  be  photographed  on 
Super-sensitive  Panchromatic  film  using  the  3N5  filter. 
Further,  let  us  assume  that  with  normal  cranking  speed 
and  normal  shutter  opening  a  stop  of  f/8  is  considered 
normal  without  a  filter.  With  the  3N5  filter  it  is 
necessary  to  increase  the  exposure  of  the  unfiltered  con- 
dition by  the  factor  of  4.  The  usual  procedure  calls 
for  an  adjustment  of  the  lens  stop,  thus  allowing  the 
cranking  speed  and  shutter  opening  to  remain  constant. 
To  increase  the  aperture  so  that  four  times  the  amount 
of   light   gets   through   the   lens   means   that    it   is   neces- 


tors    as    that    quoted    for    the    3N5    filter.      Many   have 
factors  of   V/2,  2y2,   3,   5,   8,  etc. 

Filter  factors  have  been  determined  experimentally 
for  Eastman  Super-sensitive  Panchromatic  film  to  day- 
light illumination  for  the  most  common  filters  useful 
with  this  emulsion.  These  data  were  acquired  by  sensi- 
tometric  determination  for  both  filtered  and  unfiltered 
exposure  conditions.  The  factors  represent  the  ratio  of 
speed  for  a  definite  exposure  condition  between  the  two 
sets  of  tests.  These  sensitometric  factors  when  applied 
practically  in  a  camera  give  excellent  agreement  between 
the  practical  results  and  the  theoretical  values.  For  con- 
venience these  filter  factors  may  be  expressed  in  terms 
of  lens  stops  and  computed  into  tabular  iorm  in  trie 
manner  shown  in  Figure  7.  These  data  have  been  pre- 
viously published  by  Huse  and  Chambers.*  It  will 
be  observed  from  Figure  7  that  the  table  lists  the  filters 
across  the  top,  the  filter  factors  across  the  bottom,  while 
the  extreme  left  hand  column  gives  a  series  of  arbitrarily 
chosen  lens  stops  under  the  heading  "no  filter."  All 
numbers  represent  "f"  values.  The  use  of  the  table  is 
extremely  simple.     Suppose  a  given  scene  is  to  be  photo- 


Factor 


u 
<o 
+^> 

r-H 

•H 

Ph 

o 

H 

O 
U 

3 

CM 

o 

u 

<D 
-3 

in 

in 
S3 
in 

in 
O 

•4 

CO 

CM 

to 

CM 

CM 
ft, 

CM 
O 

a 

o 

in 

o 
g 

in 
o 

o 

a 

o 
o 

rH 
O 

1.4 

1.8 

1.6 

2.0 

1.8 

1.6 

1.5 

2.3 

2.0 

L.8 

1.4 

1.7 

2.8 

2.5 

2.3 

1.4 

1.8 

1.6 

1.6 

1.4 

2.1 

1.6 

3.2 

2.8 

2.6 

1.6 

1.4 

2.0 

1.8 

1.8 

1.6 

2.4 

1.8 

3.5 

3.1 

2.8 

1.8 

1.6 

2.2 

2.0 

2.0 

1.8 

2.6 

2.0 

1.5 

4.0 

3.6 

3.2 

2.0 

1.8 

2.5 

2.3 

2.3 

2.0 

1.4 

3.0 

2.3 

1.7 

4.5 

4.0 

3.7 

2.3 

2.0 

2.8 

2.6 

2.6 

2.3 

1.6 

3.4 

2.5 

1.9 

1.4 

5.6 

5.0 

4.5 

2.8 

2.5 

3.5 

3.2 

3.2 

2.8 

2.0 

4.2 

3.2 

2.3 

1.8 

6.3 

5.6 

5.2 

3.2 

2.8 

4.0 

3.6 

3.6 

3,2 

2.2 

4.7 

3.5 

2.6 

2.0 

8.0 

7.1 

6.5 

4.0 

3.6 

5.0 

4.6 

4.6 

4.0 

2!s 

6.0 

4.5 

3.4 

2.5 

11.0 

9.8 

9.0 

5.6 

4.9 

7.0 

6.3 

6.3 

5.6 

3.9 

8.2 

6.2 

4.6 

3.5 

12.5 

11.2 

10.2 

6.3 

5.6 

7.9 

7.2 

7.2 

6.3 

4.4 

9.3 

7.1 

5.3 

4.0 

16.0 

14.3 

13.0 

8.0 

7.2 

10.0 

9.2 

9.2 

8.0 

5.6 

12.0 

9.1 

6.7 

5.0 

22.0 

19.7 

18.0 

11.0 

10.0 

14.0 

12.5 

12.5 

11.0 

7.8 

15.5 

12.5 

9.3 

7.0 

1 

1.25 

1.5 

4 

5 

2.5 

3 

3 

4 

8 

i.e 

3.1 

5.6 

10- 

— 

— Eastman  supersensitive  panchromatic  filter  exposure    table    for    daylight    expressed    in    "f 


values 


sary  to  open  the  diaphragm  to  twice  the  aperture,  which  graphed  on  Suer-sensitive  Negative  in  daylight,  both  un- 
in  this  case  would  be  f/4.  This  reasoning,  of  course,  is  filtered  and  filtered.  Further,  suppose  the  unfiltered  stop 
based  upon  the  fact  that  the  amount  of  light  passing  to  be  f/8.  Also  suppose  that  the  filtered  exposure  is 
through  the  lens  aperture  varies  as  the  square  of  the  to  be  made  with  the  3N5  filter.  In  the  first  column 
opening.  In  this  instance  the  ratio  between  f/8  and  f/4  under  the  heading  "no  filter"  locate  the  value  of  f/8, 
is  a  numerical  factor  of  2  and  the  square  of  2  is  4,  which  then  project  horizontally  across  the  table  opposite  f/8 
satisfies  the  above  condition.  It  is  obvious,  of  course,  until  the  column  headed  "3N5"  is  reached.  At  this 
that  many  filters  do  not  have  such  accommodating  fac-      point  the  value  of   f/4  is   found.     Therefore,   the  scene 

shot  unfiltered  at  f/8  can  now  be  shot  filtered  with  the 
(Continued  on  Page  36) 


1  "Filters  and   Filter    Factors,"   by   Emery   Huse  and   Gordon   Cham 
bers — American   Cinematographer,    December,    1931. 


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September,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Eleven 


Sound  Track  Mechanism 


By  Jay  Cleis  Kroesen,  S.M.P.E. 

{Patent  Serial  No.  573,709) 


To  the  Editor, 
International   Photographer: 

In  pursuance  of  our  recent  exchange  of  letters  in 
regard  to  new  inventions  appertaining  to  motion  pictures, 
I  am  attaching  hereto  a  copy  of  my  patent  number 
1,917,653,  issued  July  11,   1933. 

This  is  one  of  a  group  of  patents  issued  or  about 
to  be  issued  for  the  accomplishment  of  several  things, 
some  of  which  will  make  possible  the  substitution  of 
two  sound  tracks,  where  one  is  now  used  and  making 
possible  the  use  of  the  present  projectors  with  but  minor 
changes  in  the  parts  now  supporting  the  telescope  lens, 
whereby  one  sound  track  will  be  used  for  the  sound  as 
at  present  and  the  remaining  track  for  the  automatic 
operation  of  change-overs  without  mutilating  the  film, 
operating  the  switchboard  and  dimmers,  signals,  and 
what  have  you  in  the  theatre. 

The  diagonal  sound  track  registrations  may  also  be 
used  to  good  advantage  with  16  mm.  film  as  is  explained 
in  the  patent  paper  attached,  and  will  permit  a  wider 
sound  track  on  35  mm.  film  which,  to  my  way  of  view- 
ing the  situation,  will  permit  the  reduction  in  width 
of  the  recording  aperture  and  permit  the  lengthening  of 
the  same. 

It  will  also  permit  the  use  of  double  sound  track 
in  the  correlation  of  light  with  sound  by  operating  the 
switchboard  dimmers  while  sound  is  operating  for  pro- 
logues, etc. 

When  used  for  music  as  supplied  for  dances  in  small 
communities  the  picture  photograph  may  be  entirely 
omitted  and,  a  series  of  sound  tracks  adjacent  to  each 
other  may  be  had  over  the  entire  width  of  the  film 
and,  by  this  method,  a  large  number  of  sound  tracks 
may  be  had  on  a  single  film  width.  By  the  use  of  the 
endless  film  with  the  standard  method  of  cut-over,  any 
length  of  film  may  be  used  without  changing  the  gear 
ratio  of  the  special  sound  projector;  for  example,  15 
sound  tracks  on  35  mm.  film  is  or  might  be  possible  or 
360  feet  of  35  mm.  film  for  one  hour  of  music,  voice, 
lecture,  etc.,   1800  feet  for  5  hours,  etc. 

Of  course,  there  are  numerous  applications  to  which 
this  could,  with  the  additional  patents  about  to  be  issued, 
be  made,  such  as  better  sound  reproduction  during  print- 
ing of  positives,  etc. 

The  fact  remains  that  a  better  and  higher  utilization 
of  film  is  desirable  where  frequencies  are  registered  and 
more  light  is  required  and  to  this  end  I  feel  I  am  ac- 
complishing some  headway  and,  of  course,  the  change  in 
aperture  dimensions  by  the  reduction  in  width  and  length- 
ening of  the  aperture,  will  be  of  some  advantage  in 
quality  of  sound,  etc. 

Jay  C.  Kroesen. 


It   is   an   object   of  this   invention   to   provide  an   improved 
motion   picture   film   having  an    improved    sound   track   thereon. 

It  is  another  object  of  this  invention  to  provide  an  improved 
motion  picture  film  having  a  sound  track  whose  components  are  angu- 
larly   disposed    with    respect    to    the    direction    of    travel    of    the    film. 

_  Yet   another   object   of    this    invention    is    the   provision    of    improved 
motion   picture   film   having   a    sound   track  of    variable    width. 

It  is  also  an  object  of  this  invention  to  provide  such  improved 
him  having  a  sound  track  of  variable  width  adapted  for  use  for 
standard    16,    25,    35,    50   and    70   millimeter    films,    etc. 

Yet  a  further  object  of  this  invention  is  the  provision  of  an 
improved  sound  track  for  motion  picture  films  which  is  adapted  to 
be  consolidated  so  as  to  form  a  track  of  varying  depth  which  is  fur- 
ther adapted  to  be  printed  on  small  size  tracks  for  standard  35  milli- 
meter  him. 

A  further  object  is  the  provision  of  an  improved  sound  aperture 
mechanism  for   a   sound   camera. 


Yet  another  object  of  this  invention  is  the  provision  of  an 
improved  method  for  reproducing,  recording  and  printing  sound  on 
film.     *      *     * 

As  intimated  hereinabove  difficulty  has  been  experienced  in  re- 
cording and  reproducing  sound  on  film  due  to  the  fact  that  the 
physical  elements  of  the  sound  tracks  and  associated  apertures  now 
in  use  are  such  that  the  possible  upper  and  lower  registers  of  sounds 
are   not   now   capable    of   being   reproduced.      *      *     * 

A  desirable  angularity  for  the  sound  track  elements  is  45  degrees 
from  the  angle  or  direction  of  travel  of  the  film  proper,  although  other 
angles    may    be    used   up    to   substantially    90    degrees.      *     *     * 

Referring  more  specifically  to  the  drawing  there  is  shown,  in 
Figure  1,  a  motion  picture  film,  designated  by  the  numeral  10  and 
having  a   sound   track   area    11,    of    standard   dimensions. 

In  Figure  2  the  sound  track  area  remains  the  same  for  any 
given  size  of  film,  but  due  to  the  angularity  of  the  component  ele- 
ments 13,  they  are  appreciably  increased  over  the  corresponding  ele- 
ments 14  of  the  standard  horizontal  track,  so  that  an  appreciable  in- 
ciease  in  the  effect  of  track  width,  as  indicated  generally  by  the 
numeral    15,   is   secured. 

Referring  more  specifically  to  Figure  3,  there  is  shown  a  plurality 
of    right   angles    having   a   common   base    20. 

By   superimposing   on   this   common    base    3,    right   triangles    making 

1,917,653 


July  11,  1933. 

J.  C    KROESEN 

SOUND  TRACK    MECHANISM 
Filed  Nov.  7,   1931 

J&pJ 

// 

1 

g&x 


^%?6'    gz&y  ^&.$. 


INVENTOR 
ATTORNEY5 

30,  40  or  60  degree  angles  with  the  base  respectively,  it  will  be  seen 
that  the  hypothenuses  of  the  several  triangles  are  successively  longer 
than  the  base.  For  a  45  degree  angle,  therefore,  the  increase  in  the 
length  of  the  aperture  over  that  afforded  by  its  strictly  horizontal 
aperture    is   approximately    40   per   cent. 

As  the  angle  is  increased  the  effective  length  or  width  of  the  sound 
track  is  also  increased  until,  as  the  angle  approaches  90  degrees  as  a 
maximum   the   sound   track  element   approaches   infinity    in   length. 

Referring  to  Figures  4  and  5  there  is  shown  a  standard  sound 
film  having  a  track  30  in  which  the  elements  are  of  variable  width, 
as  in  Figure  4  or  in  Figure  5,  the  elements  31,  while  of  variable 
width,  are  still  diagonally  dispersed  with  respect  to  the  direction  of 
travel  of  the  film,  and  are  appreciably  longer  than  the  horizontal 
elements. 

The  aperture  mechanism,  comprising  a  rotable  sheath  40,  having 
an  aperture  plate  41,  containing  an  aperture  42  of  any  desired  di- 
mensions, is  adapted  to  be  rotated  by  means  of  a  micrometer  screw 
adjustment  43  controlled  by  suitable  knob  or  handle  44.  Such  a  device 
permits  the  obtaining  of  any  desired  angularity  of  the  aperture  in  a 
single  sound  camera  or  reproducing  head,  and  also  permits  various 
moving    picture    producers    to    effect    a    standard    angularity    for    their 


(Turn  to  Page  37) 


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Twelve 


The      INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


AROUND  THE  WORLD 

WITH 

HERFORD  TYNES  COWLING 
Seeing  the  CENTURY  of  PROQRESS  EXPOSITION— No.  4 


In  the  face  of  one  of 
the  world's  most  terrible 
depressions,  the  best  minds 
of  science,  industry,  art 
and  showmanship,  have 
combined  to  make  this 
World's  Fair  an  entirely 
new  type  of  exposition. 

By  contrast  with  for- 
mer expositions,  an  en- 
tirely new  concept  has 
been  given  A  Century  of 
Progress  Exposition  of 
1933,  at  Chicago. 

New  methods  of  annunciation  and  animation  are  used 
to  express  the  great  changes  that  have  taken  place  in 
our  life  during  the  past  decade. 

The  story  of  progress  starts  in  the  Hall  of  Science, 
heart  of  the  exposition's  exhibits  scheme. 

Leading  scientists  of  the  world  have  co-operated 
through  the  National  Research  Council  in  the  selection 
of  the  material. 

Here,  dynamic  active  exhibits  illustrating  the  basic 
sciences  and  man's  indebtedness  to  them  are  shown.      If 


the  reader  attends  the  exposition  and  goes  nowhere  else 
on  the  grounds  but  to  the  Hall  of  Science,  his  journey 
will  be  justified. 

In  the  vast  Agricultural,  Electrical,  Communications 
and  Dairy  Buildings,  as  well  as  in  the  five  great  pa- 
vilions of  the  General  Exhibits  Group  and  the  Travel 
and  Transport  Buildings,  the  more  direct  applications  of 
science  to  the  world  of  industry  is  shown. 

To  the  story  of  science  and  industry  it  has  added 
the  portrayal  of  the  resources,  attractions,  industries  and 
agriculture  of  many  states  of  the  Union,  shown  in  the 
great  Hall  of  States. 

The  role  of  the  United  States  Government  in  the 
advancement  of  industry,  the  arts,  peace  and  exhibits, 
demonstrating  the  nature  of  our  institutions  as  they  relate 
to  the  wants  of  the  people,  is  shown  in  the  impressive 
Federal  Building,  which  rises  adjacent  to  the  Hall  of 
States. 

The  romance  and  color  of  distant  lands  are  repro- 
duced in  pavilions  and  exhibits  of  foreign  nations,  among 
whom  are  Italy,  Japan,  China,  Sweden,  Morocco, 
Ukraine,  Poland,  Czechoslovakia. 

There  is  a  wealth  of  material  for  the  movie  en- 
thusiast ;  motion  galore  on  all  sides.     You  may  "shoot" 


No.  1— Upper  Center:  U.  S.  FEDERAL  BUILDING— A  three  pylon 
building  on  the  Northernly  Island  of  the  Fair  grounds.  Above  its 
gold  dome  three  pylons,  fluted  towers,  rising  150  feet  high,  typify 
the    three    active    branches    of    the    U.    S.    Government — Legislative, 

Executive  and  Judicial. 
No.  2— Upper  Left:  THE  BREATHINC  DOME  OF  THE  TRAVEL  AND 
TRANSPORT  BUILDING— For  the  first  time  in  architectural  history 
a  dome  has  been  constructed  on  the  principles  of  a  suspension  bridge. 
Just  as  a  suspension  bridge  has  no  pillars,  columns,  or  arches  to  sup- 
port it  from  below,  but  depends  on  cables  to  carry  its  load,  so  the 
dome   of   the   Travel    and   Transport    Building   is   suspended    125   feet 

above  ground   by  cables  attached   to  twelve   steel   towers. 
No.    4— Lower   Center:     THE    GREAT    ELECTRICAL    BUILDING— In 
semi-circular   form    behind    the    court,   connects    with    the    Radio   and 


Communication   building.     The  entrance  from  the   lagoon   is  a   water 
gate  flanked  by  two  huge  pylons  more  than  100  feet  high  and  a  wide 

stairway  leading  up  to  the  hall. 
No.   5— Lower   Left:     SOCIAL   SCIENCE   HALL— Looking  along  the 
front  toward  the  Electrical  Group.     Here  one  can  see  the  social  con- 
sequences of  man's  achievements  in  science.     A  century  of  progress 

has  changed  our  whole  social  and  economic  life. 

No.    6— Lower    Right:      THE    PAVILION    ESPANOL— Represents   the 

type  of  building  found  along  the  Midway,  containing  cafes  and  booths 

of  a    nationalistic   character.      It   is  a    reproduction   of  an   old   palace 

of  beautiful   Spanish  Architecture. 

No.  7— Upper  Right:     THE  HALL  OF  RELIGION— Houses  an  exhibit 
of  interest  to  students  of  religion. 


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September,  193i 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


Thirteen 


more  strange  sights  from  the  four  corners  of  the  earth 
in  a  single  day  than  at  any  other  place  on  earth  at  this 
time. 

From  reproductions  of  Fort  Dearborn  and  Lincoln's 
birthplace  one  can  turn  to  view  complete  American  In- 
dian villages — Navajo,  Hopi,  Sioux,  Winnebago,  and  a 
colorful  reproduction  of  a  Maya  Temple  of  ancient 
Yucatan.  Oriental  Villages,  Streets  of  Cairo  and  Moroc- 
co, Japanese  and  Chinese  Pavilions  literally  cry  out  in 
competition  with  the  reproduction  on  a  grand  scale  of 
a  Belgian  Village  and  the  Streets  of  Paris. 

The  Streets  of  Paris  is  a  construction  of  a  portion 
of  the  Quartier  Latin  and  Montmartre.  It  is  an  area 
of  shops,  boulevard  cafes,  dance  pavilions  and  shows  with 
the  atmosphere  of  life  in  the  art  student's  haunts,  and 
includes  a  reproduction  of  the  famous  bookstalls  on  the 
Seine. 

The  Belgian  Village  is  a  reproduction  of  parts  of 
Ghent,  Bruges  and  Malines,  in  the  Middle  Ages — a 
market  place,  hand-craft  artisans  at  work,  cafes  and  the 
quaint  architecture. 

The  Golden  Pavilion  of  Jehol,  a  reproduction  of 
China's  finest  Lama  temple,  is  a  feature  that  attracts  the 
attention  of  thousands  of  visitors. 

The  original  temple  was  built  in  Jehol,  China,  sum- 
mer residence  of  the  Chinese  rulers  165  years  ago.  Its 
replica  on  the  Fair  Grounds  presents  an  interesting  con- 
trast to  the  ultra-modern  exposition  buildings  that  sur- 
round it. 

Dirigibles  soar  overhead  constantly,  taking  the  sky- 
minded  aloft,  while  the  Sky  Ride  is  to  this  exposition, 
what  the  Eiffel  Tower  was  to  the  Paris  Exposition  nad 
the  Ferris  Wheel  to  the  Columbian  Exposition. 

Rocket  cars  operate  on  cables  between  the  steel  towers 
628  feet  high,  the  highest  man-made  structures  west  of 
New  York.  They  are  two  thousand  feet  apart  and 
constitute  one  of  the  world's  longest  suspension  bridges. 
Overhead  cable  track  for  the  observation  cars  is  at  the 
210  foot  level.  They  travel  back  and  fourth,  making 
the  trips  in  about  four  minutes. 

The  platforms  at  the  610  foot  level,  give  a  match- 
less panorama  of  the  brilliant  color  and  motion  of  the 
Fair,  of  all  downtown  Chicago,  of  the  great  stretch 
of  the  lake,  and  sand  dunes  of  Michigan  glittering  in 
the  distance  on  clear  days. 


THE  SEVEN  SEAS  CORPORATION 

The  Seven  Seas  Corporation,  of 
Hollywood,  has  been  organized  to 
film  unusual  stories  in  unusual  locales 
and  the  first  expedition  to  be  sent  out 
by  the  organization  sailed  August 
25th  on  the  Matson  liner,  Malolo,  for 
Honolulu  at  which  point  the  party 
will  tranship  for  the  island  of  Kauai. 
William  Fisk,  III,  is  president  of 
Seven  Seas  Corporation  and  Lois 
Weber  is  directing,  the  vehicle  being 
"Cane  Fire,"  by  James  Rodrero,  a 
story  of  the  sugar  plantations  of  Hawaii.  Isadore  Bern- 
stein is  executive  producer  and  Count  Alfreda  di  Car- 
pegna  is  vice-president. 

Twenty-two  people  were  in  the  party  that  left  on  the 
Lurline  on  August  25th,  Miss  Weber  having  preceded 
them  on  the  Malolo,  August  19th. 

Alvin  Wyckoff,  in  charge  of  photography  and  sound, 
organized  the  technical  staff  with  the  following  named 
members:  Frank  Titus,  second  camera;  William  Jolley, 
Jr.,  assistant;  Robert  Crandall,  stills;  Terry  Kellum, 
sound  recording;  Jack  Wallace,  electrician;  William 
Carr,   assistant   director ;   Kenny   Koontz,    props ;    Rosey, 


The  genial  looking  gentleman  at  the  left  delivering  a  lecture 
on  the  subject  of  "Cameras  I  Have  Met,"  is  no  less  a  per- 
sonage than  Mr.  Hal  Mohr,  cinematographer  par-excellence. 
His  interested  audience  is  the  well  known  English  director, 
Robert  Milton, 
grips. 

Alice  Johnson  accompanies  Director  Weber  as  secre- 
tary in  charge  of  script  while  the  roster  of  actors  in- 
c'udes  Mona  Maris,  Hardie  Albright,  David  Newell, 
Virginia  Cherrill,  Arthur  Clayton,  Robert  Stevenson  and 
Whitney  De  Rahm. 

The  technical  and  mechanical  equipment  includes 
two  Mitchell  cameras,  one  sound  truck,  one  boom  truck, 
one  prop  and  camera  truck,  an  abundance  of  Eastman 
S.  S.  Grayback  and  last  but  not  least  Mr.  Wyckoff's 
Leica  camera  which  will  be  featured. 

The  Roy  Davidge  Laboratories  will  handle  all  film 
on  "Cane  Fire"  and  the  nroductions  to  follow. 


THE  ASSISTANTS  TALK   IT  OVER 


^UNN(?|^e(?V 


What    happened    to    your    cameraman's    negative. 
The  football  crew  in   the  developing  room  got  their 
signals  mixed. 


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Fourteen 


The      INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


THE 

Newsreel  World 

By  Ray  Fernstrom 

Dear  Friend  Editor: 

Have  just  made  a  long  motor  trip  through  dear  old 
Sweden  and  believe  me  this  is  a  motoring  paradise.  There 
are  many  fine  roads  throughout  the  country  and  plenty 
of  parking  space  in  the  many  interesting  cities.  From 
a  photographer's  point  of  view  the  land  abounds  in  ex- 
cellent material,  which  my  friend  Hovfotografer  Nor- 
berg  and  I  have  been  trying  to  capture  with  our  re- 
spective cameras.  We  have  been  blessed  with  beautiful 
days  and  marvelous  cloud  formations  for  backgrounds. 
No  place  in  California  or  Arizona  has  offered  such 
clouds,  to  my  knowledge.  As  soon  as  we  get  some  stills 
finished,  will  mail  you  a  few. 

Hot!  Boy,  has  it  been  hot  here  in  Stockholm  this 
summer!  Even  more  so  than  Panama.  Nevertheless, 
despite  the  fine  food  and  heat  we  have  been  getting 
some  swell  negatives  off  to  New  York.  One  such  funny 
incident  occurred  that  I  shall  tell,  even  though  the  joke 
is  on  me.  It  was  during  the  coverage  of  His  Majesty 
the  King,  better  known  as  Mr.  "G." 

Although  seventy-five  years  old,  King  Gustaf  plays 
a  corking  game  of  tennis,  his  favorite  recreation  and 
sport.  We  called  on  him  at  his  summer  place  down 
at  Saro  and  were  told  by  him  personally  that  he  was 
to  play  the  next  day  in  competition  and  that  he  would 
be  pleased  to  do  as  we  wished. 

Not  only  did  he  do  this,  but  he  wanted  to  direct 
the  show  himself.  I  tried  to  make  a  close-up  as  he 
sat  in  a  camp  chair  watching  other  players.  While 
trying  to  focus  through  the  film  I  was  astonished  to 
see  nothing  but  darkness.  Turning  the  crank,  trying 
to  open  the  shutter  did  no  good  and  no  obstructions 
could  be  found  in  the  camera. 

Imagine  my  astonishment  when  I  looked  in  front  of 
the  lens  and  found  the  KING'S  FOOT  there.  He 
knows  his  cameras  and  was  jokingly  kicking  about  being 
too  close.  So  if  a  little  enamel  is  scraped  off  the  matte 
box,  Art  Reeves,  it  was  the  job  of  a  king.  'Tain't  every 
day  a  real  reigning  monarch  kids  the  cameraman ! 

An  American  driving  through  this  country  will  be 
astonished  at  the  great  numbers  of  familiar  appearing 
gas  pumps  and  American  types  of  highways.  Our  mod- 
ern methods  surely  do  influence  the  rest  of  the  world 
and  especially  the  progressive  Swedes.  The  most  inter- 
esting features,  to  my  mind,  of  motoring  longer  stretches 
here,  are  the  eating  places.  Each  town  or  city  has  its 
Stads  or  Grand  Hotel.  These  may  not  look  like  much 
from  the  Torg,  or  market  place  where  they  are  usually 
located,  but  once  inside  you  can  depend  on  them  all 
to  have  delightful  restaurants. 

Practically  all  offer  a  choice  of  three  locations — the 
main  dining  room,  usually  located  on  the  second  floor, 
a  summer  restaurant  on  a  balcony,  or  on  a  little  island — 
real  or  manufactured — or  a  roof  garden  with  a  choice 
view  over  the  surrounding  terrain.  The  better  class 
hotels,  as  most  are,  have  fine  orchestras  that  play  classical 
music  during  dinners. 

The  Swede  eats  a  breakfast  of  coffee  and  Weiner 
Brod,  called  coffee  breakfast,  from  eight  to  about  ten ; 
at  noon  he  eats  his  breakfast,  or  as  he  is  slowly  learning 
to  call  it,  lunch.  Then  from  four  to  seven  he  eats  his 
middag  or  dinner.  Later  (as  he  is  usually  hungry  all 
the  time)  a  supe  at  any  hour  from  dinner  to  two  A.  M., 


Newsreeler  Ray  Fernstrom   (excuse  his  back)   has  the  honor  to 

photograph   King  Gustaf  of  Sweden   at   His   Majesty's  country 

palace. 

which  is  eaten  between  dances.  The  Swedish  dance  or- 
chestra, be  it  all  Scandinavian  or  not,  takes  an  American 
name,  such  as  Jack  Harris,  so  that  the  natives  will  feel 
their  music  is  as  good  as  our  orchestras  play  on  the  very 
popular  American  phonograph  records.  They  own  more 
graphophones  than  they  do  radios  and  play  them  in- 
cessantly. 

Gas  is  getting  cheaper  over  here.  We  may  have  a 
union  of  cameramen  and  other  technicians  within  the 
film  industry,  but  here  they  even  have  a  union  of  auto 
owners  to  drive  down  the  price  of  gas  and  oil.  They 
save  a  quarter  or  thirty  cents  on  a  tankful  of  gas  and 
a  nickel  or  so  on  a  quart  of  oil.  American  cars  naturally 
are  most  popular,  although  the  Swedes  build  a  splendid 
car  called  Volvo,  powerful,  staunch  and  good  looking, 
but  without  the  acceleration  of  our  cars,  and  are  more 
expensive. 

But  to  return  again  to  gastronomic  matters — EAT- 
ING is  the  local  pastime.  Such  food,  such  variety  and 
such  abundance !  A  meal  such  as  lunch  usually  offers 
Smorgasbord  or  hors  d'ouvres  table  with  a  selection 
usually  of  sixty  or  more  kinds  of  tempting  appetizers. 
No  appetite  is  whetted  enough  even  with  this  array,  so 
a  snapps  is  inevitable.  Snapps,  called  Brannvin,  "wine 
that  burns"  the  throat,  is  nothing  less,  could  be  noth- 
ing more  than  what  it  is,  straight  potato  or  wood  alco- 
hol. Not  the  wood  alcohol  we  know  and  fear,  but  a 
spirit  made  from  cellulose,  called  Norrland's  Brannvin. 
What  an  appetite  after  a  few  skals  with  this.  There 
are  a  dozen  different  kinds  of  brannvin,  but  this  one 
should  please  the  Hollywood  taste,  if  mine  is  any  cri- 
terion. 

After  the  Smorgasbord  comes  the  Warmdish,  which 
is  really  more  of  a  meal  than  we  eat  at  any  one  time  in 
the  States.  More  often  than  not  a  fish  dish  is  inserted 
before  this — and  do  they  know  how  to  prepare  fish ! 

To  top  off  a  good  meal  comes  dessert.  At  present 
it  is  strawberry  or  jordgubbar  season.  These  are  eaten 
with  frozen  whipped  cream  and  I  don't  wonder  they 
are  most  popular.  They  are  a  hardier  variety  than  ours 
and  have  a  rare  flavor  that  once  tasted  is  never  forgotten. 
A  little  later  will  be  smultron  season.  These  are  tiny 
raspberries  with  delicious  aroma  and  flavor  which  are 
also  eaten  with  frozen  whipped  cream,  or  glass,  as  ice 
cream  is  called. 

To  return  to  our  photo  drive,  via  Plymouth,  floating 
(Continued  on  Page  33) 


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September,  1933 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


Fifteen 


AUDIO  PRODUCTIONS,   INC. 

The  formation  of  Auto  Productions,  Inc.,  with  offices 
at  250  West  57th  Street,  New  York  City,  has  been 
announced. 

According  to  Mr.  W.  A.  Bach,  President  of  the  new 
organization,  the  company  is  a  Western  Electric  licensee 
and  will  specialize  in  the  production  of  unusual  talking 
pictures.  Films  of  educational  and  scientific  interest  that 
have  demonstrated  a  definite  entertainment  value  will  be 
handled  for  theatrical  distribution,  in  addition  to  which 
the  company  may  produce  and  distribute  a  number  of 
unusual  subjects  on  its  own  account. 

Production  will  be  done  either  in  the  Bronx  or 
Astoria  studios  of  the  Eastern  Service  Studios  or  at  the 
Western  Service  Studios  in  Hollywood.  The  production 
headquarters  will  be  located  at  2826  Decatur  Avenue, 
Bronx,  New  York. 

Associated  with  the  new  producing  organization  are 
a  group  of  experienced  production  executives  who  have 
long  been  associated  with  the  various  units  of  the  indus- 
trial and  theatrical  field  in  the  East. 

The  other  members  of  the  organization  include  men 
who  have  been  prominently  identified  with  merchandis- 
ing and  advertising. 

'We  expect  in  the  near  future,"  Mr.  Bach  stated, 
"to  give  a  more  specific  idea  of  our  plans,  the  number 
of  pictures  we  contemplate  handing  and  the  number  of 
kinds  of  films  we  expect  to  produce,  as  well  as  the  names 
of  executives  who  will  be  associated  with  us.  I  think 
that  the  industry  will  find  some  of  the  pictures  we  plan 
to  distribute  both  unique  and  interesting,  blazing  a  new 
trail  of  entertainment  that  talking  picture  followers  will 
want  to  see." 


Director  Lloyd    Bacon,   Chief  Cinematographer  Sol   Polito,   Star 

James  Cagney  and  featured   lead   Patricia   Ellis,  take   time  out 

of  action   to  discuss  a   knotty  situation   in  the  script. 


EYEMO 


The  Motor  Driven 

with  Improved  Viewfinder 


THE  new  motor  driven  Eyemo,  with  its  constant  sound 
speed  of  24  frames,  now  has  a  viewfinder  especially 
designed  for  use  with  the  camera's  auxiliary  magazine 
in  place.  The  eyepiece  is  larger  and  at  a  more  convenient 
offset  angle.  There's  plenty  of  room  to  sight,  even  when 
wearing  glasses.  The  new  viewfinder,  with  its  six  variable 
field  areas,  is  of  the  "positive"  type.  The  correct  field  is 
seen  regardless  of  whether  the  eye  is  "centered"  with  the 
eyepiece. 

The  Eyemo  has,  in  addition,  seven  precisely  governed  film 
speeds,  three-lens  turret,  Cooke  47  mm.  F2.S  lens,  daylight 
loading  spools  of  100-foot  film  capacity,  200  or  400-foot  film 
magazines,  12  or  110-volt  electric  motor,  and  built-in  spring 
motor  and  hand  crank  drives.     Write  for  full  details. 


BELL  &  HOWELL 

1849  Larchmont  Ave.,  Chicago,  III.;  11  West  42nd  St.,  New 
York;  716  N.  La  Brea  Ave.,  Hollywood;  320  Regent  St., 
London   (B  &  H  Co.,  Ltd.)  Established  1907. 


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Sixteen 


The      INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


3ln  iHtomorium 


June  7,   1900— Norman  De  Vol— July  31,   1933 


'I  can't  go  against  the  gang.' 


To  one  of  his  simple  and  faithful  heart 
loyalty  was  the  highest  badge  of  honor — 
and  to  preserve  that,  death  seemed  but 
a  little  price  to  pay. 


"AREA   DISTRIBUTION" 

By  Robert  Lothar  Kendall, 
President  Kendall  &  Dasseville 

The  real  trouble  with  most  of  us  in  the  sound  in- 
dustry is,  that  we  have  failed  to  progress  beyond  the 
stage  of  being  able  to  handle  a  hammer,  screw  driver 
and  a  pair  of  pliers.     Just  to  be  honest,   let's  admit  it. 

We're  in  a  rut!  Just  because  the  photoelectric  cell 
has  been  invented,  is  no  reason  why  we  should  sit  back 
really  contented  and  leave  our  grandchildren  continue 
where  we  left  off. 

Several  weeks  ago,  we  had  the  pleasure  and  distinc- 
tion (under  a  promise  of  utmost  secrecy)  to  learn  the 
details  of  an  intramolecular  "motor."  This  tiny  piece 
or  equipment — scarcely  larger  than  your  son's  toy  loco- 
motive— has  a  potential  power  possibility,  when  properly 
geared  down,  to  propel  a  five-ton  truck.  The  fuel  used 
is  stored  in  a  pressure  tank  no  larger  than  your  forearm. 
The  late  Earl  of  Birkenhead  predicted  this  very  same 
development,  yet,  the  gentlemen  in  our  Patent  Office 
at  Washington,  gravely  shake  their  heads  and  chant: 
"Perpetual    Motion — patent   unallowable." 

Can  it  be,  that  we  children  of  the  Twentieth  Cen- 
tury either  dont'  know,  or  refuse  to  understand  the  pos- 
sibilities virtually  within  our  grasp?  Why  should  an 
industry  as  large  and  as  well-financed  as  the  motion 
picture  industry  is,  follow  the  teachings  of  a  few  theor- 
ists? Yes,  we  are  referring  to  electricity  in  its  accepted 
form.     Let  us  pause  to  analyze  for  just  a  moment. 

If  we  strike  mineral  against  itself  or  against  plant 
matter  and  perceive  a  spark,  we  cry,  "Electricity!" 
Should  we  stroke  a  cat  in  the  dark,  or  witness  a  con- 
jurer releasing  sparks  from  his  fingertips,  we  immediately 
pronounce  it  "body  capacity,"  a  form  of  static  electricity. 
Are  these  true  forms  of  electricity?  Perhaps,  we  haven't 
elaborated  so  much,  after  all,  on  Franklin's  original 
kite-and-key  experiment ! 

"But,"  one  might  ask,  "what  has  all  this  to  do  with 
dialogue  motion  picture  reproduction  and  public  address 
systems?"     Just  this  much: 

Our  present  reproducer  problems  are  not  wholly  elec- 
trical. Your  author  has  personally  conducted  analytical 
research  in  hundreds  of  wired  theatres  and  other  audi- 
toriums and  has  succeeded  in  whipping  some  exceptionally 
stubborn  problems  after  electrical  means  failed,  by  apply- 
ing first  of  all,  good  common  sense,  the  knowledge  of 
physics  and  solfeggio,  plus  a  well-stocked  bag  of  audio- 
dynamical  tricks. 

We  offer  as  evidence,  "case  history"  number  one. 
The  outstanding  facts  were:  Capacity  1800.  Projection 
throw,  212".  Deficiencies  twelve  slight  echoes,  speech 
distortion,  overtones,  blasting,  impaired  audibility  to  the 
twentieth  row  from  the  stage,  also  from  the  center  of 
the  house  to  the  standee  railing  and  in  the  balcony.  Sug- 
gested cures  absorption  materials  on  side  and  rear  walls 
at  a  cost  of  $6500.00.  The  alternative  cut  the  house 
in  half,  therebv  losing  about  700  seats,  the  cost  esti- 
mated at  $2800.00. 

We  now  show  how  the  "cure"  was  effected  without 
the  use  of  one  square  foot  of  absorption  materials  in 
the  auditorium  proper.  A  disused  spangled  traveler 
was  reversed  and  placed  against  the  brick  back-wall  of 
the  stage  and  draped  to  meet  the  screen  at  both  ends. 
This  killed  the  parabolic  efficiency  and  cavity  resonance 
of  the  stage  entirely.  Correct  ventilation  was  provided 
above  and  below  the  screen.  The  speakers  were  re- 
( Continued  on  Page  32) 


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September,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Seventeen 


THE     CHICAGO 
SCRAPBOOK 

By  Fred   (Red)   Felbinger 

The  stratosphere  flight 
.  .  .  the  ultimate  in  man's 
reach  for  the  heavens  .  .  . 
Lt.  Commander  "Tex" 
Settle  .  .  .  U.  S.  Navy 
...  a  man's  man  .  .  . 
prepares  for  an  intrepid, 
adventurous  solo  into  space 
.  .  .  into  the  far  nowhere 
.  .  .  one  of  the  few  re- 
maining mysteries  to  man 
.  .  .  Soldier  Field,  Chi- 
cago, is  chosen  as  his  point 
of  take  off  .  .  .  the  world 
hears  of  it  in  advance  .  .  . 
and  thousands  of  thrilled 
followers  of  one,  ready  to 
cast  off,  in  the  path  of 
adventure,  gather  ...  It 
is  eight  P.  M.  ...  a  tired 
sun  is  curling  into  crimson  over  the  west  collonades 
of  Soldier  Field  as  the  trek  leads  to  the  chilly  stone 
seats  of  the  massive  stadium  ...  on  the  field  trained 
regulars  of  the  Army  move  in  rhythm  to  entertain  the 
crowd  ...  a  band  blares  out  ...  to  the  north  of  the 
grounds,  begins  the  slow  process  of  inflating  the  massive 
balloon  that  will  carry  this  modern  knight  of  adventure 
into  the  vast  void  above  Mother  Earth  .  .  .the  constant 
hiss  of  the  hydrogen  tanks  is  audible  as  their  precious 
contents  start  to  expand  the  massive  bag  of  rubber  layed 
out,  neatly  on  the  field  ...  to  the  north  of  Soldier  Field 
the  gates  are  suddenly  swung  open  .  .  .  several  trucks 
roll  down  the  runway  .  .  .  newsreeler's  grief  wagons 
.  .  .  it's  now  eight  fifteen  P.  M.  .  .  .  the  beginning  of 


a  new  assignment  for  the  boys  riding  in  those  trucks. 
A  stratosphere  flight  .  .  .  telegraph  wires  have  hummed 
for  weeks  now  .  .  .  advising  the  world  .  .  .  this  event 
was  about  to  transpire  .  .  .  and  this  is  the  night  .  .  . 
so  the  newsreel  trucks  roll  into  the  stadium  .  .  .  there's 
Phil  Gleason  chauffering  in  the  Fox  truck  .  .  .  carrying 
his  dead-eyed  newsnooper,  Eddie  Morrison  .  .  .  Graham 
shoves  in  with  the  Daily  News  truck  while  his  camera- 
man, Sam  Savith,  chews  away  on  his  eternal  ceegar 
.  .  .  Jack  Darrock  is  down  at  the  sizzling  hydrogen 
tanks  looking  for  some  odd  angles  for  his  camera  huskies 
.  .  .  there's  Charlie  Ford,  lining  up  the  "inkies"  with 
the  grips,  Tony  Caputo  is  climbing  up  on  the  Pathe 
truck,  ready  to  set  up  his  "groan  box"  for  another  heavy 
night  .  .  .  somebody  said  it's  going  to  take  about  six 
hours  to  inflate  this  massive  balloon  .  .  .  but  the  news- 
reelers  don't  mind  .  .  .  you  see,  it's  their  racket  .  .  . 
to  wait  no  matter  how  long  .  .  .  but  get  that  picture 
.  .  .  it's  in  their  blood  .  .  .  they  never  squawk  about 
hours  ...  all  they  ask  is  a  break  .  .  .  get  that  picture 
.  .  .  then  a  rest  .  .  .  maybe  a  short  one  .  .  .  maybe  a 
long  one  .  .  .  before  the  next  assignment.  ...  So  dusk 
settles  over  Soldier  Field  .  .  .  nine  P.  M.  ...  ten  P.  M. 
.  .  .  the  crowd  begins  to  grow  slightly  weary  .  .  .  more 
newsreelers  arrive  .  .  .  Charlie  Geis  lugs  his  heavy  equip- 
ment to  the  top  of  the  stadium  .  .  .  Floyd  Traynham 
grinds  away  on  his  trusty  Akeley  ...  11  P.  M.  .  .  . 
a  radio  announcer  chins  away  to  satisfy  a  crowd  now 
getting  bigger  .  .  .  and  a  bit  more  weary  .  .  .  but  every- 
body sticks  .  .  .  it's  a  big  event  in  aviation  history  .  .  . 
man's  latest  attempt  to  conquer  new  fields  .  .  .  Charlie 
Ford  stands  behind  those  inkies  watching  incessantly  for 
strange  cameras  .  .  .  Charlie  Ford  you  see  represents 
the  sponsors  of  that  flight  .  .  .  one  newsreel  has  been 
barred  .  .  .  but  Ford  being  a  newsreeler  knows  that 
somewhere  in  that  stadium,  is  hidden  lens  snoopers  that 
will  get  the  event  for  the  barred  outfit  .  .  .  it's  the 
racket  .  .  .  get  your  picture  .  .  .  whether  you're  welcome 
or  not  ...  so  the  hours  pass  into  oblivion  .  .  .  it's  now 
getting  around  two  A.  M.  ...  a  new  day  is  but  a  pup 
(Continued  on  Page  34) 


\\ 


ArtReeves 


n 


LITE-TEST   MACHINE 


SOUND  AND 

LABORATORY 

EQUIPMENT 

OF  DEPENDABILITY 

PROVEN 

BY  CONSTANT 

USE 


PRICE  $675— TERMS  NET  CASH  F.O.B.  HOLLYWOOD,  U.  S.  A. 


Motion  PigTure/|^ipmeiiT(q  |Td. 


645  NORTH  MARTEL  AVE 


CABLE  ADDRESS  ARTREEVES 


HOLLYWOOD,  CALIFORNIA,    USA 


Phone:  WYoming  4501 


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Eighteen 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


IoIIyVcdd 


But  to  return  to  the  mountains.  Here  I  sit  on  a  rock 
on  a  large  mountain-side  and  stare  off  in  the  distance 
toward  our  Hollywood.  Usually  distant  things  are 
shrouded  in  mystery,  but  here  Hollywood  seems  easier  to 
understand.  Its  long  and  short  haired  persons,  its  city 
ginks,  bootleggers  and  picture  producers,  all  blend  to  a 
mass  of  film  being  squeezed  out  of  the  place  in  somewhat 
the  same  manner  that  a  sausage  grinder  forces  out  the 
meat  conglomerate.  In  both,  after  a  suitable  amount  of 
stirring  about  and  grinding,  the  material,  or  shall  we  say 
stuff,  comes  spouting  out  as  if  under  pressure.  Pressure 
is  right:  but  after  all.  And  of  course,  I  don't  mean  the 
pictures  made  by  the  producers  that  read  this  column. 


I  went  to  the  Panamint  Mountains  to  the  famous 
"Old  Anthony"  Gold  Mine  which  is  now  generally 
known  as  the  Harry  Tucker  Mine.  It  is  a  short  distance 
from  Death  Valley,  in  fact,  as  us  mountaineers  say:  "It 
is  about  two  whoops  an'  uh  holler  off."  Since  it  was  so 
near  and  since  both  of  the  native  citizenry  told  me  it  was 
the  hottest  yaar  in  yaars,  etc.,  I  figure  I  would  hear  the 
people  over  in  the  valley  groaning  from  the  heat ;  but  each 
time  I  heard  a  noise  I  found  it  was  only  a  starving  buz- 
zard. 


The  second  night — under  a  rich  moon — up  here,  un 
expectedly,  I  came  upon  a  wild  mountain  sheep  or  a  goat 
As  far  as  I  was  concerned,  it 
could  have  been  either.  I  was 
out  looking  in  nature's  places 
for  what  poets  hunt,  or  some- 
thing; the  goat  was  hunting  for 
a  tin  can,  or  what  goats  hunt  at 
that  time  of  night.  We  saw 
each  other  at  the  same  time. 
The  goat,  in  surprise,  jumped 
about  fifteen  feet  and  I  jumped, 
well,  I  thought  I  would  come 
down  across  the  range  in  the 
next  valley.  However,  in  a 
second  or  two  I  found  with  re- 
gret I  had  hardly  moved  be- 
cause there  was  the  goat  with 
head  down  inviting  me  to  joust 
with  him.  There  I  was  on  a 
mountain  with  just  a  goat! 
Enough.  The  story  I  am  stuck 
with  now  is  that  I  went  on 
home. 


the  Wonderful  Mutoscope  showinc 

MOVING  PICTURES  ™™»«« FROM  LIFE 


Did  you  ever  sit  on  a  mountain-side  which  had  not 
been  worn  out  by  humans?  We  are  all  familiar  with  the 
lyrical  feelings  when  having  an  affair  with  Dame  Nature 
in  a  treesy,  breezy  rendezvous  when  not  a  thing  seems 
near  enough  to  matter,  and  the  only  important  thing  is 
the  lazy  idleness  required  to  dabble  in  the  swaying  leafy 
lacy-ness  of  a  tree,  or  the  new  found  blueness  where  the 
horizon  rises  to  the  sky,  or  perhaps,  the  personality  of  a 
weed.  Shall  we  say  it  is  wooing  Nature,  a  new  mistress? 
From  this  distance  in  comparison,  such  things  as  the  new 
mustache  guard — to  me  a  guard  for  a  female  enticer — 
that  Adolphe  Menjou  designed  to  protect  his  hirsute  orna- 
mentation seems  .  .  .  well  it  seems.  I  suppose  it  all  de- 
pends who  one  is  courting  and  why.  Adolpe  Menjou,  by 
the  way,  rather  than  have  his  luring  whiskers  mussed  up 

in  the  rough  scenes  of  the 
"Worst  Woman  in  Paris"  de- 
signed the  aforesaid  guard.  In- 
ventor Menjou  says  his  mus- 
taches gives  him  quantities  of 
more  sex  appeal  or  what  ever 
that  unknown  quantity  is  that 
bothers  girlie  friends. 


I  still  maintain  that  the  wild 
goat  did  not  leave  an  impression 
upon  me,  nor  did  he  shorten  my 
walk  that  night.  His  goat's  in- 
stinct probably  told  him  I  could 
not  be  shoved  around ;  either 
that,  or  he  found  our  bean  cans 
were  scraped  too  clean. 


DROP  NICKEL  IN  SLOT— KEEP  TURNING.  CRANK  TO  THE  RIOHT. 


»M>  VOL    Wll.l.  SI-K 


The  third  night  when  I  heard 
another  noise  I  did  not  investi- 
gate to  see  what  it  was. 


A  HOT  TIME  IN  ALASKA; 

THE  MINERS  RECEIVING  THE  KLONDIKE  BURLESQUERS 


My  favorite  gentleman — little 
three-year-old   William  Tucker 

brought  my  attention  to  how  nice  "daddy"  sounds.  When 
he  says  it  in  that  three-year-old  way  to  his  father,  Father 
Tucker  looks  about  at  those  near  with  one  of  those  "see- 
what-I-done"  expressions.  If  he  would  have  lived  during 
the  time  of  the  Montgolfieres,  who  made  the  first  balloons 
which  arose  by  means  of  air  heated  with  straw  fires,  he 
would  be  thought  to  be  blown  up  to  the  last  straw.  By 
the  way,  we  might  inflate  those  navy  balloons  by  getting 
a  bunch  of  fathers  together  at  the  hangar  and  have  their 
offspring  just  repeat  daddy  and  then  the  excess  proud 
fatherhood  gas  or  steam  could  be  piped  to  the  balloon  bags. 
Fathers  would  be  glad  to  do  it  for  nothing. 


FROM  SAM  T.  JACK'S  THEATRE,  NEW  YORK. 

No.  895. 

About    1896-98  when   movie   posters  were  only  6  by  8   inches 
in  size. 


Gold  is  a  glamorous  thing 
after  a  craftsman  gets  through 
making  a  wedding  ring  or  a 
twenty  dollar  goldpiece;  but  the 
bar  of  gold  that  the  miner, 
Vere  Clair,  took  out  of  his  mine 
was  as  unromantic  as  a  flat  tire 
on  the  Sunday  drive.  The  bai 
looked  like  a  cross  between  a 
chunk  of  anything  but  gold  and 
something  else. 
Disappointing!  When  I  first  saw  the  bar  on  the  day 
Clair  was  taking  it  out,  I  had  intended  to  give  him  an 
important  letter  to  mail  to  a  Gold-Digger  in  Hollywood, 
but  after  he  had  left  and  I  had  returned  to  the  cabin,  I 
found  in  surprise,  that  I  still  had  the  letter  in  my  hand. 
I  went  out  and  picked  up  a  rock  and  threw  it ! 


Hollywood  picture-doers  are  globe-trotting.  All 
the  studios  have  companies  on  location  in  the  oul- 
Iands  beyond  the  Hollywood  horizon.  Events  in 
their   natural   settings   rather   than   re-created   set- 

(Continued  on  Page  19) 


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September,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Nineteen 


tings  are  being  used.  The  trop- 
ical fruit  industry  of  Central 
America ;  Pendleton,  Oregon ; 
Pomona  Fair;  the  Hawaiian  Is- 
lands; Sequoia  National  Park; 
Annapolis;  the  far  north;  Rio  De 
Janiero  and  many  other  equally 
interesting  places  have  complete 
filming  companies  in  their  midst. 
Heretofor,  due  to  the  shortcom- 
ings of  the  sound  recording 
equipment,  it  was  impossible  to 
wander  far  from  the  sound 
stages;  but  due  to  many  recent 
improvements,  sound  has  weaned 
itself  and  is  now  ready  to  crawl 
from  its  crib.  It  seems  to  me,  the 
public  in  their  insistence  for  bet- 
ter pictures  pushed  the  crib  and 
its  spoiled  child  over. 


Some  of  the  young  boys  who  hang 
around  the  gates  of  the  studios  have  a 
new  racket.  They  flatteringly  ask 
stars  for  an  autograph  and  then  before 
the  tides  of  pleasedness  subside,  the 
acute  youngsters  sell  the  victim  a 
magazine. 


What 

Tucker's 


I     like    to    hear    is    Marie 
Come  to  dinner,  you  love- 


ly people."    Say,  that's  an  appetizer! 


Gus,  the  Gull,  informs  me, 
with  twinkling  eye,  that  he  may 
go  to  the  beach  next  Sunday.  I 
told  him  it  would  be  all  right  if 
he  did  not  annoy  his  movie  fans 
at  Malibu.  Gus  is  just  vain 
enough  to  think  that  he  could 
exchange  autographs  with  the 
stars. 


"Daddy,   what   did 
Great  Film  Strike?" 


you   do   in   the 


While  returning  to  Hollywood,  my 
time  was  taken  up  watching  the  some 
4003  sign-boards.  Unknowingly  I 
become  lonesome  for  them  and  I  in- 
dulged myself.  Before  reaching  town, 
I  had  decided  to  see  every  movie,  buy 
Burma  Shaving  Cream,  just  for  fun 
stop  at  a  few  different  hotels,  chew 
Wrigley's  Gum,  and,  in  short,  do  as 
the  sign-boards  advised.  I  was  sign- 
board conscious  until  I  reached  home, 
then,  I  found  that  the  N.R.A.  hadn't 
started  to  function  sufficiently  to  make 
my  dollar  worth  enough  to  carry- 
through  my  program. 


iheWorld 

with 

Post 


Let  the  intrepid  globe  flyer  tell 
you  in  his  own  words  why 
LEICA  was  the  only  camera 
carried    on    his    epochal    flight: 

"I  selected  the  Leica  as  the 
onlv  camera  to  carry  on  my 
round-the-world  flight  because  it 
ideally  combines  so  many  import- 
ant advantages.  It  is  the  one 
camera  I  could  depend  upon  for 
a  complete  photographic  record 
of    mv    round-the-world    flight." 


now 

eed 


offers  Qreatest  Range  o^  ^  Camera 


Now  the  LEICA  Camera  has  mastered 
the  complete  second !  For  the  first  time 
a  camera  with  a  focal  plane  shutter  makes 
possible  speeds  of  1,  l/2,  %,  and  Y%  sec- 
onds, including  all  intermediate  speeds, 
in  addition  to  the  regular  speeds  between 
l/20th  and  l/500th  seconds.  Instantly 
set  for  any  speed.  No  confusing  scales 
to  adjust. 

Accuracy  and  scope  of  shutter  per- 
formance that  is  unequaled  by  any  other 
camera  today.  Night  photography,  in- 
door, still  life,  portrait,  architectural, 
press  photography,  aerial  views,  action 
shots,  etc.,  have  broad  new  possibilities 
with  this  range  of  shutter  speeds,  espe- 
cially when  used  in  combination  with 
the  new  super  speed  films. 

New — Magnified  Focusing  Image 

A  new  optical  system  provides  for  the 
magnification     of     the     image     seen     in 


LEICA'S  built-in  range  finder  compen- 
sating for  differences  in  eyesight.  Other 
features : 

1.  Eight  interchangeable  lenses  ior  evciy 
photographic  need  (including  tele- 
photo,  speed,  wide  angle  lenses  and 
others). 

2.  Over  300  accessories  and  attachments 
to  choose  from. 

3.  Built  -  in  Short  Base  Range  Finder 
gives  you  perfect  focus  instantly.  No 
guesswork. 

4.  36  pictures  from  a  single  roll  of  stand- 
ard cinema  film.  (Sharp  negatives. 
Enlargements  up  to  12x18  inches). 

5.  Small,  light,  compact,  fits  the  pocket. 
Write     for     free     illustrated     booklet 

"Why  LEICA?"  describing  Models  D 
and  E,  also  booklet  1216  giving  complete 
information  about  Leica  Model  F. 


E.  LEITZ,  INC. 


60  East  10th  Street 


Dept.  355 


New  York 


However,  I  did  go  to  one  show.  Paramount  Pictures 
in  their  hunt  for  new  talent  have  stationed  an  emissary 
or  talent  spotter  in  the  lobby  of  the  Paramount  Theater. 
Many  others  besides  myself  hung  around  for  quite  awhile ; 
evidently  there  were  too  many  as  no  one  saw  me.  So  I 
saw  the  show. 


Harvey  Parry,  the  death-defying  stunt  man  at  Fox,  is 
worried  because  his  wife  is  going  to  divorce  him  if  he 
doesn't  give  up  his  dangerous  work.  He  says:  "Because 
I  risk  my  neck,  she  is  almost  too  nervous  to  do  her  own 
work."  She  works  with  Steve  Clemente,  who  is  a  knife 
thrower. 


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Twenty 


The      INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


"Reconstruction  Silencing" 

SOMETHING  DIFFERENT  IN  A  SOUND  RECORDING  CAMERA 


By  E.  T.  Estabrook 


"No  More  Blimps!" 

This  is  the  trade  slogan  of  the  corporation  now  build- 
in^  under  the  direction  of  Armin  Fried,  who  in  this  issue 
of  THE  INTERNATIONAL  PHOTOGRAPHER 
formally  offers  to  the  motion  picture  industry  his  newly 
invented  and  patented  method  of  what  he  terms  "recon- 
struction silencing"  as  applied  to  Bell  &  Howell  and 
Mitchell  cameras.  In  short  he  offers  practically  a  new 
professional  35  mm.  camera  which  by  reasonable  tests, 
outside  of  actual  production,  is  silent  and  which  meets 
all  the  requirements  of  sound   recording. 

Mr.  Fried  needs  no  introduction  to  the  motion  pic- 
ture industry.  He  has  long  been  a  motion  picture  engi- 
neer of  acknowledged  standing  and  technical  attainments 
and  is  especially  well  known  in  Hollywood  where,  for 
fourteen  years,  he  was  chief  of  the  camera  maintenance 


No.    1 — Lever    for    ground-glass    observations.      No.    2 — Focusing 

Knob.      No.   3 — Magnifying   Eye-Piece.      No.   4 — Motor   Adaptor. 

No.   5 — Shutter  Adjustment.     No.   6 — Focusing   Mark   for   lenses 

of  different  focal   length. 


and  research  department  of  the  Fox  Film  corporation 
and  inventor  of  many  improvements  and  devices  for  the 
camera. 

Ever  since  the  introduction  of  sound  into  the  motion 
pictures  Mr.  Fried  has  been  at  work  to  develop  his 
ideas  of  "reconstruction  silencing"  until  now  he  feels 
justified  in  proclaiming  his  success  by  formal  advertise- 
ment. 

Briefly  the  inventor's  method  is  as  follows  (and  to 
reconstruct  the  camera  does  not  take  long)  according 
to  Mr.  Fried: 

The  camera  to  be  treated  is  first  silenced  by  the 
Fried   method    and    a   specially   devised    optical   system    is 


installed.  This  permits  focusing  from  the  rear  without 
moving  a  lens    turret  or  shifting  the  camera  itself. 

An  outer  case  closely  following  the  lines  of  the 
camera  under  treatment  is  fitted  to  the  head  and,  when 
ready  for  operation,  measures  12x12x12  over  all,  not 
including  magazine,  and  weighs  87  pounds. 

This  outer  case  is  of  light  weight  metal  and  in  it 
are  contained  the  sound  absorbing  materials.  The  re- 
sult is  a  self-contained  unit,  attractive,  convenient,  easily 
portable,  entirely  controllable  from  the  outside  and,  once 
ready  for  operation,  does  not  need  to  be  removed  except 
in  case  of  necessary  repairs. 

In  appearance  the  reconstructed  camera  is  a  work- 
manlike job  as  may  be  noted  by  the  advertisement  on 
page  32  of  this  magazine. 

The  loading  of  the  camera  is  done  in  the  conven- 
tional manner,  while  lenses  can  be  changed  in  less  than 
a   minute  by  means  of   an  automatic  locking  device. 

The  usual  shutter  and  counter  markings  and  their 
adjustments  are  on  the  crank  side  of  the  camera.  The 
focusing  and  follow  focusing  device  is  operated  from  the 
rear  of  the  camera  and  a  metal  scale  corresponding  with 
the  footage  marks  on  the  lens  mount  with  its  indicator 
is  also  mounted  on  the  rear  wall.  All  knobs,  levers  and 
adjustments  automatically  disengage  when  not  in  use, 
thereby  preventing  the  transmission  of  sound  to  the 
outside. 

The  sunshade  is  provided  with  a  3  inch  square, 
optically  flat  glass  to  prevent  noise  transmission  at  that 
point  and  a  filter  may  be  substituted  for  this  glass  when 
it  is  necessary  to  use  one. 

There  is  a  built  in  anti-buckling  device  which  dis- 
connects the  motor  drive  instantly.  In  the  event  that 
the  motor  should  run  in  reverse  there  is  an  ingenious 
ratchet  device  which  prevents  any  possibility  of  damage 
to  the  camera. 

The  camera  may  be  cranked  by  hand  in  the  usual 
manner  wherever  necessary  and  last  minute  focal  and 
alignment  observations  may  be  made  before  shooting. 

The  optical  system  is  simple  and  easily  operated  as 
follows:  A  conveniently  located  lever  on  the  rear  wall 
of  the  box  enables  the  operator  to  focus  with  facility. 
A  turn  of  the  lever  moves  the  lens  directly  forward  and 
shifts  a  prism  into  perfect  alignment  behind  the  lens. 
Turned  in  the  opposite  direction  the  process  is  reversed 
and  the  camera  is  ready  for  action. 

Adjacent  to  the  focusing  lever  is  a  knob  for  follow 
focus  and  also  an  indicator  and  dial  with  technically 
precise  calibrations  for  the  lenses  of  different  focal  lengths 
to  be  used. 

It  is  important  to  note  that  in  this  method  of  focus- 
ing there  is  no  obstruction  of  any  kind  between  lens  and 
film  when  the  camera  is  in  photographic  position. 

While  the  Fried  "reconstructed"  camera  has  not  been 
seen  on  a  set  in  actual  operation  the  impression  it  leaves 
the  painstaking  observer  after  careful  visual  analysis  is 
that  this  newest  invention  is  extremely  practical,  fairly 
inexpensive  and  makes  it  possible  for  the  owner  of  either 
a  Bell  &  Howell  or  a  Mitchell  camera  to  easily  con- 
vert it  into  a  silent  camera. 


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September,  1933  The      INTERNATIONAL      PHOTOGRAPHER  Twenty-one 


EASTMAN   KODAK  COMPANY 

AND 

J.  E.  BRULATOUR,  INC 


Everything  You  Need  . . . 

.  .  .  comes  to  you  in  Eastman 
Super-sensitive  "Pan". .  .Versatility  that  virtually 
knows  no  bounds  . . .  Uniformity  you  can  bank 
on  every  day  in  the  year  . . .  Final  results  that  give 
expression  to  your  art  as  no  other  film  can.  You 
need  this  famous  Eastman  film  as  your  negative 
medium  . . .  Brulatour  service  comes  with  it,  free. 


EASTMAN    FILMS 


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Tzventy-two 


The      INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


The  Pursuit  of  Three 

Dimensional  Motion  Pictures 


By  Edward  H.  Kemp 


While  Thomas  Edison  was  at  work  on  the  invention 
of  practical  motion  pictures  his  chief  assistant  was  a 
young  Englishman  named  William  Dickson.  Writing 
on  the  subject  of  the  new  pictures  that  moved,  Dickson 
stated  in  1896:  "Projected  stereoscopically  ...  a  pleas- 
ing rotundity  is  apparent  which  in  ordinary  photographic 
displays  is  conspicuous  by  its  absence." 

That  this  announcement  was  premature  may  be  seen 
from  the  continued  efforts  thirty-seven  years  later  to 
achieve  the  successful  three  dimensional  picture.  Out- 
standing among  film  pioneers  who  wrestled  with  this 
problem  was  George  K.  Spoor,  the  "S"  of  the  famous 
"Essanay  Co.",  of  Chicago.  Spoor's  devotion  to  the 
stereo  idea  reputedly  cost  him  many  millions  of  dollars. 

Fifteen  years  ago  the  trade  journals  carried  stories 
that  Spoor's  optical  scientist,  a  Swedish  engineer,  had 
finally  surmounted  all  obstacles  and  the  perfect  stereo 
picture  was  at  hand.  But  repeated  assurances  that  the 
goal  had  been  reached  brought  no  pictures  to  the  public. 
At  length,  however,  came  the  news  that  the  world's  first 
stereoscopic  photoplay  was  about  to  be  produced  by  the 
Spoor  process,  a  patriotic  picture  entitled  "The  Flag- 
maker,"  starring  Charles  Ray,  and  to  be  directed  by  J. 
Stuart  Blackton.  Alas,  years  have  passed  and  apparently 
"The  Flagmaker"  has  not  yet  reached  the  second  di- 
mension, to  say  nothing  of  the  third. 

Color,  sound  and  depth  have  been  striven  for  since 
the  outset  of  picture  making  and  in  the  opinion  of  those 
picture  enthusiasts  who  constitute  an  optience  rather  than 
an  audience,  depth  or  stereoscopy,  is  the  most  important, 
although  of  the  three  adjuncts  it  has  proven  the  most 
elusive.  Color  work  has  advanced  until  we  are  able  to 
enjoy  productions  containing  approximations  to  natural 
color  which  are  as  beautiful  as  scenes  in  nature,  while 
the  attainment  of  fidelity  in  sound  has  lately  reached  a 
point  bordering  on  perfection.  But  the  stereoscopic  pic- 
ture is  still  in  the  limbo  of  things  to  come. 

It  may  be  of  interest  to  glance  retrospectively  at 
opinions  of  visual  phenomena  allied  to  stereoscopic  the- 
ories which  were  current  anterior  to  the  invention  of  mo- 
tion pictures.  George  Berkeley,  Bishop  of  Cloyne,  was 
the  discoverer  of  a  doctrine  which  upset  generally  accept- 
ed optical  theories.  This  doctrine  was  that  externality, 
distance  and  magnitude  are  not  direct  perceptions  of  the 
sense  of  sight,  but  are  judgments  based  on  natural  signs 
and  experience.  We  receive  through  the  eye  merely  a 
fund  of  colored  lines  and  points  and  these  have  an  optical 
existence  of  only  two  dimensions. 

That  is  to  say,  the  distance  from  an  object  to  us  is 
not  a  visible  thing  and  we  are  deceived  into  believing  we 
see  the  third  dimension  through  the  mental  action  of 
judgment  and  inference  based  on  an  object's  diminution 
of  apparent  magnitude,  i.e.,  linear  perspective,  or  based 
on  faintness  of  color  and  outline,  that  is,  aerial  perspec- 
tive. 

Actual  distance  and  position  are  revealed  exclusively 
by  the  sense  of  touch,  not  of  sight,  but  since  differences 
in  linear  and  aerial  perspective  commonly  accompany  the 
real  differences  of  distance  and  position,  the  mind  infers 
the  real  from  the  apparent  in  consequence  of  experience. 
To  quote  Berkeley:  "Distance  being  a  line  directed  end- 
wise to  the  eye,  it  projects  only  one  point  in  the  fund  of 
the  eye,  which  point  remains  invariably  the  same  whether 


the  distance  be  longer  or  shorter." 

Or  to  present  this  principle  another  way — distance 
between  objects  separated  in  the  field  of  vision  to  our 
right  and  to  our  left  is  represented  optically  on  the 
retina  as  horizontal  magnitude,  but  the  distance  of  an 
object  from  us  is  represented  optically  always  by  a  single 
point  presented  endwise  to  the  eye,  depending  not  at  all 
upon  the  measure  of  that  distance. 

Similar  opinions  were  partially  set  forth  by  John 
Locke  in  his  "Essay  on  the  Human  Understanding,"  al- 
though it  is  doubtful  if  he  was  aware  of  their  full  im- 
port. He  states:  "When  we  set  before  our  eyes  a  round 
globe  of  any  uniform  color,  for  example  gold,  alabaster 
or  jet,  it  is  certain  that  the  idea  thereby  imprinted  on 
our  mind  is  of  a  flat  circle,  variously  shadowed  with  sev- 
eral degrees  of  light  and  brightness  coming  to  our  eyes. 
But  we,  having  by  use  been  accustomed  to  perceive  what 
kind  of  appearance  convex  bodies  are  wont  to  make  in  us 
and  what  alterations  are  made  in  the  reflections  of  light 
by  the  difference  of  the  sensible  figure  of  the  bodies;  the 
judgment  presently,  by  an  habitual  custom,  alters  the 
appearances  into  their  causes ;  so  that,  from  that  which 
is  truly  a  variety  of  shadow  or  color,  collecting  the  fig- 
ure, it  makes  it  pass  for  a  mark  of  figure,  and  frames  to 
itself  a  perception  of  convex  figure  and  an  uniform  color ; 
when  the  idea  we  receive  from  thence  is  only  a  plane 
variously  colored." 

Dr.  Reid,  an  original  thinker  who  disagreed  with  al- 
most all  of  Locke's  fundamental  views,  is  in  complete 
accord  with  him  on  the  subject  of  vision.  "If  a  sphere 
of  one  uniform  color  be  set  before  me,"  says  Dr.  Reid, 
"it  is  certain  that  by  the  original  power  of  sight  I  could 
not  perceive  it  to  be  a  sphere,  and  to  have  three  dimen- 
sions, length,  breadth  and  thickness.  The  eye  origin- 
ally could  perceive  only  two  dimensions,  length  and 
breadth  and  a  gradual  variation  of  color  on  the  different 
sides  of  the  object.  It  is  experience  that  teaches  me 
that  the  variation  of  color  is  an  effect  of  spherical  con- 
vexity and  of  the  distribution  of  light  and  shade.  A 
sphere  may  be  painted  on  a  plane  so  exactly  as  to  be 
taken  for  a  real  sphere  when  the  eye  is  at  a  proper  dis- 
tance and  in  a  proper  point  of  view.  The  variation  of 
color  exhibited  to  the  eye  by  the  painter's  art  is  the  same 
which  nature  exhibits  by  the  different  degrees  of  light 
falling  upon  the  convex  surface  of  a  sphere." 

Also,  to  quote  Dugall  Stewart,  another  stalwart 
among  the  early  investigators:  "The  perceptions  of  sight, 
prior  to  experience,  convey  to  us  the  notion  of  extension 
in  two  dimensions  only,  and  give  us  no  information  con- 
cerning the  distance  at  which  objects  are  placed  from 
the  eye." 

These  theories,  as  outlined  above,  were  regarded  as 
a  permanent  and  positive  set  of  truths  by  the  inquirers 
of  that  period  until  Samuel  Bailey,  writing  in  the  West- 
minster Review  of  October,  1842,  attempted  to  refute 
Berkeley's  doctrine  and  to  expose  what  he  called  the  un- 
soundness of  "the  celebrated  speculation."  In  the  evi- 
dence cited  by  Bailey  to  prove  that  we  actually  see  dis- 
tance was  the  power  of  young  animals  born  with  their 
eyes  open  to  immediately  perform  purposeful  acts  with 
accuracy  before  they  can  have  derived  any  assistance  from 
the  sense  of  touch  or  muscular  feeling.  For  example, 
the    duckling    launches    itself    with    perfect    ease   on   the 


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September,  1933 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


Twenty-three 


surface  of  a  pond  as  soon  as  it  has  left  its  shell.  A 
young  crocodile,  the  moment  it  is  hatched,  will  bite  a 
stick  with  unerring  aim  if  it  be  presented  to  it.  Also 
young  goats  leaping  from  one  spot  to  another  with  the 
greatest  precision  show  that  there  "is  a  natural  consent 
of  action  between  their  limbs  and  their  eyes  and  that  they 
can  proportion  their  muscular  efforts  to  visible  dis- 
tances." 

More  than  all  this,  Bailey  argued  that  the  pheno- 
mena exhibited  in  the  hand  stereoscope  respecting  binocu- 
lar vision  is  conclusive  confirmation  that  we  are  able  to 
see  objects  in  three  dimensions  and  that  we  can  visualize 
distance.  In  answer,  the  supporters  of  the  Berkeleyan 
theory  replied  that  regarding  the  actions  of  newly  born 
animals,  it  is  possible  that  brutes  possess  instinctive  facul- 
ties which  are  denied  to  human  beings,  as  for  instance, 
through  intuitive  skill  bees  are  able  to  build  in  hexagons 
although  man  cannot.  And,  while  admitting  that  the 
pictures  in  a  stereoscope  make  us  appear  to  see  solidity, 
we  are  merely,  they  say,  beholding  a  flat  picture  which 
has  a  semblance  of  existing  in  three  dimensions.  It  is 
an  imitation  that  produces  precisely  the  same  sensations 
of  color  and  visible  form  which  we  habitually  experience 
when  viewing  a  solid  object. 

The  stereoscope  merely  gives  a  more  complete  illu- 
sion than  an  ordinary  picture  because  it  does  what  no 
ordinary  picture  can  do — it  allows  for,  and  imitates  the 
twa  different  sets  of  ocular  appearances  which  we  re- 
cede from  an  object  when  we  look  at  it  with  both  eyes. 
1  lus,  they  contend,  we  are  inevitably  brought  to  the 
ac  mission  that  our  perception  of  distance,  form  and  solid- 
ity are  inferences  rapidly  drawn  from  visual  impressions 
confined  to  two  dimensions. 

Theories  of  vision,  although  originally  the  province 
of  philosophers  exclusively,  gradually  received  attention 
from  psychologists  who  sought  to  extract  the  kernel  of 
truth  from  the  harvest  of  opposing  conclusions,  present- 
ed on  the  one  hand  by  the  thinkers  of  the  innate  or  intui- 
tive school  and  on  the  other  by  those  of  the  experience 
school,  part  of  which  confusion  was  no  doubt  due  to  the 
general  failure  to  discriminate  between  monocular  and 
binocular  vision. 

But  psychology  was  able  to  accomplish  but  little  in 
this  field  besides  analyzing  and  classifying  visual  aberra- 
tions together  with  promulgating  certain  laws  of  asso- 
ciation connecting  vision  with  automatic  or  reflex  action, 
and  establishing  the  vital  part  played  by  sight  in  the 
phenomena  of  expectant  attention. 

At  this  point  physiology  steps  in  and,  feeling  slighted 


at  the  lack  of  deference  shown  it  by  the  inquirers,  ex- 
claims: "Your  investigations  have  been  carried  on  in  the 
dark  and  are  only  empiric  guesses.  If  you  would  know 
why  and  what  we  see,  ask  rue  about  the  machinery  of 
vision,  about  the  delicate  cerebral  structures  of  inter- 
cranial  apparatus  which  transform  light  vibrations  into 
perceptions  of  sight!"  With  fair  hope,  then,  we  ask  the 
physiologist  to  describe  the  processes  and  equipment  of 
orthopia.     Which  he  does  as  follows: 

The  apparatus  of  human  vision  consists  of  five  sets 
of  organs  functioning  in   the  order  named. 

1.  The  eye,  with  its  lens,  iris,  retina,  and  other  struc- 


tures, 
2 
3 
4 


The  connecting  nerves  of   communication. 
The  tubercula  quadrigemina. 

The  cerebral  centers  of  vision  in  the  hemispheres 
called  the  angular  gyri. 

5.  The  gray  matter  of  the  frontal  convolution. 

The  tubercula  quadrigemina  are  four  small  bodies 
connected  with  the  muscular  apparatus  of  the  eye.  Hypo- 
thetically,  these  ganglia  are  supposed  to  preside  over  the 
sense  of  sight  through  muscular  control  of  the  optic- 
motor  action  which  follows  immediately  upon  impression 
of  light  on  the  eye.  An  instance  of  this  is  the  contrac- 
tion of  the  pupil  under  the  influence  of  excessive  light. 

The  angular  gyrus,  according  to  Ferrier,  is  a  section 
of  the  parietal  lobe  of  the  brain.  The  "seeing"  of  the 
angular  gyrus  consists  of  receiving  and  appropriately  dis- 
tributing the  visual  message  forwarded  by  the  tubercula 
quadrigemina. 

The  frontal  convolution  of  the  brain  is  the  assumcu 
residence  of  optical  intellection  and  it  is  here  in  the 
nuclei  and  investing  membranes  that  we  are  asked  to 
believe  that  the  sensory  stimulus  which  has  reached  com- 
pletion as  an  image  in  the  angular  gyrus,  finds  its  ideo- 
reality,  that  is,  becomes  an  idea. 

These  organs  are  composed  of  tissues,  fibres,  cells 
and  granules  which  endow  the  optical  organization  with 
secret  movements  and  powers  the  cause  of  which  we  do 
not  know  and  perhaps  never  can  know.  Lewes  says : 
"The  formation  of  an  image  on  the  retina  is  the  pre- 
cursor of  a  visual  sensation,  but  this  image  is  not  trans- 
mitted to  the  brain." 

Indeed,  the  exact  nature  of  the  visual  stimulation 
communicated  to  the  brain  through  the  medium  of  the 
above  listed  cerebral  telegraph  system,  is  not  disclosed 
by  any  anatomical  enumeration  of  organs  or  their  func- 
tions. Moreover,  in  view  of  the  unimpaired  visual 
(Turn  to  Page  31) 


r\)av\ab\c  flrca  t^ccorde^ 


K^omplek  equipment 

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CG.SlflNNEBMFG.CQ 
<fyO  Turk  St  OMmy  6909 

San  Francisco,  Ca\\€ 


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Twenty-four 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


September,  1933 


STORY  OF  THE  NEWSREEL 

(Continued  from  Page  4) 

In  the  summer  of  1905,  Colonel  William  N.  Selig, 
in  Chicago,  started  to  make  short  subjects  of  a  news 
nature.  They  were  in  the  form  of  fillers  for  his  regular 
program  pictures.  Due  to  Selig's  friendship  with  Mose 
Koenigsberg,  who  was  in  charge  of  the  news  affairs  of 
the  William  Randolph  Hearst  paper,  The  Chicago 
Evening  American,  a  connection  was  established  that 
eventually  led  to  the  formation  of  the  Hearst-Selig  news- 
reel. 

Like  the  Lumiere  Brothers,  Charles  Pathe  from  the 
first    made    pictures    that    were    along    topical    lines.      In 

1909,  he  crystallized  the  screen  news  idea  in  Europe  by 
the  introduction  of  a  full  reel  of  news  flashes.  It  was 
the  Pathe  Weekly.  It  had  the  famous  Pathe  Rooster 
trade  mark.  The  public  demand  for  news  presented 
with  the  facileness  of  the  screen  prompted  Pathe  to  estab- 
lish in  France  the  Pathe  Journal.  It  was  a  little  theatre 
devoted  entirely  to  the  newsreel. 

Pathe,  with  J.  A.  Berst  as  manager,  opened  an 
American  branch  at  Bound  Brook,  New  Jersey,  in  April, 

1910.  At  this  time  the  Pathe  Weekly  was  introduced 
in  the  United  States.  H.  C.  Hoagland  was  its  first 
editor,  and  J.  A.  Dubray,  who  may  be  said  to  be  the 
pioneer  cameraman  of  newsreeling,  was  its  first  camera- 
man. Mind  you,  that  was  in  1910  when  the  motion 
picture  was  indeed  still  young. 

The  newsreel  was  immediately  popular  here.  The 
pioneer  American  picture  men  had  tried  in  desultory 
attempts  to  dramatize  news  events  into  a  story.  Now 
came  the  Pathe  Weekly,  which  concentrated  on  news 
for  its  own  sake.  It  started,  in  this  country,  with  local 
news  around  New  York,  until  shortly  it  required  the 
services  of  additional  men.  Victor  Milner,  Faxon  Dean 
and  Eddie  Snyder  were  among  the  early  cameramen  as- 
signed to  newsreeling.  The  Pathe  Weekly  was  first  re- 
leased in  this  country  in  December,  1910,  and  became 
a  subsidiary  to  the  Pathe  Productions.  It  was  released 
over  the  entire  Keith-Albee  and  Orpheum  Circuits.  That 
was  a  distinct  advancement  for  the  news  idea ! 

By  1913  the  Pathe  staff  consisted  of  P.  D.  Hugon, 
the  manager;  Emanuel  Cohn  and  Al  Richard,  editors; 
besides  the  cameramen  already  mentioned,  Berton  Steene, 
Bill  Harrison  and  Ben  Strutman  were  the  staff  men. 
Besides  these  men  there  were  representatives  in  all  the 
key  cities. 

In  the  autumn  of  1911,  Edgar  B.  Hatrick  of  the 
Hearst  organization,  became  interested  in  the  possi- 
bilities of  a  newsreel,  but  he  met  with  the  disapproval 
of  the  Hearst  editors.  As  a  newsreeler  would  say,  his 
stuff  was  "in  the  alley,"  which  signifies  fi'm  which  is 
consigned  to  the  ash  can. 

However,  he  continued  dabbling  with  the  idea  by 
independently  making  short  news  subjects  until  the 
inauguration  on  March  4,  1913,  of  Woodrow  Wilson 
at  which  time  he  made  a  complete  reel  of  Wilson.  This 
was  distributed  through  arrangements  with  Harry  War- 
ner, who  was  later  to  come  into  the  limelight  with  the 
formation  of  Warner  Brothers  Vitaphone. 

Now  Colonel  Selig  again  came  into  newsreel  affairs 
with  the  making  of  "The  Sinking  of  the  Battleship 
Maine."  Hatrick  suggested  an  alliance  with  Selig.  Then 
came  a  day  when  Selig  went  to  New  York  to  close  a 
contract  with  Hearst.  Then  was  born  the  Hearst-Selig 
Weekly,  the  forerunner  of  the  International  Newsreel. 
Ray  L.  Hall  was  its  first  editor.  It  was  distributed 
by  the  Selig  Polyscope  Company  through  the  General 
Film  Company. 


At  this  time  the  Universal  Weekly  was  forming  in 
Chicago  with  Joseph  T.  Rucker,  U.  K.  Whipple  and 
Frank  Dart  on  the  camera  crew.  Shortly  after  Uni- 
versal the  Gaumont  Animated  Weekly  came  to  the  screen 
in  this  country.  The  first  Gaumont  editor  was  Pell 
Mitchell ;  its  first  cameramen  were  Larrv  Darmour  and 
Al  Goald. 


The  flight  in   1896  of  "The  Empire  State,  999"  created 

the  first  hair-raising  sensation  in  newsreel  history.    From 

the  original   Biograph  large  film. 

Newsreels  had  now  lost  their  swaddling  clothes; 
their  appetite  was  for  blood  and  thunder.  The  deeper 
flowed  the  blood  the  deeper  waded  its  cameramen.  They 
lived  for  the  scoops  they  could  score. 

At  this  period  such  men  as  the  famous  newsreeler, 
Merv  Freeman  got  his  start.  He  had  been  in  the  movie 
game  many  years.  In  1906,  he  had  been  a  projectionist 
at  the  Nicklette — a  five-cent  theatre — in  New  Orleans. 
That  was  the  time  when  it  was  necessary  to  turn  the 
projectors  by   hand   and   run   the   film   down   in   baskets. 

After  the  reel  was  through  the  audience  got  a  four 
minute  and  fifty-five  second  "intermission"  ;  at  least  that 
was  Merv's  record  of  rewinding  the  film  in  readiness 
for  the  next  show.  Then  he  worked  only  fourteen  hours 
a  day;  now  he  is  on  call,  as  are  all  newsers,  twenty-four 
hours  a  day,  ready  either  for  a  trip  to  the  Chinese  War 
or  just  down  to  the  train  to  "get"  a  celebrity.  Recently 
when  he  went  to  the  Orient  to  cover  the  war,  he  got 
a  wire  the  day  before  he  was  to  sail. 

His  "opposition,"  or  as  we  would  say,  some  of  his 
brother  newsreelers,  called  him  a  "dirty  double  cross- 
ing buzzard."  To  him  that  appellation  means  as  much 
as  a  decoration  does  to  a  soldier.  It  is  an  award;  he 
glories  in  its  distinction.  It  has  served  to  urge  him 
on!  It  means  that  he  always  puts  the  picture  "in  the 
box"  regardless  of  the  means  required  to  do  it.  He 
serves  the  public  with  news  while  it's  hot.  And  for 
that  his  brothers  call  him  names! 

George  J.  Lancaster,  with  a  merry  eye,  recalls  the 
time  the  Secret  Service  were  called  to  the  wharf  in 
Frisco  in  1915.  With  true  newsreel  spirit,  Lancaster 
held  on  to  the  camera  leg  so  the  opposition  camera  would 
not  fall  into  the  water,  while  pushing  his  opposition, 
Jean  Castle,  overboard.  Lancaster  got  his  picture  while 
Castle  got  only  $75  for  a  new  suit  of  clothes. 

And  it  was  forgivable  when  it  was  known  that  "all's 
fair,  etc.,"  in  their  pursuit  of  hot  news. 

And  then,  there  is  the  Newsreel-hound  "Micky."  He 
is  a  newsreel  personality.  He  is  the  dog  mascot  owned 
by  R.  B.  Hooper,  who  was  the  noted  Kinegram  newser 
when  Kinegram  was  in  its  heyday.  But  returning  to 
this  dog  character,  he  has  gathered  fleas  from  all  ports 
in  his  22,000  miles  of  globe  trotting.  He  has  been  in 
both  the  highest  elevation  in  an  airplane  and  the  lowest 
in  a  submarine.     Like  his  master,  he's  a  newsreel  hound. 


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September,  1933 


The       INTERNATIONAL   PHOTOGRAPHER 


Twenty-fa 


Now  comes  the  affairs  of  the  war. 
The  Pathe  and  Heart-Selig  were  out- 
standing in  their  war  among  them- 
selves in  their  attempt  to  get  the  news. 
They  used  "scoop  news"  on  their  op- 
position for  explosions ;  a  can  a  film 
from  some  pet  battle  would  give  their 
opposition  shell  shock.  To  get  a  pic- 
ture of  a  German  retreat — or  an  ad- 
vance for  that  matter — was  worth  the 
sacrifice  of  at  least  an  arm.  It  would 
give  the  opposition  newsreel  several 
days'  setback  ;  several  of  the  opposi- 
tion necks  would  be  risked  among 
the  Big  Berthas  in  an  attempt  to 
better  it.  They  haunted  the  Ger- 
man machine  gun  nests  —  camera 
shooting;  anything  in  order  to  tell 
what  England  and  France  were  doing 
to  Germany  and  visa  versa. 

On  April  6.  1917,  the  United 
States  declared  war  on  Germany. 
George  Creel  was  appointed  chairman 
of  the  committee  that  organized  the 
Department  of  Public  Information. 
Their  job  was  selling  the  war  to 
America.  It  was  a  difficult  assign- 
ment to  be  both  censor  and  press 
agent  in  the  war.  American  setbacks 
were  not  to  be  shown  and  their  ad- 
vances were  too  fast  for  even  the 
speedy  newsers.  So  news  in  many  in- 
stances was  manufactured.  Night 
scenes  shown  on  the  screen  sometimes 
were  negatives  rather  than  positive 
prints.  The  news  had  to  be  padded 
and  faked.  The  war  pictures  were 
made  for  a  time  by  a  handful  of 
cameramen  in  the  Signal  Corps. 

Among  others,  Larry  Darmour,  Merle  La  Voy,  Don- 
ald Thompson,  Ash  Meade-Bartlett  and  Arial  Varges 
will  go  down  in  history  as  the  news  cameramen  who 
cared  little  for  their  necks  during  the  war.  That  for 
the  war. 

Time  passes.  In  June,  1927,  Emanuel  Cohen  and 
Al  Richard  left  Pathe  Weekly  and  organized  the  Para- 
mount News  with  offices  in  the  Paramount  Building, 
544  West  43rd  St.,  New  York.  With  them  went 
many  of  the  ace  news  men,  who  were  the  pioneers  in 
newsreeling.  Paramount  News  swept  the  world  like  a 
storm.  The  Paramount  men  trekked  the  outlands  and 
reported,  besides  news,  those  things  not  generally  known, 
those  quaint  habits  of  other  peoples,  bringing  to  the 
screen  a  liberal  education  in  ethnology  and  geography. 
They  covered  many  earlier  events,  one  of  their  im- 
portant early  reels  was  the  Dole  Flight  to  Honolulu. 
S.  D.  Greenwald,  R.  J.  Johnson  and  R.  J.  Joverman 
were  assigned  to  this  and  they  did  the  job  well.  They 
were  the  only  reels  that  "got"  the  crack-up  of  Capt. 
Trwin's  plane. 

Though  they  reported  the  Byrd  Antarctic  Expedition, 
Joseph  T.  Rucker  and  Willard  Van  Der  Ver  were  the 
men  that  did  this  and  for  it  they  received  an  Academy  of 
Motion  Picture  Arts  &  Sciences  award. 

A  newsreel  story  would  not  be  complete  without 
mention  being  made  of  the  Pathe  scoop  by  Will  E. 
Hudson  of  the  Wilkins  Arctic  Expedition  in  1927;  or 
of  the  Paramount  scoop  in  1927  by  George  J.  Lancaster 
of  the  famous  caribou  migration  in  the  Yukon.  Lan- 
caster won  the  race  to  the  screen  over  Harry  Kluver 
of  the  International  News  only  after  many  difficulties 
in  the  frozen  north. 


THE 

WILLO 
EFFECT 
MATTE    BOX 

enables  the  Amateur  picture  taker  to 
get  professional  results 


It  fits  any  make  ot  16  m/m  or  35  m/m  movie  camera — 
or  any  still  camera  whose  lenses  do  not  measure  over  1 5/g 
inches  diameter — and  it  produces  the  beautifully  diffused 
effects  that  one  sees  on  the  professional  screen. 

Six  gauze  mattes  are  supplied  to  produce  different  degrees 
of  diffusion — from  very  light  (for  long  shots  and  land- 
scapes)   to  heavy    (for  close  up  heads,   etc.) 

The  Willo  Effect  Matte  Box  is  extremely  light,  yet 
sturdily  and  compactly  built.  It  is  designed  to  hold  2 
inch  square  filters  which  can  be  used  together  with  gauze 
matte. 


WILLOUCHBYS 


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including  six 

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$ 


5.50 


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New  York  City 


Too,  a  story  of  the  newsers  would  be  incomplete 
without  mention  made  of  Ray  Fernstrom.  One  "beat" 
scored  by  him  that  stands  out  in  the  memory  of  theatre 
audiences  was  his  2400  mile  flight  starting  on  April  20, 
1928,  to  cover  the  arrival  of  the  German  airship  Bremen, 
in  the  first  flight  of  its  kind  across  the  Atlantic.  Re- 
gardless of  snows,  blizzards,  unstopped  by  the  furies  of 
Labrador  storms,  he  broke  through  first  to  interview  the 
Germans.  He  got  the  only  pictures.  He  was  offered 
$25,000  for  an  interview  by  an  opposition  newspaper. 

With  the  introduction  of  sound  in  1927-28  the  whole 
of  newsreeling  was  changed.  It  was  then  a  race  to  the 
ends  of  the  world  between  sound  trucks  and  sound 
cameras.  Though  the  spirit  behind  the  race  was  the 
same,  new  difficulties  were  presented.  They  were  sur- 
mounted. 

The  first  sound  newsreel  was  the  Fox  Movietone 
News.  The  first  showing  of  this  sound  was  a  cycle  of 
songs  sung  by  Raquel  Meller  which  was  released  in  con- 
junction with  "What  Price  Glory,"  on  January  21,  1927. 
The  sound  had  been  perfected  by  Theodore  Case. 

Sound  had  at  last  arrived !  Within  a  year  the  screen 
was  quite  a  noisy  affair.  But  that  passed  quickly;  sound 
improved. 

The  newser's  common  enemy  is  whoever  interferes 
with  his  pictures ;  his  personal  enemy  is  the  opposition 
reel.  To  get  by  a  patrol  cop  they  will  get  together  and 
start  a  rumpus  somewhere  in  the  neighborhood  and  when 
the  cop  comes  to  investigate  they  will  sneak  past  the 
lines,  but  behold,  the  struggle  among  themselves  after 
the  photographing  starts. 

Thev  are  a  wonderful  bunch ! 


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Twenty-six 


The      INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


HOLLYWOOD'S    ALLIED    INDUSTRIES 


THE  LEICA  DATA  BOOK 

The  Leica  Data  Book  by  Karl  A.  Barleben,  Jr., 
F.R.P.S.,  is  on  the  stands  at  50  cents  a  copy.  It  is 
from  the  press  of  the  Fomo  Publishing  Company  of 
Canton,  Ohio,  and  lives  up  to  its  advance  notices.  Be- 
tween its  covers  is  a  liberal  education  in  Leica  camera 
lore  and  its  author,  Mr.  Barleben,  has  presented  his 
material  in  convenient  and  attractive  form.  This  little 
brochure  is  the  best  thing  of  its  kind  and  nobody  inter- 
ested in  the  Leica  should  be  without  it. 


E.  R.  P.  I.  SIGNS  CODE 

Electrical  Research  Products  have  signed  the  Presi- 
dent's Re-employment  Agreement,  Vice-President  H.  G. 
Knox  stated  recently. 

Electrical  Research  Products  is  a  subsidiary  of  West- 
ern Electric  Company  which  had  previously  signed  the 
agreement. 


FILMOTYPE 

For  owners  of  Filmo  70  type  cameras  who  wish  to 
experiment  with  their  own  16  mm.  sound  recording 
equipment,  Bell  &  Howell  Company  will  install  syn- 
chronous motors  on  such  cameras.  If  the  camera  is  not 
already  equipped  with  a  hand  crank,  that  must  be  in- 
stalled. A  flexible  cable  to  connect  the  hand  crank 
shaft  to  the  motor  to  eliminate  vibration  is  also  avail- 
able. 


BELL  &  HOWELL  SIGN   UP 

Bell  &  Howell  Company  has  signed  the  President's 
blanket  code  for  industry  and  therefore  is  entitled  to  use 
the  NRA  membership  symbol  in  its  advertising  and 
printed  matter. 


BIG  MOVIE  PROGRAM 

With  a  battery  of  75  portable  16  mm.  sound-on-film 
projectors,  just  purchased  from  Bell  &  Howell  Com- 
pany, the  Plymouth  Motor  Corporation  is  embarking  on 
its  most  ambitious  program  of  selling  via  movies. 

Seven  one-thousand-foot  pictures,  built  for  the  most 
part  around  human  interest  and  dramatic  stories  illus- 
trating the  advantages  of  the  Plymouth  car,  will  be  used 
with  the  projectors. 


DISTINGUISHED  VISITOR 

Hollywood  was  recently  honored  by  a  visit  from  Sir 
Benjamin  Fuller,  who  with  his  brother  is  the  leading 
film  figure  in  Australia  with  headquarters  in  Sydney, 
Australia.  The  firm  name  is  Ben  &  John  Fuller 
Theatres,  capital  500,000  pounds.  Sir  Benjamin's  or- 
ganization owns  17  theatres  in  Australia,  20  in  New 
Zealand  and  controls  56  houses  in  various  parts  of  Aus- 
tralia. It  is  said  that  this  great  organization  paid  M-G-M 
alone  for  film  last  year  $205,000  for  two  theatres. 


STANDARD  SOUND 

The  Standard  Sound  Recording  Corporation,  headed 
by  Jack  Miner,  with  studios  at  220  East  38th  Street, 
New  York  City,  has  become  a  Photophone  recording 
licensee,  it  was  announced  from  the  New  York  offices 
of  the  RCA  Victor  Company.  Under  the  terms  of  a 
new,  limited  license  agreement,  a  complete  Photophone 
High  Fidelity  recording  system  mounted  on  a  mobile 
truck  becomes  available  to  the  licensee  for  its  sound 
recording  requirements  for  a  stipulated  period  during 
the  year. 


GOING  IN  FOR  PICTURES 

We  are  pleased  to  learn  that  Motor  Boat  Magazine, 
edited  by  Gerald  Taylor  White,  will  include  a  photo- 
graphic department  commencing  with  the  September  issue. 
Motor  Boat  Magazine  was  one  of  the  first  publications 
in  its  field  and  is  now  again  leading  the  way  in  includ- 
ing a  photographic  department.  It  is  well-known  that 
yachtsmen  are  ardent  photographers,  and  a  department 
devoted  to  photography  in  a  boating  magazine  is  a  logical 
combination.  The  new  department  is  to  be  edited  by 
Karl  A.  Barleben,  Jr.,  who  is  well  known  for  his  work 
in  the  various  photographic  publications. 

Photographers  are  invited  to  read  Motor  Boat  Maga- 
zine and  lend  it  their  support.  It  may  be  secured  at  all 
news  stands  at  twenty  cents  a  copy.  Credit  is  due  to 
Mr.  White,  the  editor,  for  having  the  far-sighted  vision 
to  realize  the  close  connection  between  photography  and 
yachting. 


S.  M.  P.  E.  FALL  MEETING 

The  Fall  meeting  of  the  Society  of  Motion  Picture 
Engineers  will  be  held  at  the  Edgewater  Beach  Hotel 
in  Chicago,  October  16,  17  and  18,  according  to  an 
announcement  of  the  Board  of  Governors  of  the  Society. 

This  will  be  the  third  meeting  of  the  Society  to  be 
held  in  Chicago,  the  first  having  been  held  there  in  1917, 
the  second  nine  years  ago.  Chicago  is  an  ideal  selec- 
tion this  year,  according  to  the  board,  since  members 
may  visit  the  Century  of  Progress  Exposition  while  at- 
tending the  convention,  and  because  of  the  unusually  low 
transportation  rates  being  offered. 

A  feature  of  the  meeting  will  be  the  announcement 
and  inauguration  of  the  newly  elected  officers  of  the 
Society.  The  semi-annual  banquet  will  be  held  Tuesday 
evening,  October   17. 


WILLOUGHBYS  CATALOGUE 

Willoughbys  16  mm.  catalogue  is  off  the  press  and 
may  be  had  by  writing  to  Willoughbys,  110-114  West 
32nd  Street,  New  York  City. 

It  is  an  interesting  little  booklet  of  twenty-seven  pages 
and  every  page  of  it  is  filled  with  information  about  16 
mm.  that  devotees  of  the  amateur  equipment  can  use  in 
their  business. 

This  time  honored  and  widely  known  organization 
allows  ten  days'  trial  on  any  camera  or  projector  pur- 
chased from  its  shelves  and  every  item  is  sold  on  guar- 
antee. Willoughbys  can  outfit  the  tourist  promptly  and 
satisfactorily  and  is  justly  celebrated  as  one  of  the  great 
photographic  supply  concerns  of  the  world. 


BUSINESS  IS  GOOD 

Artreeves,  otherwise  the  Hollywood  Motion  Picture 
Equipment  Co.,  Ltd.,  report  the  sale  of  their  famous 
Lito  Test  Machine  to  Dai  Nippon  Celluloid  Com- 
pany, of  Tokio,  and  to  Jorge  Stahl,   Mexico  City. 

This  enterprising  firm  further  reports  that  the  out- 
look for  foreign  business,  especially  in  the  Orient,  was 
never  so  promising. 


RUNS  FROM  GOLD  RUSH 

Friend  Baker,  camera  expert,  spent  July  and  August 
in  Vancouver,  British  Columbia,  shooting  shots  for  the 
Canadian  Adventure  Pictures  Company,  Ltd.  The  first 
was  the  story  of  a  boy's  life  among  the  Squamish  In- 
dians. The  second  was  a  scenic  of  Vancouver  harbor 
entitled,  "The  Table  at  the  Bottom  of  the  Sea."  Mr. 
Baker  reports  a  gold  rush  on  as  he  left  for  Hollywood. 


Please   mention   The    International    Photographer   when   corresponding   with   advertisers. 


September,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Tiuenty-seven 


ARTREEVES  BULLETIN 

A  month  ago  Art  Reeves  of  ARTREEVES  hooked 
up  his  dog  team,  loaded  mother  and  the  girls  into  the 
ole  sled  and  mushed  away  to  the  Century  of  Progress 
at  Newsreelville,  otherwise  yclept  Chicago. 

There  the  Reeveses  were  met  by  a  reception  com- 
mittee composed  of  Author  Gene  Cour  and  Bill  Strafford 
of  666  and  Antonio  Caputo,  of  the  "Valley"  and  all 
points  north,  east,  south  and  west. 

The  Fair  is  located  in  Chicago's  front  yard  and  the 
committee  at  once  escorted  the  Reeves  family  to  the  Big 
Show  and  proudly  exhibited  to  them  a  thermometer  200 
feet  high  and  showing  84  degrees  of  heat  at  midnight. 
While  mother  and  the  girls  were  looking  at  the  fall 
styles,  Mr.  Cour,  having  a  lot  of  passes  to  all  conces- 
sions, took  the  genius  of  "Artreeves"  to  see  the  free  shows 
and  treated  him  to  a  seance  with  Amos  'n'  Andy. 

This  night  was  the  time  of  the  big  take-off  by  Cap- 
tain Settle  for  the  photosphere  and,  to  see  the  event  with 
eclat,  the  committee  took  Mr.  Reeves  to  the  roof  of  the 
Hotel  Stevens,  twenty-nine  floors  up.  The  flight  was 
scheduled  for  8:30  but  it  was  3:10  a.  m.  before  the 
newsreel  fiends  got  through  photographing  the  show  and 
by  that  time  Capt.  Settle  was  so  weak  that  when  he 
pulled  the  valve  cord  to  descend  a  few  feet  he  couldn't 
let  go  and  the  balloon  returned  to  Chicago. 

All  in  all  it  was  worth  going  to  Chicago  to  see, 
especially  the  Hall  of  Science,  the  Electrical  Building, 
the  Palace  of  Transportation  and  the  handsome  hypo 
gang  at  Daily  Newsreel  lab. 


R-C-A-VICTOR 

The  first  of  a  series  of  shorts  featuring  radio  and 
stage  personalities  scheduled  for  production  by  the  newly 
formed  Magna  Pictures  Company  headed  by  Meyer 
Davis  and  Monte  Shaff,  was  completed  on  the  Hudson 
River  Showboat  Peter  Stuyvesant  last  week  under  the 
direction  of  Alexander  Leftwich.  The  sound  was  re- 
corded by  RCA  Victor  High  Fidelity  apparatus  mounted 
on  a   Photophone  truck. 


6500  EMPLOYEES 

The  RCA  Victor  Company,  Inc.,  at  Camden,  New 
Jersey,  manufacturers  of  radio  apparatus,  has  signed 
the  President's  blanket  N.  R.  A.  code  pending  revision 
and  final  acceptance  by  the  government  of  a  code  for  the 
radio  industry,  Mr.  E.  T.  Cunningham,  president  of 
the  company,  announced  recently. 

The  RCA  Victor  Company  employes  approximately 
6500  persons  in  its  factory,  laboratory  and  offices  at  Cam- 
den as  well  as  branch  offices  throughout  the  county.  To 
the  limits  of  its  ability,  this  company  has  always  at- 
tempted to  bolster  purchasing  power  by  maintaining  a 
wage  scale  consistent  with  the  traditions  of  leadership 
in  the  radio  manufacturing  field,  Mr.  Cunningham  said. 
He  declared  he  was  heartily  in  agreement  with  the 
President's  recovery  program  and  welcomed  the  oppor- 
tunity to  enroll  the  RCA  Victor  Company  under  the 
banner  of  the   Blue   Eagle. 


ARROUSEZ  RETURNS 

According  to  prominent  electrical  engineers  of  the 
motion  picture  industry,  the  Monarch  sound  projector 
recently  introduced  by  Frank  Arrousez  is  the  last  word 
in  sound  projection  achievement. 

The  equipment  was  developed  and  is  being  built  by 
Mr.  Arrousez,  who  as  sales  manager  of  the  Monarch 
Sound  Corporation,  has  given  more  than  three  years  to 
perfecting  the  projector. 

The  popular  Laco  Lites,  standard  equipment  in  our 
prominent  studios  are  products  of  Mr.  Arrousez's  engi- 
neering skill  and  he  assures  the  industry  that  the  same 
advanced  features  and  high  standard  of  quality  that  made 
Laco  products  the  choice  of  exacting  studio  technicians 
are  incorporated  in  the  Monarch  Sound  Projector. 

The  new  concern  will  maintain  offices  and  a  show 
room  at  5951  Santa  Monica  Boulevard.  Mr.  E.  C. 
Lowney,  a  prominent  figure  in  the  commercial  world, 
having  been  associated  with  a  number  of  larger  eastern 
manufacturing  enterprises,  is  president  of  the  corpora- 
tion. 


"SOLITE    ...    The     Unit     With     An     Optical     System" 


Give   Your   Subject   Professional  Lighting   With 
—    -*pr>]  Solite's  Professional  Units 


It's  penny  wise  and  pound  foolish  to  spend  good  money  on  a  fine 
camera — then  economize  unwisely  on  indoor  illumination  equip- 
ment. Listen  to  the  EXTRA  values  jour  money  buys  in  a 
SOLITE  UNIT  REFLECTOR:  a  lighting  unit  exactingly  engi- 
neered by  a  leading  lighting  technician.  Equipped  with  mirror 
lens  that  concentrates  and  multiplies  light  output.  Uses  long- 
life,  powerful  T20-500  watt  bulb  .  .  .  assures  against  rapid  loss 
of  illumination  efficiency.  SOLITE  UNITS  are  self-contained. 
Use  one  or  a  dozen  on,  the  same  Solite  Tripod!  Built  ruggedly 
for  a  lifetime.  PRICES:  Solite  Rebector,  $7.50;  with  Jr.  Tripod. 
$11.  Solite  Kit,  with  3  Solites,  2  tripods,  2  cables,  complete  in 
case,    $42.50. 

Ask  About  the  New   Solite 
CONCENTRATOR  LENS 

Gives  perfect  diffusion  without  loss  of  light.  Makes  indoor  color 
pictures  easy.     Fits  any  Solite.     Price  each,  $3.50. 

(All    prices    slightly    higher   West   of   Rockies) 

Write  for  full  information   to 

SOLITE  SALES  COMPANY 


1373    SIXTH   AVE. 


NEW  YORK 


Phantom    view    SOLITE    REFLECTOR 

showing      special      Ventilating      Feature 

that   assures    maximum    bulb    life. 


DEALERS   NOTE: — We   will   be  compelled   to  increase   prices 
October   1st.      Place   your  orders  early! 

SOLITE  REFLECTORS 

Preferred   by    the    "Light-Wise"    From    Coast    to    Coast 


SOLITE    REFLECTOR,    showing 
mirror  lens  that   concentrates  and   multi- 
plies  light   output. 


Please   mention   The    International    Photographer   when   corresponding  with   advertisers. 


:  nty-eight 


T  h 


INTERNATIONAL      PHOTOGRAPHER  September,  1933 


THE   STUDIO  TROUPE 

"The  Studio  Chase  Troupe"  has  been  organized  in 
Hollywood  by  an  association  of  stunt  and  trick  men 
led  by  Ernie  Crockett  and  Hubert  Diltz,  pioneers  for 
many  years  in  this  particular  type  of  filming. 

Other  members  of  the  newly  organized  company 
are  Bobby  Dunn,  Joe  Bordeau,  Ernie  Alexander,  Spencer 
Bell,  Charlie  Phillips.  Al  Mazola,  Jimmie  Campbell,  Bob 
Card,  Rost  Park,  Teddy  Mangean,  Dick  Dickerson, 
Buddy  Mason,  Bimbeau,  Tom  Foreman,  Pete  Morrison 
and  Eddie  Brandenberg.  Needless  to  say,  they  require 
no  introduction  as  they  are  the  pioneer  and  ace  stunt 
men    in    the    business.      The    Studio    Chase   Trouoe    wi'l 


specialize  in  chases,  stunts,  trick  photography,  special 
effects,  stock  shots  and  spot  locations  and  are  especially 
equipped  to  do  any  kind  of  under  water  photography. 

Thrills  that  have  been  termed  impossible  were  made 
possible  by  the  many  years  experience  of  Crockett  and 
Diltz  and  the  competent  and  courageous  stunt  men 
whose  names  appear   upon  the  roster. 

At  last  stunts,  tricks  and  chases  are  on  the  him 
market  at  so  much  and  no  longer  do  the  busy  studios 
need  to  worry  about  some  stunt  that  can't  be  done. 

All  the  producer  has  to  do  now  is  to  reach  for  his 
telephone,  call  "The  Studio  Chase  Troupe"  and  forget 
it.     The  S.  C.  T.  will  do  the  rest. 


DeVRY  QUALITY  GUARANTEES    DEPENDABLE  LIFETIME   SERVICE 

NEW  DEVRY   1934  MODELS 


DeVry     Sound     Recording     Camera     for     Double     or 
Single  Recording  and  Bi-pack  color  Recording. 

Magazine  accommodates  four  400  ft.  reels — also  1000  ft. — also  for 
bi-pack  color  recording.  Complete  outfit  including  amplifier,  stor- 
age battery,  B  battery,  Eliminator,  glow  lamp,  tripod,  1  dynamic 
full  range  microphone  and  1  carbon  microphone,  weighs  less  than 
165    lbs. 


DeVry    Portable    Souiid-on-Film    Projector — Straight 
Feed  Model. 

Film  path  in  one  plane  direct  from  feed  reel  on  top,  to  takeup 
reel  below.  Top  magazine  fits  in  case  for  carrying.  The  whole 
equipment  in  two  convenient  cases — includes  amplifier,  loud  speaker, 
microphone   and   phonograph   sockets,    weighs   74   lbs. 


All  major  industries  are  resorting  to  sound  movies  in  sales  and  advertising.    Are  you  equipped  to  cash  in  on  this  business? 

Look    in    your    Telephone    Directory    or    write    us    for    names    of    Def'ry    dealers    ana*    service    in    principal    cities. 


HERMAN  A.  DEVRY 


1111  CENTER  ST. 


CHICAGO,  ILL. 


Educational  Project  -o  Film  Company 

Southern  California  DeVRY  Dealer 


1611  Cahuenga  Blvd. 


DeVry   Sound   Equipment  —  Sale   or   Rent 

HEmpstad  7373  Hollywood,  Calif. 


Please   mention   The    International    Photographer   when   corresponding   with   advertisers. 


September,  1933 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


Twenty-nine 


This  is  the  sixth  installment  of  the  Cinematographer's 
Book  of  Tables  compiled  and  computed  by  Mr.  Fred  Wester- 
berg,  one  of  the  technical  editors  of  THE  INTERNATIONAL 
PHOTOGRAPHER. 


Cinematographer's 

BOOK  of 
TABLES 

By  FREE)  WESTEHBERG 


There  are  several  more  installments  to  come,  concluding 
with  the  November  issue,  1933,  and  when  completed  the  tables 
will  constitute  a  handy  reference  guide  welcome  to  all  cinema- 
tographers,  professional   and   amateur. 

Take  note  that  the  tables  are  so  placed  in  the  magazine 
as  to  be  easily  cut  out  and  bound  into  a  small  pocket  ring 
book.  Cut  down  the  middle  of  page  29;  then  trim  top  and 
bottom  to  fit  your  cover;  punch  holes  to  fit  rings  on  inner  and 
outer  edges  of  magazine  pages  29  and  30.  When  all  tables 
have  been  bound  into  your  ring  book  the  pages  will  number 
from  1  to  32  inclusive  with  complete  index  unless  others  are 
added. 


22 


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Thirty 


The      INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


PIONEER  GOES  TO  HIS 
LONG  HOME 

The  sudden  death  of  Mr.  Archibald  H.  Van  Guysling 
at  his  home  in  Los  Angeles,  California,  August  6,  from 
heart  attack  removes  one  of  the  early  outstanding  figures 
in  the  moving  picture  industry  of  Southern  California. 

Born  in  Albany,  New  York,  January  10,  1871,  he 
was  a  descendent  of  the  fifth  generation  of  Elias  Van 
Guysling  who  arrived  in  New  Amsterdam  April  15,  1660, 
from  Zealand,  Holland,  one  of  the  early  Patroons  of 
New  York  City. 

He  arrived  in  Los  Angeles  in  March,  1893,  and 
later  located  with  his  family  here.  In  1904,  upon  the 
advice  of  his  brother,  Mr.  G.  E.  Van  Guysling,  who 
at  the  time  was  general  manager  of  the  old  Biograph 
Company,  at  11  East  14th  Street,  New  York  City,  he 
went  east,  spending  a  year  there  in  familiarizing  him- 
self with  the  moving  picture  industry.  Returning  to 
Los  Angeles  he  became  associated  with  Mr.  Otis  M. 
Gove,  a  photographer  of  outstanding  ability,  and  they 
opened  a  branch  at  2623  West  Pico  Street,  Los  Angeles, 
under  the  name  of  the  American  Mutoscope  and  Bio- 
graph   Company. 

The  first  moving  picture  made  on  the  West  Coast 
for  general  exhibition  service  they  shot  June  10,  1906, 
at    Plummer's    Rancho    in    Colegrove    at    Santa    Monica 


Boulevard  and  Vista  Streets  in  the  present  Hollywood, 
this  occasion  being  the  annual  field  day  of  the  Vaquero 
Club  of  which  Mr.  Van  Guysling  was  a  member.  This 
event,  in  greater  details,  presenting  titles  of  moving  pic- 
tures and  productions  with  names  of  parties  participat- 
ing, etc.,  was  covered  in  THE  INTERNATIONAL 
PHOTOGRAPHER  of  June,  1932. 

Mr.  Van  Guysling  retired  from  active  business  some 
years  ago  to  devote  his  last  years  to  his  family  circle. 
He  was  a  member  of  the  Holland  Society  of  New  York, 
Golden  State  Lodge  No.  358  F.  &  A.  M.,  Los  Angeles 
Consistory  S.  R.  32.  His  funeral,  held  August  8  at 
Pierce  Brothers'  Mortuary,  under  auspices  of  the  Ma- 
sons, was  largely  attended ;  burial  in  his  family  lot  at 
Inglewood  Park  Cemetery.  Deceased  left  wife,  two 
daughters  and  a  son,  all  married,  to  mourn  his  loss. 


DO  YOU  KNOW 

[Back   Flow  from    Out  of  Focus) 

That  this  department  supports  the  N.  R.  A.  and  does 
not  hire  child  labor;  though  at  times  it  may  seem  as 
if  a  child  were  writing  it. 

That  CHUCK  GEISSLER  donates  the  following: 
"Hallejuha!     I'm  a  dime  again,"  as  sung  by  the  dollar. 

That  I  have  been  in  a  jurisdictional  dispute  and  have 
been  locked  out  since  last  September. 

That  I  wonder  if  anyone  sent  for  the  free,  week's 
trial  of  Normalettes. 


21 


SENSITOMETRY 


CONVERTING   DENSITY   READINGS  TO  GAMMA. 

GAMMA   READINGS   FOR   USE   WITH    SENSITOMETRIC   STRIP 

IN   WHICH    EACH    STEP   OF   THE    EXPOSURE   SCALE 

REPRESENTS  AN    INCREASE   IN   EXPOSURE 

EQUIVALENT  TO  ONE-HALF  STOP 


Average 
Density 
Increase 
Between 

Two 
Exposure 

Steps 

CAMMA 

Average 
Density 
Increase 
Between 

Two 
Exposure 

Steps 

CAMMA 

Average 
Density 
Increase 
Between 

Two 
Exposure 

Steps 

CAMMA 

.005 

.033 

.155 

1.033 

.305 

2.033 

.010 

.067 

.160 

1.067 

.310 

2.067 

0.15 

.100 

.165 

1.100 

.315 

2.100 

.020 

.133 

.170 

1.133 

.320 

2.133 

.025 

.167 

.175 

1.167 

.325 

2.167 

.030 

.200 

.180 

1.200 

.330 

2.200 

.035 

.233 

.185 

1.233 

.335 

2.233 

.040 

.267 

.190 

1.267 

.340 

2.267 

.045 

.300 

.195 

1.300 

.345 

2.300 

.050 

.333 

.200 

1.333 

.350 

2.333 

.055 

.367 

.205 

1.367 

.355 

2.367 

.060 

.400 

.210 

1.400 

.360 

2.400 

.065 

.433 

.215 

1.433 

.365 

2.433 

.070 

.467 

.220 

1.467 

.370 

2.467 

.075 

.500 

.225 

1.500 

.375 

2.500 

.080 

.533 

.230 

1.533 

.380 

2.533 

.usS 

.567 

.235 

1.567 

.385 

2.567 

.090 

.600 

.240 

1.600 

.390 

2.600 

.095 

.633 

.245 

1.633 

.395 

2.633 

.100 

.667 

.250 

1.667 

.400 

2.667 

.105 

.700 

.255 

1.700 

.405 

2.700 

.110 

.733 

.260 

1.733 

.410 

2.733 

.115 

.767 

.265 

1.767 

.415 

2.767 

.120 

.800 

.270 

1.800 

.420 

2.800 

.125 

.833 

.275 

1.833 

.425 

2.833 

.130 

.867 

.280 

1.867 

.430 

2.867 

.135 

.900 

.285 

1.900 

.435 

2.900 

.140 

.933 

.290 

1.933 

.440 

2.933 

.145 

.967 

.295 

1.967 

.445 

2.967 

.1  in 

1.000 

.100 

2.000 

.450 

3.000 

ANGLE  OF  VIEW 

16  mm.  FILM 

ANCLE  OF  VIEW  AND  SIZE  OF  FIELD  EMBRACED 
BY  LENSES  OF  VARIOUS  FOCAL  LENGTHS 


Distance 

in 

Feet 

to 

Subject 

ANCLE  OF   VIEW  WHEN 

FOCUSED   AT   INFINITY 

15  mm.  Lens 

20  mm.  Lens 

25  mm.  Lens 

75  mm.  Lens 

Verti- 
cal 
Angle 

Hori- 
zontal 
Angle 

Verti- 
cal 

Angle 

Hori- 
zontal 
Angle 

Verti- 
cal 
Angle 

Hori- 
zontal 
Angle 

Verti- 
cal 
Angle 

Hori- 
zontal 
Angle 

27.0° 

35.6° 

20.5° 

27.1° 

16.4° 

21.9° 

5.5° 

7.4° 

Hei 

ght  and 

Width 

sf  Subjec 

t  in  Fee 

t  include 

d  in  Pictu 

re 

1 

.48  1 

>v       .64 

.36 

iy       .48 

.28  1 

y       .38 

.094  by 

.125 

2 

.96  1 

>y     1.28 

.72 

by      .96 

.57  h 

y      .76 

.190  by 

.254 

3 

1.4    1 

iy     1.9 

1.1     by     1.4 

.86  b 

y     1.15 

.285  by 

.38 

4 

1.9    1 

>y    2.6 

1.4 

jy     1.9 

1.1     by    1.5 

.38  by 

.51 

5 

2.4    1 

>y    3.2 

1.8 

ay     2.4 

1.4    by     1.9 

.48  by 

.64 

6 

2.9    1 

)y     3.8 

2.2 

iv     2.9 

1.7    b 

y    2.3 

.58  by 

.77 

7 

3.4    1 

)y    4.5 

2.5 

jy     3.4 

2.0     by     2.7 

.67  by 

.89 

8 

3.8    1 

iy     5.1 

2.9 

by     3.8 

2.3     b 

y    3.1 

.77  by 

1.02 

9 

4.3    t 

>y    5.8 

3.2 

by    4.3 

2.6    by    3.4 

.85  In 

1.14 

111 

4.8 

)v    6.4 

3.6 

->y     4.8 

2.8    1 

v     3.8 

.96  by 

1.28 

11 

5  3 

Dy     7.0 

4.0 

by    5.3 

3.2    by    4.2 

1.0    bv 

1.4 

12 

5.8 

3v     7.7 

4.3 

by     5.8 

3.5    by     4.6 

1.1     by 

1.5 

13 

6.2 

■>y    8.3 

4.7 

by    6.3 

3.7    by    5.0 

1.3    bv 

1.7 

14 

6.7 

:>y    9.0 

5.0 

by    6.8 

4.0    by     5.4 

1.4    by 

1.8 

15 

7.2 

ay    9.6 

5.4 

by     7.3 

4.3     by    5.8 

1.4    by 

1.9 

16 

7.7    1 

iy  10.3 

5.7 

by    7.8 

4.6     by     6.2 

1.5    by 

2.0 

17 

8.2    1 

jy  10.9 

6.1 

by    8.2 

4.9    by    6.5 

1.6    by 

2.2 

18 

8.6 

jy  11.6 

6.5 

by    8.7 

5.2     by     6.9 

1.7    by 

2.3 

19 

9.1 

jy  12.2 

li.S 

by    9.2 

5.5    by    7.3 

1.8    bv 

2.4 

20 

9.6 

3V  12.9 

7.2 

jy     9.7 

5.S     1 

v     7.7 

1.9    by 

2.6 

25 

12.0 

ay  16.1 

9.0 

by  12.1 

7.2    by     9.6 

2.4    by 

3.2 

30 

14.4 

iy  19.3 

10.8 

by  14.5 

8.6    1 

s    11.6 

2.9    by 

3.8 

35 

16.8 

ly  22.5 

12.6 

by  16.9 

10.1     by  13.5 

3.4    bv 

4.5 

40 

19.2 

by  25.7 

14.4 

by  19.3 

11.5    1 

>v  15.4 

3.8    by 

5.1 

45 

21.6 

iy  28.9 

16.2 

by  21.7 

13.0    by  17.4 

4.4    by 

5.8 

50 

24.0 

3y  32.2 

18.0 

iv  24.2 

14.4     by  19.3 

4.8    by 

6.4 

60 

28.8 

->y  38.6 

21.6 

by  29.0 

17.3     by  23.1 

5.8    by 

7.7 

70 

33.6 

ly  45.0 

25.2 

,v  33.8 

20.2    by  27.0 

6.8    by 

9.0 

80 

38.4 

>y  51.4 

28.8 

by  38.7 

23.1     by  30.9 

7.7    bv 

10.2 

911 

43.2 

jy  57.8 

32.4 

by  43.4 

26.0    bv  34.7 

8.6    by 

11.5 

100 

48.0 

jy  64.3 

36.0 

by  48.3 

28.9    1 

>y  38.6 

'•      1,          1  .  % 

12. S 

Only   those   density   readings   which   fall    in   the  straight    line   portion 
of  the  characteristic  curve  should  be  used   in  computing  Camma. 


Based  on  standard  projection  aperture  .284  by  .380  of  an  inch. 

Note  difference  between  16  mm.  and  35  mm.  tables:  16  mm.  table 
is  based  on  picture  as  seen  on  the  screen.  35  mm.  table  is  based  on 
picture  seen  on  the  ground-glass. 


September,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Thirty-one 


DeVRY  NEW  SOUND  RECORDING  CAMERA 

By  A.  P.  Hollis 

The  De  Vry  New  Sound  Recording  Camera  is  a 
real  boon  to  the  cameraman  who  has  to  cover  newsreel 
location  and  studio  assignments,  to  the  cameraman  who 
needs  a  light  weight  outfit  that  can  be  packed  in  a  few 
minutes  in  a  coupe  of  "suit  cases" — and  that  will  give 
him  clear  tone  and  pictures  of  the  quality  demanded 
by  the  modern  theatre. 

Readers  of  this  magazine  may  remember  that  the 
original  De  Vry  Sound  Recording  camera  was  for  single 
recording  only,  the  complete  outfit  weighing  but  150 
pounds. 

Now  comes  the  announcement  from  the  De  Vry  fac- 
tory in  Chicago,  that  the  latest  model  De  Vry  Sound 
Camera  is  for  both  double  and  single  sound  recording — 
and  also  for  bi-pack  color  recording.  Only  a  few  pounds 
have  been  added  to  the  original  weight  and  this  slightly 
added  weight  is  due  to  the  larger  magazine  necessary 
to   accommodate   four   400   foot  or   the    1000   foot  reel. 

The  De  Vry  is  thus  a  truly  general  purpose  sound 
camera,  for  regular  location  and  studio  work.  Here  is 
good  news  to  the  boys  who  want  more  latitude  in  their 
sound  prints  at  a  minimum  of  weight  and  expense,  and 
at  a  high  quality  level. 

The  De  Vry  Sound  Camera  played  a  conspicuous 
part  in  the  premiere  of  "Hollywood  at  the  Fair"  and 
has  had  thorough  going  tryouts  by  professional  camera- 
men elsewhere.  It  is  a  real  contribution  to  the  sound 
camera  field  and  our  readers  are  urged  to  write  Herman 
A.  De  Vry,  Inc.,  1111  Center  Street,  Chicago,  for  full 
particulars. 

PURSUIT  OF  THREE  DIMENSIONAL  PICTURES 

(Continued  from  Page  23) 
powers  of  persons,  who,  through  accident  or  surgery, 
have  lost  as  much  as  one-half  of  the  brain  structure  it- 
self, including  part  of  the  supposed  hemispheric  centers 
of  sight,  a  reasonable  doubt  may  be  cast  on  the  informa- 
tion offered  hereto  by  physiology. 

The  mere  attachment  of  labels  to  processes  which 
have  mystified  mankind  is  far  from  being  a  solution  of 
the  essence  of  those  processes  and  cataloguing  phenomena 
is  no  index  at  all  to  the  nature  of  the  underlying  nume- 
non.  Further,  findings  summarized  from  reports  of 
experiments  by  Wundt,  Andral,  Ferrier,  Fournie,  Char- 
cot, Hitzig  and  others  are  replete  with  discrepancies  and 
contradictions,  making  it  impossible  to  receive  their  views 
with  more  than  provisional  acceptance. 

However,  a  physiologist  in  the  person  of  Dr.  John 
C.  Dalton,  Jr.,  made  an  interesting  contribution  to  the 
lore  of  stereoscopic  research  with  the  following  state- 
ment: "Our  impressions  of  distance  and  solidity  in  view- 
ing external  objects  are  produced  mainly  by  the  com- 
bined action  of  the  two  eyes.  For,  as  the  eyes  are  seated 
a  certain  distance  apart  from  each  other  in  the  head,  when 
they  are  directed  toward  the  same  object  their  axes  meet 
at  the  point  of  sight  and  form  a  certain  angle  with  each 
other ;  and  this  angle  varies  with  the  distance  of  the 
object.  Thus,  when  the  object  is  within  a  short  distance, 
the  axes  of  the  two  eyes  will  necessarily  be  very  converg- 
ent and  the  angle  they  form  with  each  other  a  large  one ; 
but  for  remote  objects  the  visual  axes  will  become  more 
nearly  parallel,  and  their  angle  consequently  smaller.  It 
is  on  this  account  that  we  can  always  distinguish  whether 
any  person  at  a  short  distance  is  looking  at  us,  or  at  some 
other  object  in  our  direction,  since  we  instinctively  ap- 
preciate from  the  appearance  of  the  eyes,  whether  their 
visual  axes  meet  at  the  level  of  our  own  face." 

Note  also  this  clear,  though  guarded,  statement,  that 
the  eye  is  able  in  a  limited  degree  to  actually  see  dis- 
tance: "The  ability  to  accommodate  itself  to  different 
distances,   which   the   eye   possesses   within   certain   limits 

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and  which  is  accomplished  by  means  of  an  anteroposte- 
rior movement  of  the  crystalline  lens,  enables  it  to  meas- 
ure, approximately,  the  distance  of  the  objects." 

So,  the  circle  slowly  completes  itself.  After  starting 
with  the  common  consent  of  mankind  on  a  proposition 
to  which  the  most  ignorant  savage  would  give  agreement, 
namely  that  we  possess  the  ability  to  see  in  three  dimen- 
sions, we  traversed  that  reign  of  skepticism  in  which  all  ac- 
cepted beliefs,  no  matter  how  firmly  established,  in  the  phy- 
sical as  well  as  the  mental,  moral  and  political  world,  were 
doubted  and  if  found  to  suffer  from  even  partial  obscur- 
ity, were  denied.  Because  the  ingenuity  of  philosophers 
could  plausibly  controvert  the  everyday  experience  of 
men,  they  were  taught  that  the  testimony  of  their  eyes 
was  a  delusion.  Then  a  new  set  of  men  armed  with 
scalpel  and  probe  came  forward  and  offered  evidence  of 
bodily  structure  which  they  had  dissected  and  pondered 
over.  Cautiously  they  reaffirmed  our  original  untutored 
conviction — "We  can  see  distance,"  but  adding,  "if  we 
have  two  eyes." 

With  the  abandonment  of  speculative  theories  and 
the  tendency  to  concentrate  on  the  mechanics  of  sight  the 
question  of  stereoscopy  has  finally  come  to  rest  within 
the  realm  of  engineering  and  physics,  where  it  rightfully 
belongs.  And  who  will  be  so  bold  as  to  scoff  at  the 
eminence  of  success  in  this  development  after  reading  in 
the  June  issue  of  the  International  Photographer  an  ar- 
ticle describing  the  startling  and  unique  devices  employed 
by  Dr.  Ives,  of  the  Bell  Laboratories,  to  project  pictures 
in  relief.  Also  the  analysis  by  Professor  Haupt  in  the 
May  and  June  issues  of  our  magazine  is  at  least  hopeful. 
Hamlet  was  probably  the  first  man  to  use  the  panel 
displacement  idea,  for,  when  he  was  giving  the  Queen 
hell,  he  said:  "Look  here,  upon  this  picture,  and  on  this." 

"Protruding  Productions"  and  "Bulging  Barkies" 
may  yet  open  a  new  gate  into  that  orchard  where  the 
Golden  Apples  grow. 

pher   when   corresponding  with   advertisers. 


Thirty-two 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


AREA  DISTRIBUTION 

(Continued  from  Page  16) 

moved,  screened  to  bring  about  the  "pin  point  diffusion" 
effect.  They  were  then  turned  on  a  90-degree  angle, 
masked  off  16"  from  the  top  with  2500-bristle  velour, 
back-to-back  and  rehung  in  the  towers,  parallel  with  the 
screen,  7*4"  therefrom.  72 fv  -512  co-efficient  absorption 
material  was  placed  on  the  floor  of  the  set  and  a  velour 
ground  cloth  was  tacked  to  the  stage  apron  from  the 
screen  line  to  the  footlights.  These  operations  required 
three  men  and  took  sixteen  hours  to  complete.  The  cost 
to  the  theatre  was  $450.00. 

The  net  result  was :  Echoes,  none,  reverberatory  time : 
1.5  seconds  with  a  25%  audience,  speech  distortion,  over- 
tones and  blasting:  none,  distribution:  front,  center,  rear 
and  balcony  equal  in  both  volume  and  amplitude,  syn- 
chronization: orchestra  floor  to  balcony  line  2/5  sec- 
onds, under  balcony  and  in  balcony  3/5  seconds.  Pro- 
nounced entirely  satisfactory  by  manufacturers'  and 
owners'  sound  engineers ;  also  by  district  and  house  man- 
ager. Set-up  to  our  knowledge  untouched  after  twelve 
months'  operation. 

Innumerable  "case  histories"  might  be  given,  due  to 
the  fact  that  each  auditorium  represents  its  own  indi- 
vidual engineering  problems.  However,  an  attempt  will 
be  made  in  this  article  to  show  just  how  the  "area  dis- 
tribution" principle  differs  from  that  of  "volume  con- 
tent," upon  which  all  present  day  installations  are  based. 


To  begin  with,  a  "volume  content"-engineered  set-up 
must  necessarily  rely  upon  deflection  to  serve  all  parts 
of  the  auditorium.  In  doing  so,  three  general  types  of 
transverse  waves  are  brought  into  play.  They  are  known 
in  their  simple  form  as  horizontal-,  perpendicular-  and 
oblique-transverse.  These  waves  multiply  themselves  pro- 
fusely, when  not  absorbed  or  trapped,  since  each  deflection 
contact  changes  their  angle  and  when  atmospheric  con- 
ditions permit,  have  a  tendency  to  lengthen  the  rever- 
beratory time  200  and  sometimes  300  per  cent. 

Auditory  conditions  are  further  aggravated,  since 
longitudinal  wave  penetration  is  definitely  retarded,  caus- 
ing synchronization  to  suffer. 

Again  one  pauses  to  ask  this  question:  "Why  not 
minimize  transverse  waves  in  the  first  place?" 

That,  seems  to  be  logical  and  also  offers  a  solution. 

"How  can  this  be  accomplished?" 

The  reader  will  note,  in  lowering  the  speaker  posi- 
tion and  elongating  the  sound  source  area,  if  properly 
effected,  perpendicular-  and  oblique-transverse  waves  are 
practically  eliminated.  Now,  all  that  remains  to  be 
done  is,  the  proper  synchronization  time  and  wave  dissi- 
pation speed  to  be  brought  about.  This  can  be  done 
with  the  correct  alloy  screen,  the  judicious  use  of  suit- 
able velour  masking  and  proper  screen  (projection)  spac- 
ing. Such  minor  items  as  bringing  about  parabolic  effi- 
ciency reduction,  near-perfect  illusion  and  brilliance  ad- 
justments, vary,  and  must  be  figured  for  each  individual 
job. 


u 


No  More  Blimps 


i  r 


A  Bell  &  Howell   Camera 
After   Reconstruction   Silencins 


Camera  "blimps"  have  served  their  purpose  .  .  . 
they  have  retarded  the  flexibility  of  the  camera  .  .  . 
delayed  operation  .  .  .  cost  additional  cartage  .  .  . 
been  expensive  to  maintain. 

We  have  discarded  the  "blimp"  .  .  .  Our  RECON- 
STRUCTION SILENCING  gives  you  in  addition 
to  its  wonderful  silent  features,  patented  mechani- 
cal and  optical  features  that  are  startling.  Our 
RECONSTRUCTION  SILENCING  converts  all 
standard  Bell  &  Howell  or  Mitchell  cameras  into 
silent,  lightweight,  speedy,  externally  operated 
mechanisms,  meeting  the  requirements  of  modern 
recording  without  the  use  of  the  "blimp." 

The  price  is  reasonable,  for  either  Bell  &  Howell 
or  Mitchell  cameras — $1750.00.  Weight,  camera 
with  magazine,  87  lbs.  Dimension  base  of  camera, 
12"  x  12".     Height  12". 

Write  or  phone  for  complete  data  or  demonstration 


FRIED  CAMERA  COMPANY 


615414  Santa  Monica  Blvd. 


Phone:  HEmpstead  6716 


Hollywood     California 


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September,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Thirty-three 


SHACK  IS  BACK 


James  R.  Shackelford, 
world  -  famous  cinematog- 
rapher,  and  official  photo- 
grapher on  two  trips  to 
the  Gobi  Desert  with  Roy 
Chapman  Andrews  is  back 
in  Hollywood  after  a  six- 
months  cruise  among  the 
islands  of  Oceanica.  He 
spent  much  time  among 
the  Fijis  and  brought  back 
50,000  feet  of  wonderful 
film  and  a  ton  of  stills 
after  his  inimitable  style. 
Mr.  Shackelford  will  tell 
his  story  in  the  October 
International  Photogra- 
pher. 


THE  NEWSREEL  WORLD 

(Continued  from  Page  14) 
power :  I  am  especially  impressed  by  the  lack  of  sign 
boards,  a  delightful  feature  you  will  agree.  All  traffic 
must  be  kept  to  the  left.  Why,  I  don't  know,  but  I'll 
bet  there  must  be  a  good  reason.  I  thought  at  first  this 
must  have  started  with  sea  traffic,  since  Swedes  have 
been  seamen  from  the  start,  but  that  theory  went  on 
the  rocks  when  Bertil  told  me  they  sail  boats  to  the 
right. 

Because  of  an  ever  increasing  influx  of  foreign  tour- 
ists, train  travelers  on  the  excellent  Swedish  State  Rail- 
ways, and  motorists,  words  have  given  way  to  pictures. 
Maybe  a  tip  for  some  movie  producer.  For  example, 
a  railroad  crossing  sign  has  a  picture  of  a  locomotive ; 
a  bridge  is  shown  in  a  very  clear  drawing  of  a  bridge. 
If  there  is  a  hump  in  the  middle  of  the  bridge  shown, 
one  had  better  slow  down  even  if  there  is  no  speed  limit 
on  the  open  road. 

Even  hotels  use  pictures  in  place  of  words.  In  our 
hotel,  where  I  am  striving  to  make  this  readable,  there 
are  four  little  photos  beside  four  little  buttons.  Room 
service  is  shown  by  the  waiter  carrying  a  tray ;  maid 
service  is  indicated  by  a  girl  with  a  broom  and  pail  and 
a  porter  with  a  tiny  picture  of  this  capable  person  car- 
rying baggage. 

While  on  the  subject  of  hotels,  let  me  relate  an  inter- 
esting detail.  There  are  many  rooms  with  bath,  but 
rooms  without  bath  have  bathmaids.  Not  beautiful 
dames,  perhaps,  but  strong  when  it  comes  to  scrubbing 
a  man's  back  with  salt  and  Scandinavian  soap,  or  apply- 
ing their  huge  thick  Turkish  towels.  When  ready  for 
this  event  one  rings  for  a  bath ;  the  bathmaid  comes  with 
a  bath  robe  and  shoes,  both  made  of  turkish  toweling. 
She  then  escorts  one  ceremoniously  to  the  bath — like  a 
prison  matron  in  the  movies.  After  such  an  experience 
one's  skin  becomes  red  for  days,  but  clean  as  a  Swedish 
kitchen,  you  may  be  sure. 

With  best  wishes  to  yourself  and  the  staff, 

As  ever,  sincerely  and  fraternally, 

RAY  FERNSTROM. 


FIFTY  PERCENT  CAIN 

Photophone  theatre  sound  equipment  business  for  the 
first  half  of  August  was  50%  ahead  of  last  year  with  a 
steadily  increasing  volume  of  orders  indicating  that  the 
figures  for  the  whole  month  will  exceed  last  year's  total 
by  100%,  according  to  an  official  of  the  RCA  Victor 
Company.  Photophone  business  for  July  also  showed  an 
increase  of  33  1-3%  over  the  year  before. 


Faxon  Dean 


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TO  SEE  YOU 


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CAMERAS  FOR 
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CO.,  LTD. 

1515  N.  CAHUENGA  BLVD. 
HOLLYWOOD  CALIFORNIA 

• • 

Cable  Address  "CAMERAS"  All  Codes 


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Thirty-four 


The      INTERNATIONAL   PHOTOGRAPHER 


September,  1933 


THE  CHICAGO  SCRAPBOOK 

(Continued  from  Page  17) 

.  .  .  and  when  the  clock  gets  around  to  three,  Settle 
finally  crawls  into  the  gondola  of  the  balloon,  a  few 
more  last  minute  ceremonies  and  the  command  "Up 
ship!"  is  given  .  .  .  swiftly  Settle  ascends  in  his  strato- 
sphere balloon  as  a  tired  but  still  zealous  crowd  cheers 
huskily  .  .  .  Army  searchlights  play  on  the  gas  bag  as 
it  mounts  higher  and  higher  and  as  the  mob  starts  to 
leave  the  huge  stadium  a  tired  army  of  newsreelers  pack 
up  their  equipment  and  wish  they  had  their  film  shipped 
.  .  .  it's  been  a  long  weary  night  .  .  .  almost  four  A.  M. 
.  .  .  the  gang  is  moving  the  sound  trucks  out  of  the 
stadium  gates  .  .  .  suddenly  an  alarming  cry  swings  like 
a  tidal  wave  through  the  mob  .  .  .  the  balloon  is  coming 
down!  .  .  .  just  west  of  the  Loop  district  .  .  .  every- 
body surges  that  way  .  .  .  ambulances  scream  down  the 
streets  .  .  .  and  tired  newsreelers  realize  the  day  is  not 
ended  .  .  .  an  anti-climax  to  a  story  .  .  .  and  a  new 
battle  begins  .  .  .  getting  sound  trucks  through  one  of 
Chicago's  biggest  traffic  tangles  ...  it  seemed  every 
automobile  in  Chicago  clogged  into  the  highway  leading 
to  where  Settle  was  forced  down  .  .  .  sound  trucks  cut- 
ting in  and  out  .  .  .  over  sidewalks  .  .  .  down  railroad 
tracks  .  .  .  through  a  mob  of  25,000  sightseers  .  .  . 
then  the  dazzling  white  light  of  the  magnesium  flares 
.  .  .  shot  after  shot  .  .  .  grinding  away  on  a  camera  with 
one  hand  and  fighting  excited  "coppers"  with  the  other 
.  .  .  The  Lord  bless  the  inventor  of  the  Akeley  camera 
handle  .  .  .  newsreelers  have  found  another  use  for  it 
many  a  time  other  than  using  it  for  panning  purposes 
.  .  .  and  as  dawn  came  over  the  railroad  yards,  com- 
pletely tired  newsreelers  raced  for  the  morning  air  mail 
...  a  stratosphere  flight  had  begun  .  .  .  and  ended  .  .  . 
Did  you  see  the  newsreel  of  it  at  your  favorite  theater? 
...  It  ran  one  minute  and  a  half  on  the  screen. 

CHIVALRY  IN  1933 

There's  a  deserted  section  on  the  west  side  of  Canal 
Street  in  Chicago ;  it  runs  for  several  blocks  and  is  com- 
pletely deserted  save  for  the  ash  heaps  on  it  .  .  .  sort 
of  a  no-man's-land  ...  In  recent  years  it  has  become 
the  habitat  of  the  down-and-outers  .  .  .  just  passing 
through  .  .  .  Many  a  Bo'  has  cooked  himself  a  "mulli- 
gan" here  .  .  .  The  other  day  a  weird,  pompous  rite 
took  place  here  .  .  .  All  the  best,  real  Bos  of  America 
gathered  here,  in  their  "Jungle,"  to  knight  the  outstand- 
ing ones  of  their  kind  ...  It  was  the  25th  annual  con- 
vention, the  Silver  anniversary  of  the  Hoboes  of  America 
.  .  .  Solemnly  Jeff  Davis,  King  of  the  hoboes,  mounted 
an  improvised  platform  and  called  them  up,  one  by  one, 
announcing  to  each  candidate  that  he  was  now  having 
the  honor  of  "Knight  of  the  Road"  bestowed  upon  him 
.  .  .  No  purple  raiment  around  "King  Jeff"  .  .  .  He 
stood  in  his  shirt  sleeves,  and  his  baggy  trousers  were  no 
detriment  to  King  Jeff's  pompousness  ...  A  husky  voice 
uttered    King   Jeff's    ritual,    but   it    had   the    finesse   and 


polish  of  the  true  ruler  ...  his  candidates  did  not  march 
up  before  him  in  the  splendor  of  groomed  uniforms  and 
gold  braid  .  .  .  No,  sir!  There  was  old  "Dan  O'Brien" 
in  his  overalls;  the  dean  of  philosophers  of  hoboism  and 
to  see  old  Dan  stand  there  with  his  long  white  locks 
framing  his  wise,  kindly  old  face,  one  knew  it  could 
not  be  contested  that  old  Dan  was  deserving  of  this 
knighthood  being  bestowed  upon  him  .  .  .  There  was 
famous  Dr.  Ben  Reitman,  the  friend  of  the  hobo,  who 
had  left  his  office  in  the  roaring  Loop  to  come  over  to 
the  quiet  of  the  "Jungle,"  behind  Canal  Street,  to  take 
his  title,  justly  deserved,  as  a  Knight  of  the  Road  .  .  . 
One  by  one,  King  Jeff  knighted  his  honored  guests  .  .  . 
the  knighthood  of  service  to  fellowmen  who  may  be 
down,  for  the  time  being  .  .  .  This  knighthood  was 
deserved  only  by  those  who  had  made  some  personal  sac- 
rifice ;  a  personal  sacrifice,  to  help  a  brother  who  was 
suffering;  and  as  the  ritual  progressed  the  sordid  sur- 
roundings took  on  a  cloak  of  beauty  to  the  spectator 
.  .  .  even  here  in  the  dumps  of  Canal  Street  the  beauty 
of  human  nature  helped  transfigure  the  homely  into  the 
lovely  .  .  .  and  as  King  Jeff  finished  he  extended  his 
hand  to  each  new  knight  .  .  .  Beau  Gest  .  .  .  chivalry 
still  lives  .  .  .  you  can  find  it  if  you  look  for  it  .  .  .• 
sometimes  even  among  the  ash-heaps  ...  a  few  news- 
reelers recorded  the  event  .  .  .  and  as  the  ceremony  ended, 
King  Jeff  reciprocated,  to  the  knights  of  the  celluloid, 
for  their  kindness  in  recording  the  ceremony  .  .  .  One 
by  one,  they  were  called  up  to  the  throne  of  "King 
Jeff";  and  were  sworn  into  "Life  Memberships  of  the 
Hoboes  of  America"  .  .  .  Eddie  Morrison,  Phil  Gleason, 
Wayman  Robertson,  Harry  Hall  and  Red  Felbinger  .  .  . 
all  brother  'Boes  now  .  .  .  and  the  oath  they  took,  to 
get  their  right  to  flash  the  Bo  card  .  .  .  "Never  to  turn 
down  a  brother  who  may  be  down  and  out!"  .  .  .  and 
then  King  Jeff  shook  hands  with  the  Knights  of  the 
Celluloid  .  .  .  now  brother  'Boes  ...  of  such  stuff  men 
are  made ! 

Monty's  having  many  a  sleepless  night  now  ...  he 
alleges  that  as  soon  as  he  gets  one  to  sleep,  then  the  other 
awakens  and  Monty  starts  his  march  all  over  .  .  .  and 
so  on  into  the  night  .  .  .  Jack  Barnett  has  returned  from 
the  storm  center  of  the  Pennsylvania  coal  disorders  where 
he  got  pushed  around  plenty  by  the  strikers,  as  he  ad- 
mits .  .  .  for  company  he  had  our  old  pal  Al  Mingalone, 
the  drumming  newsreeler  out  of  New  York  ...  J. 
Gleason  admits  he  now  knows  every  detour  around  the 
little  Indianer  burg,  named  Crown  Point  .  .  .  Orlando 
Lippert,  it  looks,  is  trifling  nobly  with  the  bliss  of  single 
freedom  .  .  .  and  into  town  pops  one  of  the  local  boys 
who  went  west  .  .  .  George  Gibson  makes  the  rounds 
of  cranker  town  to  say  "Howdy"  to  boys  he  formerly 
groomed  over  the  hypo  tanks  at  the  old  Rothacker  plant 
out  on  Diversey  .  .  .  they're  all  in  offices  now  .  .  .  and 
goodly  bunch  of  them  are  lugging  newsreel  boxes  .  .  . 
glad  to  see  you,  George  .  .  .  Norman  Alley  has  again 
taken  to  the  airways  .  .  .  not  a  trans-Atlantic  crossing 
this  time,  with  a  Flying  Fambly,   but  to  vacation  with 


WnS!.% 


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September,  1933 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


Thirty-five 


his  family  up  in  New  Hampshire  .  .  .  while  his  partner, 
Jerry  Altfilisch,  of  that  ill-fated  venture,  now  explains 
to  spectators  over  at  Hollywood-at-the  World  Fair,  how 
movies  are  made  .  .  .  Charlie  David  still  grinds  away 
at  Hollywood  as  chief  cameraman  .  .  .  with  Max  Mark- 
mann  assisting  him  .  .  .  and  so  down  to  Ches's  Place 
for  a  nightcap  .  .  . 


SOLITE  REFLECTOR 

An  impressive  advancement  in  indoor  photographic 
illumination  is  ushered  in  by  the  Solite  Unit  Reflector, 
the  creation  of  one  of  this  country's  foremost  lighting 
technicians.  Entirely  different  in  shape,  its  scientifically 
designed  parabolic  aluminum  reflector  produces  brilliant 
light  through  a  90  degree  angle,  assuring  a  maximum 
concentration  of  light  without  wastage.  Equally  inter- 
esting is  the  mirror  lens,  so  placed  as  to  powerfully  multi- 
ply the  light  output.  A  patented  ventilating  feature  pre- 
vents overheating  and  assures  maximum  bulb  life  with- 
out rapid  loss  of  lighting  efficiency  of  the  T20-500 
watt  bulb  it  uses.  The  unique  construction  of  the  Solite 
Unit  Reflector  well  merits  the  title  that  it  enjoys:  "The 
unit  with  the  optical  system." 

An  unusual  degree  of  flexibility  of  handling  is  at- 
tained by  the  fact  that  the  Solite  Reflector  is  constructed 
as  an  independent,  fully  self-contained  unit.  Multiple 
mountings  of  Solites  can  thus  be  quickly  and  conveniently 
arranged,  to  produce  every  desired  professional  lighting 
effect — vertically,  horizontally  or  in  banks  of  as  many  as 
eight,  all  on  the  same  Solite  Tripod. 

All  Solite  Reflector  parts  are  of  heavy  duty  con- 
struction for  safe  handling  and  long  service.  Of  special 
interest  is  the  Solite  Kit,  completely  equipped  with  3 
Solites,  two  Solite  Tripods  and  other  important  ac- 
cessories, all  conveniently  packed  in  a  handy  case. 

Another  valuable  Solite  contribution  to  indoor  photo- 
graphic illumination  is  the  Solite  Concentrator  Lens 
which  gives  perfect  diffusion  without  loss  of  light.  The 
soft,  mellow  light  it  produces  is  of  especial  importance 
in  taking  color  movies.  The  Concentrator  Lens  fits  over 
the  regular  Solite  Reflector. 


WORLDS  LARGEST  SOUND  PLACQUE 

The  new  Camden  automobile  Drive-In  Theatre  has 
erected  a  huge  wooden  sign  facing  the  automobile  traffic 
of  Admiral  Wilson  Boulevard,  which  reads:  "This 
Theatre  Is  Equipped  with  RCA  Victor  Photophone  High 
Fidelity  Sound."  The  sign  measures  16^  feet  by  12^ 
feet,  and  is  an  enlarged  version  of  the  standard  metal 
placque  furnished  to  exhibitors  whose  houses  are  equipped 
with  the  High  Fidelity  apparatus. 


CAMERAMAN-PRODUCER 

One  of  Hollywood's  prominent  cameramen  (name 
and  details  later)  announces  that  he  has  arranged  with 
Mr.  Harry  Backus,  well  known  mining  man,  to  pro- 
duce a  series  of  eighteen  aviation  shorts — something 
rather  novel  in  filming,  particularly  as  they  are  to  be 
comedies. 

Sid  Saylor  will  be  the  featured  star  of  the  series  and 
production  will  be  commenced  early  in  September  or 
as  soon  as  Mr.  Backus  returns  from  the  mines. 

The  latter  is  enthusiastic  about  motion  picture  pro- 
duction and  the  new  series  will  be  made  as  attractive 
as  skill,  experience  and  money   can  make  it. 

Our  cameraman  friend  is  to  be  congratulated  upon 
his  enterprise  in  getting  into  production  at  this  time 
and  upon  doing  something  new  under  the  cinemato- 
graphic sun. 


JIMMY 

Said  a  popular  star  to  a  cameraman,  recently,  when 
they  were  discussing  the  matter  of  diet  and  fasting:  "I 
can  state  it  all  in  a  few  homely  words — when  you  get 
your  face  all  right  you  jimmy  up  your  legs  and  when 
you  get  your  legs  all  right  you  jimmy  up  your  face — ■ 
to  get  them  both  all  right  at  the  same  time  is  the  precious 
secret — and — it  can  be  done." 


N.   R.  A. 

The  proposed  movie  code  prevents  employees  of  the 


studios  from  securing 
Thus,  the  N.  R.  A. 
Allowed." 


extra    work    for 
will    stand    for: 


their    relatives. 
"No    Relatives 


CINEMA  SOUND  EQUIPMENT  CO. 

Designers  and   Manufacturers  of 

SOUND  RECORDINC   EQUIPMENT 

OXford  4262 

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INTERNATIONAL 
PHOTOGRAPHER 

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HOLLYWOOD 


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Name 

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Thirty-six 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


LIGHT  FILTERS 

(Continued  from  Page  10) 
3N5  at  f/4  and  similarly  exposed  negatives  will  be  ob- 
tained, although  the  filtered  scene  will  show  a  somewhat 
different  relation  between  the  sky  and  the  foreground  due 
to  the  selective  absorption  of  the  filter. 

It  must  be  borne  in  mind  that  the  values  listed  in 
Figure  7  are  very  accurately  computed.  It  is  well  real- 
ized that  many  of  the  stops  indicated  are  not  marked 
on  any  lens  mounts.  Therefore,  a  lens  stop  nearest  the 
value  listed  for  any  specific  filter  will  be  entirely  satis- 
factory in  practical  work,  due  primarily  to  the  exposure 
latitude  of  the  Super-sensitive  Negative.  Success  in  the 
use  of  this  table  of  data  depends  upon  the  correct  choice 
of  the  unfiltered  shot.  Naturally  if  a  cameraman  has 
inadvertently  selected  an  incorrect  unfiltered  condition  of 
exposure,  it  is  only  reasonable  to  assume  that  the  use 
of  the  filter  factor  for  any  filter  from  this  table  will 
likewise  give  an  incorrect  exposure.  It  is  readily  seen, 
therefore,  that  the  basis  from  which  this  table  is  to  be 
used  is  the  cameraman's  knowledge  and  ability  to  prop- 
erly expose  film  when  no  filters  are  introduced  into  the 
optical  system  of  the  camera. 

The  filters  listed  in  the  accompanying  table  are  those 
used  to  the  greatest  extent  in  normal  cinematography. 
Filters  for  special  effects,  such  as  for  color  work,  have 
been  excluded  as  their  use  is  for  a  distinctly  different  pur- 
pose and  for  such  filters  balanced  exposures  are  not 
necessarily  desired.  In  the  case  of  night  effect  filters, 
such  as  filter  No.  72,  no  filter  factor  is  given  for  the 
reason  that  it  is  not  desirable  to  obtain  a  fully  exposed 
negative  for  this  purpose.  It  is  common  current  prac- 
tice to  make  night  shots  in  the  daytime  and  to  accom- 
plish this  with  some  degree  of  satisfaction  the  use  of 
a  deep  red  filter  such  as  the  72  is  employed.  This  filter 
absorbs  all  visible  light  except  red  and  in  so  doing  pro- 
duces an  effect  in  the  print  which  gives  one  the  feeling 
of  night.  It  is  recommended  in  this  table  of  data,  there- 
fore, that  this  filter  be  used  at  full  aperture. 
Practical  Filter  Photography 

All  the  preceding  chapters  in  this  article  on  filter 
photography  have  dealt  almost  exclusively  with  theo- 
retical and  semi-theoretical  considerations.  The  purpose 
in  mind  was  to  give  a  thorough  understanding  of  what 
filters  are  and  why  they  are  used.  The  remainder  of 
this  filter  story  will  deal  with  the  practical  use  of  color 
filters  in  cinematography. 


The  use  of  color  filters  in  practical  cinematography 
was  never  very  extensive  and  did  not  assume  any  real  im- 
portance either  to  the  cameraman  or  to  the  quality  of 
the  results  obtained  until  the  general  adoption  of  pan- 
chromatic emulsions  in  1926-27.  Prior  to  this  time 
orthochromatic  (regular  negative)  emulsions  were  used 
almost  exclusively  and  due  to  their  limited  color  sensi- 
tivity the  application  of  filters  to  such  types  of  film 
played  a  very  small  part.  Prior  to  1927  relatively  few 
pictures,  and  in  most  cases  only  sequences  in  pictures, 
were  shot  with  panchromatic  film.  Its  use  was  almost 
exclusively  confined  to  exterior  photography.  This  was 
fundamentally  due  to  the  fact  that  mercury  vapor  lamps 
and  white  flame  carbons  were  the  sources  of  illumina- 
tion. These  light  sources  with  their  preponderance  of 
blue  emission  did  not  lend  themselves  adequately  to  the 
red  sensitive  panchromatic  emulsions. 

Probably  the  first  picture  on  which  panchromatic 
negative  was  used  for  all  exterior  sequences  was  "The 
Headless  Horseman,"  starring  Will  Rogers  and  produced 
by  the  Hodkinson  Corporation  in  1922.  This  picture 
was  shot  by  one  of  the  authors  of  this  paper.  Ortho- 
chromatic  super-speed  negative  was  used  for  the  interiors. 
The  exterior  sequences  on  panchromatic  film  made  use 
of  two  light  filters:  the  Kl  filter  was  used  on  all  gen- 
eral exterior  shots,  while  the  No.  25  (red)  filter  was 
used  for  night  effect  shots  in  conjunction  with  a  Bausch 
and  Lomb  f/2.7  lens  wide  open  with  the  camera 
cranked  at  half  speed  to  allow  for  sufficient  exposure. 

The  No.  25  filter  when  used  with  the  panchromatic 
film  available  in  1922  produced  an  effect  which  is  now 
almost  entirely  eliminated  with  current  emulsions,  present 
type  of  makeup,  and  a  better  choice  of  filters.  This 
effect  which  is  referred  to  is  the  extremely  white  rendi- 
tion of  the  faces  of  the  actors. 

Early  in  1927  the  original  Eastman  panchromatic  mo- 
tion picture  negative  film  was  formally  introduced  to  the 
cameramen  in  Hollywood  although  it  was  available  and 
in  use  prior  to  that  time.  There  was  naturally  much 
discussion  relative  to  the  use  of  light  filters  with  this 
type  of  film  and  in  a  great  many  instances  incorrect 
filters  were  used  and  over  correction  resulted  quite  fre- 
quently. The  subject  of  makeup  received  very  careful 
consideration  and  much  was  done  along  this  line  to  elimi- 
nate "washed  out"  faces.  During  the  year  1928  an 
(Concluded   on   Page  37) 


ROY    DAVIDGE 

FILM   LABORATORIES 

••• 

An  Exclusive  "Daily"  Laboratory 

Quality  and   Service 

6701-6715     SANTA     MONICA     BOULEVARD 

GRanite    3108 

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September,  1933 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


Thirty-seven 


SOUND  TRACK  MECHANISM 

(Continued  from  Page  11) 

respective  films  so  as  to  permit  of  their  ready  and  accurate  identifica- 
tion. Such  changes,  however,  are  readily  taken  care  of  by  the  ex- 
hibitor in  that  by  rotating  aperture  mechanism  to  the  proper  angle, 
one  is  enabled  to  vary  the  motion  at  will  and  thus  accommodate  all 
types   of    films. 

Referring  now  to  Figures  6  to  9  inclusive,  the  aperture  mechan- 
ism comprises  a  base  plate  50,  slotted  as  indicated  at  51  and  pro- 
vided with  a  lug  52  about  which  it  is  adapted  to  rotate  on  pivot  53. 
a  pin,    54.    slides   in   slot    55   which   is   superposed    on   plate    50. 

Plate  50  is  provided  with  a  cut-out  portion  57  adapted  to  register 
with  slot  51  at  various  positions  thereof  and,  due  to  its  shape,  to 
provide  a  maximum  aperture.  This  is  secured  as  will  be  noted  by 
making  a  bottom  portion  58  of  the  slot  57  much  wider  than  the  top 
portion  59,  so  that  the  slot  57  tapers  from  the  top  to  the  bottom  as 
shown. 

It  will  be  appreciated  that  the  present  invention  may  be  applied 
to  existing  sound  cameras  and  recording  and  reproducing  systems 
generally  merely  by  partially  rotating  the  telescope  containing  the 
aperture.  The  present  invention  is  adapated  for  use  in  all  types  of 
film,  including  the  standard  35  millimeter  size,  as  well  as  the  wider 
50   and    75    mm.    width. 

It  is  of  particular  interest  in  that  it  can  be  used  on  16  milli- 
meter film  so  that  the  recording  and  reproducing  powers  of  the  latter 
are  rendered  the  full  equivalents  of  the  wider  films.  This  can  be 
readily  appreciated  due  to  the  fact  that  with  the  narrower  width  of 
sound  track  area  available  on  a  16  mm.  film,  the  range  of  sound 
reproducing  and  recording  is  appreciably  diminished.  By  the  use 
of  the  present  invention  this  effective  sound  track  width  is  increased 
up  to  40  per  cent  or  .greater  without  requiring  any  increase  in  sound 
track  area  width  and  while,  at  the  same  time  increasing  the  clarity  and 
effectiveness  of  the  reproduced  sound  due  to  the  greater  amount  of 
light  energy  permitted  to  be  projected  on  to  the  photo-electric  cell. 
A  16  millimeter  film  having  improved  sound  track  according  to  the 
concepts  of  the  present  invention  will  thus  be  equal  in  sound  char- 
acteristics to  the  normal  35  millimeter  film  having  the  use  of  standard 
sound  track. 

By  varying  the  speed  of  the  various  types  of  films,  substantially 
uniform  results  can  be  secured  in  sound  recording  and  reproduction 
with   any   of    the   usual   types   of    apparatus   now    available   for   the    work. 

While  certain  novel  features  of  the  invention  have  been  shown 
and  described  and  are  pointed  out  m  the  annexed  claims,  it  will  be 
understood  that  various  omissions,  substitutions  and  changes  in  the 
forms  and  details  of  the  device  illustrated  and  in  its  operation  may 
be  made  by  those  skilled  in  the  art  without  departing  from  the  spirit 
of   the  invention. 

What  is   claimed   is: 

1.  In  sound  recording  apparatus  an  improved  aperture  mechan- 
ism comprising  a  plate  having  a  central  transverse  aperture  extend- 
ing across  the  major  portion  of  the  width  of  the  plate,  an  aperture 
lug  formed  at  one  side  of  said  plate  adapted  to  serve  as  a  pivot 
therefor  and  thereby  to  determine  the  angular  position  of  the  aperture, 
and  a  second  plate  adjustably  superposed  on  said  first  plate,  said 
second  plate  being  formed  with  a  slanting  recess  of  progressive  width 
adapted  to  determine  the  position  and  extent  of  the  effective  aperture 
in   the   said   first   plate. 

2.  In  a  sound  recording  apparatus  an  improved  aperture  mechan- 
ism comprising  two  superposed  plates,  one  of  said  plates  having  a 
transverse  opening,  the  other  of  said  plates  having  an  opening  diagonally 
thereof,  the  plates  being  adjustably  mounted  whereby  the  effective 
aperture   may    be  varied. 

3.  In  a  sound  recording  apparatus  an  improved  aperture  mechan- 
ism comprising  two  superposed  plates,  one  of  said  plates  having  a 
transverse  opening  and  being  adapted  to  be  rotated  whereby  to  vary 
the  angular  position  of  the  said  transverse  opening,  the  other  of  said 
plates  having  an  opening  diagonally  thereof,  the  plates  being  adjustably 
mounted    whereby   the   effective   aperture   may  be   varied. 

4.  In  a  sound  recording  apparatus,  an  improved  aperture  mechan- 
ism comprising  two  superposed  plates,  one  of  said  plates  having  a 
transverse  opening  and  a  lug  formed  on  a  marginal  edge  of  the  plate, 
the  other  of  said  plates  having  a  channelled  opening  diagonally  thereof, 
the  plates  being  adjustably  mounted  whereby  the  effective  aperture 
may  be  varied,  and  means  comprising  a  slot  in  said  second  plate 
parallel  to  the  longitudinal  edge  thereof,  and  a  pin  in  said  first  plate 
passing  through  said  slot,  said  pin  and  slot  being  adapted  to  permit 
longitudinal  movement  of  the  second  plate  with  respect  to  said  first 
plate. 

5.  In  a  sound  recording  apparatus,  an  improved  aperture  mechan- 
ism comprising  two  superposed  plates,  one  of  said  plates  having  a 
transverse  opening,  the  other  of  said  plates  having  an  opening  diagonally 
thereof,  the  plates  being  adjustably  mounted  whereby  the  effective 
aperture    may    be    laterally   varied. 

6.  In  a  sound  recording  apparatus,  an  improved  aperture  mechan- 
ism comprising  two  superposed  plates,  one  of  said  plates  having  a 
transverse  opening  and  a  lug  formed  on  a  marginal  edge  of  the  plate, 
the  other  of  said  plates  having  a  channelled  opening  diagonally  thereof, 
the  plates  being  adjustably  mounted  whereby  the  effective  aperture 
may  be  laterally  varied,  and  means  comprising  a  slot  in  said  second 
plate  parallel  to  the  longitudinal  edge  thereof,  and  a  pin  in  said  first 
plate  passing  through  said  slot,  said  pin  and  slot  being  adapted  to 
permit  longitudinal  movement  of  the  second  plate  with  respect  to  said 
first   plate. 


LIGHT  FILTERS 

(Continued  from  Page  36) 
improved  type  of  panchromatic  emulsion,  Eastman  Type 
Two,  was  introduced  by  the  Kodak  Company,  followed 
by  the  introduction  in  February,  1931,  of  super-sensitive 
panchromatic  him.  With  this  new  type  of  film  a  com- 
pletely different  story  of  filters  is  necessary  due  to  the 
inherently  different  color  sensitivity  which  the  super- 
sensitive emulsion  carries.  The  remainder  of  our  story, 
therefore,  will  deal  with  the  use  of  filters  in  conjunction 
with  this  type  of  film. 


DR.  G.  FLOYD  JACKMAN,  Dentist 

Member    Local    No.    659 

706    Hollywood    First   Nat'l    Bldg.,    Hollywood    Blvd.    at   Highland 

Hours:    9    to    5  CLadstone    7507  And    by    Appointment 


^^o^o*o^o*o*o*o^o^o^o^o*o^o^o=:!=o^o^o=::=o^<rv 


Alvin  Wyckoff 


o 

o 
o 


o 


0^o^o^o*o=;!=o^o^o^o*o^o^o^o^o^o=;:=o^o=;!=o=::=o^cr? 


Quartz  Optical  Unit  For  Sound  Recording 

Accomplished  by  means  of  a  cylinder  bar  wrought 
on  the  recording  edge  of  the  quartz  unit,  acting  as 
a  cylinder  lens,  condensing  the  light  to  a  very  nar- 
row line  some  distance  away  on  the  film,  and  about 
.0006"  in  width,  having  great  light  intensity  and 
actinic    power. 

C  .      C  .       MINOR 
Phone  GR.  7331  Hollywood  1806  Whitley  Ave. 

TWICE  REAL  SIZE ' 


R  I  C  HTE  R'S 

COMPLETE  PHOTO  SERVICE 
16  mm.     -:-     35  mm. 

DEVELOPING  and  PRINTING     -:-     REDUCTION  PRINTING 

COMPLETE  TITLE  DEPARTMENT 
OXford  2092  7901   Santa   Monica   Blvd.    Hollywood,  Calif. 


Phone  GLadstone  4151 

HOLLYWOOD  STATE  BANK 

The  only   Bank   in  the   Industrial   District  of   Hollywood 
under  State  Supervision 

Santa   Monica   Boulevard   at  Highland  Avenue 

:;::u:njju::j«:::::«j»::::n«:::::n:n:::t««:«: 


WE     WANT 


35  mm.,  travel,  fight,  thrill  and  curiosity  films,  from  all 
parts  of  the  earth  and  unusual  and  interesting  films 
depicting  the  life  and  habits  of  Asiatic  peoples  as  well 
as  others. 

Send  us  description  and  length  of  subject.  Cash  will  be 
remitted  for  any  subject  accepted. 

We  have  for  sale  negative  and  positive  short  ends, 
both  Eastman  and  Du  Pont. 

Continental  Film-Craft,  Inc. 

;;     1611   Cosmo  Street  Hollywood,  Calif. 

Kllttttlltittitttttnttiti 


NOT  A  CLUB! 

Just   a    Bargain    Day   Offer  of 

CINEMA   CRAFTS 

and  a  year's  subscription  of 

The  International  Photographer 

Combined 

The  Two   Most   Practical  and   Useful   Journals   in   the   Field   of 

Motion  Picture  Arts  and  Crafts  and  Newsreel  Cinematography 

for  $3.00 — and   Each  One  Worth  the   Price. 

If  You  Can  Buy  Only  One  of  These  Magazines  By  All  Means 
Buy  This  Wonderful  Little   Book 

CINEMA    CRAFTS 

Order  from  THE  INTERNATIONAL  PHOTOCRAPHER,  1605  Cahuenga 
Boulevard,  Hollywood,  or  CINEMA  CRAFTS,  Suite  306,  1029  So. 
Wabash    Avenue,    Chicago,    III. 


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Thirty-eight 


The      INTERNATIONAL   PHOTOGRAPHER 


September,  1933 


INTERNATIONAL 

CLASSIFIED  ADVERTISING 

Brings   results — Rates   45   cents   per   line — minimum   charge   one 

dollar     per     insertion.       For     Rent — For     Sale — Wanted — For 

Exchange,  etc. 

FOR  SALE  AND  RENT— CAMERAS 

FOR  SALE  OR  RENT— Mitchell  and  Bell  &  Howell  silenced  cameras, 
follow  focus.  Pan  lenses,  free  head,  corrected  new  aperture.  Akeley, 
Da  Brie,  Pathe,  Universal,  Prevost,  Willart,  De  Vry,  Eyemo,  Sept, 
Leica.  Motors,  printers  lighting  equipment.  Also  every  variety  of 
16  mm.  and  still  cameras  and  projectors.  Everything  photographic 
bought,  sold,  rented  and  repaired.  Send  for  our  bargain  catalogue. 
Open  8  A.M.  to  10  P.M.  Hollywood  Camera  Exchange,  1600  Cahuenga 
Blvd.      Phone   HOllywood  3651.      Cable   address  Hocamex. 

MITCHELL  CAMERAS.  Silent  and  Speed.  Follow  focus.  Also  new 
Mitchell  motors,  extra  1000  foot  magazines,  motor  adapters,  baby  tripod, 
25-35  mm.  and  long  focus  lenses;  Mitchell  gear  box.  B.  B.  Ray, 
YOrk    4553. 


SINCE    1911.      Cameras   bought,   sold,    rented,    repaired. 
PETERSON'S   CAMERA  EXCHANGE 

356    South     Hruadway,    Los    nAgeles 


Upstair 


FOR  SALE  OR  TRADE 


MITCHELL  CAMERA  complete  with  speed  movement,  all  built-in 
features,  25  mm,  35  mm,  50  mm,  75  mm,  matched  Astro  Tachar  lenses, 
mounted  on  turret,  also  434  Heliar  lens  Mitchell  mounted,  2  tripod 
heads,  free  and  tilt,  six  400  foot,  two  1000  foot  magazines,  high  hat,  also 
Bell  &  Howell  camera  complete.  Address  Mervyn  Freeman,  1960  South 
Vermont   Ave.,   Los   Angeles,    Calif.      Phone:     REpublic   3171. 


FOR  SALE— CAMERAS 


USED  MODEL  "D"  LEICA  in  first  class  condition— price  $80. 
Fine     grain     enlarging — photo     supplies.       Morgan     Camera     Shop,     6305 

Sunset    Boulevard,    Hollywood. 

EYEMO  MODEL  71-C  with  type  C  turret  head  lens,  47  to  75  mm. 
2.5  Cooke  Lens — or  what  have  you"  Address  P.  O.  Box  983,  Miami, 
Florida. 

BELL  &  HOWELL  CAMERA,  silenced  shuttle,  complete  with  3  high 
speed  lenses,  Mitchell  tripod,  1000  ft.  magazines,  matte  box,  finder 
(code  word  "Cfambel")  perfect  condition  for  studio  work — $1200. 
(Foreign  studios — this  price  is  CIF  your  port.)  Camera  Supply  Com- 
pany,   1515    Cahuenga    Ave.,    Hollywood,    Calif. 

LEICA  CAMERAS — New  and  secondhand — used  Leica  Enlarger — 5x7 
Graflex.      Fine   grain   enlarging   photo   supplies.      Morgan's   Camera    Shop, 

6305    Sunset    Blvd.,    Hollywood. 

NEW  AND  USED  HOME  MOVIE  CAMERAS— DeVry  Motion  Pic- 
ture Cameras — sound  on  film  portable  projectors  with  operators  for  rent. 
Photographic    supplies — fine    grain    finishing — courteous    service.       Educa- 

tional   Project-O    Film    Co.,    1611    North   Cahuenga,   Hollywood. 

OUR  SPECIAL  SUBSCRIPTION  OFFER  of  one  year  tor  $2  expires 
November  15,  1933.  If  you  want  the  best  magazine  of  its  kind  sent  to 
you  each  month  send  your  subscription  in  now.  THE  INTERNA- 
TIONAL   PHOTOGRAPHER.    Hollywood.    California. 


FOR  RENT— CAMERAS 


TWO  THOROUGHLY  silenced  Mitchell  canieras.  Follow  focus  device, 
Pan  Astro  lenses,  Freehead — 1000  ft.  magazines.  J.  R.  Lockwood,  523 
No.    Orange   St..   Glendale.      Douglas   3361 -W. 


WANTED  TO   BUY— CAMERAS 


16  MM.  PROJECTOR,  Camera,  Leica  and  other  equipment.  Must 
be   in    good    condition    and    cheap.      T.    E.    Rogers,    551    South    Kingsley, 

Los   Angeles.      EX-2288. 

LEICA   OR  CONTAX    CAMERA,   new   or  used.     J.   R.   Lockwood,   523 
3.    Orange    Stri'et.    Glendale.    Douglas    3361-W. 

FOR  SALE  OR   RENT— MISCELLANEOUS 

FILTERS.     TRICK     LENSES     for     special     effects— regular     lenses,     all 

types — at    the    lowest    prices.       (Ask    for    CIF    prices.)       Camera    Supply 

Company,    1515    Cahuenga   Ave.,    Hollywood,   Calif. 

PRACTICALLY  NEW  12   VOLT  AKELEY  MOTOR.  Very  little  used, 

perfect    condition.      Equipped    with    variable    speed    control.     Tachometer. 

Underpriced   at   $125.      Camera   Supply    Co.,    Ltd.,    1515    Cahuenga    Blvd., 

Hollywood. 

MITCHELL  MOTOR— 1000  ft.  Mitchell  magazines.  J.  R.  Lockwood, 
Glendale.      Douglas  3361 -W. 

FRESH      NEGATIVE     short     ends — Eastman     and     Dupont.       Kinema 

Krafts   Kompany,   6510    Selma   Ave.,   Hollywood. 

MITCHELL  MAGNIFYING   Universal  View   Finder,  erect  image,  with 

mattes,   lists   at   $150.      Like  new — $100.      Other   finders   inverted   image — 

all    prices     from     $40    up.       Camera    Supply     Company,     1515     Cahuenga 

Ave..   Hollywood,    Calif. 

2    USED    MITCHELL   FINDERS,    inverted    image.      Impossible    to   tell 

from   new.      Cost    $100.00 — will    sell   for   $45    each.      Camera    Supply    Co., 

Ltd.,    1515    Cahuenga    Blvd.,    Hollywood. 

FOR  SALE — 75  mm.  Cooke  Lens.  F.2  in  Mitchell  mount  complete. 
50  and  75   mm.  Astro  lenses,  mounted  and  unmounted.     J.   R.   Lockwood, 

S21    North    Orange    Street,   Glendale.      Douglas    3361-W. 

BUYERS  READ  these  classified  advertisements  as  you  are  now  doing. 
If  you  have  something  for  sale  or  exchange — advertise  it  in  these  col- 
umns. THE  INTERNATIONAL  PHOTOGRAPHER,  1605  No. 
Cahuenga  Ave.,   Hollywood. 

NEW  1000  FT.  MAGAZINES  to  fit  Bell  &  Howell  Cameras.  These 
de  luxe  magazines  are  absolutely  new  and  sell  for  $100.00.  We  now 
quote  them  at  $75.  Camera  Supply  Co.,  Ltd.,  1515  Cahuenga  Blvd., 
Hollywood. 

FOR  RENT — 25  and  35  mm.  lenses,  motor  adapters,  Mitchell  Standard 
tripod  head,  baby  tripod,  400  ft.  Mitchell  magazines.  T.  R.  Lockwood, 
523    North    Orange    St..    Glendale.    Douglas    3361-W.  

TRIPOD  HEADS— Matte  Boxes— Lenses— Rewinds  and  etc.,  all  types, 
at  the  lowest  prices.  Camera  Supply  Co.,  Ltd.,  1515  Cahuenga  Blvd., 
Hollywood. 


ADVANTAGES  OF  VARIABLE  AREA  RECORD- 
ING   FOR   THE    INDEPENDENT   AND 
COMMERCIAL  LABORATORY 

(Contributed  ) 

There  has  been  considerable  discussion  in  variable 
density  laboratory  work  about  gamma,  Knee  Recording 
and  Straight  Line  Recording,  until  the  layman  who  is  ac- 
customed to  such  terms  as  harsh,  soft,  contrast)',  brilliant 
and  heavy  loss,  is  at  a  complete  loss  as  to  the  best  method 
by  which  to  handle  sound.  The  ideal  condition  is  to 
have  the  density  of  the  track  with  no  sound  imposed  on 
it  such  that  when  sound  is  imposed  the  light  changes 
above  and  below  this  density  will  be  of  equal  amounts 
and  proportional  to  the  sound  volume. 

By  light  change  one  means,  the  change  of  light  that 
will  pass  through  the  film  from  one  side  to  the  other, 
having  a  constant  light  on  one  side  and  a  measuring 
device  on  the  other. 

To  the  mathematical  or  technical  man  these  condi- 
tions can  be  explained  by  the  use  of  the  H  &  D  curves 
and  graphic  representation  of  sine  waves.  But  many 
laboratory  men  have  difficulty  in  translating  the  above 
explanations  to  the  density  of  film. 

If  the  above  condition  is  not  obtained  and  maintained 
to  at  least  a  certain  degree  in  variable  density  record- 
ing, second  harmonic  distortion  results  and  produces  dis- 
agreeable distortion  which  one  frequently  hears  from  a 
variable  density  sound  track  that  has  been  either  over 
or  under  printed.  In  the  above  discussion  it  is  assumed 
that  the  developing  time  is  the  same  for  both  prints.     A 

CAMERA  REPAIRING 

BELL  &  HOWELL  cameras  with  old  type  shuttles  silenced,  $150. 
Hollywood  Motion  Picture  Equipment  Co.,  645  No.  Martel  Ave., 
Hollywood. 

POSITION  WANTED 

EXPEDITION  CAMERAMAN,  recently  returned  from  India,  China, 
Japan  desires  to  join  company  contemplating  series  of  pictures  anywhere 
in  the  world.  Many  years  experience — color  or  black  and  white  pho- 
tography. Write  Expedition  Cameraman,  care  International  Photogra- 
pher. 

THE  INTERNATIONAL  PROJECTIONIST 

THE  INTERNATIONAL  PROJECTIONIST,  a  monthly  magazine 
published  in  the  interests  of  the  projectionist.  Interesting,  instructive. 
Yearly  subscription  U.  S.  and  possessions,  $2;  foreign  countries,  $2.50. 
James  J.   Finn   Publishing   Corp.,    1   West  47th   St.,   New   York. 

OUR  SPECIAL  SUBSCRIPTION  OFFER  of  one  year  for  $2  expires 
November  15,  1933.  If  you  want  the  best  magazine  of  its  kind  sent  to 
you  each  month  send  your  subscription  in  now.  THE  INTERNA- 
TIONAL   PHOTOGRAPHER,    Hollywood,    California. 

FINANCIAL  BACKING  WANTED 

CAMERAMAN  of  world-wide  experience  wants  responsible  party  to 
finance  series  of  pictures  to  be  made  in  S"outh  Sea  Islands ;  has  own 
equipment,  stories,  etc.;  excellent  opportunity;  best  of  references.  Box 
99,   International    Photographer. 

MISCELLANEOUS 

COMPLETE  COURSE  IN  FLYING— If  interested  in  aviation,  see  Roy 
Klaffki,    1605    North    Cahuenga    Ave.,    Hollywood. 

WANTED — To  know  of  the  whereabouts  of  motion  picture  relics,  docu- 
ments, or  equipment  of  a  historical  nature  for  Museum  purposes.  Write 
Earl  Theisen,  care  of  International  Photographer,  1605  Cahuenga  Ave., 
Hollywood. 

REAL  ESTATE— SALE  AND  EXCHANGE 

DOUBLE  BUNGALOW,  Los  Feliz.  Mortgage  only  $3800.  Want 
Mitchell,    silenced,   complete.      Box   252,   Universal   City. 

HOME  FOR  SALE  IN  CAMERAMAN'S  PARADISE— In  famed 
(Ireen  Verdugo  Hills,  with  background  of  huge  oaks  and  sycamore  trees. 
Sturdily  built,  artistic  two-story  Spanish  hillside  home,  with  3  bedrooms, 
2  fireplaces,  tile  bath  and  a  half  extra  tile  shower ;  a  large  room  with 
cement  floor,  drain,  sink,  gas  and  electric  outlets,  built  for  laboratory  and 
dark  room ;  year  old,  overlooking  five-acre  lawn.  Thirty  minutes  from 
L.  A.  or  Hollywood,  at  south  end  of  New  York  Avenue  in  La  Crescenta 
Valley,  known  nationally  as  health  area.  Owner  has  use  of  swimming 
pool,  twelve-hole  pitch  and  putt  golf  course,  tennis,  croquet  and  horse- 
shoe pitching  courts,  archery  range,  wading  pool  and  playground  for 
kiddies,  all-grass  baseball  diamond,  outdoor  dance  floor  with  huge  fire- 
place, barbecue  pits  and  tables,  captivating  stream  of  sparkling  water 
running  through  recreation  area.  All  for  a  small  monthly  maintenance 
(amounting  to  less  than  city  taxes),  which  also  covers  perpetual  fire 
insurance  on  house  and  unlimited  amount  of  water  for  domestic  purposes, 
county  taxes.  Riding  horses  and  trout  fishing.  Quality  materials  and 
workmanship  went  into  this  house,  planned  for  convenience  and  for  a 
home.  Elevation  1470  feet.  View  of  valley  and  Sierra  Madre  Mts. 
Buyer  gets  deed  and  clear  title  to  home  and  perpetual  lease  on  recreation 
area,  PLUS  Relaxation.  Recreation  and  Contentment.  Price  $6,000. 
ERICKSON,    South    End  of   New   York   Ave.,    La   Crescenta,    Calif. 


Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


September,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Thirty-nine 


similar  second  harmonic  distortion  will  result  from  over 
and  under  developments  even  when  the  exposure  is  cor- 
rect. 

Another  type  of  distortion  is  also  evident.  If  the 
density  does  not  double  when  the  sound  volume  doubles, 
it  may  or  may  not  produce  a  second  harmonic  distortion. 
By  proper  exposure  and  proper  development  the  above 
distortion  can  be  reduced  to  a  point  which  is  not  noticed 
by  the  average  listener  except  in  extreme  sound  changes. 
Hence  the  small  laboratory  man  is  at  a  loss  to  know 
just  how  to  find  the  correct  points,  as  to  whether  his 
exposure  or  developer  may  be  at  fault. 

In  variable  area  recording,  quite  a  different  situation 
exists. 

The  sound  is  recorded  by  varying  a  constant  light 
on  the  film,  the  remainder  of  the  film  remaining  un- 
exposed and  clear  white.  If  the  film  is  under  developed 
the  quality  of  the  film  is  not  changed.  The  part  that 
was  exposed  and  supposed  to  be  black  will  come  out  grey. 
This  situation  will  reduce  the  volume,  as  there  is  less 
contrast  between  the  black  and  white,  and  the  volume 
depends  on  the  variation  of  light  projected  through  the 
film.  In  other  words  the  grey  tone  lets  through  some 
light  but  its  variable  edge  changes  the  projected  light 
in  accordance  with  the  sound  waves  imposed  upon  it,  and, 
therefore,  the  quality  remains  the  same  as  it  would  if 
the  grey  was  opaque  black  and  the  projected  light 
changes  were  great. 

Any  laboratory  man  understanding  this  principle  that 
contrast  gives  the  greatest  volume  in  variable  area  record- 
ing, can  take  advantage  of  this  fact  to  match  up  record- 
ings made  at  different  levels.  In  picture  work  he  has 
found  that  under  exposing  and  long  development  gives 
contrast,  hence,  on  weak  recordings  when  he  does  the 
same,  he  increases  their  volume.  In  a  like  manner  if 
he  wishes  to  reduce  the  volume  of  the  loud  track,  he 
exposes  it  a  little  harder  with  the  light  and  develops 
it  lightly. 

The  assumption,  therefore,  is  obvious  that  variable 
area  recording,  due  to  its  ease  in  processing,  is  ideal  for 
the  independent  and  small  laboratory. 


MOTION  PICTURE  SOUND  RECORDING 

(Continued  frnjn   Page   7) 
other   derogatory   features,   has   condemned   this   form   of 
recording;  although  it  is  still  widely  employed. 

In  addition  to  the  actual  recording  circuit  and  the 
equipment  necessary  for  its  satisfactory  operation,  such 
as  the  signal  system,  there  has  to  be  an  arrangement  for 
maintaining  syncronism  between  the  recorded  sound  and 
the  photographed  picture.  Likewise,  if  the  quality  of 
sound  reproduction  is  not  to  suffer,  there  must  be  an 
arrangement  in  projection  that  will  pull  the  film  through 
the  projector  at  the  same  rate  of  speed  at  which  it  was 
driven  in  recording. 

The  motors  that  drive  the  picture  cameras  and  the 
recording  machines  must  start  together,  run  at  a  certain 
precise  speed,  and  stop  at  the  same  instant.  The  motors 
of  the  projection  machines  must  also  run  at  this  cer- 
tain constant  speed.  The  motor  control  system  is  such 
an  important  feature  of  the  sound  system  that  a  chapter 
will  be  devoted  to  it. 

The  descriptions  in  this  chapter  of  the  various  devices 
and  their  functionings  have  necessarily  been  rather 
sketchy  because  an  attempt  was  made  to  view  the  field 
of  sound  recording  and  reproduction  as  a  whole,  and 
yet  stress  the  chief  differences  in  the  several  recording 
systems.  Succeeding  chapters  will  take  up  in  consider- 
able detail  the  things  outlined  here.  The  next  chapter 
will  deal  particularly  with  the  recording  devices  em- 
ployed by  the  various  s\^stems. 


MORGAN  CAMERA  SHOP 

ENLARGING— FINE  GRAIN   FINISHING— PHOTO  SUPPLIES 

Headquarters  for 
6305  Sunset  Blvd.        Leica   Cameras  Hollywood 


CINEX  TESTINC   MACHINES  CINEX   POLISHING   MACHINES 

BARSAM-TOLLAR   MECHANICAL  WKS. 

7239   Santa    Monica   Blvd. 
Phone   CRanite   9707  Hollywood,    California 


Howard  Anderson 

Special    Effects  —  Animations 

Culver  City  3021  GRanite3111 


Mitch 

ell 

Motor 

FOR    REINT   OR   SALE 

MITCHELL  CAMERA 

Gear 

Box 

Silenced 

and  Re 

milt  by  Mitchell — 35  mm  ;  50  mm  ; 
Pan   Tachars   Lenses 

75  mm  ;  105 

mm 

D.   B. 

KEYES 

FIRST  CAMERAMAN 

WV 

oming    6139 

EARL    HAYS    PRESS 

PRINTED  INSERTS 

The    most   complete   library   of   foreign    research 

material   in  the  industry. 

NEW  ADDRESS 

6510  Santa  Monica  Blvd.     Near   Wilcox  Ave. 

Phone:  Hollywood   9591 


TO  THE  CAMERAMAN 

We  Can  Supply  First  Class 
NEGATIVE  SHORT  ENDS 

KINEMA  KRAFTS  KOMPANY 

6510    Selma    Ave.    .Hollywood,    Calif.      Phone:    GL.    0276 
Gabbani  Members  of   Local   659  H.   Higueret 


30%  to  60%  CASH  SAVINGS  on  16  mm. 

and  35  mm.  Cameras,  Projectors 

and  Accessories 

Write  for  Bass  Bargaingram.     Specify  size  of  apparatus 

interested   in.     For  over  22  years   Value   Leaders  of  the 

nation. 

Your   copy   is   ready.      Write  for   it. 

BASS  CAMERA  CO. 

179  W.   Madison  St.  Chicago,   III. 


MY 

FILTERS 
ARE  USED 

BY  ALL 
HOLLYWOOD 

STUDIOS 


IDTERS, 

IN  WORLD-WIDE  USE  . ...  ./^^ 
produce  McootyM  mi  NiqnlCf  facts  in  Daytimc- 
Kkj  Scenes-  KWIm  and  many  vttwr  effects. 
WITH  ANY  CAMERA   -  IN  ANV  CLIMATE 

GEORGE  H.SCHEIBE 

ORIGINATOR  OF  EFFECT  FILTERS 


il 


I927-W-78IT  ST. 


LOS  ANOELES.CAL. 


Please   mention   The    International   Photographer  when   corresponding   with   advertisers. 


Forty 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


September,  1933 


oljocus 


By  OTTO  PHOCUS 


PLEASE  EXPLAINING! 


The  above  piece  of  embroidery  was  stitched  by  Itsu  Pip  in  the 
far  Yeast.     This  department  is  open  to  both  sides  for  discus- 
sion, but  remains  neutral  in  all  controversial   matters,  most  of 
the  time. 

Many  picture  had  apply  for  critic  in  honorable  Mag 
of  Internal  Photographic  and  I  appreciate  submission  of 
special  photo,  photograph  very  nicely  on  slippery  paper. 
Please  to  be  explaining  conditions  of  overcoming  many 
fault  of  which  you  finding  in  my  "Scream  of  Still." 

Many  problem  coming  up.  Too  bad.  Viewing  from 
picture  closely  can  see  horse  needing  hair  cut  very  badly. 
Also  not  looking  very  happy  in  face.  Maybe  too  many 
pounds  on  back  or  maybe  not  liking  of  cameraman  very 
much. 

Many  carry  to  many  lip  stick.  Stick  to  hit  with 
when  other  man  giving  to  much  of  lip.  Man  in  back- 
grounding balance  pumpkin  on  head.  This  not  very 
true.  Pumpkin  is  lamp  on  house  with  winds  blowing. 
Man  holding  unhappy  horse  was  loseing  of  venerable 
pants.  Too  bad !  Cold  weather  coming  soon  make  very 
bad  for  him. 

Can  excellent  personage  telling  what  time  making  ex- 
posing was  taken.  Have  making  15  exposings  and  taking 
many  hours.  Fourteen  exposing  very  bad  and  one  ex- 
posing up  above.  Exposings  start  six  o'clock  very  early 
and  finnishing  six  o'clock  very  late.  Very  much  ex- 
pensing, thank  you! 

Hoping  you  receiving  this  when  in  good  condition 
and  not  cracked  I  am  closing  up.  Many  thankings  and 
happy  cheer. 


DO  YOU  KNOW? 

That  it  looks  as  if  the  U.  S.  C.  football  team  will 
be  all  guards  this  season. 

That  AL  NICKLIN'S  Granpap,  Brock  Higgins, 
was  the  first  to  use  artificial  and  flash  lights  in  this 
country  for  photography. 

That  NEAL  HARBERGER  once  owned  a  garage 
and  when  he  has  to  go  into  one  now  it's  a  case  of  taking 
some  of  his  own  medicine. 

That  JIMMIE  PALMER  owned  and  operated  a 
theatre  in  San  Diego,  but  will  not  go  for  the  basket 
picnic  idea. 

That  JACK  FUQUA,  our  circulation  manager,  was 


formerly  a  motion  picture  operator  in  Chicago  and  all 
points  west. 

That  if  you  are  going  East,  see  ART  REEVES. 
He  knows  all  the  wrong  roads. 

That  cameramen  should  redeem  their  watches. 


SCREAM  CREDIT 

Concrete  Productions,  Inc. 

As  strong  as  the  men  behind   it. 

Manny  Sands,  Pres. 

Fuller  Sands,  Associate  Pres. 

Johnny  Waters,  Asst.  Associate 

Present 

Gorgonzola   DeBrie, 

The  strongest  drawing  card  on  the  screen  to-day. 

in 

"I  Loved  You  Next  Week" 

"Looking  Forward  Backward" 

or 

"Hell  and   Repat" 

a  bargain  bill 

by 

Smilus  B.  Syder 

Translated  from  the  Sandaluvian 

with 

Pruny  McSlatts,  Ivoria  Knoodler,  Batsin   Belfry, 

Phir  Goshakes,  Axel  Nerts 

Directed  by  Abner   Dubb 

Supervised  by  Simon  Phure  Sappe 

Legal  Council,  Hobb,  Skib  and  Jhump 

— MUSIC — By  the  band  directed  by  Saxo  Zitherton. 

GAGS— By  Zulie  Zilch. 

SCRIPT  GIRL—  Elsi  Where. 

WARDROBE— Organdie  Slax. 

SOUND— Tim  Panum. 

ART  DIRECTION— Ooolut  Ginglehooper. 
LIGHTS— Gaffer  P.  Juiceman. 
STILLS— Grabem  N.  Run. 
DIALOGUE— Gabriel  Gabfest. 
INFORMATION— Knowen  Home. 
TELEPHONES— Agnes,  Beckv,  etc. 
MESSENGER— Neva  Swift. 
WATCHMEN— I.  Steele  and  Billy  Snoozer. 
TIMEKEEPER— Penan  Hinks. 
CHAUFFEUR— Gresan  Hoil. 
GARDNER— Hosana  Cutting. 
BLACKSMITH— Windy  Bellows. 
CARPENTER— Soren  Hammer. 
TELEGRAPH— Dot  N.  Dasher. 
PUBLICITY— Hairdressers. 
MAKE-UP— Legal  Dept. 
PAINTER— Arthur  Chrome. 
STENOGRAPHER— Miss  E.  Racer. 
PROJECTIONIST— Homes  N.  Hamps. 
RECORDER— Mike  R.  Fonnes. 
LIVE  STOCK— Horace  N.  Kettle. 
TITLES— Maynan   X.   Planitorv. 
SPECIAL  EFFECTS— Fay  Doubt. 
LABORATORY— Rushem  &  Pullem. 
FILM— See  Credit  Dept. 
PURCHASING  AGENTS— Temper  Senter. 
PRINTERS— Pica,  Pica  &  Pica. 
CARPETS— Laham  N.  Tacham. 

CAMERAMAN — Manny    Scratches. 


A     NEW     FILM     FOR 


COMPOSITE  SHOTS 


FROM  the  general  standpoint  of 
fineness  of  grain,  speed,  and 
processing  characteristics, 
Eastman  Background  Negative  is 
definitely  superior  to  every  film 
hitherto  available  for  composite 
shots.  Tests  in  the  laboratory  and 
on  the  lot  prove  this.  They  indicate 
that  this  new  Eastman  film  will  go 
far  to  enhance  the  beauty  and  effec- 
tiveness of  today's  motion  pictures. 
Eastman  Kodak  Company.  (J.  E. 
Brulatour,  Inc.,  Distributors,  New 
York,  Chicago,  Hollywood.) 


EASTMAN 


BACKGROUND     NEGATIVE 


Camera  Equipment 

must  be  kept  in  perfect 
condition  to  insure  its 
maximum  efficiency  ♦  ♦  ♦ 

A  maintenance  depart- 
ment of  thoroughly 
trained    and    expert 
mechanics  at  your 
service*** 


Mitchell  Camera  Corporation 


665  N.  ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD,  CALIF. 

Cable  Address  "MITCAMCO" 


Phone  OXford  1051 


*\ 


I 


HOTOGRAPHER 


HOLLYWOOD 


TH YEAR 


OCTOBER,    1933 


VOL.  5 
NO.  9 


VV*J 


* 


OS 


if1 

7 


1» 


■ 


$ 


^^t 


**.** 


c 


A   COPY 


James  B.  Shackelford,  in  the  South  Seas,  Setting  up  to  Photograph  a  Big  Scene 
From  "Sea  Girl",  a  Special  Feature  Soon  to  Be. Released  by  R.  K.  O. 


Photograph 

By  James  B.  Shackelford 


MOTION    PICTURE    ARTS    AND    CRAFTS 


THEdfflPTRADE  MARK  HAS  NEVER  BEEN  PLACED  ON  AN  INFERIOR  PRODUCT 


In  BRIGHT  SUNLIGHT  or  DEEP  SHADOW 
Under  INCANDESCENT  or  ARC  LIGHT 


Reg.  U.  S.  Pot.  Oft. 


PANCHROMATIC 


will   give  better  results  than 
are  otherwise  obtainable 


SMITH  b  ALLER,  LTD. 

6656  Santa  Monica  Boulevard  Hollywood  5147 

HOLLYWOOD,  CALIFORNIA 


PACIFIC  COAST  DISTRIBUTORS  FOR 

DuPONT  FILM  MFC.  CORP. 

35  West  45th  Street,  New  York  City 


THECGDODTRADE  MARK  HAS  NEVER  BEEN  PLACED  ON  AN  INFERIOR  PRODUCT 


INTERNATIONAL 
PHOTOGRAPHER 

MOTION   PICTURE  ARTS  AND  CRAFTS 


Vol.5 


HOLLYWOOD,    CALIFORNIA,    OCTOBER,    1933 


No.  9 


Howard  E.   Hurd,  Publisher's  Agent 

Silas  Edgar  Snyder,  Editor-in-Chief 

Edward  T.  Estabrook,  Managing  Editor 

Ira  Hoke  and  Charles  Felstead,  Associate  Editors 

Lewis  W.  Physioc,  Fred  Westerberg,  Technical  Editors 

John   Corydon   Hill,  Art  Editor 

A  Monthly   Publication   Dedicated   to   the   Advancement  of  Cinematography   in   All 

Its  Branches;    Professional  and   Amateur;   Photography;   Laboratory  and   Processing, 

Film  Editing,  Sound  Recording,  Projection,  Pictorial ists 


THE  COVER— By  JAMES  B.  SHACKELFORD 

FRONTISPIECE  ....       - -       2 

By  Fred  R.  Archer 

A  SAFE  RETURN   FROM  THE  CANNIBAL   ISLANDS         -       -       -       3 
By   The  Editor 

THE   STORY   OF  BELL  &   HOWELL 6 

By  Earl   Theisen 

ON    THE    TRAIL    OF    PIRATES'    GOLD         ...       -  .       .       g 

By  Esselle  Parichy 

MOTION   PICTURE   SOUND   RECORDING 10 

By  Charles  Felstead 

HOLLYWOOD    PLANETARIUM 12 

By  William  Hartman 

PROFESSIONALS  AND  AMATEURS   IN  JAPAN       -----     14 
By  Harry  Mimura 

CINEMATOGRAPHER'S  BOOK  OF  TABLES       -----       15-16 
By  Fred   W esterberg 

LIGHT    FILTERS  -       - -       -       -     18 

By  Emery  Huse  and  Ned  Fan  Buren 

THE  NEWSREEL  WORLD     -       -       - 19 

By  Ray  Fernstrom 

NEW  CAMERA  FOR  MOTION  PICTURE  STILL  WORK      -       -       -     21 
By  Fred  R.  Archer 

ALLIED  INDUSTRIES   OF   HOLLWOOD       - 22-23 

PRESS    PHOTOGRAPHY    MADE    EASIER    BY    MINIATURE 

CAMERA  .---....- 26 

By  August   Woljman 
CLASSIFIED    SECTION  30 

OUT    OF   FOCUS         -       - 32 

By  Charles  P.  Boyle 


Entered    as    second    class    matter    Sept.    30,    1930,    at    the    Post    Office    at    Los    Angeles, 
California,  under  the  act  of   March  3,    1879. 


Copyright    1933    by    Local    659,    I.  A.  T.  S.  E.    and    M.  P.  M.  O.    of    the    United    States 

and  Canada 


Office    of    publication,    1605    North    Cahuenga    Avenue,    Hollywood,    California 

HEmpstead    1128 

James   J.    Finn,    1    West   47th    St.,   New   York,    Eastern    Representative 

McGill's,    179   and   218   Elizabeth   St.,    Melbourne,   Australian   and   New   Zealand   agents. 

Subscription    Rates — United    States   and    Canada,    $3    a   year.      Single   copies,    25    cents. 


This   Magazine   represents  the   entire   personnel  ot  photographers  now  engaged   in 

professional  production  of  motion  pictures  in  the  United  States  and  Canada.     Thus 

THE  INTERNATIONAL  PHOTOGRAPHER  becomes  the  voice  of  the   Entire  Craft, 

covering  a  field  that  reaches  from  coast  to  coast  across  North  America. 

Printed  in  the  U.  S.  A.  at  Hollywood,   California 


80 


SERVICE  ENGRAVING  CO 


IN     NOVEMBER 


Alvin  Wyckoff  will  tell  of  the  behavior 
of  the  Leica  Camera  in  the  Tropics  and  his 
narrative    is  right  fresh   off  the   gridiron,   too. 


Milton  Moore,  our  expert  in  color,  will 
answer  the  question:  "What  Has  Happened 
to   Color?" 


Charles  Felstead,  Associate  Editor,  will 
offer  his  third  chapter  on  "Sound  Record- 
ing." Don't  miss  any  of  these  illuminating 
articles. 


Herbert  Tynes  Cowling  tells  of  his  jour- 
ney— on  foot — 1600  miles  across  equatorial 
Africa,  under  the  title,  "Some  Tribes  of 
Central   Africa."      Many   interesting   pictures. 


Shirley  Vance  Martin  writes  of  "Stills  and 
the  Rationale  of  Still   Photography." 


Mr.  Earl  Theisen's  offering  for  November 
will  be  "Photography  in  the  World  War,"  one 
of  this  fine  writer's  best  articles. 


]ames  H.  Doolittle  is  scheduled  to  tell 
about  a  new  and  interesting  tripod  he  has 
just  invented. 


OUR     COVER 

One  of  2000  beautiful  stills  shot  in  and 
around  the  Fiji  Islands  and  the  Island  of 
Papua  by  J.  B.  Shackelford  for  the  big 
R.  K.  O.  picture,  "Sea  Girl."  The  scene 
was  Pore-Porena,  in  Papua  on  the  morning 
of  the  photographing  of  some  big  scene. 
Mr.  Shackelford  is  seen  at  extreme  right 
lining  up  for  the  big  shots.  He  shot  the  still 
himself.     How  did   he  do  it? 


Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


Two 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


THE  CITY  OF  BRASS" 


"The  City  of  Brass",  one  of  a  series  of  illustrations  for  the  Arabian 
Nights,  by  Fred  R.  Archer.  This  beautiful  and  unusual  illustration  was 
made  by  the  combination  of  three  separate  negatives.  The  original 
was  hung  at  the  following  international  salons:  London,  Pittsburgh, 
Madrid,  Toronto,  San  Francisco,  Los  Angeles — and  has  been  exhibited 
in  many  other  cities  of  the  world.  It  is  a  fair  sample  of  the  work 
of  the  pictorialists  of  THE  INTERNATIONAL  PHOTOGRAPHERS  and 
Mr.  Archer  takes  the  occasion  to  suggest  that  a  salon  be  held  here 
in    Hollywood,    probably    during    the    Christmas    holidays — a    salon    of 


THE  INTERNATIONAL  PHOTOGRAPHERS'  very  own,  with  the  sub- 
scribers of  this  magazine  invited  to  participate  as  exhibitors.  While 
Mr.  Archer  is  discussing  the  idea  with  others  of  his  fellow  artists 
the  editors  will  consider  the  possibilities  of  adequate  rewards  for 
prize  winners. 

If  the  reader  is  interested  and  has  some  original  ideas  on  the 
subject,  why  not  write  or  call  up  Mr.  Archer  or  the  magazine  and 
tell  about  it. 


Please  mention  The   International  Photographer  when  corresponding  with  advertisers. 


October,  1933 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


Three 


A    SAFE    RETURN 

FROM  THE 

CANNIBAL  ISLANDS 

And  With  40,000  Feet  of  Film  in  the  Bag 

By  The  Editor 
(Illustrated  by  J.  B.  Shackelford) 


James  B.  Shackelford,  photographer  par  excellence, 
has  returned  home  to  Hollywood  from  a  one  year  and 
two  weeks'  sojourn  among  the  savages,  the  coral  islands 
and  the  gorgeous  scenery  of  the  South  Seas. 

The  official  photographer  of  the  Roy  Chapman  An- 
drews expedition  to  the  Gobi  Desert  had  long  planned 
to  take  the  trip  to  the  Australasian  Archipelago,  but  it 
was  not  until  a  year  ago  that  he  succeeded  in  opening 
up  a  market  for  the  photographic  bacon  which  he  ex- 
pected to  bring  home  with  him  from  his  journey  to  the 
Antipodes. 

In  July,  1932,  with  his  friend,  George  C.  Dromgold, 
well  known  writer,  he  sailed  for  Honolulu  en  route  to 
Sydney,  Australia,  headquarters  for  the  expedition. 
Messrs.  Shackelford  and  Dromgold,  in  collaboration,  had 
written  a  story  with  South  Sea  locales  in  which  they  had 
interested  Merian  C.  Cooper,  of  R-K-O,  who  sponsored 
the  expedition  and  promised  a  release. 

Melbourne  Ward,  a  young  naturalist  of  the  Museum 
of  Sydney,  was  a  guest  passenger  of  the  expedition  and 
so  assiduous  and  efficient  was  he  that  he  soon  had  the 
boat  overladen  with  live  things  of  both  sea  and  land, 
among  them  eels,  20  foot  snakes  and  other  reptiles  of 
various  kinds,  whose  freedom  of  movement  about  the  ship 
made  Shackelford's  visits  to  his  dark  room  occasions  to 
be  dreaded. 

It  was  a  two-man  expedition.  Shackelford  was  cine- 
matographer,  assistant,  still  man,  co-author,  sound  en- 
gineer, lab  man,  gaffer,  grips,  wardrobe  woman,  set  de- 
signer and  builder,  shipping  clerk,  etc.,  while  Dromgold 
was  director,  assistant  director,  script  clerk,  supervisor, 
make-up  man,  etc.,  but  it  was  a  good  combination  and  it 
clicked  merrily. 

Shackelford  took  his  own  photographic  equipment,  in- 
cluding a  Mitchell  camera,  Akeley  camera,  a  Bell  & 
Howell  Eyemo  with  motor  drive,  a  Grarlex,  Circuit 
Panorama,  with  full  equipment  for  each,  while  the  stu- 
dio contributed  an  R.C.A.  portable  sound  outfit  for 
single  or  double  recording. 

Altogether  there  were  105  trunks  and  cases  of  equip- 
ment and  40,000  feet  of  Eastman  Super  Panchromatic 
film,  the  latter  packed  in  accordance  with  what  J.  E. 
Brulatour,  Inc.,  call  "Shack's  Specifications" — 3  rolls  to 
a  tin  for  the  100,  200  and  400  foot  rolls,  while  the  1,000 
foot  rolls  were  packed  singly.  The  tins  were  hermetic- 
ally sealed  and  made  to  open  with  a  turn-key,  sardine 
style. 

At  Sydney  our  wanderers  completed  their  outfitting 
and  contracted  for  the  use  of  a  34-ton  pearl  lugger,  a 
staunch  boat  65  feet  long  and  broad  of  beam,  which 
they  were  to  pick  up  at  Thursday  Island,  several  days 
out  from  Sydney  toward  their  destination — Port  Mores- 
by, seat  of  British  New  Guinea  or  Papua. 

They  went  by  rail  to  Brisbane  and  thence  took  a 
Chinese  ship  for  Thursday  Island,  where  Shack  built 
a  laboratory  aboard  their  boat,  installed  an  ice  machine, 


"Shack   Is   Back" 

wired  the  boat  for  electric  lights  and  tried  to  get  ac- 
quainted with  the  nine  fuzzy  haired  natives  who  com- 
prised the  crew. 

The  captain  was  a  young  Englishman  named  Clay, 
and  a  very  excellent  seaman  he  was.  The  seamen  looked 
like  the  famous  Circassian  beauties  of  early  circus  days 
with  their  immense  shocks  of  jet  black,  wavy  hair  and, 
aside  from  being  a  bit  grouchy  by  nature,  they  were  not 
bad  to  get  along  with. 

The  cook  was  a  "reformed"  cannibal,  skillful  at 
handling  the  butcher  knives  in  the  kitchen,  and  who 
seemed  to  the  two  white  men  to  be  a  bit  solicitous  as  to 
their  comfort,  for  white  meat,  or  "long  pig,"  as  it  is 
called,  is  said  to  be  highly  esteemed  among  the  simple 
hearted  cannibal   folk  of  those  islands. 

For  seventy-five  years  the  British  and  Dutch  govern- 
ments have  waged  warfare  against  cannibalism,  and  it 
is  said  they  have  it  whipped  with  the  new  generation 
coming  on,  but  there  are  always  vague  rumors  afloat, 
and  Shackelford  and  Dromgold  were  told  that,  about  the 


time  of  their  arrival,  a  village  on  the  Island  of  Papua 
had  been  raided  and  five  women  carried  off  to  form  the 
piece  de  resistance  of  a  cannibal  banquet. 

On  Papua  Island  is  Port  Moresby,  an  important  out- 
post in  those  waters,  where  lives  the  famous  Sir  Hubert 
Murray,  for  half  a  century  a  student  of  the  native  peo- 
ples and  reputed  as  being  the  best  informed  man  in  the 
world  on  matters  concerning  the  primitive  folk  of 
Oceania.     He  is  a  humanitarian  and  regards  the  natives 


more  as  children  than  as  intelligent  men  and  women. 
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Four 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


By  fair  and  firm  treatment  he  has  won  their  con- 
fidence, speaks  their  languages  and  dialects,  and  is  re- 
garded by  the  natives  as  a  great  friend  and  protector. 

In  the  great  archipelago  there  are  two  main  stems  of 
native  peop'e — the  Melenesians  and  the  Polynesians.  The 
former  are  blacks  with  long  bushy  locks,  while  the  latter 
are  brown  and  inclined  to  have  straight  or  short  curly 
hair. 

Shackelford  and  Dromgold  arrived  in  Port  Moresby 
at  an  inopportune  time  and  they  came  near  finding  mo- 
tion picture  shooting  taboo.  A  few  months  previous  to 
their  arrival,  a  renegade  British  pot-shooter  had  arrived 
on  the  island  for  the  purpose  of  photographing  native 
life,  but  instead  he  had  used  the  facilities  furnished  him 
by  the  government  to  raid  villages,  plunder  the  natives 
of  their  arms  and  art  objects,  and  at  last  ran  out  with  a 
ship  load  of  spoils.  He  was  run  down  and  captured,  but 
his  visit  to  the  island  had  the  effect  of  causing  the  gov- 
ernment to  ban  all  future  picture  productions  except 
simple  scenes  of  native  life.  Feature  picture  plays  with 
story  continuity  will  no  more  be  permitted. 

Our  adventurers  had  the  good  fortune  to  win  the 
goodwill  of  the  local  government  and  they  spent  five 
months  cruising  about  the  waters  adjacent  to  Port  Mores- 
by, shooting  as  they  desired,  and  covering  a  distance  of 
over  1,000  miles  in  their  pursuit  of  the  elusive  motion 
picture. 

They  were  permitted  to  use  700  natives  and  125 
war  canoes  in  their  big  shots,  but  there  were  no  scenes 
of  violence  permitted.  The  natives  were  willing  and  en- 
thusiastic in  their  efforts  to  co-operate,  but  the  best 
Shackelford  could  do  was  to  give  90  per  cent  of  his  pro- 
duction time  to  rehearsals  and  10  per  cent  to  the  actual 
shooting. 

Sometimes  he  would  have  three  cameras  lined  up  on 
a  shot  from  three  different  parallels  set  up  in  the  water 
two  or  three  hundred  feet  from  shore  and  nobody  to  look 
after  them  except  himself.  Things  like  these,  together 
with  the  necessity  of  continually  battling  the  terrific 
humidity  and  rust,  made  life  anything  but  joyous.  Tn 
no  time  the  film  became  as  wet  as  sop  and,  as  the  fog 
was  invisible  most  of  the  time,  it  was  a  gamble  to  take 
a  shot. 

Another  drawback  was  the  necessity  of  constantly 
using  interpreters.  Usually  they  were  reliable,  but  when 
they  did  misinterpret  everything  went  haywire. 

In  combatting  the  humidity  Shackelford  was  forced 
constantly  to  use  his  special  dehydrator,  charged  with 
chloride  of  lime,  and  after  two  to  five  days  of  this  treat- 
ment the  film  was  soldered  in  airtight  tins  and  sent  to 
the  lab  in  Hollywood.  Sometimes  it  would  require  only 
two  months  to  reach  the  lab  and  sometimes  as  long  as 
five  months,  according  to  their  luck  in  making  boat 
connections.  Shackelford  handled  every  foot  of  his  film 
personally,  and  all  of  the  40,000  feet  exposed  arrived 
at  the  lab  in  good  order. 

The  white  man  in  Oceania  has  many  enemies  beside 
savages — in  fact,  the  so-called  savage  is  not  much  of  a 
menace  any  more,  save  when  the  white  man  deliberately 
seeks  him  out  in  the  seclusion  of  his  greatest  isolation  and 
either  does  him  harm  through  violence,  debauchery  or 
plunder. 

There  are  several  brands  of  fever  to  combat,  the 
dreaded  tropical  ulcer,  leaches,  reptiles,  poisonous  in- 
sects, sharks,  eels  of  the  coral  reefs,  fierce  as  tigers ;  30- 
foot  snakes,  terrible  rays,  big  as  a  ship's  sails;  octopi, 
poisoned  bamboo  darts  concealed  in  the  jungle  paths — 
all  these  and  many  more. 

The  Fiji  Islanders  are  pretty  good  people.  Their 
present  chief  is  a  graduate  of  Oxford  University  and 
they  are  advanced  in  their  arts  and  crafts.     They  are  a 


good  looking  race  of  people  and  most  willing  to  co- 
operate with  the  white  man. 

At  Suva,  their  capital,  there  is  a  large  colony  of  Eng- 
lish people,  and  here  may  be  found  the  Fiji  at  his  best. 
The  town  itself  is  up-to-date  in  everything,  and  there  is 
no  native  problem. 

In  Papua,  where  Shackelford  and  Dromgold  spent 
most  of  their  time  in  production  work,  the  natives  along 
the  British  coast  were  fairly  civilized,  whatever  that 
means,  but  in  the  interior  and  along  the  Dutch  coast  they 
were  poison.  They  were  at  best  a  surly  lot,  but  they 
were  willing  to  work  in  pictures  at  the  smallest  possible 
stipend. 

Small  sticks  of  tobacco,  rice,  tinned  goods  of  any  kind, 
razor  blades  and  cubes  of  ice  constituted  the  popular 
medium  of  exchange  and  there  was  never  any  quarrej 
about  the  price  or  quality  of  the  stuff  given  in  payment; 
and  right  here  should  be  chronicled  a  wonderful  discov- 
ery by  Mr.  Shackelford,  viz.,  that  Papua  is  the  place 
to  get  rid  of  old  safety  razor  blades.  He  said  it  was 
simply  marvelous  what  a  native  Papuan  could  do  with  a 
razor  blade.  He  used  them  for  everything  except  to 
make  dug-outs,  and  will  undoubtedly  do  that  when  the 
blades  get  more  plentiful,  so  if  the  reader  has  a  razor 
blade  problem  on  his  hands,  he  may  have  it  solved  by 
sending  his  blades  postage  prepaid  to  Messrs.  Shackel- 
ford and  Dromgold,  R-K-O  Studios. 

In  answer  to  a  question  as  to  the  scenery  down  there 
in  the  world's  greatest  archipelago  he  said  that,  without 
exception,  those  islands  afforded  the  most  marvelous  back- 
grounds for  pictures  to  be  found  in  all  the  world. 

There  are  atolls,  coral  reefs,  active  volcanoes,  high 
mountains,  wonderful  wooded  islands,  lagoons,  rivers, 
unimaginably  beautiful  cloud  forms,  stormy  skies,  amaz- 
ing panoramas  of  beach  and  shore,  enchanting  marine 
views  with  picturesque  shipping,  indescribable  flowers, 
like  the  rarest  orchids,  which  are  so  common  that  they 
are  trodden  underfoot  in  the  wood  paths. 

The  natives  find  living  easy  no  matter  if  they  have 
been  deprived  of  their  "long  pig."  The  waters  teem  with 
all  sorts  of  marine  life — scores  of  species  of  fish,  crus- 
taceans, shell  fish  (there  are  clams  weighing  2,000 
pounds)  oysters  galore  and  last  but  not  least,  a  holy 
terror  to  man  and  fish — the  terrible  death  dealing  eels 
of  the  coral  reefs  as  aforementioned. 

The  woods  are  full  of  wild  fruits,  nuts,  edible  roots, 
etc.,  while  vegetables  of  many  kinds  are  raised  in  the 
vales  and  on  the  hill  slopes.  If  a  man  own  a  bread 
fruit  tree,  a  cocoanut  tree  or  two,  a  patch  of  bamboo  and 
a  tiny  outrigger  boat,  he  is  sitting  on  top  of  the  world, 
according  to  Mr.  Shackelford. 

The  bamboos  furnish  him  with  a  house,  beds,  rugs, 
baskets  and  a  hundred  other  things,  while  the  coco  palm 
gives  him  fruit,  the  finest  salad  and  hair  oil  on  earth, 
sails,  dishes,  clothing,  milk  and  no  end  of  other  things. 

Their  artists,  architects  and  craftsmen  are  wonderful 
workmen  with  their  home  made  tools,  their  designs  in 
basketry,  rugs,  mats,  etc.,  being  refreshingly  original 
and  beautifully  executed.  Time  means  nothing  to  these 
children  of  the  sea  and  jungle,  and  their  art  works  are 
painstakingly  excellent. 

The  rains  in  Oceania  are  terrific.  Mr.  Shackelford 
reported  100  inches — eight  feet  and  four  inches  of  the 
wet  stuff — in  four  and  a  half  months. 

There  is  no  danger  of  exhausting  the  charms  of 
Oceania,  according  to  our  globe  trotting  picture  pursuers. 
This  archipelago  paradise  is  bigger  than  any  continent 
and  the  more  it  is  photographed  the  more  its  beauties  and 
charms  are  disclosed,  and  if  the  motion  pictures  are  still 
alive  a  century  from  now  Oceania  will  still  be  offering  up 
its  unmatchable   enchantments. 

The  materials  for  motion  picture  making  are  profuse 


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and  widely  scattered  in  Oceania — nothing  is  lacking. 
This  part  of  the  earth's  surface  has  ages  back  of  it — 
fragments  of  the  old  continent  of  Lemuria  and  at  least 
a  few  of  its  relics,  such  as  those  of  Easter  Island. 

There  are  five  hundred  years  of  the  traditions  of  the 
early  world  navigators  back  of  its  water  lanes  and  the 
decades  of  conquest  and  discovery  which  followed — un- 
surpassed in  nautical  history  for  adventure,  romance  and 
great  drama. 

In  this  far  flung  theatre  of  strange  and  wonderful 
life  appeared  in  their  proper  sequence  the  Spanish  and 
Portuguese  navigators  and  discoverers ;  Capt.  Cook  ;  the 
early  Dutch  settlers;  the  British  conquerors  of  the  East 
and  pioneers  of  Australia  and  New  Zealand.  Here 
flourished  the  buccaneers  of  the  Indian  Ocean  (the  fliers 
of  the  Jolly  Roger)  and  the  dreaded  Stranglers  of  the 
Cord  and  Kreese  (Kris).  Here  the  pearl  fisheries,  the 
thousands  of  shipwrecks,  the  treasure  troves  of  the  days 
of  conquest,  the  sea  fights  of  those  days,  the  romance  of 
the  building  of  a  new  British  empire,  the  Thousand  and 
One  Nights  of  a  new  Island  world. 

Here  are  the  watery  paths  which  lead  to  that  myste- 
rious realm  called  Antarctica  and  everywhere  are  the 
strange  and  interesting  child  peoples  in  their  enchanting 
island  homes. 

It  is  a  good  place  to  be,  this  amazing  world  of  land 
and  water,  for  the  white  man  is  a  lover  of  good  places 
and  he  is  here  in  great  numbers.  Those  who  visit  in 
Oceania  long  to  return  to  it  and  they  do  say  that  a  man 
can  live  better  and  more  economically  there. 

It  has  been  aforesaid  that  Shackelford  and  Dromgold 
went  to  Papua  with  a  script  story  and  a  lot  of  ingenuity 
had  to  be  brought  to  bear  upon  the  situation.  At  last 
the  problem  was  settled  by  an  agreement  to  shoot  all  the 
long  shots  with  Papuan  natives  and  all  the  close-ups  with 
Fiji  is'anders — this  was  because  the  government  refused 
to  permit  the  Papuans  to  work  with  weapons,  while  the 
Fijis  could  do  as  they  liked. 

At  the  Fiji  Islands,  therefore,  our  expedition  hired 
Leuria,  a  small  private  island,  uninhabited  and  every- 
thing, and  here,  for  five  and  a  half  months,  they  toiled 
to  finish  the  picture  begun  at  Papua.  Here  they  were 
frequent  guests  of  the  Fiji  chief,  Ratu  Pope  Seniloa, 
grandson  of  the  last  cannibal  king  of  Fiji  and  a  graduate 
of  Oxford,  a  gentleman  every  inch,  to  hear  Shackelford 
and  Dromgold  tell  it. 

According  to  Mr.  Shackelford,  it  won't  be  long  now 
until  under  water  photography  has  reached  a  develop- 
ment that  will  make  it  easy  to  pick  up  the  secrets  of 
marine  life  at  the  present  time  deemed  impossible,  and 
he  adds  that  the  under-sea  flora,  fauna  and  sentient  life 
of  Oceania  is  unpara'leled  in  the  world — and  when  the 
time  comes  the  motion  picture  industry  will  enter  upon 
a  golden  era  heretofore  unimaginable  in  the  wildest 
flights  of  cinematic  fancy.     There  will  be  action  pictures 


This  beautiful  extra  girl 
was  one  of  the  leaders  of 
the  chorus  in  "Sea  Girl." 
Note  the  Persian  rug  pat- 
tern of  her  tattooing.  Among 
these  natives  the  story  of 
their  lives  is  told   in  tattoo. 


under  the  sea  with  all  its  background  of  mystery  and  en- 
chantment— a  new  world  will  have  been  added  to  the 
realm  of  cinematography. 

May  it  come  and  quickly.  The  movies  need  a  stimu- 
lus like  that. 

After  completing  their  production  work  at  Papua 
our  expedition  headed  for  home  via  Samarai  Island,  Suva 
and  Sydney,  completing  the  round  trip  of  25,000  miles 
in  twelve  months  and  two  weeks. 

"The  Great  Barrier  Reef  of  Australia,"  a  monu- 
mental work  by  the  English  scientist  W.  Saville-Kent, 
F.L.S. ;  F.Z.S. ;  F.I.Inst.,  bears  out  Shackelford's  state- 
ment about  the  wonderful  marine  world  visited  by  the 
expedition. 

That  coral  reef,  one  of  the  marvels  of  the  universe, 
is  1,250  miles  long  and  varies  from  12  to  600  miles  in 
width — an  unimaginable  riot  of  color,  like  a  scrambled 
rainbow,  and  untold  millions  of  shapes  in  coral,  mineral, 
vegetable  and  marine  life. 

When  you  are  told  that  on  that  reef  clams  three  to 
fourteen  feet  in  diameter  open  their  wide  mouths  as 
gigantic  traps  to  snare  their  food,  and  capable  of  killing 
a  man,  you  are  still  in  the  rea'm  of  fact.  Imagine  going 
into  a  Svdney  cafe  and  ordering  a  dozen  clams  on  the 
half  shell! 

This  reef  has  given  up  untold  millions  in  pearls  and 
pearl  shell,  and  our  Mr.  Shackelford  will  tell  you  that 
he  has  located  a  "pearl  harbor"  for  himself  and  that  some 
day  he's  going  back  to  get  his  share.  Funny !  They 
all  want  to  go  back ! 

The  title  of  the  Shackelford-Dromgold  picture  is 
"Sea  Girl,"  featuring  Joel  McCrea.  The  associate  pro- 
ducer is  Shirley  Burden. 


BEGINNING  OF  A  NEW 

MOTION  PICTURE  ERA 

A  battery  of  Bell  &  Howell  automatic  sound  and 
picture  production  printers  is  now  being  installed  by 
M-G-M  at  Culver  City,  California.  These  printers  rep- 
resent the  finest  development  in  this  highly  important 
field.  Sound-wave  and  picture  records  are  printed  simul- 
taneously, and,  due  to  full  sensitometric  control  and  other 
important  factors,  the  resulting  prints  give  better  tone 
effects  and  better  and  clearer  pictures  than  has  hereto- 
fore been  possible.  This  printer  is  said  to  close  the  gap 
which  has  existed  between  high  quality  recording  and 
reproduction. 


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Six 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


The  Story  of  Bell  &  Howell 


By  EARL  THEISEN 

Honorary  Curator 

Motion  Pictures 

L.  A.  Museum 


Before  1900,  every  man  who  was  technically  minded 
and  who  had  a  vacant  horse-stall  out  in  the  barn  where 
the  car  garage  later  sprang  up,  hoped  to  construct  the 
perfect  device  for  making  pictures  move.  Every  me- 
chanic, every  photographer,  while  building  his  workshop 
dreamed  of  the  motion  picture.  Perhaps  he  had  seen 
moving  pictures  or  perhaps  he  had  only  heard  of  them. 
It  made  no  difference. 

Joseph  Dubray  was  one  of  the  many  hundreds  dur- 
ing this  time  who  became  enamored  of  the  idea  of  mov- 
ing pictures.  He  had  seen  them  and  he  had  admired 
the  then  scientific  toy.  With  a  knowledge  of  photography 
he  set  out  to  make  his  own  motion  picture  equipment. 
He  reasoned  out  the  underlying  principle  of  movement 
on  the  screen  and  with  this  knowledge  he  made  a  "taking 
device." 

For  an  intermittent,  he  made  a  device  which  con- 
sisted of  a  pair  of  grabbers  that  jerked  the  film  for- 
ward ;  for  film,  he  bought  kodak  roll  film  in  short  lengths 
which  he  slit  down  the  center.  Sufficient  of  these  short 
lengths  were  then  cemented  together  to  make  18  feet  of 
film.  With  this  he  laid  a  foundation  in  the  motion 
picture  that  with  the  passing  years  has  made  him  one  of 
the  more  notable  engineers  of  the  industry. 

Don  Bell  was  another  who  started  to  experiment  with 
moving  pictures  during  their  earlier  formative  years.  He 
is  retired  now,  but  he  has  left  mechanical  contributions 
that  will  always  remain  as  a  monument  to  him. 


His  first  job  in  the  motion  picture  was  in  the  spring 
of  1897  when  he  was  a  projector  operator  for  George 
K.  Spoor.  That  was  before  F.  H.  Richardson,  the 
"projectionists'  "  friend,  brought  his  refining  hand  to 
bear  upon  the  then  lowly  "operator." 

Too,  that  was  before  the  time  of  motor  driven  pro- 
jectors ;  then  one  of  the  main  requirements  of  a  projec- 
tionist was  a  strong  right  crank  arm.  A  discerning  audi- 
ence could  tell  the  mood  of  the  operator  by  the  speed 
of  the  characters  on  the  screen.  If  everything  were 
all  right  with  him,  the  characters  were  the  same,  but  if 
he  were  in  a  short  temper  or  anxious  to  get  home  to 
his  family,  then  the  screen  showed  an  amazing  exhibition 
of  action  and  speed.  The  characters  would  scamper 
about  jerkily  on  the  screen  with  astonishing  rapidity. 

At  this  time  Don  Bell  was  an  operator  of  the  Magni- 
scope,  in  the  Schiller  Theatre  on  Randolph  Street, 
Chicago.      The    Magniscope   was   made   by    Edward    H. 


J.   H.    McNabb,    President, 
Bell  &  Howell  Company 

Amet.  In  the  fall  of  this  same  year  he  remodeled  one 
of  the  MacMillen  Optigraphs  which  were  sold  by  Sears, 
Roebuck  &  Company  and  the  result  was  the  forerunner 
of  the  Kinedrome  projector.  He  says:  "My  efforts  at 
construction  were  very  crude,  though  I  had  fine  pro- 
jection results."  His  first  engagement  with  the  re- 
modeled Optigraph  was  at  the  Beaver  Dam  County  Fair, 
in  Wisconsin.  He  exhibited  at  night  on  the  lawn  in 
front  of  the  Public  Library.  This  opening,  because  of 
its  success,  led  to  a  long  run  at  the  Great  Northern 
Theatre,  in  Chicago. 

After  two  years,  in  the  winter  of  1899-1900,  he  made 
his  model  of  the  Kinedrome,  in  Syracuse,  New  York. 
This  model  was  used  chiefly  by  George  K.  Spoor  in  his 
film  rental  business.  This  was  during  the  time  when  a 
show-house  was  usually  in  a  vacant  store  or  perhaps  a 
tent  and  the  owner  aspiring  to  a  new  business  would  rent 
films,  projector  and  an  operator  from  the  "film  renter," 
the  equivalent  of  today's  exchange.  Of  course  there  were 
more  affluent  persons  who  actually  owned  or  had  made 
their  own  equipment.  It  was  several  years  before  the 
first  theatre  was   built   especially   for   the  movie.      Since 


The  first  Box  Model  Bell  &  Howell  made  late  in  1907. 

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there  were  no  projector  booths  the  operator  usually  set 
up  his  projector  amid  the  audience. 

In  the  spring  of  1905,  Don  Bell  was  still  associated 
with  George  K.  Spoor,  who  was  supplying  films  to 
many  amusement  enterprises  around  the  corner,  among 
them  the  dignified  Orpheum  Theatre  Circuit,  which  had 
the  lowly  films  as  a  filler  between  the  vaudeville  acts. 
With  Ben  Turpin  for  his  chief  actor,  Spoor  was  making 
his  own  slap-stick  stuff.  He  called  them  "pictures."  His 
"movies"  were  made  in  the  vicinity  of  No.  62  North 
Clarke  Street,  in  Chicago,  where  he  maintained  a  pro- 
ducing studio.  That  was  the  beginning  of  the  later 
Essanay. 

From  there  Don  Bell  would  take  his  projectors  and 
equipment  to  various  mechanical  shops  in  the  vicinity  for 
repairs  and  alterations.  One  day,  in  this  same  spring 
of  1905,  he  went  into  the  Crary  Machine  Shops,  a  small 
concern  with  space  rented  on  the  fourth  floor  of  the 
Streeter  Building,  on  Illinois  Street,  near  the  Chicago 
River.  They  did  jobbing  machine  work.  Bell  had  de- 
cided to  "refine"  his  Kinedrome.  It  needed  it ;  the  thing 
was  composed  of  brass  plates  and  other  improvisations 
instead  of  castings. 

At  the  Crary  Shop,  Albert  S.  Howell  was  employed 
as  a  mechanic  and  designer.  "At  the  suggestion  of  Mr. 
Crary,"   says    Don    Bell,    "I    employed    Mr.    Howell    to 


Joseph  Dubray,  a  Motion  Picture  Man  since   1898 

'refine'  my  machine  and  put  the  design  in  manufactur- 
ing shape.  His  work  disclosed  extraordinary  talent." 
At  this  time  Howell  conceived  the  Rotating  Cam  fram- 
ing device,  which  he  patented  and  assigned  to  Bell.  This 
was  in  August,  1906. 

This  improved  framer  was  first  used  on  the  Kine- 
drome. It  has  since  come  into  almost  universal  use.  That 
and  other  innovations  made  the  Kinedrome  a  desired 
piece  of  apparatus  for  the  showman.  F.  H.  Richardson 
says  it  was  the  first  truly  professional  projector,  which 
means  something  when  it  is  understood  this  projector 
was  the  only  one  among  a  multitude. 

Mr.  Bell  had  met  Mr.  Howell.  Bell  &  Howell  was 
the  outgrowth.  They  were  incorporated  in  1907.  For 
the  first  year  or  two  about  half  of  their  work  was  out- 
side mechanical  jobbing.  However,  their  attention  was 
directed  toward  the  motion  picture.  Printers,  perfora- 
tors, many  cameras  and  other  picture  equipment  used 
in  this  country  were  made  abroad.  Bell  &  Howell,  be- 
ing jobbers,  got  much  of  this  apparatus  to  repair  or  to 


Albert  Summers   Howell  and   Don   J.   Bell 
with  one  of  the  Standard  B  &  H  Cameras 


re-service,  such  as  sharpening  dies  for  perforators,  motor- 
izing a  hand-driven  printer,  and  as  Mr.  Howell  recalls, 
"they  added  a  few  knick-knacks  on  cameras  for  special 
trick  effects."  Most  of  this  work  was  done  for  the 
newly  formed  Essanay  who  had  purchased  a  full  line 
of  laboratory  apparatus  from  England.  The  first  big 
B  &  H  job  was  for  50  Kinedromes  for  Spoor's  rapidly 
expanding  film   rental  business. 

Realizing  the  imperfections  of  the  conventional  pic- 
ture equipment  the  inventive  Howell  set  about  to  make, 
first,  a  perforator  which,  with  improvements  and  with 
the  passing  years  a  few  alterations,  now  perforates  prac- 
tically all  of  the  world's  motion  picture  film.  The 
next  Bell  &  Howell  contribution  to  standard  cine- 
machinery  was  their  Box  Model  Camera.  It  was  made 
late  in  1907  and  the  first  one  sold  to  Essanay.  Their 
first  continuous  printer  was  made  the  next  year. 

They  were  launched !  Shortly  they  became  identified 
with  the  standard  type  of  precision  motion  picture  appa- 
ratus. Comparing  this  1908  and  1909  apparatus  with 
the  present  it  was  primitive,  but  then,  so  was  the  motion 
picture ! 

In  the  meantime,  Joseph  Dubray,  who  was  to  be- 
come the  manager  of  standard  sales  and  service  of  Bell 
&  Howell,  in  1909,  had  become  a  cameraman  with 
Pathe  in  France.  *  He  had,  as  I  have  noted,  made  his  own 
movie  equipment  as  a 
hobby.  That  was  in  1898. 
During  the  daytime,  he 
was  a  photographer  with 
his  father;  at  night  and 
during  spare  moments  he 
was  a  cinematographer. 
That  continued  until  1906 
when  he  connected  with 
Pathe.  He  had  been 
a  traveling  photographer 
doing  the  hardest  kind  of 
photography — photograph- 
ing paintings  in  museums, 
to  be  used  for  post  cards. 

Dubray  carried  h  i  s 
complete  dark  room  equip- 
ment with  him  and  set  it 
up  in  his  hotel  room  near 
the  running  water  of  the 
wash  basin,  that  is  if  he 
had  a  wash  basin.  Since 
panchromatic  negative 
plates  could  not  be  had 
then  he  used  the  yellow 
sensitive  orthochromatic 

(Turn  to  Page  24) 


The  Bell  &   Howel 
Printer  of    1911 


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Eight 


The      INTERNATIONAL      PHOTOGRAPHER 


October.  19J3 


ON  THE  TRAIL  OF  PIRATE'S  COLD 
WITH  AN  UNDERSEA  CAMERA 


Let  us 

meander  in 

the  gloaming,  down 

the   pirate   trails   of 

the  Antillean  Seas  with 

brave  buccos  who  loved  the 

roaming  .  .  .  who  gave  no  quarter 

and  expected  none,  under  the  Mosaic  law 

and  rosary  of  pain  .  .  .  whenever  the  Black  Flag 


Octopus  vs.  Shark 

By    ESSELLE    PARICHY 


plundered  galleons  accentuated  his  ill-kept  hands. 

There  are  many  legends  of  swashbuckling  pirates 
...  of  Francois  Lalonois,  of  Bartholomew  Roberts,  of 
Edward  Teach  and  others  who  left  tarnished  memories 
and  flaming  episodes  and  out  of  all  this  phantasmagoria 
of  lust  and  slaughter,  a  legacy  of  romance  and  gold 
hunger  was  left  to  lure  the  daring  and  stir  the  red  cor- 
puscles of  adventure-loving  Man.  But  these  lawless 
scoundrels  who  lived   in  luxury  and  elegance  out  of  pil- 


and  Cross  Bones  hovered  near fering  New  Hispaniola  bordering  the  tropical  seas,  were 

all   destroyed   by   the   passion   and   lust   they,    themselves, 
created. 


Down  the  old  sea  trails,  whispering  memories  of 
swashbuckling  pirates  lured  me  to  the  coral  shores  of  the 
Caribbees.  From  out  the  yellowing  pages  of  old  manu- 
scripts come  tales  of  Captain  Kidd,  Morgan,  Blackbeard 
and  others  to  cast  a  spell  of  adventure  over  our  present 
day  dreams.  Turbulent  among  the  bucco-rovers  were 
these  brethren  of  the  Seven  Seas,  each  writing  a  separate 
law  in  the  log  of  Satan's  nautical  victories. 

All  the  island  below  the  Tropic  of  Cancer  were 
once  written  in  pirate  tradition  ;  all  of  the  bocas  from 
Florida  to  Venezuela  over  the  face  of  the  Caribbean  were 
once  the  breeding  places  of  the  Lawless  Law,  a  seminary 
of  wine-swilling,  bass-belching  cutthroats,  who  without 
the  honor  that  is  said  to  be  prevalent  even  among  thieves, 
ran  the  sand  on  their  brethren  and  Christian  foe,  gave 
no  quarter  and  asked  for  none.  These  were  the  fiery 
days  of  the  survival  of  the  wickedest,  when  guns  and 
guttural  war  cries  echoed  like  voices  from   Hell. 

Burning  galleons  and  sacking  cities  along  the  Spanish 
Indies  in  the  unappeasable  lust  for  riches  was  like  letting 
loose  all  the  fires  of  human  wickedness  that  burned  with- 
out any  warmth   in  their   paralyzed  and  calloused  souls. 

Capt.  Henry  Morgan  stands  pre-eminent  among  all 
the  picturesque  sea  wolves.  Some  of  his  bold  exploits 
were  stupendous  and  unbelievable  as  in  the  lurid  glamour 
of  his  famous  hunger  march  to  sack  Panama  .  .  .  in 
burning  Panama,  this  fer-de-lance  eclipsed  all  achieve- 
ments of  his  piratical  rivals.  It  is  reputed  that  this  city 
was  plucked  clean  of  every  grain  of  gold  to  the  tune  of 
over  one  and  one-half  million  dollars. 

Bold  were  these  pirates  in  their  infamous  trade,  and 
all  of  the  same  kidney,  yet  through  some  of  their  cal- 
loused hearts  ran  a  strain  of  romance,  as  in  the  legend 
of  that  unregenerate  buccaneer,  Capt.  Avery  who  soon 
tired  of  the  exploits  along  the  Caribbean  and  took  up  his 
trade  in  the  oriental  seas,  where  he  captured  the  beautiful 
Princess  Patma,  daughter  of  the  Grand  Mogul  of  Ind'a. 

This  illustrious  princess  was  on  a  pilgrimage  to  Holy 
Mecca  and  accoutered  to  meet  the  occasion.  Her  ship 
was  blown  with  silken  sails  ...  a  ship  laden  with  caskets 
of  jewels  and  royal  raiment  so  resplendent  in  dazz'ing 
perfection  that  it  was  even  beyond  the  wildest  apprehen- 
sion  of  Avery  so  steeped  in  the  mire  of  plunder.  Yet 
with  all  this  wealth  to  be  sold  by  handsful  for  the  satia- 
tion of  his  carousal  yearnings,  he  died  of  starvation  in 
an  obscure  English  village. 

Another  famous  character  of  this  time  was  Blackbeard 
and  as  picturesque  as  any  pirate  that  rode  the  Spanish 
Main.  He  was  a  connoisseur  of  trimmings  and  always 
looked  like  a  bird  of  paradise  in  his  gilded  shirt,  red 
kerchief  and  shiny  boots,  emblazoned  with  the  feathers 
of  tropical  birds,  while  the  rarest  of  jewels  taken  from 


In  the  subterranean  depths  along  the  isles  of  the  West 
Indies  lies  the  natural  graveyard  of  old  Spanish  galleons 
and  pirate  treasure. 

Two  huge  cannon  of  the  old  muzzle-loading  type 
were  recently  brought  up  from  the  bottom  of  the  sea. 
They  date  back  about  1670,  of  piratical  warfare  along 
the  Spanish  Main.  No  one  knows  what  bold  pirate  cap- 
tain gave  the  salute  that  sent  them  to  this  graveyard 
of  ships  .  .  it  may  have  been  Morgan  or  Blackbeard,  or 
yet  Teach  that  sent  these  cannon  to  Davy  Jones'  locker. 
No  doubt  the  heavy  fire  of  these  cannon  roared  forth  a 
fragmentary  salute  that  rent  the  calm  Caribbean  evening 
as  pirate  ship  and  Spanish  galleon  moved  into  action, 
only  to  sink  with  the  corpse  of  the  ship. 

Could  it  have  been  bold-faced  Capt.  Easterling  or 
Scarfie'd   who   cried    through   the   tearing  of   timber    and 


Mr.    Parichy    photographs    a    pirate    Big    Bertha    recently 
recovered  from  a  wreck  in  the  Caribbean. 

grinding  of  plank:  "At  'em,  men;  git  me  that  homing 
Spaniard,  for  she  is  loaded  with  gold !  At  'em,  buccos 
and  leave  not  a  man  alive !  Quick,  before  the  devils 
sink,  and  up  with  the  sparkles  and  gold!''  .  .  . 

It  was  probably  during  the  wildest  of  slaughter  that 
brave  cabal'eros  jumped  the  sinking  ship  .  .  .  better  the 
sharks  than   the  devilish   torture  of   pirate   formula,   that 


gave  no  quarter  in  mercy. 
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October.  1933 


T  I,  e 


INTERNATIONAL       I'll  OTOGRAPH  !•   K 


Nine 


Now  these  hoary  cannon,  after  250  years  of  coral 
crusting  and  water  decay,  come  to  the  surface ;  illuminat- 
ing mementoes  of  an  incandescent  past. 

Treasure  hunting  with  a  camera  is  a  thrilling  adven- 
ture, especially  when  it  takes  you  into  the  depths  of 
the  sea. 

1  have  built  an  undersea  camera  box  to  hold  an  auto- 
matic Eyemo  without  the  turret  head.  It  is  constructed 
of  heavy  plate  iron,  one  quarter  inch  thick,  ten  inches 
high,  nine  inches  wide  and  seven  inches  in  depth,  all 
outside  measurements  and  it  weighs  about  45  pounds 
loaded. 

The  box  is  absolutely  water  and  moisture  proof  up 
to  a  six  hour  test  under  twenty  feet  of  water  and  it  has 
proved  quite  successful  in  the  tropical  waters  of  the  West 
Indies.  It  is  compact,  easy  to  handle  and  operate,  giving 
approximately  55  feet  of  exposed  35  mm.  negative  on 
one  winding.  The  exposure  under  sea  is  made  by  press- 
ing the  finger  through  a  rubber  compartment  in  the 
back  of  the  camera  box  that  releases  the  exposure  lever 
attached  to  a  weighted  gadget  on  the  inside. 

After  each  rundown  of  the  camerawinding  spring  the 
box  is  brought  to  the  surface,  opened  and  rewound  and 
ready  for  another  descent  and  undersea  exposure. 

I  was  inclined  to  overexpose  underwater.  My  first 
few  hundred  feet  certainly  got  it  on  the  film.  With 
the  high  sensitiveness  of  panchromatic  gray-back  it  is 
surprising  what  this  emulsion  will  pull  into  the  camera 
in  these  brilliantly  lighted  waters.  Image  and  perspective 
stand  out  in  good  quality  as  if  molded  in  glass,  giving  an 
appearance  of  unreality  in  the  projected  picture. 

It  was  a  perfect  day  for  photography  as  down,  down 
I  descended  with  the  camera  box  and  sinking  weights, 
ten,  twenty,  thirty  feet  below  to  a  huge  coral  ledge  in 
the  translucent  depths  of  the  tropical  sea. 

In  the  deep  recesses  wierd  shapes  of  marine  forma- 
tion moved  in  phantom-like  patterns  about  me.  It  was 
the  most  eye-filling  fairyland  of  subterranean  life  I  had 
ever  seen,  blazing  with  coruscating  colors  everywhere. 
In  the  formations,  huge  citadel  like  pinnacles  of  coral  rose 
out  of  trailing  sea  growth  and  giant  fairy-like  fronds, 
presenting  a  forest  of  fantastic  underworld  beauty. 

Here  in  this  Neptune's  Paradise  I  watched  with 
widened  eyes  the  waving,  scintillating  walls  of  this  coral 
forest,  alert  to  the  multitude  of  danger  that  lurked  in 
the  purple  crags,  ever  moving,  ever  changing  with  a  sud- 
denness surprising  in  the  unseen  current  of  the  moving 
tide. 

Here  amid  all  the  sparkling  splendor  the  grotesque 
denizens  of  the  deep  guard  and  give  brusque  challenge 
to  anything  foreign  in  their  under  water  domain.  Well 
does  the  man-eating  shark,  octopus,  barracuda  and  slimy 
moray  guard  the  rotted  hulls  and  water-soaked  cache  that 
have  lain  in  incandescent  decay  in  the  bottom  of  the  sea 
over  centur\-old  pirate  gold.  Well  do  they  guard  from 
human  hands  this  legacy  of  raw  riches  buried  in  the 
shifting  sands. 

There  was  a  ghostly  feeling  about  this  place,  like 
things  watching  .  .  .  unseen  things  like  phantoms  re- 
turning to  their  lockers  of  gold.  I  had  a  feeling  of 
wierd  unreality,  also  a  sense  of  fear  gripped  me  as  a 
monster  shadow  filtered  above  me  and  as  this  shape  was 
revealed  to  me  without  warning,  other  forms  moved  in 
the  coral  walls  near  by.  An  enormous  grayish  form 
swept  by  in  a  rush  of  movement,  disappearing  and  re- 
appearing, swiftly  sending  a  swirl  of  current  around  me 
that  almost  lifted  me  off  my  feet  .  .  .  the  hair  on  my 
cranium  curled  with  sheer  fright  as  I  realized  this  was 
a  man-eating  shark,  so  moving  backward  and  retracing 
my  steps  I  signaled  to  be  pulled  up  and  be  quick  about 
it.  Meanwhile  out  of  the  fresh  colors  bathing  the  coral 
formation  buoyed  a  slow  creeping  creature  ...  a  men- 
acing ugly  moving  hump  that  watched  the  shark,  which 
now  was  alert  to  the  eerie  sense  of  danger  close  at  hand 


A    mangrove    swamp,    favorite    terrain    for    the    burial    of 
pirate    gold.      Photographed    by    Parichy. 


the  water  about  him  in  a  maddening 

a   deadly 


and  was  threshing 
frenzy. 

Between   the   octopus  and  the  shark  exists 
hatred,  savage,  cannibalistic,  utterly  crazed. 

Calm  and  unhurried  the  octopus  moved  through  the 
water  inspecting  the  shark  who  dashed  madly  to  and  fro, 
snapping  at  nothing  in  the  fury  of  impending  battle  and 
ever  fighting  for  position  like  a  gladiatorial  opponent  to 
attack  this  deadly  enemy. 

In  a  fraction  of  a  split  second  something  happened 
.  .  .  something  more  rapid  than  the  mind  could  con- 
ceive .  .  .  more  vivid  than  the  eye  could  see,  when  a 
terrific  swirl  of  tangled  shapes  churned  the  peaceful 
water.  The  octopus  had  struck  full  force  upon  the  shark 
and  swiftly  wrapped  his  life-crushing  tentacles  around  his 
prey,  weighing  them  both  down  with  gyrating  rolls  and 
gripping  force. 

It  was  an  eye-filling  spectacle  .  .  .  death  rode  the 
waves  of  this  mad  struggle  for  the  shark  was  doomed  ; 
never  could  he  unshackle  or  destroy  these  ever-gripping 
tentacles  tightening  about  him.  The  slimy  reptilian  arms 
of  the  octopus  coiled  with  sinuous  cunning,  ever  crush- 
ing, ever  gripping  in  infernal  deviltry.  The  razor-edged 
teeth  of  the  shark  sheered  off  one  of  the  arms  ...  it 
sank  to  the  bottom  swiftly  ...  a  cloud  of  jet  black  ink 
outspread  the  water  from  the  octopus,  blotting  out  the 
vision  and  spasmodic  thrills  of  horror  played  in  the 
diabolical  drama. 

The  fight  became  indistinct  as  the  mad  eruption  of 
inky  water  encircled  the  surface  of  the  sea  .  .  .  even  the 
brilliant  stabbing  rays  of  the  sunlight  could  not  pene- 
trate the  cloudy  battleground  where  the  vicious  duo  en- 
gaged in  mortal  combat. 

1  had  had  enough  of  these  devils  of  the  deep  and 
breathed  a  sigh  of  relief  to  be  out  of  the  subterranean 
battleground  where  pirate  gold  can  lay  for  centuries  to 
come  (as  far  as  I  am  concerned)  guarded  by  terrorizing 
monsters  who  are  ever  enemies  of  Man. 


VALENTINE  RETURNS 

Joe  Valentine  has  returned  from  the  Eastern  Service 
Studios,  Long  Island  City,  where  he  photographed  "Take 
a  Chance"  for  Schwab,  Rowland  and  Brice  for  Para- 
mount, directed  by  Monte  Brice.  Buddy  Rogers,  James 
Dunn  and  Cliff  Edwards  were  featured.  Frank  Serjack, 
stills ;  Patricia  Donohue,  script. 


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Ten 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


Motion  Picture 
Sound  Recording 


Chapter  II 


By  Charles  Felstead,   Associate  Editor 


The  first  chapter  of  this  series  surveyed  sound  re- 
cording and  reproduction  as  a  whole  and  stressed  the  dif- 
ferences existing  between  the  several  recording  systems. 
This  chapter  will  be  devoted  to  discussing  those  differ- 
ences in  greater  detail.  But  first  the  steps  in  a  recording 
system  through  which  the  electrical  equivalent  of  the 
sound  has  to  pass,  from  the  time  the  sound  is  picked  up 
by  the  microphone  until  it  is  recorded  on  the  sensitive 
medium,  will  be  considered  briefly. 

The  alternate  rarefactions  and  compressions  that  are 
produced  in  the  atmosphere  by  a  sound-pressure  wave 
cause  the  diaphragm  of  the  microphone  to  vibrate  at  a 
frequency  that  corresponds  to  the  frequency  of  the  sound 
vibrations.  The  amplitude  of  this  movement  of  the  dia- 
phragm is  governed  by  the  amplitude  of  the  sound  vi- 
brations. The  higher  pitched  and  louder  a  sound,  the 
more  rapid  and  greater  the  movement  of  the  diaphragm. 

In  the  case  of  a  condenser  microphone,  the  diaphragm 
forms  one  plate  of  a  two-plate  condenser  that  is  con- 
nected in  the  input  (grid-filament)  circuit  of  a  vacuum 
tube.  The  vibratory  movement  of  the  metal  diaphragm 
varies  the  capacity  of  this  condenser  in  accordance  with 
the  sound  vibrations ;  and  that  capacity  variation  causes 
a  minute  alternating  potential  (voltage)  to  be  produced 
between  the  grid  and  filament  of  the  vacuum  tube.  This 
alternating  potential  is  amplified  by  the  tube,  which  with 
its  associated  apparatus  is  termed  the  condenser  micro- 
phone amplifier. 

From  the  condenser  microphone  amplifier,  the  poten- 
tial is  fed  by  a  transmission  line  to  the  volume  controls 
in  the  monitor  room,  or  booth,  where  the  electrical  level 
(equivalent  to  volume  of  sound)  is  controlled  by  the 
monitor  man.  Then,  after  amplification  by  a  booster 
amplifier  at  that  point,  it  is  transmitted  to  the  main  am- 
plifier room.  There,  this  alternating  speech  potential  is 
enormously  increased  by  suitable  voltage  and  power- 
amplifiers. 

When  the  speech  potential  (or,  more  properly,  speech 
current)   has  been  boosted   to  the  proper  "level"   by  the 


in  Figure  2.  Attenuators  are  connected  between  the 
power  amplifiers  and  the  recording  devices  in  both  cir- 
cuits to  reduce  the  speech  current  level  to  the  proper 
value  for  recording.  These  attenuators  are  T-type  re- 
sistive networks,  and  they  are  variable  in  fixed  steps, 
thus  providing  the  recording  engineer  with  control  over 
the  input  to  the  individual  recorders. 

A  repeat  coil  (transformer)  is  necessary  in  the  light- 
valve  circuit  to  match  the  impedance  of  the  attenuator 
to  the  impedance  of  the  light  valve ;  for  impedances  must 
be  matched  at  each  junction  point  throughout  the  record- 
ing circuit,  just  as  dominoes  are  matched  in  a  line,  if  a 
maximum  transfer  of  energy  with  minimum  distortion  is 
desired.  Impedance  is  that  characteristic  of  an  electrical 
circuit  or  apparatus  that  opposes  the  flow  of  an  alternat- 
ing current ;  and  it  is  analogous  to  the  effect  of  resist- 
ance on  direct  current. 

In  the  wax  recording  circuit,  the  alternating  speech 
current  produces  mechanical  motion  in  the  electro-mag- 
netic disc  recorder.  This  causes  the  cutting  stylus  to 
move  from  side  to  side  as  the  recorder  travels  over  the 
wax,  engraving  a  wavy  groove  in  the  soft  wax  record. 
The  depth  of  the  groove  is  maintained  constant  by  the 
advance  ball,  which  is  attached  to  the  recorder  and  rides 
lightly  on  the  surface  of  the  wax. 

In  the  film  recording  circuit,  the  speech  current  causes 
the  spacing  between  the  adjacent  sides  of  a  loop  of  wire 
ribbon,  which  forms  the  vibrating  element  of  the  light 
valve,  to  increase  and  decrease.  This  variation  in  the 
spacing  of  the  sides  of  the  light  valve  ribbon  loop  per- 
mits more  or  less  light  from  a  constant  light  source  to 
shine  between  the  ribbons  onto  the  moving  film.  The 
name  light  valve  was  derived  from  the  functioning  of 
this  device  as  a  variable  aperture  in  controlling  the 
amount  of  light  reaching  the  film. 


Conclenser 
transmitter 
(^amplifier 


-d- 


transmitter 


main  audio-frequency  amplifiers,  it  is  fed  to  the  recording   (condenser 


machines  in  the  recording  room  and  inscribed  on  film  or 
wax.  This  rather  involved  path  is  traversed  almost  in- 
stantaneously ;  for  the  speech  voltage  travels  at  the  speed 
of  light. 

An  idea  of  the  electrical  circuit  may  be  obtained 
from  the  simplified  block-schematic  diagram  of  a  direct 
recording  channel  in  Figure  1.  In  this  form  of  diagram, 
squares  represent  apparatus,  such  as  amplifiers,  and  single 
lines  depict  the  pair  of  wires  that  form  the  transmission 
lines  connecting  the  apparatus. 

The  Western  Electric  Recording  Devices 

Slightly  different  circuits  are  employed  in  the  Western 
Electric  system  for  recording  on  film  and  wax,  as  shown 


fioostar  AmpliM 

J.  ' 


Bridging' 


'Mixer 

Control     Volume; 

Control  • 

MONITOR  ROOM    j 


Figure  1.     Direct 


>ri  Jqing 
amplifier 
Ampli  fier  Room 


Re  c  oi-dino'   Channel 
O 


No  more  will  be  said  about  the  Western  Electric  re- 
cording devices  at  this  time  because  they  will  be  de- 
scribed in  considerable  detail  in  the  chapter  on  recording. 
The   RCA    Photophone    Vibrator 

The  recording  device  of  the  RCA  Photophone  is 
known  as  a  vibrator,  or  "rocking  mirror."  This  device 
modulates  a  constant  light  source  by  reflecting  a  portion 


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October,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Eleven 


of  the  light  through  a  fixed  aperture  onto  a  moving  strip 
of  motion  picture  film. 

The  vibrator  consists  of  a  U-shaped  loop  of  ribbon 
stretched  over  two  ivory  bridges  that  are  spaced  7/16ths 
of  an  inch  apart.  The  ribbon  is  one-half  a  mil  thick  and 
five  mils  wide.  A  mil,  incidentally,  is  one-thousandth  of 
an  inch.  A  tiny  glass  mirror  is  cemented  to  the  loop  of 
ribbon  at  a  point  midway  between  the  bridges.  The 
ends  of  the  ribbon  loop  are  connected  to  two  posts ;  and 
there  is  a  space  of  ten  mils  between  the  ribbons. 

A  miniature  ivory  pulley  held  by  a  spring  in  the 
closed  end  of  the  loop  keeps  the  ribbons  under  tension  ; 
but  an  adjustment  screw  attached  to  the  spring  allows 
the  tension  to  be  varied.  A  permanent  magnet  is  mounted 
so  that  the  ribbons  of  the  vibrator  lie  across  the  plane  of 
the  magnetic  flux.  The  terminals  of  the  ribbon  are  con- 
nected through  a  repeat  coil  to  the  output  of  the  record- 
ing amplifiers. 

When  speech  current  from  the  amplifiers  flows 
through  the  ribbon  of  the  loop,  it  produces  a  magnetic 
field  about  the  two  sides  of  the  loop  that  either  aids  or 
opposes  the  magnetic  flux  of  the  permanent  magnet,  de- 
pending on  the  direction  of  flow  of  the  alternating  speech 
current  at  that  instant.  This  field  about  the  ribbon 
tends  to  cause  the  sides  of  the  loop  to  move  in  opposite 
directions  in  the  permanent  magnetic  field.  Since  the 
loop  is  fastened  at  both  ends,  the  result  is  that  it  rotates 
slightly,  thereby  twisting  the  mirror  to  one  side  or  the 
other. 

The  speech  current  is  an  alternating  current,  as  has 
been  explained,  whose  frequency  is  the  result  of  the 
complex  frequency  components  of  the  sounds  picked  up 
by  the  microphone.  On  one-half  of  the  alternating  cur- 
rent cycle,  the  mirror  is  turned  one  way  by  the  slight 
twisting  of  the  ribbons ;  and  on  the  other  half  of  the 
cycle,  the  twisting  of  the  ribbons  causes  the  mirror  to 
turn  the  other  way. 

In  this  manner,  when  an  alternating  current  is  passed 
through  the  ribbon  of  the  loop,  the  mirror  is  caused  to 
vibrate  about  a  vertical  axis  in  synchronism  with  the  fre- 
quency of  the  alternating  current.  Because  the  ribbon 
is  fastened,  the  mirror  can  turn  only  so  far  in  each  direc- 
tion. When  no  current  is  flowing  through  the  loop,  the 
magnetic  flux  of  the  permanent  magnet  has  no  effect  on 
the  ribbon  and  the  tension  on  it  holds  the  mirror  in  an 
intermediate  position  of  rest. 

This  tension  on  the  ribbon  is  made  great  enough  by 
means  of  the  tension  adjusting  screw  to  raise  the  natural 
period  of  vibration  of  the  loop  (the  frequency  at  which 
it  vibrates  most  readily)  well  above  the  normal  recording 
frequency  range.     The  frequency  of  this  tuning  is  in  the 


6  rid 


n£hui 


.  L  &m 

Repeat  Coil,    »     > 


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impiifi 


yyxg 


(  Attenu&tors 


k+ Va 


DijK  recorder 
»-  W<1*   record 


/\mpl'ifier  Room 


Recording   Room 


piaure   2     film  and  Va*   Recoi-diiW  Circ  inta 

proximity  of  6,000  cycles.  The  vibrator  is  immersed  in 
clear  mineral  oil  to  aid  in  reducing  its  response  at  the 
resonant  frequency. 

The  Light  Source  and  Optical  Slit 
The  constant  light  source  that  is  focused   by  a  lens 
system  onto  the  mirror  of  the  vibrator  is  provided  by  a 
gas-filled  concentrated-filament  lamp  that  receives  its  cur- 
rent from  batteries.     A  portion  of  the  light  that  is  re- 


flected by  the  mirror  passes  through  a  slit  280  mils  long 
and  three  mils  wide  cut  in  a  metal  disc,  then  through 
another  lens  system  that  focuses  the  image  of  the  slit  on 
the  moving  film. 

When  one  speech  current  is  flowing  through  the  rib- 
bon loop  and  the  mirror  is  in  a  position  of  rest,  the  light 
image  on  the  film    (reduced  one-fourth  by  the  lens  sys- 


The  light  valve,  or  variable  aperture  of  the  Western  Electric 
Recording  System.  AA  are  the  windlasses  securing  the  ends 
of  the  ribbon;  B  is  the  idler  pulley  that  places  tension  on  the 
ribbon;  CC  are  the  pineers,  or  jaws,  which  adjust  the  normal 
spacing  of  the  ribbon;  D  is  the  pole  piece  slit  through  which 
the  light  passes.      (Illustration  courtesy  of  the  E. R.P.I.) 

tern)  is  thirty-five  mils  long  and  three-quarters  of  a  mil 
wide.  In  this  condition,  the  light  beam  covers  just  one- 
half  of  the  full  sound  track  width  ;  so  only  that  half  of 
the  sound  track  is  exposed. 

As  the  mirror  vibrates,  or  rocks,  about  its  axis  under 
the  influence  of  an  alternating  speech  current  applied  to 
the  ribbon  loop,  the  width  of  the  exposure  on  the  film 
increases  and  decreases  in  proportion  to  the  movement. 
The  higher  the  amplitude  of  the  speech  current  (pro- 
duced by  louder  sounds),  the  greater  the  arc  of  the 
mirror  swing;  while  the  higher  the  frequency  of  the  cur- 
rent (produced  by  shriller  sounds),  the  faster  the  oscil- 
lation of  the  mirror. 

Since  the  film  is  moving  vertically  through  the  re- 
corder at  a  constant  speed  of  ninety  feet  a  minute,  the 
vibrations  of  the  mirror  result  in  a  jagged,  "saw-tooth" 
area  of  exposure  on  the  sound  track.  High  values  of 
speech  current  produce  saw  teeth  that  extend  almost 
across  the  full  width  of  the  sound  track.  The  points  of 
the  saw  teeth  are  closer  together  for  high-frequenc\  (high- 
pitched  )    sounds  than   for  low-frequency   sounds. 

The  fact  that  portions  of  the  sound  track  are  either 
completely  exposed  or  wholly  unexposed — and  there  are 
no  intermediate  degrees  of  exposure — is  the  reason  why 
this  is  known  as  the  constant-density  but  variable-area 
type  of  sound  track. 

The  Fox  Movietone  Aeoliyht 

The  Movietone  system  employs  as  its  recording  de- 
vice a  small  light  of  varying  intensity  known  as  the 
Aeolight.  The  word  Aeo  was  coined  by  the  inventor  of 
the  light,  Mr.  Theodore  W.  Case,  from  the  fact  that  the 
filament  of  the  light  is  coated  with  certain  alkaline  earth 
oxides.  It  is  a  gaseous  discharge  tube ;  and  its  illumina- 
tion varies  to  a  greater  or  lesser  value  above  a  certain 
fixed  intensity,  as  dictated  by  the  amplitude  of  the  speech 
current  impressed  upon  it. 

A  steady  direct  current  from  a  battery  flows  through 
the  lamp  at  all  times  when  it  is  in  operation ;  and  the 
alternating  speech  current  is  superimposed  upon  that 
steady  value  of  current.  That  causes  the  illumination  of 
the  lamp  to  vary  in  sympathy  with  variations  in  the  im- 
pressed speech  current,  because  the  speech  current  com- 
ponent adds  more  or  less  to  the  value  of  the  steady  d-c. 
current. 

In  other  words,  when  speech  current  flows  through 
it,    the   intensity   of    illumination   of    the   lamp   varies   di- 
rectly with  the  amplitude  of  the  speech  current ;  but  it 
is  always   above  the  normal  brilliancy  prescribed  by  the 
(Turn  to  Page  31) 


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Interior  of  the  Hollywood  Planetarium  showing  the  Carl  Zeiss  projec- 
tion  instrument   in   action   during  a   lecture.     The   only   other    Plane- 
tariums  in   America   are   in   Philadelphia   and   Chicago. 

The  Zeiss  Planetarium  which  will  be  housed  in  the 
attractive  building  now  rising  on  a  shoulder  of  Mount 
Hollywood,  in  Griffith  Park,  is  nearing  completion  at 
the  Carl  Zeiss  Works,  Jena,  Germany,  and  will  be  ready 
for  installation  by  the  time  the  building  is  completed. 

A  description  of  this  marvelous  optical  instrument  is 
furnished  to  THE  INTERNATIONAL  PHOTOG- 
RAPHER by  Mr.  William  Hartman,  West  Coast  Gen- 
eral Manager  of  the  Carl  Zeiss  organization,  who  has 
expert  knowledge  of  the  Zeiss  Planetarium,  since  the  first 
instrument  was  fabricated  in  Jena,  Germany,  the  home 
of  the  Carl  Zeiss  organization. 

The  Instrument  Itself 

Mechanically,  the  projector  is  one  of  the  scientific 
marvels  of  our  time.  It  resembles  in  appearance  a  gigan- 
tic dumbbell  with  spherical  heads  and  a  thick  handle,  sup- 
ported on  spiderlike  steel  legs  some  twelve  feet  from  the 
floor,  and  weighs  almost  four  thousand  pounds. 

The  spheres  at  each  end  of  the  instrument  contain 
electric  lights  which  project  star  images  through  one  hun- 
dred nineteen  small  lenses  which  are  arranged  on  the  shell 
of  the  spheres.  Each  lens  shows  a  section  of  sky  so  that 
altogether  the  whole  heavens  are  depicted,  more  than 
fifty-four  hundred  stars  being  shown — many  more  than 
can   be  seen   with   the   naked   eye   even   on   a   clear   night. 

A  special  series  of  small  projectors  at  the  extreme 
ends  of  the  instrument  project  the  Milky  Way — many 
small  stars  almost  too  numerous  to  count. 

The  handle  of  the  dumbbell,  a  cylindrical  structure 
of  steel  rods  resembling  in  miniature  the  basket  masts  of 
a  modern  battleship,  contains  a  series  of  small  lenses 
which  project  the  planets.  Here,  in  the  course  of  con- 
struction, a  peculiar  mechanical  problem  had  to  be  solved. 
It  was  necessary  that  the  planet  projectors  occupy  the 
dumbbell  handle,  and  it  was  also  essential  that,  as  they 
moved,  these  projectors  should  not  be  obscured  by  pass- 
ing behind  the  steel  framework  of  the  instrument.  A 
solution  was  found  by  arranging  these  projectors  in  pairs, 


The  Hollywood 
Planetarium 

The  Inside  of  It 

By  William  Hartman 

I  Since  this  story  went  to  the  printer,  Mr.  Hartman  informs  the 
editor  that  the  planetarium  instrument  has  arrived  in  Los  Angeles  all 
ready  for  installation  when  the  building  now  arising  on  Mt.  Hollywood 
is   ready. — Editor's   Note.] 


two  for  each  planet,  like  the  tubes  of  a  binocular  field 
glass,  with  both  lenses  focused  on  the  same  spot.  Then, 
as  the  planet  projectors  revolved,  the  lenses  pass  behind 
the  steel  support  one  at  a  time  and  there  is  always  a 
p  anet  image  properly  projected  on   the  dome. 

Since  all  the  heavenly  bodies  move  in  their  orbits  at 
varying  speeds,  it  was  necessary  that  the  Zeiss  Plane- 
tarium be  made  to  show  all  of  these  movements  in  their 
proper  relation  to  each  other,  both  as  to  speed  and  time. 
This  has  been  accomplished  by  means  of  numerous  gears, 
eccentrics  and  cog  mechanisms  designed  with  the  utmost 
mathematical  precision  and  driven  by  several  tiny  elec- 
tric motors.  And  by  a  rotation  of  the  dumbbell,  motion 
of  the  sky  as  a  whole  is  obtained,  while  at  the  same  time 
the  sun,  moon,  stars  and  planets  all  pursue  their  own 
courses  within  the  heavens. 

A   Visit  to  a  Zeiss  Planetarium 

Let  us,  in  imagination,  pay  a  visit  to  the  Zeiss  Plane- 
tarium and   witness  its  operation. 

We  enter  the  great  dome  room — which  is  about  one 
hundred  feet  in  diameter  and  more  than  half  as  high — 
and  seat  ourselves  in  chairs  arranged  in  circles  around 
the  projection  apparatus.  The  lights  are  turned  off  and 
the  great  dome  made  pitch  dark. 

We  are  required  to  sit  in  the  intense  darkness  for 
a  few  moments  in  order  to  rest  our  eyes  so  that  we  may 
be  able  to  see  stars  as  faint  as  the  6.2  magnitude,  which 
is  equivalent  to  seeing  a  lighted  candle  five  miles  away. 

Presently  we  notice  that  there  is  a  faint  glow  along 
the  horizon  which  surrounds  us.     Suddenlv  the  sun  rises 


THE  ASSISTANTS  TALK  IT  OVER 


$.£NNjf|f'cr?5MNEftN 


"Do  you  like  filet  mignon?" 
"No,   I   like   Elissa   Landi  better.' 


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T  h 


INTERNATIONAL      PHOTOGRAPHER 


Thirteen 


in  the  east  and  passes  over- 
head to  set  in  the  west,  then 
the  moon  is  discovered  in  the 
heavens,  its  crescent  glisten- 
ing with  an  ashen  glow.  The 
moon  gradually  sets,  and  the 
planets  become  visible.  Mars, 
Jupiter  and  Saturn  rise  in 
the  east,  glide  majestically 
across  the  heavens,  and  ap- 
proach the  western  horizon 
where  they  disappear  one 
after  another.  Looking  to 
the  east  again  we  behold 
Venus  as  a  morning  star  ris- 
ing in  its  brilliant  beauty; 
then  up  comes  ruddy  Mer- 
cury, followed  shortly  by  the 
sun  of  another  day.  Thus, 
in  a  period  of  only  four  and 
one-half  minutes  we  have 
witnessed  the  heavenly  move- 
ments of  a  day  twenty-four 
hours  long.  As  we  watch, 
this  short  active  astronomical 
day  and  night  is  repeated  for 
us  several  times  and  the  glo- 
rious privilege  is  given  us  of 
seeing  these  things  with  the 
eye  of  the  Infinite. 

In  order  that  we  may 
easily  comprehend  the  aston- 
ishing movements  of  the 
planets  in  their  relation  to 
each  other,  the  day  period  is 
speeded  up  until  it  lasts  but 
a  fraction  of  a  second.  A 
year  is  passed  in  seven  sec- 
onds. The  sun  and  moon 
flash  across  the  heavens  as 
streaks  of  light,  while  the 
planets  perform  their  amaz- 
ing intricate  movements  in 
the  heavens  above  us.  Mars, 
Jupiter  and  Saturn,  in  cer- 
tain parts  of  their  orbits, 
have  a  backward  movement 
due  to  the  speeding  effect  of 
our  own  earth  overtaking 
and  passing  these  planets, 
and  they  seem  to  loop  the 
loop  numerous  times. 

Now  the  sun,  moon  and 
planets  are  again  slowed 
down  to  a  four  and  one-half 
minute  day.  Then  without 
warning  the  entire  firma- 
tion,  including  the  glorious 
Milky  Way,  is  switched  on, 
and  the  dim  recesses  above 
us  are  studded  with  familiar 
stars  and  constellations,  while 
here  and  there  a  planet 
stands  forth.  We  of  the 
audience  are  not  prepared 
for  this  beautiful  and  most 
realistic  representation  of  the 
whole  starry  heavens ;  an  in- 
voluntary    "Ah,"     is     heard 


West 


throughout  the  room  as  we 
all  gaze  spellbound.  The  il- 
lusion of  the  immensity  of 
space  is  perfect,  and  it  is  al- 
most impossible  that  we  are 
not  actually  looking  into  the 
starry  heavens  on  a  clear 
night  out-of-doors.  This 
dome  above  us  is  completed 
forgotten  and  the  illusion  of 
unlimited  heavenly  space  is 
perfect.  As  we  look  at  this 
artificial  sky  it  appears  to 
possess  the  deep  blue  of  a 
real  night  sky,  yet  there  is  no 
color  on  the  dome  and  none 
in  the  projection  apparatus. 
This  blue  appearance  of  the 
dome  sky  is  an  interesting 
phenomenon  which  has  no 
scientific  explanation ;  even 
the  veteran  scientists  of  the 
Zeiss  Optical  Works  cannot 
find  a  reason  for  it.  Per- 
haps the  blue  color  exists 
only  in  the  imagination  of 
the  audience  and  the  illusion 
is  due  to  the  fact  that  the 
whole  presentation  is  so  real- 
istic that,  while  we  do  not 
actually  see  a  blue  sky,  we 
feel  that  it  must  exist. 

Meanwhile,  as  the  Plane- 
tarium demonstration  pro- 
ceeds, a  lecturer  standing  be- 
side the  switchboard  which 
controls  the  instrument,  has 
been  talking.  He  has  ex- 
plained briefly  and  simply 
what  the  heavenly  occur- 
rences are,  their  relation  to 
each  other,  and  their  bearing 
upon  the  every  day  affairs  of 
men.  The  lectures,  of  course, 
vary,  being  always  designed 
to  meet  the  requirements  of 
the  audience.  School  chil- 
dren are  taught  the  fascinat- 
ing essentials  of  astronomy. 
Subjects  of  timely  interest 
are  discussed  in  a  popular 
manner  for  adult  audiences. 
A  forthcoming  eclipse  and 
its  causes  may  be  explained, 
with  all  the  information 
necessary  to  enable  the  audi- 
tors to  see  the  happening  to 
best  advantage  when  it  oc- 
curs. Or  the  presence  of  a 
new  comet  may  be  discussed. 

Thus  an  optical  device 
built  in  the  twentieth  cen- 
tury,  in  the  light  of  knowl- 

23— The   fixed   frame,   or   pedestal.  edge       accumulated       through 

24 — The   carriage  for    moving   the    entire    instrument    along    a  track,     thousands    of    years      explains 

25-Gear  to  drive  the  carriage  with  the  aid  of  a  crank.  tQ  m   ;n   g  few  momentS  facts 

26 — Common   conduit  for  all  the  electric   wires.  , 

27— Bolt   to   fasten   the  carriage  to   the   floor    in   the   position    in  which     tha*     astronomers     Spent     Ceil- 

the  instrument  is  to  be  used.  turies    in    learning. 


The   longitudinal   section   of  the   Carl   Zeiss   projector   in    Hollywood 
Planetarium. 


In  the  upper  part  of  the  figure  a  side  view,  from  the  south,  is 
presented;    in    the   lower   part   the   plan   view. 

1-1 — Polar   axis,   perpendicular    to    the    terrestrial    equator. 

2-2 — Axis  of  the  ecliptic,  perpendicular  to  the  plane  of  the  Earth's 
orbit. 

i-i — Axis  for  varying  the  geographical  latitude.  All  of  the  pro- 
jection apparatus  of  the  star  carrier  and  the  planetary  frame  may  be 
rotated  at  will  about  this  axis,  so  that  the  aspect  of  the  heavens  as 
seen  from  any  point  on  the  Earth's  surface  can  be  exhibited.  The 
intersection  point  of  the  three  axes,  1,  2,  3,  is  placed  in  the  center 
of   the   dome   and   precisely    3    meters   above   the   floors. 

4,  5 — i2  projectors,  distributed  over  two  star  carriers,  for  the 
representation  of  5400  stars,  from  magnitudes  1  to  6.2  of  the  northern 
and    southern    sky    (N    and    S). 

6 — 18  projectors  for  nebulae,  star  clusters,  and  the  brightest  star. 
Sirius. 

7,  8 — 32  projectors  for  constellation  names  and  the  circle  described 
by   the   pole   in   consequence    of   the   gyroscopic   motion   of   the   Earth. 

9,   10 — 2   projectors  for  the   Milky   Way. 

11  — 10  projectors  and  the  mechanisms  for  the  Sun  in  its  halo, 
the   Moon,    Saturn    and   the    Zodiacal    Light. 

12,  8 — Projectors  and  the  mechanisms  for  Mercury,  Venus,  Mars 
and   Jupiter. 

13,  14 — 12  projectors  for  the  central  line  of  the  Zodiac  (ecliptic) 
and  the   celestial   equator,   the   north   and   south  polar  points. 

15,    16 — 4   projectors   for  noon-day    (meridian)    line. 

17 — 1    projector  for    reading  the  scale   of   years. 

18 — 2   motors  for  the  diurnal    motion,   a   day   in    1.   2,    3   or   4   minutes. 

19 — 3  motors  for  the  annual  motion,  a  year  in  7.3  seconds,  1,  3,  4 
or    7    minutes. 

20 — 1  motor  for  the  gyroscopic  motion  of  the  Earth,  26,000  years 
in    4   minutes. 

21 — 1  motor  for  the  rotation  about  the  axis  (i-i)  variation  of 
geographical    latitude,  one  rotation   in   7  minutes. 

22 — The    electric   wires    from    the   fixed    frame    to    the    movable    part. 


Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


Fourteen 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


Professionals  and 
Amateurs  in  Japan 


By  Harry  A.  Mimura 


Two  kinds  of  people  own  amateur  cameras — 16  mm. 
or  9  mm. — one  kind  is  the  ordinary  camera  lover  who  has 
plenty  of  money  and  time  to  spare.  The  intentions  of  this 
class  are  just  to  keep  adding  to  their  photographic  records 
of  scenarios  or  daily  happenings,  such  as  shooting  animals 
and  babies  in  action. 

They  ordinarily  possess  the  best  kind  of  equipment,  but 
pay  less  attention  to  the  products  they  make  as  long  as  they 
see  something  on  the  tiny  width  of  film  and  in  this  they 
are  satisfied.  They  do  not  feel  very  bad  if  the  picture  is 
too  dark  or  the  face  of  the  baby  is  too  white  on  account 
of  over-exposed  film — they  are  just  plain  amateurs. 

The  other  kind  is  quite  different  and  they  are  seldom 
satisfied  in  their  own  work.  With  some  exceptions  they 
usually  come  from  the  class  of  people  who  save  their 
money  to  get  the  cheapest  camera  available  and  add  a  few 
attachments  by  themselves. 

Their  constructive  thoughts  and  skillful  hands  some- 
times far  surpass  professional.  They  are  very  enthusiastic 
students  of  photoplay  as  well  as  photography  and  their 
study  continues  constantly  year  after  year.  Some  of  them 
are  only  high  school  boys  and  girls,  some  belong  to  col- 
lege cinema  societies,  others  are  clerks  in  offices,  etc. 

In  addition  to  the  professional  ideas  secured  through 
careful  study  of  many  domestic  and  foreign  pictures,  they 
put  their  own  ideas  into  their  little  celluloids.  To  my 
knowledge  these  people  make  more  artistic  and  successful 
pictures  than  the  second  class  professionals  because  they 
give  free  rein  to  creative  mind  while  the  latter  are  apt  to 
stick  too  close  to  the  original  stories  or  director's  ideas,  etc. 

Several  magazines  in  Japan  are  devoted  exclusively  to 
the  amateurs,  but  we  find  none  for  the  professionals.  One 
of  the  outstanding  organizations  of  these  people  is  the 
Japan  Amateur  Cinema  Association,  founded  in  1931  by 
the  amalgamation  of  several  important  groups  which  had 
led  the  amateur  cinema  movement  in  the  past.  The  asso- 
ciation owns  and  operates  "Amateur  Cinema,"  a  monthly 
magazine. 

A  year  ago  the  American  Society  of  Cinematographers 
conducted  a  world  wide  amateur  cinema  contest.  Among 
a  few  hundred  scenarios  submitted  from  the  far  corners 
of  the  earth,  Japan  submitted  a  small  number  of  reels. 

A  little  fellow  of  seventeen  years  of  age,  Okamoto,  by 
name,  won  the  honor  of  second  prize  on  one  of  his  two 
pictures  submitted.  Though  a  prize  was  not  awarded,  his 
second  picture  was  highly  praised  by  the  judges  as  the  best 
in  artistic  photography.  The  J.  A.  C.  A.  takes  pride  in 
numbering  among  its  members  many  others  like  Okamoto, 
throughout  Japan. 

The  use  of  16  mm.  pictures  is  wide-spread  in  the 
country,  contributing  as  they  do  to  educational,  military, 
industrial,  medical  and  other  activities.  Wherever  there 
are  popular  gatherings  and  lectures — the  small  picture 
maker  follows  to  illustrate  them  and  the  future  develop- 
ment of  this  field  is  beyond  our  imagination. 

The  professional  cameramen  in  Japan,  more  than  300 
in  number,  are  busily  devoted  to  their  work  daily.  I 
should  say  that  95  percent  are  on  permanent  jobs  in  vari- 
ous studios.  Compared  to  the  amateurs,  the  professionals 
are  rather  handicapped  in  their  working  conditions.     The 


major  studios  are  rapidly  improving  their  equipment,  but 
they  still  are  away  behind  those  in  California. 

Since  the  advent  of  sound  pictures  they  naturally  had 
to  change  some  of  their  equipment  and  now  they  are  slow- 
ly catching  up  to  Hollywood.  Besides  the  many  unfavor- 
able production  situations  in  the  studios,  the  paramount 
one,  in  most  cases,  has  to  do  with  the  brains  of  so  called 
"dumb"  producers.  If  you  happen  to  see  any  of  the  Jap- 
anese pictures  you  will  notice  the  dead  white  faces  of  the 
actors  and  actresses  on  the  screen. 

In  a  recent  visit  to  my  home  country  I  brought  this 
subject  up  to  a  group  of  cameramen  in  a  certain  large 
studio  and  it  developed  that  the  lack  of  make-up  was  not 
the  cameramen's  fault  and  they  all  said :  "That's  the  way 
the  producers  want  it — if  the  faces  are  not  photographed 
white — well,  it's  just  too  bad." 

Those  producers  sit  in  a  theatre  and  view  foreign  made 
pictures  and  find  many  remarkable  shots.  "That's  the 
kind  of  shots  we  want,"  they  quate.  Then  a  Japanese 
cameraman  sets  up  and  shoots  a  picture  at  nearly  the  same 
angle,  using  similar  lighting,  and  what  the  same  producer 
says  after  seeing  rushes  is  "NUTS." 

In  most  cases  in  Japan  a  director  and  his  cameraman 
are  the  editors  of  the  picture,  so  that  they  may  know  more 
about  cutting  films,  etc.  I  know  of  a  cameraman  who  goes 
to  the  theatre  to  view  foreign  pictures,  not  to  be  enter- 
tained, but  to  study  the  mechanics  of  the  pictures.  He 
takes  two  assistants  along,  one  of  whom  has  a  stop  watch. 
From  the  beginning  of  the  picture  they  measure  every 
scene  by  the  watch,  count  the  number  of  scenes,  close-ups, 
long  shots,  etc.,  and  they  come  home  with  the  record  with 
a  score  of  sheets  of  paper,  and  this  becomes  the  good  text 
book  of  "how  a  picture  should  be  edited."  Some  people 
call  them  crazy,  but  they  claim  it  helps  them  a  lot. 


One-eighth  of  a  sound  stage  built  in  japan  in  seven  days. 

Owing  to  the  poor  financial  conditions,  Japan  took  up 
the  talkie  venture  slowly,  but  its  demands  are  gradually 
increasing  and  the  major  studios  are  now  producing  one 
out  of  five  on  their  program.  Recent  statistics  show  113 
home  made  talkies  were  produced  between  January  and 
June,  this  year.  And  it  won't  be  long  now  before  all  the 
assistant  directors  on  the  set  will  be  barking: 

"Skizukani — Shite — Kudasai !  Talkie  wo  totte  imasu- 
kara."  Meaning,  "Quiet  please!  We  are  making  a  talkie 
now." 


Please  mention  The  International   Photographer  when  corresponding  with  advertisers. 


October,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Fifteen 


This  is  the  sixth  installment  of  the  Cinematographer's 
Book  of  Tables  compiled  and  computed  by  Mr.  Fred  Wester- 
berg,  one  of  the  technical  editors  of  THE  INTERNATIONAL 
PHOTOGRAPHER. 


Cinematographer's 

BOOK  of 
TABLES 

By  FRED  WESTERBERG 


There  are  several  more  installments  to  come,  concluding 
with  the  January  issue,  1934,  and  when  completed  the  tables 
will  constitute  a  handy  reference  guide  welcome  to  all  cinema- 
tographers,   professional   and   amateur. 

Take  note  that  the  tables  are  so  placed  in  the  magazine 
as  to  be  easily  cut  out  and  bound  into  a  small  pocket  ring 
book.  Cut  down  the  middle  of  page  15;  then  trim  top  and 
bottom  to  fit  your  cover;  punch  holes  to  fit  rings  on  inner  and 
outer  edges  of  magazine  pages  15  and  16.  When  all  tables 
have  been  bound  into  your  ring  book  the  pages  will  number 
from  1  to  32  inclusive  with  complete  index  unless  others  are 
added. 


27 

CAMERA  IDENTIFICATION  MARKS 
16  mm.  FILM 

IDENTIFYING  MARKS  MADE  ON  EDGE  OF  FILM   BY  VARIOUS 
MAKES  OF  CAMERAS  AT  THE  TIME  OF  EXPOSURE 


EMULSION  DOWN 


PICTURE  ERECT 


32 

DEVELOPER  FORMULAS 
FINE  GRAIN  NEGATIVE  DEVELOPERS 

EASTMAN  BORAX  FORMULA  NO.  D-76 

ELON -  2  Grams 

SODIUM  SULPHITE  (Anhydrous)     -----  100       " 

HYDROQUINONE -       -  5      " 

BORAX  - 2       " 

WATER          - 1   Liter 

TEMPERATURE    -  .    - 65°   F. 

Directions  For  Mixing 

1.  Dissolve  about  one-quarter  of  the  Sulphite  in  hot  water   (about 
160    F.l,  followed  by  the  Hydroquinone. 

2.  Dissolve   the    Elon   separately   in   a   few   ounces   of   warm    (not 
hot)   water. 

3.  Mix  the  two  solutions. 

4.  Dissolve  separately  the   rest  of  the  Sulphite  in   hot  water  and 
add  the  Borax. 

5.  Mix  with  the  first  solution  and  dilute  with  cold  water  to  make 
up  the  required  amount. 

DUPONT  BORAX  FORMULA 

RHODOL       -       - 2.5  Grams 

SODIUM   SULPHITE    (Anhydrous)         ...       -  75.0       " 

HYDROQUINONE 3.0       " 

BORAX 5.0       " 

WATER        ----- 1      Liter 

TEMPERATURE         --------  65°   F. 

AGFA  NO.  12  FORMULA 

METOL 8.0  Grams 

SODIUM  SULPHITE   (Anhydrous) 125.0       " 

SODIUM  CARBONATE  (Anhydrous)     -       -       -       -       5.75     " 

POTASSIUM    BROMIDE  -       - 2.5       " 

WATER 1      Liter 

TEMPERATURE         -       -       - 65°   F. 

NOTE — Crams  per  Liter^Ounces  per  30  Quarts  =  Pounds  per  120  Gallons. 


Sixteen 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


MACNACOLOR  GOES  TO 
THE  YELLOWSTONE 

Joseph  Aller,  of  Consolidated  Laboratories,  and  party 
of  three  have  returned  from  the  Yellowstone  National 
Park  and  vicinity  where  they  went  to  make  the  first  of  a 
series  of  scenics  in  Magnicolor,  a  new  color  system  in  pro- 
cess of  development  by  Mr.  Aller,  himself. 

Over  3,000  feet  of  Dupont  By-Pack  negative  was  used 
and  reports  from  the  lab  are  to  the  effect  that  the  preview 
gave  evidence  of  perfect  registration  of  color  and  in  all 
respects  exceptionally  sharp. 

Several  of  the  outstanding  scenes  were  photographed 
late  in  the  afternon,  around  four  o'clock  to  six.  These 
scenes  were  tests,  to  determine  just  what  results  might  be 
expected,  because  of  the  long  light  shadows  and  the  slow- 
ness of  the  light  at  this  time  of  day.  The  experiment 
proved  surprisingly  successful  in  every  detail,  which, 
according  to  Mr.  Aller  proves  that  Magnicolor  can  be 
exposed  under  all  conditions. 

Other  tests  were  made  on  days  with  clouded  skies, 
while  still  another  scene  was  exposed  in  the  rain,  during 
the  time  Old  Faithful  geyser  was  sending  on  high  many 
millions  of  gallons  of  water.  These  scenes  will  be  used 
in  the  production. 

As  one  observes  this  picture  in  process  of  being  un- 
reeled on  the  screen,  the  observer  will  be  impressed  with 


the  huge  white  clouds  that  adorn  the  skies  and  which  act 
as  a  diaphragm  against  the  rays  of  the  sun  dampening  the 
brightness  of  the  light  necessary  for  the  exposures  required 
in  color  photography. 

Another  impressive  scene  was  taken  at  the  foot  of  Yel- 
lowstone Falls  where  in  its  spray  the  gorgeous  arched  rain- 
bow is  clearly  seen  as  it  reveals  its  beautiful  color  spec- 
trum. 

With  Mr.  Aller  was  Eddie  Morrisey,  one  time  direc- 
tor for  the  Biograph  Company,  who  acted  as  historian; 
Percy  Higgensen,  laboratory  technician  who  made  all  the 
tests  for  detail,  exposure  and  other  technical  requirements. 

The  cameras  were  in  charge  of  chief  cinematographer 
George  J.  Lancaster,  who  turned  in  a  perfect  negative  as 
before  mentioned.  Mr.  Lancaster  brought  back  also  many 
beautiful  stills. 

Announcement  of  release  will  be  made  in  the  very  near 
future.  In  the  meantime  Mr.  Aller  is  to  be  congratulated 
upon  the  satisfactory  behavior  of  Magnicolor  under  try- 
ing circumstances. 


THE  TROPICAL  FILM  COMPANY 

This  company  has  been  organized  to  promote  and 
exploit  motion  pictures  of  a  tropical  type  made  by  asso- 
ciates of  this  company. 

There  are  no  employees  and  no  officers  and  the  busi- 
ness will  be  conducted  on  a  co-operative  basis,  each  per- 
son receiving  an  equal  and  equitable  share  of  the  net 
profits.     More  about  this  in   November. 


WEIGHTS  AND  MEASURES 


31 


28 


CONVERSION  TABLES 


Crams  Per  Liter 

to 
Crains  Per  Quart 


Crams 
Per 
Liter 

Crains 

Per 
Quart 

1.0 

15 

1.5 

22 

2.0 

29 

2.5 

37 

3.0 

44 

3.5 

51 

4.0 

58 

4.5 

66 

5.0 

73 

6.0 

88 

7.0 

102 

8.0 

117 

9.0 

131 

10.0 

146 

20.0 

293 

30.0 

438 

Crams  Per  Liter 

to 
Ounces  Per  Quart 

Crams 
Per 
Liter 

Ounces 

Per 
Quart 

1.0 

.033 

1.5 

.050 

2.0 

.067 

2.5 

.083 

3.0 

.100 

3.5 

.117 

4.0 

.133 

4.5 

.150 

5.0 

.167 

6.0 

.200 

7.0 

.233 

8.0 

.267 

9.0 

.300 

10.0 

.333 

20.0 

.666 

30.0 

]   iiiiii 

Crains  Per  Quart 

to 
Crams  Per  Liter 


Ounces  Per  Quart 

to 

Crams  Per  Liter 


Crains 

Per 
Quart 

Crams 
Per 
Liter 

l.i) 

.07 

5.0 

.34 

10.0 

.68 

15  ii 

1.03 

JII.U 

1.37 

25.0 

1.71 

30.0 

2.05 

35.0 

2.40 

40.0 

2.74 

45.0 

3.08 

50.0 

3.42 

60.0 

4.11 

70.0 

4.80 

80.0 

5.48 

90.0 

n  I., 

100.0 

6.85 

Crains  Per  Quart 

to 
Ounces  Per  Quart 

Crains 

Per 
Quart 

Ounces 

Per 
Quart 

1.0 

.0112 

5.0 

.(111 

10.0 

.023 

15.0 

.034 

20.0 

.046 

25.0 

.057 

30.0 

.068 

35.0 

.080 

40.0 

.092 

45.0 

.103 

50.0 

.114 

60.0 

.137 

70.0 

.160 

80.0 

.183 

90.0 

.'m. 

100.0 

.228 

Ounces 

Per 
Quart 

Crams 
Per 
Liter 

Vl6  or   .06 

1.88 

%6   "     .13 

.',.7  5 

'&\r,    "     .19 

5.63 

Vie  "    .25 

7.50 

5/l6    "     -31 

9.38 

%(!   "     -38 

11.3 

Vlfi   "     -44 

13.1 

%6   "    .50 

15.0 

%6  "    -56 

16.9 

l%6  "    -63 

18.8 

n/i.i   "     .69 

20.6 

l%«  "    .75 

22.5 

13/16    "      -81 

24.4 

^16    "     -88 

26.3 

i.Vir,  "    .94 

28.1 

I'Hii   "  1.00 

30.0 

Ounces  Per  Quart 

to 
Crains  Per  Quart 


Ounces 

Per 
Quart 

Grains 

Per 
Quart 

Vie  or  .06 
■Yin  "    -13 

27 

55 

%5    "     -19 

76 

Vic,  "     .25 

110 

%-,  "    .31 

137 

9is  "    -38 

164 

Vw  "    -44 

191 

%6  "    .50 

220 

%6   "    -56 

247 

1%«   "     .63 

274 

"An   "     .69 

301 

1%6   "     .75 

329 

1%C   "     .81 

356 

Wm  "    .88 

384 

15/io  "    .94 

410 

i  ;s 

"'1,;     "    

If    larger    quantities    are    desired    move    decimal    points    to    right    the 
same  number  of  places  in  both  columns. 


APERTURE  SPECIFICATIONS  STANDARD 
16  mm.  FILM 


\Co  M  M 

.6299" 


*85 


CD 


.1099 

-* »- 


ft  \o 


a> 


.oao 

RADIUS 


CD 


<o 


Camera 
Aperture: 


Dimensions  Are  For. 
. |^New  UnShrunk  Film    j 


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October,  1933  T  h  c      INT  E  RNATI  O  N  A  L      P  H  O  T  ()  G  RAPHER  Seventeen 


EASTMAN 

SUPERSENSITIVE 
PANCHROMATIC 
NEGATIVE 

. . .  having  reached  a  point  of  achievement  where 

it  is  now  preferred  and  used  exclusively  by  the 

outstanding  directors  of  photography,  there  is 

but  little  left  for  us  to  say  except  to  again  point 
out  the  additional  value  of 

BRULATOUR  SERVICE 

and  the  cooperation  of 

EASTMAN  KODAK  RESEARCH 

AND    TECHNICAL    SERVICE 


J.  E.  Brulatour,  Inc. 

New  York  Chicago  Hollywood 


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Eighteen 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


LIGHT  FILTERS 

FROM  THE 

CINEMATOGRAPHERS 
VIEW  POINT 

By  EMERY  HUSE  and  NED  VAN  BUREN 

A  Series — Part  IV — Filter  Factors 


With  the  introduction  of  super-sensitive  negative  Him 
with  its  different  type  of  color  sensitizing  it  was  necessary 
to  make  a  study  of  the  use  of  filters  with  this  emulsion. 
The  authors  instigated  some  practical  research  to  deter- 
mine the  filters  most  applicable  to  produce  finer  photo- 
graphic results  with  this  film.     The  filters  listed  in  the 


>\  II 

\%    2 

§  „ 

I      S 

i  * 

*• 

10  %     1 

•0.S  o2 

90                                   100 

400 

5 

00 

S 

00 

T 

90 

No.  3.    Aero  No.  1 


no% 


N6.  23a.  E  Red  (light) 
filter  factor  table  cover  those  which  are  most  useful. 
Experience  has  shown  that  there  are  only  seven  filters 
which  one  actually  needs  of  this  group.  Any  other  filters, 
while  probably  useful,  may  be  considered  more  or  less  in 
terms  of  excess  baggage.  The  filters  refered  to  as  fulfill- 
ing the  requirements  for  super-sensitive  film  for  daylight 
photography  are  the  Wratten  Aero  1,  Aero  2,  3N5,  5N5, 
G,  23A,  and  the  72.  Each  of  these  filters  will  be  dis- 
cussed in  brief  detail. 

Aero  1 
This  filter  is  very  light  yellow  in  color  and  its  spectro- 
photometric  curve,  given  in  Figure  8,  shows  almost  com- 
plete absorption  up  to  wave  length  440  millimicrons,  thus 
transmitting  most  of  the  visible  spectrum.  The  slight 
transmissions  at  wave  lengths  approximating  260  and  330 
millimicrons  are  not  very  effective  and  can  for  most  photo- 
graphic purposes  be  ignored.     This  filter  has  a  factor  of 

*West    Coast    Division,    Motion    Picture    Film    Department,    Eastman 
Kodak   Co. 


1.25  for  super-sensitive  film  to  daylight  quality  of  illum- 
ination. Due  to  the  fact  that  it  absorbs  such  a  small 
amount  of  the  visible  spectrum  to  which  the  photographic 
emulsion  is  sensitive,  it  is  only  used  where  a  small  amount 
of  correction  is  desired.  Because  of  the  exposure  latitude 
of  the  super-sensitive  emulsion  it  can  be  used  quite  success- 


•11 

a 

>- 
■ 

o 

1  l 

o 

i 

a 

10  % 

•00 '-1 

1 

M 

300 

400 

500 

1 

)0 

7 

0 

No.  15.    G 


No   72.     7 

fully  at  the  same  aperture  and  under  the  same  conditions 
as  the  "no  filter"  exposure. 

Aero  2 

This  filter  is  light  yellow  in  color  and  has  a  filter 
factor  of  1.5.  Its  spectrophotometric  curve  shows  quite 
complete  absorption  to  a  wave  length  of  approximately 
480  millimicrons,  thereby  absorbing  appreciably  more 
blue-violet  than  the  Aero  1.  This  filter  is  quite  adequate 
for  general  all  around  exterior  photography.  It  produces 
no  effect  upon  normal  panchromatic  makeup  and  need  not 
be  considered  detrimental  from  this  standpoint.  Due  to 
its  blue-violet  absorption  it  naturally  produces  in  the  print 
a  somewhat  darker  sky,  thus  enhancing  the  general  picture 
quality. 

3N5—5N5 

These  two  filters  are  respectively  the  Aero  1  and  Aero 
2  to  each  of  which  has  been  added  chemically  the  neutral 
density  filter  dyes  of  .50  density.     These  filters  were  de- 
(Turn  to  Page  28) 


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October,  1933 


The   Newsreel  World 


Hollywood  seems  to  be  coming  to  Sweden.  Hurrah! 
Maybe  this  good  old  magazine,  our  own  INTERNA- 
TIONAL PHOTOGRAPHER,  can  make  more  work 
for  the  cameraman.  We  newsreelers  do  not  take  credit 
for  the  several  features  being  produced  today  with  the 
newsreel  man  as  subject,  but  I  do  not  for  a  moment 
doubt  that  we  have  had  some  effect. 

Remember  our  broadcasts  over  a  national  chain  from 
this  department  ?  Pronto  R-K-O,  where  those  broadcasts 
originated,  got  the  idea  and  started  on  a  story  about 
newsreel  cameramen.  Now  I  hear  Columbia  is  follow- 
ing suit.  Perhaps  some  kind  angel  in  Hollywood  will 
eventually  buy  my  book:  "I  Shoot  for  News,"  and  make 
a  picture  of  it ! 

Recently  we  have  had  quite  a  gathering  of  Hollywood- 
ites  over  here.  Marc  Connelly,  the  playwright,  with 
his  charming  wife,  our  former  Mack  Sennett  siren, 
Madeline  Hurlock.  Did  you  photograph  her,  Johnny 
Boyle  ?  Another  swell  and  regular  fellow  was  rere,  too 
— Louis  Bromfield,  and  don't  say  you  all  haven't  read 
his  best  sellers. 

Boy,  did  I  feel  "gone  Hollywood"  when  he  let  me 
pose  with  him  for  a  still.  He  says  he  may  soon  be  with 
you  fellows  out  at  M.G.M.  Bromfield,  a  young,  long, 
slender  sprout  that  wins  one  at  once,  adapted  "Dracula" 
to  the  screen  for  Universal,  so  he's  well  acquainted  with 
Hollywood  sunshine  and  shadows. 

As  if  it  weren't  enough  to  give  a  square-head  a  swelled 
head  I  got  to  windward  of  Pearl  Buck,  Edna  Ferber 
and  a  swarm  of  Swedish  favorite  authors.  I  expected  to 
see  Garbo  any  minute.  What  a  strange  world !  Garbo 
goes  to  Hollywood  and  Hollywood  goes  home  to  Sweden. 
Who's  coming  here  next? 

Most  all  the  old  favorites  have  been  here  at  one  time 
or  another  in  the  past:  Harold  Lloyd,  Dick  Barthelmess, 
Douglas  Fairbanks,  Senior,  Mary  Pickford  and  many 
other  producers.     I  often  wonder  what  they  all  did  here 


Left  to   Right — Mrs.   Marc  Connelly    (Madeline   Hurlock),   Mr. 
Connelly,  Pearl  Buck,  Louis  Bromfield. 

that  they  passed  up  so  many  good  bets  on  pictures.  There 
are  a  lot  of  fine  stories  lying  around  here  that  would  be 
great  in   English. 

The  setting  is  here  for  any  number  of  remarkable  pic- 
tures.    Yes,  and  excellent  studios  with   everything  ready 


By  Ray  Fernstrom 


to  hire.  All  anyone  would  need  to  come  here  and  go 
right  to  work  would  be  money  and  a  cast  and  TECH- 
NICIANS. Why  let  the  foreign  countries  get  the  drop 
on  us?     Wake  up,  Hollywood! 

If  England  and  Germany  are  after  our  picture  scalps 
because  of  shooting  their  English  versions  in  all  parts  of 
the  world,  why  not  come  up  here  in  the  Nordic  countries 
and  give  them  a  real  run  for  their  money?  With  Euro- 
peans taking  our  technicians  and  stars  to  shoot  English 
versions  in  the  actual  setting  of  each  story,  wouldn't 
such  pictures  as  Garbo's  "Christina"  have  ADDED 
charm,  have  a  flavor  of  NOVELTY,  if  produced  in 
Szveden,  since  this  is  the  place  Garbo  has  been  TALK- 
ING SO  MUCH  ABOUT? 

This  country  can  offer  writers  fresh  plots,  settings 
and  dramas  that  are  of  the  simple,  homey  type  so  needed 
nowadays.  Old  steamer  canals,  for  instance,  hundreds  of 
years  old,  with  generations  of  families  that  have  tended 
the  locks,  bridges,  etc.  Up  in  Lappland  dwell  the  last 
of  the  race  known  as  Lapps,  little  nomads  that  roam  the 
tremendous  range  covering  all  of  northern  Norway,  Swe- 
den and  Russia,  in  search  of  the  tender  moss  their  rein- 
deer feed  on. 

An  overnight  boat  ride  from  Stockholm,  Sweden's 
capital,  carries  one  to  a  port  called  Marieham,  Aland. 
This  is  the  home  port  of  the  last  of  the  square  riggers. 
Up  to  thirteen  can  be  seen  at  one  time  anchored  or 
docked  here.  When  they  set  sail,  with  young  green  ad- 
venturous lads  of  sixteen  or  so  climbing  the  rigging,  isn't 
that  a  picture  idea  ? 

A  new  picture  has  been  produced  here  called  "Pet- 
terson  and  Bendel."  This  is  a  Swedish  idea  similar  to 
Jewish-Irish  situations  found  in  some  of  our  American 
films.  In  this  case  it  deals  with  a  little  lovable  Hebrew 
character  who  forms  a  partnership  with  a  Swede  named 
Petterson,  in  Stockholm.  The  plot  makes  a  movie  that 
is  a  lulu  and  perfect  for  American  adaptation,  transla- 
tion and  production.  In  this  case  the  Swede  family 
trims  Bendel,  but  as  he  says  in  his  last  line:  "He  is  the 
first  person  ever  to  beat  me  in  a  business  deal,  but  how 
I  love  that  BIG  SWEDE."  Is  this  a  story  for  pictures 
or  not? 

Had  some  negatives  developed  out  at  FILMCITY  in 
Rasunda  the  other  day.  What  a  beautiful  place  they 
have !  Imagine  building  a  movie  studio  in  a  garden ! 
And  the  lab  is  as  modern  as  any  we  have  in  our  home 
town.  Yes,  machine  developing,  too.  Bob  Olson,  head 
of  the  lab,  took  me  through  the  place.  For  anyone  who 
might  want  to  come  over  and  make  pictures,  everything 
in  the  form  of  equipment  is  here. 

They  use  those  new  Super-Parvo  cameras  and  have 
dollies  of  all  kinds.  You  can  even  get  a  CAMERA 
CRANE  ON  A  TUGBOAT  if  you  wish.  If  I  am  not 
mistaken,  this  has  not  yet  been  used  even  in  Hollywood 
before.  Swedes  are  fine  mechanics  and  production  costs 
are  cheap,  too.  Boy,  if  I  had  the  dough  I'd  make  a  pic- 
ture here  from  my  own  story  and  call  it:  "Including  the 
Scandinavian."     So  long — see  you  soon. 


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Tzvcnty 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


EXTREMELY 

FINE  GRAIN 

♦  ♦  ♦  I  HAT,  of  course,  is  the  first  es- 
sential in  any  film  that  is  to  serve 
satisfactorily  for  projection  back- 
ground shots.  Eastman  Background 
Negative  has  this  prime  requisite 
. . .  plus  adequate  speed . . .  plus  ex- 
cellent processing  characteristics. 
In  short,  it  is  being  demonstrated 
every  day  that  this  new  Eastman 
film  is  ideally  adapted  to  its  impor- 
tant special  purpose.  Eastman 
Kodak  Company.  (J.  E.  Brulatour, 
Inc.,  Distributors,  New  York,  Chi- 
cago, Holly  wood.) 

EASTMAN 

BACKGROUND     NEGATIVE 


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October,  193S 


The      INTERNATIONAL      PHOTOGRAPHER 


/  wenty-one 


NEW  CAMERA  FOR  M.  P. 
STILL  WORK 

A  camera  for  motion  picture  still  work  has  been 
evolved  by  Fred  R.  Archer,  internationally  known  pic- 
torialist  and  salon  worker,  and  well  known  in  the  West 
Coast  studios  for  his  photographic  work  extending  over 
many  years. 

The  camera  is  really  a  combination  of  types  now  in 
general  use,  to  which  has  been  added  a  lens  turret,  a  finder 
and  focal  plane  shutter — the  latter  two  for  action  work 
where  necessary. 

The  turret  is  added  to  save  time  in  changing  from  long 
shots  to  close-ups  in  a  profession  which  calls  for  great 
speed  as  well  as  accuracy  and  as  the  still  man's  range  is 
from  distant  scenes  to  close  portraits  within  a  few  seconds, 
the  time  saving  of  this  device  can  readily  be  seen. 

The  turret  unit  consists  of  a  cast  aluminum  front 
board  with  extension  to  hold  the  turret  in  a  position  in 
which  it  will  clear  the  camera  front  so  as  not  to  interfere 
with  the  rising  and  lowering  camera  front ;  the  turret  pan, 
which  is  fastened  to  this  front  board,  and  the  face  plate 
which  holds  the  lens  and  revolves  to  let  them  come  into 
place. 

The  face  plate  is  set  on  to  the  pan  with  a  two-step  lip 
around  the  edge  for  a  light  trap,  turning  is  controlled  by 
a  spring  button  lock  and  the  plate  revolves  around  a  center 
bolt  with  spring  tension  to  hold  plate  against  pan. 

The  turret  has  three  lenses,  one  of  12  inch  focal  length, 
one  of  16  inches  and  one  of  19-^4  inches.  The  12  inch, 
being  the  most  used  lens  for  exteriors,  is  mounted  in  a 
compound  shutter. 

There  is  behind  the  lens  a  silent  shutter  which  is 
mounted  inside  the  front  bellows  rame,  controlled  by  a 
bulb  for  work  on  the  set,  for  portraiture  and  general 
interior  work. 

For  action  work  a  motion  picture  camera  type  finder 
is  mounted  on  a  bracket  opposite  the  lens  center.     This 


bracket  extends  out  to  let  the  rear  of  the  finder  clear  the 
back  of  the  camera  when  short  bellows  extension  is  being 
used.  For  action  work  an  8  by  10  focal  plane  shutter  is 
mounted  on  the  back  of  the  camera.  This  shutter  and 
finder  are  left  off  for  general  work,  to  lighten  the  outfit. 
Finder  mats  give  area  included  in  different  lens  angles. 


A    new    still    camera    for    motion    picture    still    work    built    by 
Fred  R.  Archer. 

The  camera  front  is  anchored  solid  in  order  to  support 
extra  weight  of  turret  and  lens  focusing  is  all  done  at  the 
back,  where  it  should  be.  The  top  plate  which  holds  the 
front  board  and  turret  in  the  camera  front  is  supported 
by  four  bolts  and  locked  with  a  set  screw. 

The  camera  bed  has  an  extension  bed  contained  in  it 
in  preference  to  the  extra  bed  usually  carried  and  put  on 
when  wanted.  This  is  a  great  time  saver  when  working 
on  the  set  and  changing  from  long  shots  to  close-ups. 

The  turret  and  front  board  are  of  cast  aluminum  and 
are  lightened  wherever  possible  so  that  the  only  real  extra 
weight  added  is  in  the  lens.  When  the  camera  is  on  the 
tripod  it  is  handled  as  easily  as  any  camera  of  like  size 
and  the  extra  weight  is  soon  forgotten  in  its  practicability. 


BELL  &  HOWELL 

1849  Larchmont  Ave.,  Chicago,  111.;   11  West  42nd  St.,  New 

York;    716   N.   La    Brea   Ave.,    Hollywood;    320   Regent    St., 

London  (B  &  H  Co.,  Ltd.)  Established  1907. 


NEW  B&H  SILENCED 

Sound    Camera 


The  new  Bell  &  Howell  Silenced  Sound  Camera,  soon  to 
he  placed  in  production,  embodies  every  convenience  and 
requirement  of  modern  cinematography,  coupled  with 
extreme  durability  and  precision,  reasonable  compactness, 
and  absolute  silence  of  operation.  Features  of  this  new 
camera   are: 

Built-in  48-cycle  motor  operating  direct  on  shutter  shaft. 
Smooth,  even  speed.  Specially  re-designed  pilot  pin 
mechanism.  Three  methods  of  focusing:  (1)  built-in 
focusing  microscope  allowing  focusing  at  any  time  with- 
out spoiling  any  film,  (2)  focusing  by  scale,  and  (3) 
focusing  by  means  of  the  viewfinder.  Large  focusing 
viewfinder  with  micrometer  adjustable  hairline  masks — 
automatically  corrected  for  parallax.  Built-in  automatic 
trip.  Camera  takes  lenses  from  24  mm.  focal  length. 
Lenses  quickly  interchangeable.  Built-in  belt  tension  unit 
utilizing  endlessly  woven  fabric  belts.  Special  sound- 
proof magazines.  Camera  of  double  wall  construction. 
All   controls   at  the  back. 


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Twenty-two 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


ALLIED  INDUSTRIES 
of  HOLLYWOOD 


ERPI  UNDER  CODE 

Electrical  Research  Products,  Inc.,  made  the  follow- 
ing announcement  recently : 

"Electrical  Research  Products,  Inc.,  is  a  wholly  owned 
subsidiary  of  the  Western  Electric  Company  and  by  rea- 
son of  that  fact  has  become  subject  to  and  is  operating 
under  the  code  of  the  Electrical  Manufacturing  Industry, 
approved  by  the  President  of  the  United  States  on  August 
4,  1933." 

This  code  supersedes  the  President's  Reemployment 
Agreement  or  "Blanket  Code"  which  the  company  signed 
on  August  15. 


WHOOPING  IT  UP 

The  complete  figures  on  Photophone  theatre  sound 
equipment  business  for  the  month  of  August  have  ex- 
ceeded earlier  estimates  of  a  100%  increase  and  estab- 
lished a  new,  all-time  high  sales  record,  according  to 
the  statement  of  a  high  official  of  the  RCA  Victor  Com- 
pany. 

Although  in  the  past  Photophone  equipments  have 
found  a  fertile  field  in  the  smaller  theatres,  the  recent 
decentralization  moves  by  large  theatre  circuits  in  which 
many  deluxe  houses  have  reverted  back  to  original  owners 
has  opened  up  the  market  for  the  sale  of  larger  sound 
systems.  During  the  last  eight  months,  the  number  of 
large  Photophone  equipments  sold  have  more  than 
doubled. 


SLOW-MOTION  MOVIES  REVEAL 
MACHINE  DEFECTS 

When,  as  often  happens,  a  machine  designed  and 
built  on  apparently  sound  and  proved  principles  just 
doesn't  operate  correctly,  what  can  be  done  to  determine 
the  cause  of  failure?  In  such  cases,  design  experts  are 
now  having  recourse  to  the  motion  picture.  They  set 
the  machine  in  motion  and  take  "slow"  movies  of  it 
as  it  operates.  These  movies  reveal  the  behavior  of 
mechanisms  moving  too  rapidly  for  satisfactory  obser- 
vation by  the  human  eye,  and  many  baffling  machine 
problems  have  been  solved  in  this  manner. 

Says  R.  Fawn  Mitchell,  manager  of  the  technical 
department  of  the  Bell  &  Howell  Company:  "One  of 
the  first  instances  of  securing  increased  efficiency  in  ma- 
chine design  by  means  of  motion  pictures  had  to  do  with 
a  high-speed  addressing  machine  which  jammed  in  the 
envelope  in-feed.  A  micromotion  outfit  was  arranged  to 
take  a  close-up  of  the  feeding  mechanism  with  the  feed- 
ing pawl  painted  white  to  facilitate  following  its  mo- 
tion. Motion  pictures  taken  at  4,000  frames  per  min- 
ute disclosed  that  the  feeding  pawl  vibrated  at  one  time 
and  not  at  another.  Each  time  the  pawl  vibrated  it 
failed  to  feed  an  envelope.  Not  only  did  the  picture 
show  this  effect,  but  they  registered  the  time  by  means 
of  a  high-speed  stop  watch  so  that  at  least  a  reasonable 
approximation  of  the  duration  of  the  oscillation  could  be 
obtained.  With  this  information  the  designers  were  able 
to  effect  improvements  immediately." 


THE  GOLF  TOURNAMENT 

Mr.  Jimmy  Palmer  reminds  the  editor  that  plans  are 
in  process  of  formation  for  the  fifth  annual  golf  tourna- 
ment of  the  International  Photographer.  The  date  has 
not  yet  been  set  but  will  undoubtedly  be  sometime  before 
the  holidays.  See  November  International  Photographer 
for  date  and  program  in  full. 


A  NEW  DEAL 


Associated  Film  Libraries,  Inc.,  announce  that  they 
have  placed  their  films  for  distribution,  henceforth,  with 
the  Central  Camera  Company,  230  South  Wabash  Ave- 
nue, Chicago,  who  will  also  distribute  THE  INTER- 
NATIONAL PHOTOGRAPHERS,  formerly  dis- 
tributed by  Associated  Film  Libraries.  The  offices  of 
the  latter  will  be  at  1118  South  Michigan  Avenue, 
Chicago. 


ERRATA 

In  the  September  International  Photographer, 
Edward  H.  Kemp  was  given  credit  for  authorship 
of  the  article  on  stereoscopic  theories  entitled  "The 
Pursuit  of  Three  Dimensional  Motion  Pictures." 
The  by  line  should  have  been  given  instead,  to  Mr. 
George  Lyng,  of  Oakland,  California,  Northern 
California  representative  of  Kinograms. 


NEW  COMBINATION  ENLARGING  DEVICE 

E.  Leitz,  Inc.,  announces  a  novel  feature  in  connec- 
tion with  their  enlarging  apparatus.  The  popular  Valoy 
Enlarger  can  now  be  supplied  with  attachments  whereby 
it  may  be  used  not  only  for  making  enlargements,  but 
for  reading  manuscripts  and  projecting  pictures  upon  a 
screen  as  well. 

A  special  rotating  film  carrier  permits  the  film  image 
to  be  placed  in  any  desirable  position,  regardless  of  the 
position  of  the  film  in  the  enlarger.  A  special  box  may 
be  placed  under  the  lens,  whereby  film  records  of  manu- 
scripts, legal  documents,  maps  and  book  pages  may  be 
read  with  ease.  On  the  front  of  the  box  is  situated  a 
ground  glass  screen,  sloped  at  a  convenient  angle.  A 
mirror  within  the  box  reflects  the  image  upon  the  ground 
glass  screen.  The  user  need  only  seat  himself  comfort- 
ably in  front  of  the  screen  and  view  the  films,  right- 
side-up  and  right-side-to. 

When  the  enlarger  is  to  be  used  as  a  projector  for 
screen  projection,  a  special  mirror,  mounted  upon  a  uni- 
versal joint  so  that  it  may  be  placed  in  any  position  under 
the  lens,  is  attached  to  the  enlarger.  The  image  pro- 
duced by  the  lens  is  thus  projected  upon  a  screen.  The 
usual  opal  lamp  in  this  case  is  replaced  with  a  special 
clear  projection  bulb. 

The  feature  of  this  equipment  lies  in  the  fact  that 
with  one  unit  the  owner  can  enlarge,  project  and  read 
his  films  with  the  utmost  ease  and  satisfaction. 

Details  regarding  this  equipment  may  be  secured  by 
writing  the  E.  Leitz,  Inc.,  60  E.  10th  St.,  New  York 
City. 


Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


October,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Twenty-three 


MINIATURE  CAMERA  LECTURES 

Karl  A.  Barleben,  Jr.,  will  give  lectures  on  Leica 
Camera   Photography   in  the  following  cities : 

October  5th — Chicago,  111.,  Stevens  Hotel  (auspices 
Leica  Club  of  Chicago  and  Aimer  Co.). 

October  6th — Cleveland,  Ohio,  Cleveland  Photo- 
graphic Society,  2073   E.  Fourth  St. 

October  9th — Buffalo,  New*  York,  J.  F.  Adams 
Co.,  459  Washington  St. 

October  11th — Schenectady,  New  York,  Schenectady 
Photographic  Society,  Y.  M.  C.  A.  (Auspices  Lyons  Co.). 

November  9th — Washington,  D.  C,  Tilden  Gardens 
(Auspices  Leica  Club  of  Washington). 

February  19th — Detroit,  Mich.,  Detroit  Edison 
Camera  Club,  2000  Second  Ave. 

Other  dates  will  be  given  from  time  to  time.  Every- 
one interested  is  cordially  invited  to  attend  any  of  these 
lectures. 


NEW  KODACOLOR  ASSEMBLY 

Of  interest  to  16  mm.  enthusiasts  is  the  announce- 
ment by  the  Eastman  Kodak  Company  of  a  change  in 
the  present  Kodacolor  Unit  (consisting  of  projection 
lens,  compensator  and  filter)  for  the  Model  K  Koda- 
scope. 

The  new  Kodacolor  Assembly  enables  the  operator 
to  use  his  regular  Kodascope  K  lens  for  Kodacolor 
movies.  He  need  acquire  and  insert  only  the  filter  and 
compensator,  instead  of  having  to  buy  a  complete  extra 
lens. 

In  addition  to  greater  simplicity  and  less  cost,  the 
new  Kodacolor  unit  gives  about  120  per  cent  increased 
illumination.  It  also  gives  better  definition  and  contrast, 
resulting  in  sharper  and  clearer  pictures. 

The  increase  in  illumination  is  brought  about  by  the 
fact  that  the  regular  lens  gives  over  20  per  cent  more 
light  than  the  old  Kodacolor  lens,  and  the  new  filters 
have  a  much  higher  light  transmission  value  than  those 
formerly  used. 

Doubling  the  light  gives  the  operator  two  choices 
in  viewing  his  pictures:  He  may  project  them  the  same 
size  he  has  in  the  past  and  have  them  twice  as  brilliant 
on  the  screen ;  or  if  he  likes  he  may  project  them  twice 
as  large  as  was  formerly  possible,  with  the  same  former 
brilliance.  With  the  new  unit  on  the  260-watt  Koda- 
scope, the  screen  size  may  be  at  least  22  x  30  inches ; 
while  the  K-50  and  K-75  may  be  used  with  a  30  x  40- 
inch  screen,  or  larger  if  desired. 

To  shift  from  Kodacolor  to  black  and  white  pictures 
it  is  only  necessary  to  remove  the  filter.  The  compen- 
sator may  be  left  in  the  Kodascope  at  all  times,  with 
only  an  occasional  removal  for  cleansing  purposes. 


HARRISON  MAKES  EXPANSION  MOVE 

The  Harrison  &  Harrison's  have  been  hard  to  locate 
of  late  as  they  have  been  busy  furnishing  and  equipping 
the  new  quarters  at  645  North  Martel  Avenue  which  will 
henceforth  be  the  new  home  of  the  Harrison  &  Harrison 
Optical  Engineers. 

In  taking  space  in  the  same  building  with  Artreeves,  a 
complete  optical  and  motion  picture  equipment  service  is 
established  under  the  same  roof.  It  is  hoped  that  the 
price  of  filters  will  not  advance  because  of  this  move. 


DEBRIE  ANNOUNCES 

Andre  Debrie,  Inc.,  announces  a  complete  line  of 
laboratory  equipment  for  the  handling  of  16  mm.  sound 
on  film.  This  includes  printers  for  the  optical  reduc- 
tion of  35  mm.  sound  track  to  16  mm.,  reduction  printer 
for  the  picture  as  well  as  a  contact  printer  for  the  print- 
ing of  picture  and  sound  in  one  operation. 

All  three  printers  are  so  constructed  that  two  16 
mm.  prints  may  be  obtained  in  one  operation.  Also  a 
compact  developing  machine  (7  ft.  long,  3  ft.  high  and 
3  ft.  wide)  with  complete  thermostatic  control,  air  con- 
ditioning and  circulation  of  the  bath.  These  new  de- 
velopments are  in  line  with  the  progressive  policy  which 
this  company  has  followed  for  over  thirty  years. 


B.  &  H.  16  MM.  REELS 

For  those  interested  in  securing  continuous  projec- 
tion of  16  mm.  sound  pictures  for  periods  of  a  half  hour 
and  45  minutes,  Bell  &  Howell  Company  has  developed 
1200-foot  and  1600-foot  16  mm.  film  reels.  Also  the 
Filmosound,  the  B.  &  H.  sound-on-film  16  mm.  projector, 
has  been   provided  with    1200  and    1600  foot   reel  arms. 

To  be  exact,  1200  feet  of  16  mm.  film,  at  the  rate 
of  24  frames  per  second  (normal  speed  for  sound)  re- 
quires 33l/2  minutes  for  projection,  and  1600  feet  44% 
minutes.  However,  the  statement  of  half-hour  and  45- 
minute  projection  periods  will  probably  be  more  gen- 
erally used  in  this  connection. 

The  new  B.  &  H.  reels  are  of  all-steel  construction 
and  are  designed  for  maximum  ruggedness  as  well  as  for 
lightness  and  facility  of  operation.  They  have  the  B.  &  H. 
self-threading  hub  feature.  The  flanges  have  been  cut 
out  not  only  to  reduce  weight  but  also  to  provide  ease 
in  threading.  Lightness  is  a  particularly  desirable  fea- 
ture in  these  reek  because  the  weight  of  the  film  alone 
in  such  lengths  is  a  considerable  factor  to  be  reckoned 
with  in  successful  feeding  and  take-up. 

The  steel  material  permits  sufficient  springiness  of  the 
flanges  to  eliminate  the  permanent  set  so  prevalent  in 
reels  of  softer  material.  This  allows  a  maximum  amount 
of  hard  usage  without  their  getting  out  of  shape. 


^   A        ■  Q  ^  DEPENDABLE  SOUND  RECORDING 

/\l       IX©©V©S       AND  LABORATORY  EQUIPMENT 

Demandez  nos  brochures  illustrees,  escomptes,  et  conditions. 

Sirvanse  pedirnos  el  catalogo  ilustrado,  descuentos,  y  condiciones. 


}-foiryvvood 

Motion  PicTure/^cujipmemTQ.  |Td. 


64b  NORTH  MARTEL  AVE 


CABLE  ADDRESS  ARTREEVES 


HOLLYWOOD,  CALIFORNIA,    U5A 


Phone:  WYoming  4501 


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Twenty-four 


7  // 


INTERNATIONAL   PHOTOGRAPHER 


October,  1933 


STORY  OF  BELL  &  HOWELL 

(Continued  from   Page   7 ) 

plates  and  then  sensitized  them  for  whatever  color  ren- 
dering he  required  to  get  a  correct  reproduction  of  the 
painting.  Also,  he  made  his  own  sensitometric  device 
for  judging  his  negative  density  so  that  he  could  main- 
tain an  average  density  for  all  negatives  during  his 
travels.  When  he  brought  his  paraphernalia  to  hotels 
the  management  probably  thought  he  was  going  to  stay 
for  the  season. 

When  he  discontinued  photography  to  take  up  cine- 
matography with  Pathe,  he  entered  the  motion  picture 
at  the  time  it  was  learning  to  dramatize  a  story  and 
when  cameramen  rode  street  cars  or,  if  affluent,  a  horse 
and  buggy.  It  was  the  period  of  motion  pictures  when 
the  stage  people  donned  whiskers  and  other  disguises  to 
make  a  few  pictures — and  incidentally  a  few  dollars.  "It 
was  the  time,"  says  Joseph  Dubray,  "when  a  picture 
consisted  of  a  person  in  trouble  with  a  few  dozen  people 
chasing  him ;  a  favorite  theme  being  a  child  stealing 
something,  perhaps  an  apple  from  a  street  peddler,  and 
in  three  blocks  there  would  be  a  hundred  people  chasing 
him." 

All  trick  effects  had  to  be  accomplished  in  the  camera. 
Such  things  as  dreams,  double  exposures  in  front  of  black 
velvet,  stop  motion  ;  reverse  motion  and  other  effects  were 
accomplished  in  the  camera  and  not  by  later  manipula- 
tion as  is  the  practice  today.  Dubray  says  the  first  trick 
work  that  he  saw  done  outside  the  camera  was  the 
double  printing  of  a  picture  of  Christ  walking  on  the 
water. 

In  April,  1910,  Pathe  sent  him  to  America  to  take 
charge  of  the  technical  work.  He  left  Pathe  in  1914 
to  go  to  war.  When  he  returned  in  1919  he  joined 
Famous  Players.  His  inclination  toward  research  and 
engineering  through  the  years  led  him  to  a  connection 
with  Bell  &  Howell  in  January,   1929. 

In  the  meantime  Don  Bell  and  Albert  Howell  and 
their  company  had  sponsored  several  new  inventions  and 
improvements  each  year.  Perhaps  their  most  revolution- 
izing device  was  the  metal  camera  of  1909,  the  first  of 
metal  cameras.  Its  innovations  were  a  turret  having  four 
lenses  of  different  optical  properties  at  the  instant  dis- 
posal of  the  cameraman  and  pilot  pins  for  steadying  the 
film  during  exposure.  For  the  first  time,  cameramen 
could  fade-out,  lap  dissolve  by  automatically  changing 
the  shutter.     The  first  of  these  cameras  sold  to  Essanav 


and  the  second  to  Kalem.  They  started  on  their  way 
to  popularity  about  1912  and  in  a  few  years  they  were 
in  universal  use. 

Another  invention  having  far-reaching  effects  was  the 
continuous  printer.  Previous  to  its  perfection,  printing 
motion  picture  film  was  a  laborious  process.  In  most 
cases  it  was  necessary  to  print  each  scene  separately,  as 
printers  were  not  equipped  with  other  than  manual  light 
changes  for  the  different  densities  of  daylight  or  night 
scenes  or  errors  in   negative   densities.      Besides  giving  a 


0® 


Ri  'it,   Friction   movement  simi!a"  tc  that  used   b;   6)03  aph. 
Left,    Geneva    Star    used    by    Edison    showing   two    positions. 


Left,  Cam  movement  (combination  of  harmonic  and  planetary  cam) 
used  by  Lumiere,  Pathe,  Lubin,  Selig,  Universal,  and  Cillon.  Figure  1 
shows  planetary  cam  for  the  in  and  out  movement.  Figure  2  shows 
the  harmonic  that  was  used  for  the  down  pull.  Figure  3,  looking 
down  on  the  movement.  Center,  Spring  Claw  showing  two  positions 
of  the  movement  used  by  Prestwich  and  Ernemann.  Right,  Simple 
Claw  used  by  Williamson,  DeBrie,  Moy,  and  others. 
Drawings  by  W.   W.   Clendenin. 

correctly  exposed  film  its  use  resulted  in  a  steadier  and 
sharper  screen  picture.  Though  Bell  &  Howell  had  in- 
troduced a  small  hand-trip  printer  in  1908,  the  mag- 
netic light  control  printer  was  first  put  on  the  market 
in  1911.  This  last  printer  was  further  improved  by  the 
addition  of  a  back  shutter  in  1923  in  the  model  "D" 
printer  that  is  in  use  today.  This  device  has  probably 
dene  more  for  the  film  processing  laboratories  than  any 
other  single  piece  of  equipment. 


1  l! 

FAXON  DEAN 


Hollywood's  Bargain  Spot 

Photographic  Equipment 

For  Sale 

Several  Used  MITCHELL  AND  BELL  &  HOWELL 
Standard  Studio  Cameras,  Completely  Equipped. 


CAMERA    SUPPLY    CO.,    LTD. 

Phone   GL  2404 

Cable  Address  "CAMERAS"  All  Codes 

1515  CAHUENGA  BOULEVARD  HOLLYWOOD,  CALIFORNIA 


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October,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Twenty-five 


Now  Howell  has  further  improved  laboratory  equip- 
ment with  the  recent  introduction  of  an  automatic  print- 
ing device.  It  is  so  complete  that  all  that  is  required 
of  an  operator  is  to  place  his  negative  in  the  machine  and 
then  take  a  nap.  He  would  be  safe  in  doing  so !  The 
negative  runs  through,  back  and  forth,  the  sound  and 
picture  are  both  printed  in  one  operation,  the  negative 
is  cleaned  and  the  lights  changed  for  varying  scenes 
without  a  single  manual  operation. 

Recently  at  Metro-Goldwyn-Mayer  Laboratories 
where  this  machine  is  being  tested,  an  N.  R.  A.  subject 
was  printed  1000  times  without  a  single  stop  of  the 
printer.  The  machinery  ran  for  days  without  an  inter- 
ruption. Contrast  that  with  the  conventional  machine 
in  use  today  that  requires  an  operator  to  sit  in  a  very 
subdued  light  and  strainingly  glue  his  eyes  on  the  delicate 
negative  in  order  that  no  harm  comes  to  it  and  to  control 
the  rapidly  running  device.  And  with  the  conventional 
machine  it  is  necessary  to  remove  the  negative  and  rewind 
it  and  remove  the  accumulated  dirt  particles  before  again 
re-threading  it  for  the  next  print. 

From  the  inception  of  the  motion  picture,  it  was  the 
desire  of  engineers  to  make  home  equipment  that  would 
give  good  pictures  and  at  the  same  time  be  small  enough 
so  the  film  expense  would  be  reduced  to  a  minimum.  A 
multitude  of  devices  were  introduced  using  various  widths 
of  film  from  6  mm.,  9  mm.,  171/  mm.,  20  mm.,  28  mm. 
and  many  others.  In  1922,  Bell  &  Howell  introduced 
a  17.5  mm.  Filmo  camera  and  projector.  A  year  later 
it  was  discontinued  and  they  introduced  their  first  16 
mm.  Filmo  Projector  and  Camera.  That  was  the  be- 
ginning of  the  home  movie  vogue.  Due  to  the  spring 
driven  motor,  steady  pictures  and  inexpensiveness  of 
operation  of  this  small  equipment,  people  very  shortly 
throughout  the  world  went  "amateur."  The  schoo's  and 
churches  followed. 


To  assist  in  the  Home  Movie  problem,  the  Eastman 
Company  in  1923,  put  on  the  market  a  16  mm.  reversal 
film.      It    cut   in    half    the    cost   of    taking   home   movies. 

Joseph  H.  McNabb,  now  president  of  Bell  &  How- 
ell, joined  the  company  as  general  manager  in  1917. 
At  the  time  he  purchased  a  small  block  of  stock  from 
Don  Bell,  who  was  then  president.  Very  shortly,  Mc- 
Nabb along  with  C.  A.  Ziebarth,  who  is  now  the  secre- 
tary, and  Mr.  Kittredge,  McNabb's  father-in-law,  bought 
out  Mr.  Bell.  Bell  continued  with  the  company  for 
another  year  as  general  manager  of  the  New  York  di- 
vision and  then  due  to  illness  he  retired  to  his  ranch 
in  Brawley,   California. 

The  standardization  brought  to  the  motion  picture 
by  Bell  &  Howell  may  be  accredited  to  Albert  Howell, 
who  had  as  a  boy  of  fifteen,  in  1895,  arrived  in  Chicago 
from  an  Indiana  farm  and  lumber  camp  and  immediately 
became  a  mechanic's  apprentice.  While  on  the  farm  he 
had  taken  care  of  the  many  mechanical  repairs  on  the 
farm  machinery;  but  that  was  not  enough,  he  waniea 
to  become  a  mechanical  engineer.  He  went  to  school 
nights  and  studied  during  odd  moments.  After  arriving 
in  Chicago  he  enrolled  in  night  school,  first  as  a  high 
school  student  and  then  finally,  as  his  earnings  permitted, 
he  went  to  the  Armour  Institute  of  Technology. 

After  his  apprenticeship  came  to  an  end  he  took  various 
iobs  with  mechanical  concerns  making  special  machinery. 
The  struggle  to  get  an  education  and  his  strenuous  life 
fitted  him  well  for  the  job  of  bringing  to  the  motion 
p'cture  a  standardized  equipment. 

In  1928,  the  Franklin  Institute  awarded  him  the 
Wetherill  Medal  for  discovery,  invention  or  development 
in  physical  science  and  a  year  later  he  was  given  an 
honorary  life  membership  in  the  American  Society  of 
Cinematographers. 

His   contributions   to   the    industry   were   appreciated. 


Fifty  ft,  16mm  CINE-CORREX 


Reel:  121.Reel-Top:123,Apronl56,1ank:112.j 


CORREX 

DEVELOPING 

OUTFIT 

for  50  feet  16mm  film 

No. 

No. 
two 
No. 
156 
atus 

109   Outfit   consists   of   one 
112   Tank,    10   in.    diameter, 
reels   No.    121,   one   reel   top 
123,   one   Correx   apron    No. 
one  loading  appar-      A<^A 
No.  134                -      $30 

It  is  now  possible  to 

Develop  Your  Own  16mm  Films 

easily  by  using  the  simplified 

CORREX    DEVELOPING   OUTFIT 

for  100  feet  16mm  film 

The  Correx  loading  apparatus  in  conjunction  with  the  Correx 
reels,  both  of  which  are  part  of  the  complete  developing  outfit, 
permits  loading  and  developing  in  complete  darkness.  The  peculiar 
corrugated  edges  of  the  Correx  apron  hold  the  film  suspended 
between  them,  gripping  the  film  only  at  its  extreme  edges,  yet 
permitting  free  access  of  solution  to  any  part  of  the  film.  The 
tanks  require  only  about  68  ozs.  of  developer  for  each  50  feet  of 
film. 

No.  209  Complete  Correx  Developing  Outfit  for  film  length  up 
to  100  feet  consists  of  one  No.  211  Tank — 13%  in.  diameter, 
two  reels  No.  221 ,  one  reel  top  No.  223,  one 
Correx  apron  No.  256,  one  loading  apparatus 
No.    234  --------- 


$50 


WILLOUCHBYS 


0  WEST  32nd  STREET 


NEW  YORK 


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Twenty-six 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


Press  Photography  Made 

Easier  by  Miniature  Camera 


By  Augustus  Wolfman 


As  many  free  lances  still  do,  for  years  I  had  been 
lugging  about  a  4  x  5  reflex  camera.  It  has  produced 
many  saleable  prints  for  me,  but  I  have  found  its  bulk 
objectionable  on  many  occasions.  When  at  least  twenty 
other  cameramen  are  at  a  scheduled  news  event  each 
trying  to  get  a  "shot"  of  a  posing  celebrity — well,  shov- 
ing in  to  get  your  photo  is  a  problem,  and  many  times 
you  fail. 

Such  a  failure  finally  determined  me  to  try  a  minia- 
ture camera.  I  was  covering  an  event  where  besides  a 
host  of  cameramen  and  newsreel  men,  there  was  a  large 
crowd  of  people  pushing  and  shoving,  hungry  for  a  glimpse 
of  the  celebrities  that  we  were  photographing.  Each 
time  I  had  focused  the  figures  on  the  mirror  I  was  either 
pushed,  or  some  fellow  would  step  into  the  scene.  I 
obtained  pictures,  but  the  results  were  far  from  what 
I  had  desired. 

Next  day  found  me  in  a  photographic  shop.  After 
due  consideration  I  acquired  a  Leica  camera  and  an  addi- 
tional 105  mm.  telephoto  lens.  A  few  preliminary  test 
shots  proved  to  me  that  when  correctly  developed,  and 
handled  with  ordinary  care,  the  miniature  negative  can 
be  enlarged  to  produce  good  5x7  and  8x10  prints. 

My  first  experience  on  the  job  with  the  Leica  was 
at  the  Gipson  All-Woman's  Air  Meet  in  Long  Island. 
When  toting  my  large  camera  I  usually  pass  through  the 
police  lines  without  being  questioned,  the  large  profes- 
sional reflex  stamping  me  as  a  news  cameraman.  I  had 
no  sooner  stepped  into  the  field  with  the  little  Leica  in 
my  hand  when  a  policeman  lustily  bellowed,  "Hey, 
where  are  you  goin'  ?" 

I  produced  my  police  pass,  so  with  a  suspicious  look 
at  me  and  a  disgusted  glance  at  my  midget  camera  he 
allowed  me  to  enter  upon  the  field. 

As  usual  there  was  a  good  representation  of  press 
photographers.  Everything  went  smoothly  until  the  race 
had  finished.  The  crowd  of  onlookers  had  then  man- 
aged to  break  through  the  police  lines  and  rush  to  the 
spot  where  the  winner  had  just  started  to  pose  for  pho- 
tographs.    The  crowd,   desirous  of  getting  a  glimpse  of 


the  winner,  made  it  tough  for  the  boys  who  were  hur- 
riedly maneuvering  their  big  cameras  to  get  a  "shot." 
I  pushed  through,  got  on  my  knees  in  front  of  the  battery 
of  4  x  5's  and  5  x  7's  and  started  "shooting"  away  with 
the  little  Leica. 

Focusing  was  easily  obtained  with  the  built-in  range 
finder.  With  a  little  practice  it's  as  fast  as  lightning. 
I  had  enough  film  for  36  pictures  so  I  kept  "shooting" 
to  my  heart's  content.  No  changing  of  plates  or  pulling 
of  filmpack  tabs;  a  turn  of  a  knob  wind  the  shutter,  and 
shifts  the  film  at  the  same  time.  I  hardly  missed  a  chance 
for  a  "shot."  Naturally,  its  negligible  weight  and  bulk 
allowed  me  to  maneuver  about  quite  freely. 

The  development  and  printing  of  the  roll  of  film 
yielded  me  28  good  prints  of  the  30  exposures  I  had 
made.     A  good  batting  average,  indeed. 


The  fast  interchangeability  of  lenses  allowing  me  to 
convert  this  miniature  into  a  telephoto  camera  in  less  than 
a  minute  is  a  distinct  advantage  I  could  not  enjoy  with 
my  larger  camera.  The  illustration  of  the  half  sub- 
merged ship  pictures  the  sad  ending  of  an  excursion 
boat  which  was  to  be  converted  into  a  floating  beer 
garden — a  "shot"  of  good  news  value.  With  ordinary 
lens  equipment  it  would  have  been  necessary  to  ex- 
perience difficulty  to  get  close  enough.  In  less  than  a 
minute  my  50  mm.  lens  had  been  removed,  the  105  mm. 
objective  inserted  in  its  place,  and  the  photograph  taken. 


1 

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October,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Twenty-seven 


When  my  earnings  permit  I  intend  to  obtain  addi- 
tional lenses  of  both  longer  focal  lengths  and  larger  aper- 
tures. The  beauty  of  the  Leica  is  that  all  this  equip- 
ment can  be  carried  in  one  compact  case  which  is  smaller 
than  my  4  x  5. 

Naturally,  the  adoption  of  the  miniature  will  require 
a  change  in  the  technique  of  the  man  who  has  been  using 
a  large  camera  for  years.  The  habits  of  care  and  cleanli- 
ness, if  not  already  acquired,  will  have  to  be  cultivated. 

Let  us  consider  the  film  first.  It  is  necessary  to 
choose  a  type  which  will  produce  a  fine  grain.  I  have 
found  Agfa  Plenachrome,  and  Gevaert  Orthochromatic 
to  produce  fine-grain,  snappy  results.  Panchromatic  and 
superspeed  emulsions  are  also  available.  Of  these  DuPont 
Superior,  Eastman  Panatomic,  and  Agfa  Superpan  pro- 
duce excellent  results.  Orthochromatic  film  has  the  edge 
in  producing  snappy,  contrasty  negatives. 

Since  the  camera  accommodates  standard  35  mm. 
motion  picture  film  the  cameraman  can  purchase  his  film 
in  bulk  and  load  his  magazines  in  the  dark  room.  This 
will  reduce  the  cost  of  the  negatives  to  a  negligible 
amount. 

Every  conceivable  type  of  emulsion  is  available,  even 
an  infra-red  sensitive  film — DuPont  Infra-D. 

Development  will  of  course  entail  the  use  of  a  fine- 
grain  developer.  When  time  is  limited  prepared  fine- 
grain  developers  are  available.  Of  these  I  have  found 
Perutz  Fine-grain  Compensating  developer,  Afga  Fine- 
grain  developer  and  No-grain  developer,  to  be  excellent. 

If  you  wish  to  prepare  your  own  developing  solu- 
tions the  well  known  Eastman  D-76  Borax  formula  pro- 
duces good  results.  Negatives  of  extreme  fine-grain  are 
made  by  development  with  paraphenylene-diamine.  Two 
formulas  are  available.  The  first  solution  is  for  use 
with  negatives  of  normal  exposure.  If  very  great  en- 
largements are  desired  extreme  fine  grain  will  be  pro- 
duced by  formula  No.  2.  This  will,  however,  necessi- 
tate that  the  film  receive  twice-normal  exposure. 

Formula  No.   1 

Paraphenylene-diamine      -  90  grains 

Sodium  Sulphite      ------  450 

Borax       ---------  255     " 

Tri-basic  Sodium  Phosphate       -     -  210 
Water      ---------       16  ounces 

Develop  for  30  minutes  at  68°  F. 

Formula  No.  2 

For  twice-normal   Exposure. 
Paraphenylene-diamine      -  90  grains 

Sodium  Sulphite      ------     525 

Water -     -     -       20  ounces 

Develop  for  30  minutes  at  68°  F. 

After  the  film  has  been  thoroughly  fixed  and  washed 
it  is  best  to  remove  all  excess  moisture  with  a  moist 
chamois.  Extreme  care  is  necessary  throughout  the  pro- 
cess to  prevent  scratches. 

It  will  be  found  that  very  little  experience  is  re- 
quired before  one  accustoms  himself  to  the  miniature. 
Once  the  press  photographer  adopts  the  miniature  he  will 
find  it  difficult  to  part  with  it.  The  work  of  care- 
fully producing  tiny  negatives,  and  enlarging  them  to 
good  5  x  7's  and  8  x  10's  seems  to  fascinate  one.  The 
miniature  will  be  found  a  Godsend  to  the  cameraman, 
but  let  me  remind  you  again  that  all  sloppy  methods 
will  have  to  be  shelved,  and  care  and  cleanliness  prac- 
ticed throughout  the  entire  procedure.  Little  things 
show  up  big  when  greatly  enlarged. 


MORGAN  CAMERA  SHOP 

ENLARGING— FINE  GRAIN   FINISHING— PHOTO  SUPPLIES 

Headquarters  for 
6305  Sunset  Blvd.       Leica  Cameras  Hollywood 


Teica  offers  you 

Llxjar  Choice  of 


One  of  the 
most  valuable 
features  of  the 
LEICA  Cam- 
era is  the  ex- 
traordinarily 
complete  line 
accessories  that  is 
offered  in  conjunction  with  it. 
L  E  I  C  A  '  S  eleven  interchangeable 
lenses  including  telephoto,  wide 
angle,  speed  lenses  and  others  are, 
of  course,  too  well  known  to  need 
elaborate  introduction.  They  offer 
unparalleled  advantages  of  economy, 
convenience,  and  versatility.  The 
LEICA  line  of  photographic  acces- 
sories offers  these  same  advantages 
extended  to  many  types  of  photogra- 
phic work.  They  convert  the  LEICA 
into  a  micro  camera,  copying  cam- 
era, clinical  camera,  color  camera, 
and  many  others.  There  are  LEICA 
printers,  enlargers,  and  projectors, 
too. 


These    Leica    Accessories    Can 
Be   Used   With   All   Miniature 

Cameras: 


Model  F 
LEICA 
Camera 


Automatic  focusing  with 
built-in  short  base  range 
finder.  Guesswork  elim- 
inated. Focal  plane  shut- 
ter with  greatest  range  of 
speeds  on  any  camera — 1 
second,  y2,  Y\,  %,  and  all 
speeds  beteen  l/20th  and 
l/500th  second.  36  pic- 
tures from  a  single  roll 
of  cinema  film.  Sharp 
negatives  —  enlargements 
up  to  12  x  18  inches  or 
more.  Small,  compact,  fits 
the  pocket,  easy  and  fast 
to  operate.  Write  for 
booklet  1216  describing 
LEICA  MODEL  F,  also 
illustrated  booklet,  "Why 
LEICA?" 


Neiv  "3-in-l"  Combination  Enlarging  —  Reading  —  Projection 
Apparatus. 

haver  Combination  Printer  for  film   and  glass   slides. 

Udimo  Projector  for  all  miniature  cameras  —  single  frame 
LEICA  slides,  and  double  frame,  3x4  cm.  or  half  vest-pocket 
size.     Uses  the  LEICA   Camera's  standard   ELMAR  f:3.5   lens. 

Valoy  Enlarger  for  all  miniature  cameras,  including  Leica.  Also 
uses  LEICA'S  f:3.5   lens. 

"LE1CAMETER"  Exposure  Meter  tells  you  correct  exposure 
instantly,  for  use  with  LEICA  and  all  other  still  cameras. 

Write  for  Technical  Bulletin  10  describing  LEICA  Enlarging,  Reading  & 
Projecting  Apparatus.  Also  full  information  about  the  LEICA  Camera 
and  accessories  'Mill   be  sent. 


E.  LEITZ,  INC. 


Depl.    386 


60  East  10th  Street 


New  York 


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Tzventy-eight 


The      INTERNATIONAL   PHOTOGRAPHER 


October,  1933 


IDTERS 

IN  WORLD-WIDE  USE  . ...  ./T--^ 
produce  MconKqW  and  NiqM£ff«>s  in  Daylime- 
ftjSctvvs-  MfaaHKot  and  many  vrW  rfrVcls. 
WITH  ANY  CAMERA   -  IN  ANV  CLIMATE 

GEORGE  H.  SCHEIBE 

ORIGINATOR  OF  EFFECT  FILTERS 

I9a7-W-78U2  ST.  LOS  ANOELES.CAL. 


Phone  GLadstone  4151 

HOLLYWOOD  STATE  BANK 

The  only   Bank   in   the   Industrial   District  of   Hollywood 
under  State  Supervision 

Santa   Monica   Boulevard  at  Highland  Avenue 


Quartz  Optical  Unit  For  Sound  Recording 


□ 


TWICE  REAL  SIZE 


THE     MINOR     OPTICAL     UNIT     becomes     an     integral 

part     of    your    sound    recorder this    unit    is    cemented 

into     a     steel     block it     focuses     a     beam     of     light     of 

great  intensity  and  actinic  value  a  distance  away 
from  the  film,  which  PROVIDES  CLEARANCE  and 
PREVENTS  SCRATCHING  of  the  sound  track.  The 
width  of  the  beam  of  light  measures  from  .0004  to 
.0006. 


C  .      M 


NOR 


Phone  GR.  7331 


1806  Whitley  Ave. 


TO  THE  <  AMI  I  AM  AS 

We  Can  Supply  First  Class 
NEGATIVE  SHORT  ENDS 


Also     Barg 


on     Standard     Motion     Picture     Equipment 


KINEMA  KRAFTS  KOMPANY 

6510    Selma    Ave.    .Hollywood,    Calif.      Phone:    GL.    0276 
A.    Gabbani  Members   of   Local   659  H.    Higueket 


NOT  A  CLUB! 

)ust   a    Bargain    Day   Offer   of 

CINEMA   CRAFTS 

and  a  year's  subscription  of 

The  International  Photographer 

Combined 

The  Two   Most   Practical  and    Useful   journals   in   the   Field   of 

Motion  Picture  Arts  and  Crafts  and  Newsreel  Cinematography 

for  $3.00— and   Each  One  Worth  the   Price. 

If  You  Can   Buy  Only  One  of  These  Magazines  By  All   Means 
Buy  This  Wonderful  Little   Book 

CINEMA    CRAFTS 

Order  from  THE  INTERNATIONAL  PHOTOCRAPHER,  1605  Cahuenga 
Boulevard.  Hollywood,  or  CINEMA  CRAFTS,  Suite  306,  1029  So. 
Wabash    Avenue,    Chicago,    III. 


LIGHT  FILTERS 

(Continued  from  Page  18) 

vised  primarily  to  enable  the  cameraman  to  get  the  cor- 
rection which  the  Aero  1  and  Aero  2  color  filters  afford, 
while  at  the  same  time  allowing  them  to  use  their  lenses 
relatively  wide  open.  This  is  made  possible  because  of  the 
light  absorbing  characteristics  of  the  incorporated  neutral 
filter  dyes.  The  factors  of  these  two  filters  are  4  and  5 
respectively.  These  filters  are  particularly  useful  in  street 
scenes  where  the  illumination  is  extremely  high  and  where 
there  are  highly  reflecting  surfaces  in  the  field  of  view. 


This  filter  is  deep  yellow  in  color  and  has  a  filter  fac- 
tor of  3.  Its  spectrophotometric  curve,  given  in  Figure  9, 
shows  almost  complete  absorption  to  a  wave  length  of  500 
millimicrons.  There  is  a  slight  transmission  band  in  the 
violet  in  the  neighborhood  of  wave  length  of  320  millimi- 
crons but  this  has  relatively  little  effect  from  the  color 
correction  standpoint  in  practical  photography.  This  filter 
is  used  for  more  pronounced  effects  and  produces  these 
effects  because  of  its  almost  complete  blue  absorption.  The 
slightly  enhanced  contrast  produced  by  this  filter  is  very 
agreeable  in  open  landscape  work  where  there  is  a  consid- 
erable portion  of  sky  in  the  field  of  view.  The  effect  of 
the  filter  is  to  darken  the  sky  to  such  an  extent  that  the 
foreground  stands  out  in  more  general  relief.  This  filter 
is  also  useful  for  seascapes  as  it  tends  to  darken  the  water 
and  thus  show  a  differentiation  between  it  and  certain 
objects  on  it,  such  as  boats,  etc. 

23A 

This  filter  is  light  red  in  color  and  has  a  filter  factor 
of  3.  The  spectrophotometric  curve  of  this  filter,  given  in 
Figure  10,  shows  complete  absorption  up  to  and  including 
wave  lengths  560  millimicrons,  thus  the  violet,  blue-violet, 
blue-green,  and  most  of  the  green  are  completely  absorbed. 
The  filter  transmits,  therefore,  only  the  colors  in  the  long- 
er wave  length  portion  of  the  spectrum,  that  is,  yellow- 
green,  yellow,  orange,  orange-red,  and  red.  This  filter  is 
used  for  the  contrast  type  of  exterior  filter  photography. 
It  is  particularly  useful  in  scenic  and  cloud  effect  shots,  as 
well  as  in  seascapes.  It  produces  a  dark  sky  without 
lightening  the  foreground  to  an  objectionable  extent.  This 
filter  slightly  lightens  the  normal  panchromatic  makeup. 
This  phenomenon  will  be  discussed  in  more  detail  later. 

72 

This  filter  is  deep  red  in  color  and  shows  complete 
absorption  up  to  wave  length  590  millimicrons.  Except 
for  an  absorption  band  which  reaches  a  maximum  at  wave 
length  660,  this  filter  transmits  quite  a  little  of  the  visible 
red.  There  is  no  filter  factor  computed  for  this  filter 
because  of  its  great  absorption  of  visible  light.  It  is  used 
almost  exclusively  for  the  purpose  of  producing  night 
effect  shots  in  the  daytime.  It  is  recommended  that  this 
filter  be  used  at  full  aperture,  that  is,  f/2.5  to  f/3.5.  The 
night  effects  produced  by  the  use  of  this  filter  are  much 
more  natural  than  similar  effects  made  with  heavy  neutral 
filters  or  by  the  simple  expedient  of  under  exposure.    This 


mtSHf. 


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October,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Twenty-nine 


OLD  NEWSREEL  DAYS 

Joe  Johnson,  New  York  newsreeler,  sends  the  ac- 
companying snap  shot  as  a  contribution  to  the  history 
of  newsreeling.  It  was  taken  in  Chihuahua  City,  Mexico, 
in  the  spring  of  1916,  at  the  residence  of  the  Mexican 
general  in  charge  of  that  district. 


%s^*£ 


The  cameramen  in  the  picture  from  right  to  left, 
in  the  back  row,  are  Tracey  Mathewson  of  the  Hearst 
Newsreel ;  Dick  Burrud  of  the  Gaumont  News,  and  next 
to  him  you  will  recognize  Gilbert  Warrenton  who  was 
down  there  making  pictures  for  Universal.  The  man 
cranking  Warrenton's  camera  is  United  States  Consul 
Letcher;  next  to  Mr.  Letcher  is  Beverly  Griffith,  of 
Universal  at  that  time,  and  next  to  him,  behind  the 
Universal  camera,  is  Nick  McDonald,  of  the  old  Selig 
Tribune  Weekly.  The  Mexican  cranking  McDonald's 
camera  is  the  general  of  the  district.  Next  to  him  is 
myself,  working  at  that  time  for  Pathe  News,  and  some 
Mexican  general  who  was  also  cranking  my  camera.  The 
men  in  the  front  row  are  all  newspaper  correspondents. 

In  the  early  part  of  1916  all  the  newsreels  were  repre- 
sented on  the  Mexican  border,  just  after  Villa's  raid  on 
Columbus,  New  Mexico,  and  during  General  Pershing's 
occupation  of  Mexico.  A  false  report  came  in  that  Villa 
had  been  assassinated  at  Chihuahua  City  and  all  the 
cameramen  grabbed  a  freight  train  and  went  down  there. 
It  was  on  that  occasion  that  this  picture  was  taken. 


LIGHT  FILTERS 

(Continued  from  Page  28) 

filter,  therefore,  is  to  be  recommended  in  place  of  these 
other  two  means  of  producing  night  effects.  The  spectro- 
photometric  curve  of  this  filter  is  given  in  Figure  11. 

Although  this  list  of  filters  is  particularly  recom- 
mended for  use  with  super-sensitive  film,  it  must  not  be 
construed  that  it  is  impossible  to  make  use  of  other  color 
filters.  The  authors  are  attempting  in  this  paper  to  clarify 
the  subject  matter  of  filter  photography  and  make  simple 
recommendations  for  the  use  of  filters  for  cameramen  in 
general.  For  that  reason  it  seems  desirable  to  keep  the 
recommended  filter  list  at  a  minimum. 

There  are  two  very  important  factors  which  should  be 
borne  in  mind  by  any  cameraman  in  the  selection  of  filters. 
These  are:  1 — To  render  a  color  lighter  than  it  appears 
visually  in  comparison  with  the  surrounding  brightness  in 
the  field  of  view,  a  light  filter  which  selectively  transmits 
radiation  of  the  wave  length  corresponding  to  the  color 
must  be  used.  2 — To  render  a  color  darker  than  it  ap- 
pears visually  in  comparison  with  the  surrounding  bright- 
ness in  the  field  of  view,  a  light  filter  which  selectively 
absorbs  radiation  of  the  wave  length  corresponding  to  the 
color  must  be  used.  Stated  in  a  little  different  terms  this 
means  that  if  there  is  a  yellow  object  in  the  field  of  view 
which  it  is  desirable  to  render  very  light,  a  yellow  filter 
should  be  used  but  if  it  is  desired  to  suppress  the  brightness 
of  the  yellow  object,  then  a  filter  which  absorbs  the  yellow 
must  be  used,  for  example,  a  red  filter. 


W      EVERYTHING       ^ 

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New  and  used.  Bought,  sold, 

feEraH 

rented    and    repaired. 

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^k      1600  Cahuenga  Blvd.        M 

^^              Hollywood                Am 

■5^       y  ^oi^i 

^L         HOIIvwd3651         AM 

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m\\     Cable  Address.     AM 

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Mm.                      AM\ 

1^    ^ 

|       Alvin  Wyckoff       § 

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INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


INTERNATIONAL 

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Brings   results — Rates   45   cents   per  line — minimum  charge   one 

dollar     per     insertion.       For     Rent — For     Sale — Wanted — For 

Exchange,  etc. 

FOR  SALE  AND  RENT— CAMERAS 

FOR  SALE  OR  RENT— Mitchell  and  Bell  &  Howell  silenced  cameras, 
follow  focus.  Pan  lenses,  free  head,  corrected  new  aperture.  Akeley, 
Da  Brie,  Pathe,  Universal,  Prevost,  Willart,  De  Vry,  Eyemo,  Sept, 
Leica.  Motors,  printers  lighting-  equipment.  Also  every  variety  of 
16  mm.  and  still  cameras  and  projectors.  B  &  II  Cameras  with  old  type 
shuttles  silenced,  $150.  Everything  photographic  bought,  sold,  rented 
and  repaired.  Send  for  our  bargain  catalogue.  Hollywood  Camera  Ex- 
change,   1600   Cahuenga    Blvd.      Phone   HO.    3651.      Cable,   Hocamex. 

MITCHELL  CAMERAS.  Silent  and  Speed.  Follow  focus.  Also  new 
Mitchell  motors,  extra  1000  foot  magazines,  motor  adapters,  baby  tripod, 
25-35    mm.    and    long    focus    lenses;    Mitchell    gear    box.       B.     B.    Ray, 

930   So.   Genessee,   Los   Angeles,   Calif.      YOrk   4553. 

SINCE    1911.      Cameras   bought,   sold,    rented,   repaired. 

PETERSON'S   CAMERA  EXCHANGE 
3 M>    Smith    Hn.:ii]u.[v,    I. .is    Anm-h-s Upstairs 

FOR  SALE  OR  TRADE 

MITCHELL  CAMERA  complete  with  speed  movement,  all  built-in 
features,  25  mm,  35  mm,  50  mm,  75  mm,  matched  Astro  Tachar  lenses, 
mounted  on  turret,  also  4%  Heliar  lens  Mitchell  mounted,  2  tripod 
heads,  free  and  tilt,  six  400  foot,  two  1000  foot  magazines,  high  hat,  also 
Bell  &  Howell  camera  complete.  Address  Mervyn  Freeman,  1960  South 
Vermont   Ave.,    Los   Angeles,    Calif.      Phone:     REpublic   3171. 

FOR  SALE— CAMERAS  AND  EQUIPMENT 

CINEX  POLISHER — first  class  condition.  Universal  Turret  camera 
complete.  DeVry  silent  portable  projector.  Also  complete  Akeley 
Camera,  good  shape,  cheap.  Lenses  tor  Debrie  camera.  All  kinds  of 
tripods.        Kinema     Krafts     Kompany,     6510      Selma     Ave.,     Hollywood. 

Phone — Gladstone   0276. 

BELL  &  HOWELL  5-way  sound  printer.  Bell  &  Howell  splicer.  Movi- 
ola Model  C,  like  new — cheap  for  cash.  Box  XYZ,  International  Pho- 
tographer,  1605   Cahuenga   Ave.,   Hollywood. 

BELL  &   HOWELL  CAMERA,  silenced  shuttle,  four  high  speed  lenses, 

four  magazines,  matt  box,   Mitchell  type   finder,   Mitchell  tripod,   beautiful 

cases  for  equipment,  complete  for  $1000.     F.  King,  36  Crestwood,  Buffalo, 

New  York. 

FILTERS,    TRICK     LENSES     for    special    effects — regular    lenses,    all 

types — at    the    lowest    prices.       (Ask    for    CIF    prices.)       Camera    Supply 

Company,    1515    Cahuenga   Ave.,    Hollywood,   Calif. 

PRACTICALLY  NEW  12  VOLT  AKELEY  MOTOR.  Very  little  used, 

perfect    condition.      Equipped    with    variable    speed    control.     Tachometer. 

Underpriced   at   $125.      Camera    Supply   Co.,    Ltd.,    1515    Cahuenga    Blvd., 

Hollywood. 

MITCHELL  MAGNIFYING  Universal  View  Finder,  erect  image,  with 

mattes,   lists  at  $150.      Like   new — $100.      Other  finders   inverted   image — 

all    prices    from    $40    up.       Camera    Snipply     Company,     1515     Cahuenga 

Ave.,   Hollywood,    Calif. 

2  USED  MITCHELL  FINDERS,  inverted  image.  Impossible  to  tell 
from   new.      Cost    $100.00 — will    sell   for    $45    each.      Camera    Supply    Co., 

Ltd.,    1515    Cahuenga    Blvd.,    Hollywood. 

NEW    1000    FT.    MAGAZINES    to    fit    Bell    &   Howell    Cameras.      These 

de    luxe    magazines    are    absolutely    new    and    sell    for    $100.00.      We    now 

quote    them    at    $75.      Camera    Supply    Co.,    Ltd.,    1515    Cahuenga    Blvd., 

Hollywood. 

TRIPOD   HEADS — Matte    Boxes — Lenses — Rewinds   and   etc.,   all   types, 

at   the   lowest    prices.      Camera    Supply    Co.,    Ltd.,    1515    Cahuenga    Blvd., 

Hollywood. 

USED     MODEL     "D"     LEICA     in     first     class     condition — price     $80. 

Fine     grain     enlarging — photo     supplies.       Morgan     Camera     Shop,     6305 

Sunset    Boulevard,   Hollywood. 

BELL   &    HOWELL   CAMERA,   silenced   shuttle,   complete   with   3   high 

speed    lenses,     Mitchell    tripod,     1000    ft.     magazines,    matte    box,    finder 

(code     word     "C&mbel")      perfect     condition     for     studio     work — $1200. 

(Foreign    studios — this   price   is    CIF    your   port.)      Camera    Supply    Com- 

pany,    1515    Cahuenga    Ave.,    Hollywood,    Calif. 

NEW  AND  USED  HOME  MOVIE  CAMERAS— DeVry  Motion  Pic- 
ture Cameras — sound  on  film  portable  projectors  with  operators  for  rent. 
Photographic    supplies — fine    grain    finishing — courteous    service.       Educa- 

tional   Project-O    Film    Co.,    1611    North   Cahuenga,    Hollywood. 

OUR  SPECIAL  SUBSCRIPTION  OFFER  of  one  year  lor  $2  expires 
November  15,  1933.  If  you  want  the  best  magazine  of  its  kind  sent  to 
you  each  month  send  your  subscription  in  now.  THE  INTERNA- 
TIONAL   PHOTOGRAPHER.    Hollywood.    California. 


CAMERA  REPAIRING 


BELL  &  HOWELL  cameras  with  old  type  shuttles  silenced,  $150. 
Hollywood  Motion  Picture  Equipment  Co.,  645  No.  Martel  Ave., 
Hollywood. 

FOR  SALE  OR  RENT— MISCELLANEOUS 

MITCHELL  MOTOR— 1000  ft.  Mitchell  magazines.  T.  R.  Lockwood, 
Glendale.      Douglas  3361-W. 

FOR  SALE — 75  mm.  Cooke  Lens.  F.2  in  Mitchell  mount  complete. 
50  and  75   mm.   Astro  lenses,  mounted  and  unmounted.     J.   R.   Lockwood, 

523    North    Orange   Street,   Glendale.      Douglas    3361-W. 

BUYERS  READ  these  classified  advertisements  as  you  are  now  doing. 
If  you  have  something  for  sale  or  exchange — advertise  it  in  these  col- 
umns.     THE     INTERNATIONAL     PHOTOGRAPHER,      1605     No. 

Cahuenga   Ave.,   Hollywood. 

FOR  RENT — 25  and  35  mm.  lenses,  motor  adapters,  Mitchell  Standard 
tripod  head,  baby  tripod,  400  ft.  Mitchell  magazines.  J.  R.  Lockwood, 
523    North    Orange    St..    Glendale.    Douglas    3361-W. 


FOR  RENT— CAMERAS 


TWO  THOROUGHLY  silenced  Mitchell  cameras.  Follow  focus  device. 
Pan  Astro  lenses,  Freehead — 1000  ft.  magazines.  J.  R.  Lockwood,  523 
No.    Orange   St.,   Glendale.      Douglas   3361-W. 


WANTED  TO   BUY— CAMERAS 


EYEMO  MODEL  71-C  with  type  C  turret  head  lens,  47  to  75  mm. 
2.5  Cooke  Lens — or  what  have  you"  Address  P.  O.  Box  983,  Miami, 
Florida. 

SECOND  HAND  LEICA  CAMERA  and  Enlarger,  also  silenced  Mitch- 
ell or  Bell  &  Howell  camera.  Louis  D.  Neville,  1702  N.  Alabama,  No. 
3.    Indianapolis,   Ind. 


POSITION  WANTED 


CAMERAMAN,  backed  by  many  years  of  experience,  wants  opportunity 
where  real  ability  will  count.  Expert  cameraman  with  thorough  knowl- 
edge of  all  branches  of  photography,  former  head  of  process  and  trick 
photographic  departments  in  various  major  studios.  Will  go  anywhere. 
Write  INTERNATIONAL  PHOTOGRAPHER,  Box  92,  1605  North 
Cahuenga  Ave.,  Hollywood. 

DO  YOU  WANT  A  CAMERAMAN  who  is  an  expert  on  studio  pro- 
duction ;  or  an  expedition  cameraman  who  knows  every  corner  of  the 
world  ;  or  a  cameraman  who  thoroughly  understands  the  making  of  indus- 
trial pictures ;  or  an  expert  newsreel  photographer ;  or  an  expert  color 
cameraman?  A  limited  number  of  cameramen,  backed  by  years  of  experi- 
ence, are  available.  Write  stating  your  requirements  and  we  shall  be 
glad  to  assist  you  in  choosing  the  kind  of  cameraman  you  want.  INTER- 
NATIONAL PHOTOGRAPHER,  1605  North  Cahuenga  Ave.,  Holly- 
wood. 

THOROUGHLY  EXPERIENCED  assistant  cameraman.  Has  worked 
with  siime  of  the  greatest  cinematographers  in  the  business — will  con- 
sider either  a  studio  position  or  accompany  an  expedition  where  ex- 
perience and  photographic  knowledge  means  something.  Box  95,  IN- 
TERNATIONAL PHOTOGRAPHER,  1605  North  Cahuenga  Ave., 
Hollywood. 

EXPEDITION  CAMERAMAN,  recently  returned  from  India,  China, 
Japan  desires  to  join  company  contemplating  series  of  pictures  anywhere 
in  the  world.  Many  years  experience — color  or  black  and  white  pho- 
tography. Write  Expedition  Cameraman,  care  International  Photogra- 
pher. 

THE  INTERNATIONAL  PRO)ECTIONIST 

THE  INTERNATIONAL  PROJECTIONIST,  a  monthly  magazine 
published  in  the  interests  of  the  projectionist.  Interesting,  instructive. 
Yearly  subscription  U.  S.  and  possessions,  $2;  foreign  countries,  $2.50. 
James  J.   Finn   Publishing   Corp.,   1    West  47th   St.,   New   York. 

OUR  SPECIAL  SUBSCRIPTION  OFFER  of  one  year  for  $2  expires 
November  15,  1933.  If  you  want  the  best  magazine  of  its  kind  sent  to 
you  each  month  send  your  subscription  in  now.  THE  INTERNA- 
TIONAL   PHOTOGRAPHER,    Hollywood,    California. 

MISCELLANEOUS 

COMPLETE  COURSE  IN  FLYING— If  interested  in  aviation,  see  Roy 
Klaffki,    1605    North    Cahuenga    Ave.,    Hollywood. 

WANTED — To  know  of  the  whereabouts  of  motion  picture  relics,  docu- 
ments, or  equipment  of  a  historical  nature  for  Museum  purposes.  Write 
Earl  Theisen,  care  of  International  Photographer,  1605  Cahuenga  Ave., 
Hollywood. 


REAL  ESTATE— SALE  AND  EXCHANCE 


HOME  FOR  SALE  IN  CAMERAMAN'S  PARADISE— In  famed 
Green  Verdugo  Hills,  with  background  of  huge  oaks  and  sycamore  trees. 
Sturdily  built,  artistic  two-story  Spanish  hillside  home,  with  3  bedrooms, 
2  fireplaces,  tile  bath  and  a  half  extra  tile  shower ;  a  large  room  with 
cement  floor,  drain,  sink,  gas  and  electric  outlets,  built  for  laboratory  and 
dark  room ;  year  old,  overlooking  five-acre  lawn.  Thirty  minutes  from 
L.  A.  or  Hollywood,  swimming  pool,  Elevation  1470  feet.  ERICKSON, 
South   End  of  New  York  Ave.,   La   Crescenta,   Calif.        Price    $6,000. 


Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


October,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


I  hirty-one 


DEVELOPING,  PRINTING  AND  ENLARGING  LEICA 
PICTURES 

Developing,  Printing  and  Enlarging  Leica  Pictures  is 
the  fifth  edition  of  this  booklet  of  48  pages  just  issued  by 
Willard  D.  Morgan  and  Karl  A.  Barleben,  Jr.,  F.R.P.S. 

The  book,  five  by  seven  inches,  is  chock  full  of  inform- 
ation about  the  Leica  camera  and  the  processing  of  Leica 
film  and  if  anything  is  left  out  it  is  not  apparent. 

Here  is  the  information — if  the  Leica  photographer 
does  not  get  results  after  reading  it  the  fault  is  his  own, 
for  in  this  book  is  a  liberal  education  in  Leica  lore. 

In  the  index  there  are  47  different  headings  among 
them  being  Dark  Room ;  Developing  Leica  Negatives ; 
Developing  formulas,  Enlarging  Leica  Negatives ;  Film 
for  the  Leica  Camera;  Filter  Factors;  Fine  Grain  Finish- 
ing Essential ;  Leica  Service  Department ;  Positive  Print- 
ing; Projecting  Leica  Pictures,  etc. 

An  idea  of  the  excellent  handling  of  the  materials  in 
the  possession  of  the  authors  may  be  had  from  the  accom- 
panying chart  showing  the  ten  important  points  in  devel- 
oping Leica  negatives. 


MOTION  PICTURE  SOUND  RECORDING 

(Continued  from  Page  11) 
steady  d-c.  current.     The  rapidity  with  which  the  lamp 
flickers  is  governed  by  the  frequency  of  the  speech  cur- 
rent, and  is  greatest  at  high  frequencies. 

The  light  from  the  lamp  is  not  focused  sharply  on  the 
film  ;  but  a  portion  of  the  light  reaches  the  film  through 
a  small  slit.  This  slit  is  formed  by  a  narrow  line,  ten 
mils  by  about  eight-tenths  of  a  mil  in  size,  engraved  in 
a  silver  coating  on  a  piece  of  quartz  glass  that  is  approxi- 
mately two  hundred  mils  square  and  twenty  mils  thick. 

Another  piece  of  quartz  glass  that  has  a  thickness  of 
only  one  mil  is  cemented  over  the  silver  coating  to  pro- 
tect the  engraved  slit  from  dirt  and  damage.  The  quartz 
glass  assembly  is  held  in  contact  with  the  moving  film  by 
a  floating  metal  shoe ;  and  the  Aeolight  is  mounted  in  a 
special  holder  directly  back  of  the  quartz  glass. 

As  the  film  is  drawn  past  the  slit  engraved  in  the 
silver  coating,  it  is  exposed  in  a  varying  degree  by  the 
flickering  light  of  the  Aeo  tube.  This  produces  a  sound 
track  having  constant  area  (because  the  dimensions  of  the 
slit  are  fixed)  but  variable  density.  The  sound  track  is 
formed  of  narrow  bands  (or  striae)  of  exposure  running 
transversely  of  the  track.  These  exposure  lines  vary  in 
all  degrees  of  density  from  that  produced  by  the  normal 
unmodulated  brilliancy  of  the  lamp  to  an  almost  total 
exposure  of  the  film.  The  higher  the  pitch  of  the  sound, 
the  narrower  the  bands ;  the  louder  the  sound,  the  greater 
the  contrast  in  density  between  adjacent  bands. 

The  remainder  of  the  equipment  used  in  the  RCA 
Photophone  and  Fox  Movietone  recording  systems  is  so 
much  like  the  Western  Electric  recording  equipment  that 
no  further  description  of  these  systems  will  be  given.  It 
will  be  mentioned,  however,  that  these  two  systems  em- 
ploy a  different  form  of  motor  control  arrangement ;  and 
that  the  Photophone  has  a  shutter  device  for  noise  re- 
duction and  a  ribbon  microphone  that  are  not  exactly 
duplicated  in  the  Western  Electric  system. 

As  has  been  explained,  with  the  exception  of  the 
actual  recording  device,  the  main  features  of  all  the  sys- 
tems are  basically  the  same.  If  the  operation  and  the 
theory  of  the  functioning  of  one  of  the  three  sound  re- 
cording systems  above  mentioned  are  thoroughly  under- 
stood, it  is  not  difficult  to  master  the  practical  and  theo- 
retical operation  of  the  other  systems  after  a  little  special- 
ized study.  Since  the  Western  Electric  recording  system 
is  now  the  most  widely  used,  it  will  be  discussed  from 
the  microphone  to  the  finished  film  and  wax  sound  rec- 
ords in  the  following  chapters. 

To   be   continued   in   November. 


CINEX  TESTING   MACHINES 


CINEX   POLISHINC   MACHINES 


BARSAM-TOLLAR   MECHANICAL  WKS. 

7239   Santa    Monica    Blvd. 
Phone   CRanite   9707  Hollywood,    California 


DR.  G.  FLOYD  JACKMAN,  Dentist 

Member    Local     No.    659 

706    Hollywood    First    Nat'l     1 1 1 . 1  - . .    Hollywood    Blvd.    at    Highland 

Hours:    9    to    5                         GLadstone     7507           And    by    Appointment 

Howard  Anderson 

Special   Effects  —  Animations 

Culver  City  3021  GRanite  3111 


Mitchell   Motor 


FOR    UFJNT   OR    SALE 

MITCHELL  CAMERA 


Gear    Box 


Silenced  and  Rebuilt  by  Mitchell — 35  mm  ;  50  mm;  75  mm  ;  105  mm 
Pan   Tachars   Lenses 

D.   B.    KEYES  FIRST   CAMERAMAN  WYoming  6139 


RICHTER'S 

COMPLETE  PHOTO  SERVICE 
16  mm.     -:-     35  mm. 

DEVELOPING  and  PRINTING     -:-     REDUCTION  PRINTING 

COMPLETE  TITLE  DEPARTMENT 
OXford   2092  7901   Santa   Monica   Blvd.    Hollywood,  Calif. 


EAUL    HAYS    PRESS 

PRINTED  INSERTS 

The    most   complete    library   of    foreign    research 

material   in   the  industry. 

NEW  ADDRESS 

6510  Santa  Monica  Blvd.     Near   Wilcox  Ave. 

Phone:   Hollywood   9591 


30%  to  60%  CASH  SAVINGS  on  16  mm. 

and  35  mm.  Cameras,  Projectors 

and  Accessories 

Write  for  Bass  Bargaingram.     Specify  size  of  apparatus 

interested   in.     For  over  22  years  Value  Leaders   of  the 

nation. 

Your   copy   is   ready.      Write  for   it. 


BASS  CAMERA  CO. 


179  W.   Madison  St. 


Chicago,   III. 


wuKummmsnu 


mminanatttmmttams 


WE    WANT 


35  mm.,  travel,  fight,  thrill  and  curiosity  films,  from  all 
parts  of  the  earth  and  unusual  and  interesting  films 
depicting  the  life  and  habits  of  Asiatic  peoples  as  well 
as  others. 

Send  us  description  and  length  of  subject.  Cash  will  be 
remitted  for  any  subject  accepted. 

We  have  for  sale  negative  and  positive  short  ends, 
both  Eastman  and  Du  Pont. 

Continental  Film-Craft,  Inc. 

g     1611   Cosmo  Street  Hollywood,  Calif. 


Please  mention  The   International  Photographer  when  corresponding  with  advertisers. 


Thirty-two 


The      INTERNATIONAL      PHOTOGRAPHER 


October,  1933 


=®Gt3XfJT&Ctt£ 


By  OTTO  PHOCUS 


(This   is    Artist    John    Hill's    idea    of    the    flight    of   Otto    Phocus 
to   Washington.      It   will    be    noted    that    Mr.    Phocus   is   sitting   on   a 
wing  of   the   plane   cogitating  over   the   vanity   of   earthly   things.     A 
careful   inspection   of   the   countenance  of   Mr.   Phocus  will   disclose       land.      He   told   me   that  we  were    to   land   at   Kingman, 
that  he  is  in  a  state  of  mellifluous  obfuscation,  whatever  that  is.—       Arizona,    and    that   they   would    train   me    there.      I    told 


Then  we  looked  out  the  side  of  the  ship  and  saw 
a  bright  red  light.  We  wondered  what  it  was  and 
tried  to  place  it.  After  quite  a  while  we  noticed  that 
it  did  not  seem  to  get  any  nearer.  As  the  co-pilot  passed 
we  asked  him  what  it  was  and  he  explained  that  it  was 
a  running  light  on  the  ship.  This  stopped  us  and  we 
tried  to  get  some  sleep. 

After  about  two  hours  I  felt  someone  feeling  around 
and  when  I  awakened  discovered  that  it  was  the  co-pilot 
putting  the  safety  belt  around  me  as  we  were  going  to 


Editor's    Note.) 

Washington,  D.  C, 
Sept.  21,  1933. 
Dear  Editor: 

Someone  had  to  go  to  Washington  for  the  N.  R.  A. 


him  that  a  certain  party  had  tried  that  for  years  without 
success,  but  I  found  we  were  to  take  the  train  from 
there  to  Albuquerque,  New  Mexico,  due  to  bad  weather 
ahead. 

After    we    got    on    the    train   we    went    back    to   the 


hearings    as    an    exhibit    of    the    forgotten    cameraman —      observation   car    (as   all   good   cameramen   do)    and   met 


and  that's  me.  When  we  arrived  at  the  airport  our 
baggage  was  weighed. 

"How  much  do  you  weigh,"   the  agent  asked  me. 

"I'll  tell  you  if  you'll  tell  me,"   I   replied. 

I  discovered  that  it  was  necessary  to  weigh  every- 
thing that  was  carried  in  the  plane  and  told  him  140 
pounds. 

"T.  W.  A.,"  remarked  the  porter  as  he  took  up  the 
bags. 

"N.  R.  A.,"   I   replied,  trying   to  keep  up  with  him. 

"Seat  number  nine,"  he  said,  and  my  bag  was  shoved 
up  into  one  of  the  wings  of  the  plane. 

After  a  few  more  passengers  were  helped  through 
the  door  it  was  locked  from  the  outside  and  we  started 
down   the   field.      Suddenly   it   dawned   upon   me   that    I 


Ed.  Hammeras  and  his  assistant,  Paul  Mohn.  They 
were  on  their  way  to  the  Grand  Canyon  to  make  back- 
grounds. We  said,  "Here's  how,"  a  few  times  and  then 
to  bed. 

We  left  Albuquerque  the  next  morning  and  every- 
thing went  well  until  we  got  into  Kansas  City.  We 
had  to  change  planes  there  and  that  meant  we  had  to 
go  through   the  weighing  process  again. 

"How   much   do   you   weigh,"   the   agent   asked. 

"Oh,  about  144  pounds,"  I  answered. 

"The  trip  must  have  agreed  with  you,"  said  the 
agent,  "you  have  gained  four  pounds  since  you  left  Los 
Angeles." 

I  said:  "I  didn't  gain  it  on  your  ship.     I   had  break- 


had    forgotten   my   camera,    adhesive   tape,    bailing   wire,  fast  at  Santa   Fe  this  morning  and  the  company    (659) 

filters  and  sash  cord,  then   I  realized  I  was  a  passenger  paid  for  it." 

and   was  not   going  to   photograph   from   the   air.     This  Then    I    skipped    over    to    the   lunch    room    and   was 

was  my   first    trip   as   a   passenger   although    I    had   been  enjoying   myself   when   one   of   the   waitresses   asked   me 

flying  since  1923  on  photographic  assignments.  if  the  gentleman  with  me  was  Jack  Holt. 

We  went  to  the  end  of  the  field  and  stopped.     The  "No,"  I  replied,  "that's  Lew  Blix  of  Local  37." 

pilot  tried  out  each   engine  of  the  tri-motored   plane   to  "Oh,  yeah,"  she  replied.     "Then  I'm  Marjorie  Bebee 

see  which  one  would  make  the  most  noise.     Not   being  of    the    5:15    Express,"    and   walked    over   and    rang   up 

satisfied  he  tried  all  three  of  them  at  the  same  time  and  twenty-five  cents  for  a  fifteen  cent  bottle  of  beer, 
as  the  result  seemed  to  please  him  we  were  on  our  way  I    always   thought    St.    Louis   and    Indianapolis   were 

and  in  the  air  before  you  could  say  Pavallo  Zbyszlwyslf.  pretty  good  sized  towns,   but   they  are  only  five  minute 

Soon   we   were   flying  over   Los  Angeles  and   it   was  stops   on   this   line.      They  stop   only    to   refuel.     I   was 

a    beautiful    sight.      I    couldn't    help    but    think    that    if  thinking  of  how  the  pilot  must  feel  when  he  pulls  into 

I    had  a   lot   of   things  to   do  over   again   I   would   have  one  of  these  places  and  tells  the  boys  to  fill  her  up  and 

a  lot  of  work.  check  the  oil.     Imagine  getting  a  bill  for  200  gallons  of 

The  co-pilot   came   out   of   his  office   and   passed   out  gas  and   a  few  gallons  of  oil !      The  only  good  part  of 

little  packages  that  contained   cotton  and  chewing  gum.  it  would  be  the  fact  that  they  paid  no  federal  or  state 

We  hit  a  few  air  pockets  about  this  time  and  when  tax. 
I    found  the  chewing  gum  had  no  flavor  I   knew  it  was  Well,    Pittsburgh   ran   true   to   form.     They   had   no 

cotton,  so  I  put  it  in  my  ears  and  swallowed  the  chewing  Sunday  planes  out  of  there  and  we  were  carried  on  to 

gum.      The   gum   and    cotton   are   supposed    to   be    good  Camden,    New   Jersey,   where   it    is   illegal    to   sell    beer 

for  something — but  no  one  told  me  what.     Anyhow  the  before  1  :00  P.  M.  on  Sunday.     After  a  couple  of  hours 

studios  never  passed  out  any  while  flying  for   them,  so  lay-over  we  got  a  plane  from  there  and  landed  in  Wash- 

we  just  let  it  go.  ington  about  13  hours  late. 

A   little   later   the   pilot  came   back   with   free   copies  This  is  about  all   I  can  tell  you  at  this  time,  except 

of   the  Evening  Herald.     I   thought  this  was  swell,  but  it  is  alleged  that  Sol  Rosenblatt  has  a  larger  nose  than 

a  dirty  trick,  as  I   had  purchased  a  copy  at  the  airport.  I  have. 

Every  seat  had  a  container  of  orange  juice  strapped  to  it.  Hoping  to  have  some   good   news   for   you   later   on, 

I    discovered   later   that   they  were   empty — and    for   an-  will  close,  hoping  you  all  catch  the  "code  in  my  head." 
other  purpose.  OTTO  PHOCUS. 

Please  mention  The   International  Photographer  when  corresponding  with  advertisers. 


Why  GENERAL   ELECTRIC    developed 
this    new    style    high    wattage   lamp 


WHEN  the  electricians  shift  lighting  equipment  from  place  to  place 
on  the  set,  the  lamp  in  each  reflector  is  inevitably  shaken  and  jarred. 
This  snaps  the  filament  about  as  if  it  had  been  struck  with  a  mallet 
...  or  were  the  end  man  in  crack-the-whip. 

What  takes  the  shock  of  these  blows?  Suppose  we  follow  on  the 
diagram,  the  complex  path  they  travel  through  the  supports  of  one  of 
the  old  type  5  KW  lamps.  Down  multi-metal  supports  into  a  brittle 
glass  stem,  up  through  basing  cement  and  then  down  to  the  prongs 
.  .  .  with  leverage  and  weakness  increasing  all  the  way.  At  any  one  of 
eight  points,  a  break  may  occur,  bringing  premature  lamp  failure. 

The  movies  brought  a  tough  life  to  this  lamp — tougher  than  any 
previously  known.  But  G-E  scientists,  alert  to  motion  picture  require- 
ments, began  work  on  a  lamp  that  could  live  it.  They  tried  stems  of 
different  kinds  of  glass.  They  tried  other  experiments.  The  lamps  were 
improved,  but  not  enough.  Gradually  these  experimenters  reached  one 
conclusion :  great  improvement  would  result  only  from  the  elimination 
of  the  glass  stem  ...  a  part  of  lamp  making  since  the  days  of  Edison. 

To  accomplish  this  they  turned  to  the  method  of  fusing  copper  and 
glass  developed  in  making  a  50  KW  lamp  for  Light's  Golden  Jubilee. 
But  a  year  and  a  half  of  intensive  experiment  and  test,  without  a  single 
let-up,  went  by  before  G-E  made  this  new  5  KW  lamp  available  to  you. 
In  this  new  type  construction,  as  the  diagram  shows,  the  channeled  nickel 
filament  support  takes  almost  a  straight  line  from  filament  to  prongs. 
Stronger,  more  rugged,  more  accurate  and  better  adapted  to  studio  needs, 
this  new  lamp  has  been  rapidly  adopted  by  studio  after  studio. 

Improving  existing  types  of  lamps  constitutes  only  part  of  G-E  re- 
search. Other  groups  of  scientists  and  engineers  are  steadily  developing 
new  lamps  for  new  requirements.  Still  other  groups  constantly  test 
and  check  a  definite  proportion  of  factory  production  on  all  types  of 
lamps.  Such  work  breeds  confidence.  Little  wonder  that  studios  from 
coast  to  coast  use  G-E  Mazda  lamps  for  all  their  lighting  needs.  General 
Electric  Company,  Nela  Park,  Cleveland,  Ohio. 


OLD  TYPE  5  KW  LAMP 


NEW  TYPE  5  KW  LAMP 


General  Electric  invites  you  to  visit  its  exhibit  in  the  Electrical  Building  at  the   Century   of  Progress 


GENERAL®  ELECTRIC 

MAZDA  LAMPS 


MR.  ART  REEVES, 

645  NORTH  VARIrL  AVENUE, 

LOS  A::  JELES,  CALIFORNIA. 


OUTSTANDING 
PHOTOGRAPHY 

and 

PRODUCTION 
SPEED 

are  possible  when  Expert 

Cinematographers   have 

the   most   efficient 

equipment. 


"Mitchell  Cameras" 

do  their  part 


Mitchell  Camera  Corporation 


665  N.  ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD,  CALIF. 


Cable  Address  "MITCAMCO" 


Phone  OXford  1051 


NTERNATIONAL 


i 


HOTOGRAPHER 


TH  YEAR 


HOLLYWOOD 


NOVEMBER,    1933 


VOL.  5 

NO.  10 


CENTS 
A   COPY 


Alvin  Wyckoff  and  his  technical  staff,  of  the  Seven  Seas  Corporation,  on 
location,  Island  of  Kauai,  Hawaii;  lined  up  for  action  on  its  first  big  feature. 


Photograph 
By  J.    R.   Senda 


MOTION    PICTURE    ARTS    AND    CRAFTS 


THECffilPTRADE  MARK  HAS  NEVER  BEEN  PLACED  ON  AN  INFERIOR  PRODUCT 


In  BRIGHT  SUNLIGHT 
or    DEEP    SHADOW 

UnderlNCANDESCENT 
or     ARC      LIGHT 


Reg.  U.  S.  Pat.  Off. 


PANCHROMATIC 


will   give  better 

results  than  are 

otherwise 

obtainable 


THECffifflPTRADE  MARK  HAS  NEVER  BEEN  PLACED  ON  AN  INFERIOR  PRODUCT 


SMITH  &  ALLER,  LTD. 

6656  Santa  Monica  Blvd.    Hollywood  5147 

HOLLYWOOD,  CALIFORNIA 


PACIFIC  COAST  DISTRIBUTORS  FOR 

Du  PONT  FILM   MFC.  CORP. 

35  West  45th  Street,  New  York  City 


INTERNATIONAL 
PHOTOGRAPHER 

MOTION   PICTURE  ARTS  AND  CRAFTS 


Vol.5 


HOLLYWOOD,  CALIFORNIA,  NOVEMBER,  1933 


No.  10 


Howard  E.   Hurd,  Publisher's  Agent 

Silas  Edgar  Snyder,  Editor-in-Chief 

Edward  T.  Estabrook,  Managing  Editor 

Ira  Hoke  and  Charles  Felstead,  Associate  Editors 

Lewis  W.  Physioc,  Fred  Westerberg,  Technical  Editors 

John  Corydon  Hill,  Art  Editor 

A  Monthly   Publication    Dedicated   to   the   Advancement   of  Cinematography   in   All 

Its  Branches;    Professional  and   Amateur;   Photography;   Laboratory  and   Processing, 

Film  Editing,  Sound  Recording,  Projection,  Pictorialists. 


THE    COVER— By    J.    R.    SENDA         ---------       l 

WEST  TO  PARADISE     -  ----------         2 

By  Alvin  Wyckoff 

WATCHING  GROWTH  OF  GOLDEN   GATE  BRIDGE,  ETC.        -         3 
By  Frank  W.  Vail 

THE  PHOTOGRAPHER  IN  THE  WORLD  WAR      -----         4 
By  Earl  Theisen 

MOTION  PICTURE  SOUND  RECORDING— Part  III      -       -       -       -         8 
By  Charles  Felstead,  Associate  Editor 

LIGHT  FILTERS    (Concluded)      ----------       10 

By  Emery  lluse  and  Ned  Fan  Buren 

AROUND  THE   WORLD— No.   V        ---------       12 

By  Uerford  Tynes  Coiuling 

NEW  TELEVISION    SERVICE   INAUGURATED       -----     14 

Contributed 

CINEMATOGRAPHER'S   NOTE  BOOK  - 15 

By  Fred  Westerberg 

WHAT  HAS  HAPPENED  TO  COLOR       -       -       - 18 

By  Milton  Moore 

HOW   TO  MAKE  A   CAMERA-STAND         -------       20 

By  James  N.  Doolittle 

THE  NEWSREEL  WORLD  ----------       21 

By  Ray  Fernstrom 

ALLIED  INDUSTRIES  OF  HOLLYWOOD  ------       26 

CLASSIFIED  SECTION ------       30 

OUT   OF   FOCUS        -------------       32 

By  Charles  P.  Boyle 


Entered    as    second    class    matter    Sept.    30,    1930,    at    the    Post    Office    at    Los    Angeles, 
California,  under  the  act  of   March   3,    1879. 


Copyright    1933    by    Local    659,    I.  A.  T.  S.  E.    and    M.  P.  M.  O.    of    the    United    States 

and  Canada 


Office    of    publication,    1605    North    Cahuenga    Avenue,    Hollywood,    California 

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Subscription    Rates — United    States   and    Canada,    $3    a   year.      Single   copies,    25    cents. 


This   Magazine   represents  the  entire   personnel  ot  photographers  now  engaged   in 

professional  production  of  motion  pictures  in  the  United  States  and  Canada.     Thus 

THE  INTERNATIONAL  PHOTOGRAPHER  becomes  the  voice  of  the   Entire  Craft, 

covering  a  field  that  reaches  from  coast  to  coast  across  North  America. 

Printed  in  the  U.   S.  A.  at  Hollywood,  California 


SERVICE  ENGRAVING  CO 


Something  new  and  attractive   in   camera 
blimps. 


Fhotograph  by  Alex   P.   Kahle.     Posed   by 
Dorothy    Revier,  featured   by   R-K-O. 


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Tzvo 


T  h 


INTERNA!']  O  N  A  L      P  H  O  T  O  G  R  A  P  H  E  R 


November,  1933 


WEST  TO  PARADISE 


By  ALVIN  WYCKOFF,  President  International  Photographers 


A  place  of  dreams  for  the  dreamer,  exploration  for 
the  scientist,  never  ending  material  for  the  artist  and 
opportunity  for  the  man  of  commerce — that's  the 
Hawaiian  Islands.  Rich  in  legends  of  the  past,  in  fer- 
tile soil  and  heautiful  forests,  with  Mowers  of  every  hue, 
this  archipelago,  formed  by  subterranean  eruptions  in 
ages  past,  raises  massive  peaks  above  the  sea. 

To  this  paradise,  one  bright  morning  in  August,  there 
*ailed  the  first  company  of  the  Seven  Seas  Corporation. 
The  unit  was  headed  by  those  two  energetic  men,  Wil- 
liam Fiske,  III,  and  Count  de  Alfredo  di  Carpegna. 

Amid  the  waving  and  shouts  of  friends  the  Steamship 
Lurline  slipped  its  hawsers  and  steamed  slowly  down 
the  harbor  from  Wilmington  on  the  adventurous  quest 
of  romance  to  the  Island  of  Kauai. 

After  six  days  of  supreme  comfort  and  frolic  on  this 
beautiful  vessel  the  company  was  landed  on  the  wharf 
at  Honolulu  to  spend  the  afternoon  in  this  delightful 
vacation  city.  At  9:00  P.M. 
of  the  same  day  the  staunch 
little  Steamer  Waialeale  re- 
loaded the  company  and  equip- 
ment and  slipped  out  of  the 
harbor,  depositing  its  burden 
at  the  port  of  Nawiliwili  at 
8  :00  the  next  morning. 

Now  the  adventure  com- 
menced on  the  Garden  Island 
of  the  group.  Here  was 
scenery,  plantations  of  sugar 
cane  and  pineapples,  deep 
ravines,  canyons,  black  perpen- 
dicular cliffs — and  a  climate 
that  beggars  description.  To- 
ward the  interior  one's  eye 
caught  huge  summits  lost  in 
darkening  clouds,  while  off  to 
the  north  beautiful  rainbows, 
descending  over  the  heights 
were  lost   in   the  waving  tops  of  cocoanut  palms. 

Our  headquarters  were  to  be  at  Waimea,  thirty-one 
miles  to  the  west,  over  a  well-paved  road,  along  the 
southern  side  of  the  island.  We  passed  old  Hoary  Head 
Range,  a  range  of  mountains  covered  by  a  heavy  growth 
of  timber,  over  which,  at  a  low  pass,  a  former  king  of 
this  island  had  carved  from  rock  a  roadway  of  steps 
up  over  the  summit  and  into  the  next  valley,  so  that 
the  choicest  fish  might  be  brought  to  him  fresh  by  his 
runners. 

We  passed  rolling  plantations  of  pineapple,  through 
Koloa,  where  amid  tropical  growth  is  standing  what  is 
said  to  be  Hawaii's  oldest  sugar  mill,  thence  past  the 
mouth  of  Hanapepe  Valley  with  its  long  beautiful  thread 
of  Bridal  Veil  Falls  and  finally  entered  Waimea,  which 
is  quite  a  town. 

It  was  at  this  place  that  Captain  Cook,  with  his 
adventurous  crew,  landed  June  19,  1778.  A  monument 
erected  there  credits  Captain  Cook  with  the  discovery 
of  these  islands,  which  he  named  in  honor  of  the  man 
who  financed  his  expedition,  the  Duke  of  Sandwich.  It 
was   not   so   long   ago   that   the   name   Sandwich    Islands 


Left  to  right — Otto  Cillmore,  inventor  Gillmore  Color 
Process;  Frank  Titus,  second  cameraman;  Alice  Johnson, 
secretary;  William  Carr,  assistant  director;  William  jolly,  Jr., 
assistant  cameraman;  Alvin  Wyckoff;  ).  R.  Senda,  plantation 
photographer;    Kenny    Koontz,    properties. 


was  changed  to  Hawaiian   Islands. 

Here  we  settled  down  to  work  in  earnest,  to  weave 
the  story  that  would  deal  in  its  climactic  sequences  with 
the  chief  industry  of  the  island — SUGAR.  How  little 
one  realizes  when  he  lifts  that  little  cube  of  sugar  the 
romance  and  labor   that  lies  behind   it. 

Four  miles  from  Waimea  is  located  the  town,  the 
plantation  and  the  very  efficient  sugar  mill,  Kekaha. 
Between  these  two  towns  and  beyond  are  located  some 
of  the  finest  old  plantation  homes  of  the  island.  Others 
are  situated  at  Makaweli.  To  the  north  all  the  way 
from  Haena,  through  Hanalei  and  down  to  Wailua,  on 
the  western  coast,  are  fine  old  plantation  homes  that 
carry  in  their  memories  days  of  royalty.  Among  these 
is  the  Vally  House,  built  by  General  Spaulding  and  still 
occupied  by  his  descendants. 

The  mechanical  romances  of  our  story  were  cen- 
tered  around   the  sugar   mills   of   Waimea   and   Kekaha. 

Through  the  generosity  of  the 
brothers  Faye  and  the  open- 
door  hospitality  of  the  planta- 
tion people,  we  were  enabled 
to  stage  our  greatest  climaxes, 
one  of  which  was  forty  acres 
of  deeply  matted  tropical 
growth  and  fifteen  foot  stand- 
ing sugar  cane  given  to  the 
Hames,  representing  a  heavy 
cost  in  many  tons  of  sugar. 
It  occasionally  happens  during 
the  height  of  the  trade  winds 
that  one  of  these  vast  planta- 
tions will  become  ignited  in 
some  way.  The  fire  consumes 
everything  in  its  path,  while 
hundreds  of  men  from  all 
plantations  will  laboriously 
cut  fire  breaks  in  an  effort  to 
stop  the  destruction. 
The  locale  for  the  domestic  side  of  our  story  was 
a  beautiful  old  plantation  called  VVaiava,  nestling  in  the 
shade  of  graceful  cocoanut  palms,  beautiful  mango  trees, 
giant  spreading  monkey  pod  trees  and  banana  palms. 
Hedges  of  hybiscus,  night  blooming  cerus  and  frequent 
sprinklings  of  red  and  white  ginger  blossoms  made  a 
scene  of  unbelievable  beauty  and,  when  to  this  was  added 
the  symphony  of  thousands  of  birds,  one  began  to  wonder 
whether  it  were  real. 

About  fourteen  miles  down  the  road  are  the  Barking 
Sands,  formed  of  minute  particles  of  prehistoric  shells, 
whose  inmates  gave  up  their  lives  in  the  heat  of  the 
water  when  lava  flowed  down  from  the  volcanoes  which 
now  form  those  blackened  peaks.  The  Napali  Coast, 
a  little  further  on,  is  inaccessible,  for  these  black  lava 
cliffs  rise  out  of  the  ocean  to  a  sheer  height  of  two 
thousand  feet  and  more,  except  for  an  occasional  break 
which  created  Honopu  Valley — said  to  be  the  Valley  of 
the  Lost  Tribe — and  Kalalau  Valley,  made  famous  by 
Jack  London  in  his  book,  "Koolau  the  Leper."  These 
places  may  be  reached  by  boat  only  when  the  ocean  is 
in  a  pleasant  mood.  (Turn  to  Page  24) 


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November,  1933 


T  h  e       I  K  T  E  R  N  A  T  1  O  N  A  L 


IHITOGRAPHK  R 


Thr, 


Watching  the  Growth  of  Golden  Gate  Bridge 
Through  the  Cameras  Eye 

By  Frank  W.  Vail,  Golden  Gate  Wing,  Local  659,  I.A.T.S.E. 


"Since  man  first  pierced  the  wilderness  of  this 
Western  Empire  and  began  with  intrepid  fortitude  to 
create,  in  San  Francisco,  the  metropolitan  city  of  a  new 
era,  the  majestic  Golden  Gate,  the  marine  highway  con- 
necting the  bay  of  San  Francisco  with  the  Pacific  Ocean, 
has  by  its  expansiveness  challenged  the  genius  of  man. 
This  arm  of  the  sea,  in  the  form  of  a  natural  barrier, 
has  prohibited  the  joining  of  the  neighboring  sister  coun- 
ties of  Northern  California  by  a  system  of  highways. 

In  1919,  a  definite  solution  of  the  problem  of  span- 
ning the  Golden  Gate  was  specifically  undertaken  by 
Mr.  Joseph  B.  Strauss,  an  eminent  engineer.  Follow- 
ing a  preliminary  examination,  Mr.  Strauss  concluded 
that  a  span  4000  feet  in  length  would  be  necessary — a 
span  two  and  one-half  times  longer  than  any  span  yet 
built. 

Approval  of  the  project  from  the  War  Department 
was  given  on  December  20,  1924.  On  March  12,  1930, 
the  engineers  met  to  pass  on 
the  boring  tests,  which  estab- 
lished the  full  sufficiency  of 
the  sub-surface  strata,  for  the 
loads  imposed. 

Preliminary  work  was  un- 
dertaken November  28,  1932. 
Actual  construction  was  offi- 
cially commenced  January  5, 
1933,  when  the  building  of  a 
gigantic  cofferdam  for  the 
Marin  Pier  at  Lime  Point 
was  started.  (See  illustra- 
tion.) While  on  the  San  Fran- 
cisco side,  an  1100  foot  ac- 
cess trestle  reached  from  the 
shore  at  Lime  Point,  to  the 
pier  site. 

By  a  resolution  of  the 
board  of  directors  of  the  Bridge  and  Highway  District, 
the  S.  C.  Long  Productions,  of  San  Francisco,  were  se- 
lected to  photograph  in  motion  pictures,  the  progress  of 


the  building  of  the  great  span,  under  the  direction  of 
Commander  James  Reed,  general  manager.  Frank  W. 
Vail,  chief  cameraman  of  Long  Productions,  was 
placed  in  full  charge  of  the  film  work.  Thousands 
of  feet  of  film  have  been  exposed  and  show  the  work, 
step  by  step,  in  detail.  Bell  &  Howell,  Akeley, 
DeVry  and  specially  built  camera  equipment  is  being  used. 
Probably  for  the  first  time  sound  pictures  are  being  made 
of  actual  construction  work,  "Soundfilm"  recording  equip- 
ment being  used.  The  story  is  being  covered  from  lofty 
parallels,  reaching  as  high  as  240  feet  from  the  ground, 
by  airplane,  and  beneath  the  waters  of  the  Golden  Gate, 
where  pictures  of  the  sub-sea  pouring  of  concrete  will  be 
filmed. 

The  accompanying  Leica  shot  was  made  by  Camera- 
man Vail  on  a  recent  aerial  survey  and  shows  the  progress 
that  has  been  made  to  date. 

When  completed,  the  bridge  will  have  a  total  length 
of  6450  feet.  The  minimum  vertical  clearance  above 
mean    high   water,    at    bridge   center   is   220   feet.      The 

two  main  towers,  the  highest 
and  largest  bridge  towers  in 
the  world,  will  reach  746  feet 
above  mean  high  water.  The 
total  width  is  90  feet,  provid- 
ing six  lanes  of  traffic  and  two 
ten-foot  sidewalks.  The  two 
supporting  cables  are  36^- 
inches  in  diameter  and  have 
a  load  supporting  capacity  of 
430,000,000  pounds,  2.6  times 
the  actual   load. 

The  total  wire  length  in 
the  two  cables  is  80,000  miles 
— long  enough  to  circle  the 
globe  three  times. 

It  is  fitting  that  the 
greatest  engineering  feat  of 
the  age,  the  Eighth  Wonder 
of  the  World,  the  Golden  Gate  Bridge,  should  be  pho- 
tographed by  a  member  of  the  Golden  Gate  Wing  of 
the    International    Photographers,    Local    659. 


PRODUCTION  IN  FLORIDA 

Max  Stengler  has  returned  from  St.  Petersburg, 
Florida,  where,  at  the  Sun  Haven  Studios,  he  shot  three 
pictures  for  T.  C.  Parker,  Jr. 

These  releases  were  "Chloe,"  with  Olive  Borden  and 
Molly  O'Day,  directed  by  Marshall  Nielan  ;  "Playthings 
of  Desire,"  featuring  James  Kirkwood,  Josephine  Dunn, 
Linda  Watkins,  Molly  O'Day,  directed  by  George  Mel- 
ford;  "The  Hired  Wife,"  starring  Greta  Nissen  and  a 
cast  including  James  Kirkwood,  W.  Hayburn  and  Miss 
O'Day,  also  directed  by  Melford. 

Mr.  Stengler  had  a  satisfactory  sojourn  in  St.  Peters- 
burg and  reported  the  studio  as  being  well  equipped  and 
efficient. 

Lester  Tracy  was  the  chief  electrician  and  Glen 
Percy,  sound  engineer.  A  new  stage  125  by  125  is  build- 
ing in  view  of  greater  production  activity  in  future. 


STAUB  IN  NEW  YORK 

Ralph  Staub  has  just  completed  his  first  comedy  for 
Warner's  Vitaphone.  The  picture  was  shot  in  New  York 
with  Ben  Blue  as  the  comic.  Our  young  director  expects 
to  remain  in  the  East  about  six  months. 


1440  R.P.M.  MOTOR  FOR  DIRECT  DRIVE  ELIMINATES 
GEARS  IN  TALKIE  CAMERA 

A  new  1440  R.P.M.  synchronous  motor,  developed 
b\  William  Hoyt  Peck,  president  and  chief  engineer  of 
the  Peck  Television  Corporation,  will  afford  a  simpler 
and  more  effective  means  of  driving  talking  picture 
cameras  and  projectors.  It  may  be  coupled  directly  to 
the  1:1  shaft  without  the  need  for  intermediate  gear- 
ing, as  now  employed. 

As  present  sound-on-film  equipment  takes  pictures  at 
the  rate  of  24  frames  per  second  (or  1440  frames  per 
minute)  the  new  motor  will  give  an  even  speed  of  one 
revolution  per  frame.  Tests  made  both  with  strobo- 
scopes and  revolution  counters  show  that  the  Peck  motor 
snaps  into  synchronism   immediately  and   locks  there. 

The  1440  R.P.M.  synchronous  motor  is  as  economical 
in  operation  as  any  other  synchronous  motor,  and  is  no 
larger  or  heavier  than  others  of  equal  power.  It  employs 
a  new  principle,  that  of  "phase  shift"  in  addition  to  split 
phase.  This  idea  was  evolved  by  Mr.  Peck  after  lead- 
ing electrical  engineers  and  motor  manufacturers  had 
found  it  impossible  to  adapt  the  ordinary  synchronous 
motor  efficiently  to  the  required  speed. 


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The      INTERNATIONAL   PHOTOGRAPHER 


November,  1933 


THE  PHOTOGRAPHER  IN  THE 
)  WORLD  WAR 

By  Earl  Theisen, 

Honorary  Curator  Motion  Pictures,  Los  Angeles  Museum 


neutral." 


"The  military  masters 
of  Germany,"  said  Presi- 
dent Wilson,  in  his  Flag 
Day  address  in  1917,  "de- 
nied us  the  right  to  be 
So   the   country    called    its   photographers   and 


>h, 


some  men  together  and  declared  war.     It  was  a  war,  too! 
The  photographers  went  to  school   to  learn  photography 
and    to   treat    hiking   blisters   while    the   army    learned    to 
right     the     Germans.       And 
both  learned  to  fight  vermin. 

Until  early  in  June,  1918, 
all  photographic  and  aviation 
activities  were  part  of  the 
Signal  Corps.  At  that  time 
the  Signal  Corps  reverted  to 
its  original  function  of  sig- 
nalling, transmitting  military 
information,  a  n  d  creating 
records.  This  last  activity 
was  given  over  to  a  group  of 
photographers,  whose  chief 
duty  was  to  supply  George 
Creel,  of  the  Department  of 
Public      Information,      with 

film  for  the  newsreel  in  the  United  States,  supply  photos 
to  the  newspapers,  and  to  create  historical  records  on  film. 

This  rather  gay  group  of  men  who  had  heen  mostly 
newsreelers  before  the  war  went  to  Europe  to  "get"  the 
war.  Traveling  about  in  Fords,  in  groups  consisting  of  a 
cameraman  lieutenant,  a  still  photographer  sergeant,  a 
private  with  a  strong  back  and  chauffeurs,  600  of  them 
traversed  the  war  zones.  Since  they  had  to  get  their  pic- 
tures without  drawing  enemy  fire,  their  natural  newsreel 
daring,  of  necessity,  was  somewhat  dampened.  How- 
ever, there  were  instances  where  their  overzealousness 
gave  away  the  location  of  positions  which  promptly 
brought  the  well  known  enemy  barrage.  Too,  there  were 
instances  where  they  courted  instead  of  filmed.  All  in 
all  it  was  an  affair  made  to  their  liking. 

There  were  moments,  too,  when  the  war  seemed  mighty 
close  to  them.  Like  the  time  Reggie  Lyons  lived  for  three 
weeks  in  a  dugout  in  the  Argonne  Woods.  Even  though 
forty  feet  below  surface,  he  and  his  crew  while  living 
like  animals  in  a  burrow  listened  to  the  threatening  whine 
of  shells  passing  overhead.  It  was  warm  there,  which 
brought  a  double  quota  of  rats,  vermin  and  other  little 
what-nots.  Here  they  stayed  and  existed  on  three  meals 
a  day  of  corn  beef  or  "corn-willie,"  hardtack,  and  salmon 
or  "goldfish." 

Reggie  had  left  Hollywood  and  in  a  month  he  was  in 
San  Mihiel.  He  was  first  with  the  76th  Division,  which 
was  a  non-combatant  division  that  supplied  men  when 
needed  to  other  divisions.  From  the  76th  he  was  trans- 
ferred to  the  79th  and  to  the  war.  During  the  day,  he 
shot  such  film  as  he  could  from  holes  in  buildings,  and 
from  such  other  camouflaged  vantage  points  where  he 
Late  at  night,  he  and  his  crew  skulked  forth 
Through   barbed  wire  en- 


Here   a    photographer   stood    during   a    gas   attack    and    did 
his  shooting  with  a  camera. 


from    the   fames    X.    Doolittle    collection. 


dared  to  go. 

in  search  of  a  new7  location. 


tanglements,  stumbling  over  clammy  things,  through  stink- 
ing mud  holes,  they  searched  for  a  position  for  their 
camera  for  the  coming  day. 

Each  sigh  of  the  wind,  each  slight  noise  sent  them 
scampering  or  made  them  hug  the  earth.  There  they 
would  lie,  hardly  daring  to  breathe,  while  they  hoped  the 
enemy  had  not  heard  them.  There  they  would  poignantlv 
await  the  tearing  thud  of  an  exploding  shell.  After  a 
faltering    reassurance    that    would    come    like    a    dawning 

day  and  with  it  an  aware- 
ness of  their  surroundings, 
they  found  themselves,  per- 
haps, face  to  face  with  what 
had  once  been  a  man,  or  per- 
haps, they  had  dropped  into 
slimy  mud.  Then  again  they 
might  have  been  fortunate 
and  could  scuttle  on  their 
way  without  first  removing 
smelly  mud  or  memories. 

As      they     exposed      their 
film,    they    sent    it    back    by 
runner     or    motor    cycle     to 
Major  E.  J.  Hardy  in  charge 
of    the    Signal    Corps    head- 
quarters stationed   at  the  Pathe  Studio  outside  of  Paris. 
About    three   weeks    later,    tests   were    returned    to    them 
that  they  might  judge  their  exposure. 

Though  fifteen  years  have  passed,  recalling  the  epi- 
sodes of  the  war  brings  a  sombre  expression  to  their  eyes. 
Memories  of  the  sizzling  gas  shell  and  its  yellowish- 
white  smoke,  of  the  screaming  flight  and  thump  of  large 
shells,  the  menacing  whine  of  the  lighter  shell,  of  jumping 
from  one  "fox  hole"  to  another  with  a  large  camera  have 
left  a  stamp  on  the  war  cameramen.  They  more  than 
just  remember  carrying  a  camera;  a  camera  painted  with 
zig-zag  camouflaging.  They  may  remember  Harry  Dar- 
mour's  experience  when  he  brought  in  his  camera  which 
had  been  scarred  with  machine  gun  missiles. 

The  second  photographic  branch  of  the  army  was  con- 
nected with  the  air  service.  This  branch  was  very  closely 
connected  with  the  business  of  the  war.  It  was  their 
duty  to  do  the  photographic  reconnaissance.  They  photo- 
graphed on  the  ground  and  from  planes  and  observation 
balloons.  From  their  photographs  mosaic  maps  were 
made,  which  showed  enemy  positions,  served  in  range 
finding,  and  indicated  movement  of  troups. 

Photographers  all  over  the  United  States  had  been 
mobilized  at  Madison  Barracks  at  Sackett's  Harbor  and 
from  there  sent  to  the  Linked  States  School  of  Aerial 
Photograph)  at  the  Eastman  Kodak  Company  for  a 
period  of  training. 

Here  they  had  practically  the  run  of  Kodak  Park,  which 
consisted  of  209  acres  of  buildings  and  16  acres  of  park. 
The  vine-clad  buildings  and  park-like  aspect  of  the  place 
were  a  direct  contrast  to  the  subsequent  experiences  of 
the  way.  It  was  a  contrast  to  the  littered  battlefield  and 
to  the  mud  hole  in  which  Fred  Archer  sank  to  his  knees. 
Two  men  had  to  pull  him  out  and  all  three  had  to  pull 


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November,  1933 


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INTERNATIONAL       P  HOTOGK  A  V  H  E  K 


Five 


out  his  boots!  The  Baryta  Building  in  which  the  Aerial 
School  was  quartered  contained  nine  acres  of  floor  space. 

The  attendance  was  kept  at  600  and  they  were  given 
rive  weeks  in  practice  and  lecture  that  compared  with  the 
concentration  of  college  study.  Here  they  learned  to  fin- 
ish a  picture  from  the  exposed  negative  to  the  finished 
print  in   ten  minutes. 

In  the  meantime  the  Signal  Corps  divisions  were  being 
sent  to  the  various  colleges  for  their  training. 

At  Madison  Barracks,  the  photographers  were  taught  to 
be  soldiers.  They  marched.  They  hiked.  They  swept 
floors.  And  they  kitchen  policed.  It  was  a  process  of 
hardening.      Fred  Archer   tells   of  one  hike   they   took   ro 


extensive  publicity  committee  for  the  purpose  of  getting 
comforts.  It  was  necessary.  Side  by  side  these  state- 
ments are  to  be  found  grim  reminders  of  things  happening 
to  human  being  across  the  "pond." 

Of  course,  the  hardening  process  of  the  American  Bar- 
racks brought  the  "goldbrick"  job  hunting  profession  into 
national  prominence.  Lindsey  Thomson  says,  "A  'mild- 
brick'  was  a  man  who  would  do  anything  to  get  out  of 
work."  Soldiers,  one  and  all,  lay  awake  nights  figuring 
out  ways  and  means  of  getting  a  soft  job.  Freddie  Archer 
was  a  cartoonist  for  his  division.  Others  were  chauffeurs. 
Others  went  to  hospitals.  Still  others  sold  Liberty  Bonds. 
One  of  the  prize  winning  gold   brick   ideas  was    that   of 


A   camouflaged    Howitzer;   a    king   during   the    war. 


The   Village   of    Vaux,    France,   after   a    bombardment. 


."*■-* 


>.» ■-» 


^_ 


.,-s.Vl         '-**'    «. 


-MA. 

0k 


A   French   mosaic   map. 


Remains  of  a   German   Fokker. 


Henderson  Harbor.  Under  much  sun,  a  40  pound  pack, 
they  hiked  and  forcedly  joked  for  22  miles. 

In  this  group  were  many  nationally  known  artists, 
writers,  cameramen,  and  others.  Imagine  one  of  our 
present  day  cameramen  or  artists  being  required  to  hike 
22  miles.  They  did  it  during  the  war  and  liked  it.  Their 
marches  and  activities  were  newspaper  headlines.  "The 
Barracks  Observer,"  in  the  June  19,  1918,  issue  carried 
a  headline,  "Boys  Enjoy  Life  at  Photo  School."  One  of 
the  boys,  "Alligator  Bait"  Stevens  by  name,  is  quoted  as 
saying,  "We  certainly  have  a  fine  lieutenant.  He  is  going 
to  get  us  two  canoes,  and  a  piano,  and  a  phonograph. 
You  can  see  we  are  going  to  have  plenty  of  entertainment." 
Often  their  dances  and  fun  were  attended  after  a  day  of 
military  duties.  Their  feet,  accustomed  to  office  and  autos, 
were  raw  and  covered  with   blisters.      But  they  danced ! 

The  same  paper  announces  the  formation  of  a  ball 
league  and  an  orchestra ;  a  band  concert  on  Sunday  and 
a  minstrel  show  by  citizens  to  make  the  war  fun  for  the 
soldier.     At  this  time  the   Madison    Barracks  formed   an 


having  military  funerals  for  the  natives  living  near  the 
barracks,  so  they  might  get  a  day  oft.  Having  relatives 
wire  "Come  home  at  once"  was  another.  In  fact  there 
were  as  many  ways  of  softening  army  life  as  there  were 
photographers. 

"Over  there"  the  life  of  a  photographer  was  different. 
They  went  about  in  motorized  lorries.  The  lorry  was 
equipped  with  a  dark  room  to  do  the  required  photographic 
work.  In  it  was  the  necessary  equipment  to  develop  nega- 
tives, print  photos,  and  enlarge. 

On  the  roof  of  the  lorry  was  a  water  tank  which  gave 
a  supply  of  running  water.  The  water  from  roadside 
pools  or  village  wells  was  pumped  into  this  by  means  of  a 
hand  pump.  The  photos  made  by  these  photographers  in 
their  lorries  played  an  important  part  in  the  war.  Often 
during  advances,  pictures  taken  from  the  air  were  hur- 
riedly finished  and  laid  out  on  the  ground  in  mosaic  maps. 
Worn  places  in  the  vegetation  or  new  earth  showed  the 
movement  of  enemy  guns  or  men. 

At  one  time  a  large  enemy  gun  had  been  doing  much 


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Six 


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INTERNATIONAL   PHOTOGRAPHER 


November,  1933 


damage.  It  was  finally  located  by  means  of  photographs, 
but  before  the  range  could  be  gotten  on  it,  during  the 
night,  the  gun  was  moved.  (It  was  again  located  by 
aerial  photos  because  the  enemy  was  careless  while  mov- 
ing it  and  wore  away  some  of  the  grass  in  its  path.) 

"Another  photographic  aid,"  says  James  N.  Doolittlc, 
today's  noted  pictorialist,  "was  the  Hyper-Tele-Stereo- 
scopy  system  developed  during  the  war.  It  served  to  lo- 
cate the  low  camouflaged  emplacements  that  protected 
machine  gun  nests.  By  taking  a  pair  of  pictures  from  the 
air  at  the  same  altitude  of  the  same  point  at  a  distance 
apart  of  about  one-tenth  of  the  altitude,  a  stereo  effect 
was  obtained.  This  type  of  photo  would  make  trees  look 
like  wads  of  gum  on  a  bean  pole.  It  would  give  a  great 
relief  to  low  contours.  German  machine  guns  were 
placed  so  low  they  would  rake  the  shins  of  advancing  men  ; 
since  a  wounded  man  was  a  burden. 

James  N.  Uoolittle  witnessed  the  last  air  raid  over  Paris. 
While  the  rest  of  Paris  was  scampering  to  cellars,  he  and 
his  buddies  who  had  just  arrived  in  Paris,  hurried  to  the 
roof  in  their  underwear.  It  was  a  balmy  September  night, 
and  a  lazy  breeze  tugged  at  their  B.  V.  D.'s  and  brushed 
their  faces  while  they  excitedly  watched  the  giant  fight- 
ing airplanes  with  tons  of  bombs  glide  above  a  breathless 
city.  Everywhere  was  the  rattling  hell  of  anti-aircraft 
gun  fire. 

Next  morning  our  James  Doolittle  caught  "hell." 
General  orders  were  that  everyone  should  look  for  a 
cellar  upon  such  an  occasion.  In  fact,  veterans  did  not 
need  such  an  order.  During  the  aerial  raids  the  street 
lights  in  Paris  were  of  a  dark  blue  color  and  shop  windows 
were  either  covered  or  were  also  of  a  deep  blue  that  would 
not  show  from  the  air.  No  lights  were  permitted  that 
would  indicate  the  city's  locations. 

The  cameras  used  in  the  Aerial  Division  in  the  War 
Zones  were  the  French  De  Ram  and  de  Maria  and  the 
Eastman  Type  L,  which  was  semi-automatic  (the  latter 
being  used  almost  entirely  for  instruction  purposes.)  All 
the  negatives  were  on  plates  of  either  18  by  24  centimeter 
or  13  by  18  centimeter.  The  emulsions  were  a  special 
government  coating  made  by  Wratten  and  Wainwright 
and  an  Orthochromatic  emulsion  made  in  France,  by  the 
Lumieres.  Though  war  time  existed,  great  care  was 
taken  in  getting  good  pictures.  When  necessary,  filters 
of  the  Kl,  K2,  K3  or  minus  blue  type  were  used. 

It  is  generally  said  the  Italians  got  the  best  aerial  pic- 
tures. Of  the  Americans,  Captain  Stevens  is  said  to  have 
gotten  the  best  photos.  About  a  year  ago  he  further  dis- 
tinguished himself  by  photographing  Mt.  Shasta  from  an 
altitude  of  18,000  feet.  He  had  to  use  infra-red  film  and 
filters,  which  gave  him  a  picture  that  otherwise  was  not 
visible  to  the  eye.  From  this  altitude  he  also  pictured  the 
curvature  of  the  earth. 

Even  though  the  war  was  a  serious  affair,  the  photo- 
graphers did  not  take  it  too  seriously.  Upon  every  occa- 
sion they  found  a  moment  to  have  a  little  fun  or  to  lighten 
someone's  else  burden.  Faxon  Dean,  with  twinkling  eyes, 
says  it  was  just  a  big  party.  On  every  trip  they  carried 
their  "eye  wash."  That  eye  wash,  however,  was  not  used 
on  the  eyes,  but  to  doctor  stomachs.  It  was  French 
champagne. 

Not  a  few  of  them  spent  months  in  hospitals  after  the 
war.  Perhaps  they  needed  a  rest  after  the  excitement  of 
the  Paris  boulevards.  Others  went  to  hospitals  from  too 
close  a  contact  with  the  business  of  the  war.  Reggie 
Lyons  spent  eleven  months  after  the  last  of  his  three  gas 
attacks.  Faxon  Dean  spent  five  months  after  a  plane 
crackup.     Those  are  only  two  of  the  man)   instances. 

Now  comes  Armistice  Day!  It  was  a  day  of  jumping 
up  and  down  and  yelling.  The  photographers  threw  their 
cameras  in  the  air,  got  their  "eye  wash"  and  then  hugged 


the  Germans.  Fred  Archer  gave  them  cigarettes.  He 
was  a  "Kamerad."  As  far  as  the  photographers  were 
concerned,  it  was  not  their  war  and  they  would  have 
liked  to  go  to  a  German  Beer  Garden  earlier  in  the  war. 
To  them  it  would  have  been  a  change  from  the  French 
entertainment  bill  of  fare. 

After  the  Armistice  many  from  the  Photographic  Di- 
visions remained  "over  there"  for  the  purpose  of  creating 
records  for  the  War  Department.  They  went  into  Ger- 
many with  the  army  of  evacuation  to  get  pictures  of  con- 
ditions. They  photographed  the  various  divisions,  pa- 
rades, warfare  equipment,  welfare  work,  feats  of  plastic- 
surgery  and  other  things  that  would  prove  of  value  as  rec- 
ords. These  negatives,  as  were  all  war  negatives,  were 
transported  to  this  country  later  and  deposited  at  the  War 
College  in  Washington.  There  were  no  negatives  sent  to 
this  country  during  the  war.  Whatever  appeared  on  the 
newsreel  screen  or  press  in  this  country  during  the  war 
were  from  dupe  negatives ;  the  originals  being  held  in 
Europe. 

In  German}  things  happened  to  the  photographers,  and 
they  caused  things  to  happen  to  others.  Wherever  the 
Signal  Corps  went  they  were  known  as  the  "Mary  Pick- 
fords"  because  they  were  cameramen  and  incidentally 
movie-men.  They  had  a  large  "P"  on  their  arms,  and 
either  a  DeBrie,  Universal  or  a  Bell  &  Howell  under 
their  arms. 

Soap  and  cigarettes,  or  chocolate,  were  cherished  items 
with  all  the  natives  of  the  war  zones.  Harry  Thorpe,  the 
one  time  ace  cameraman  for  Kalem  and  now  the  photo- 
grapher for  the  Los  Angeles  Police  Department,  was  here 
and  there  with  the  77th  in  Germany  after  Armistice;  in- 
stead of  money  he  carried  about  two  dozen  bars  of  soap 
with  him  in  his  musette  bag.  He  would  walk  into  a 
store  and  grin,  then  nonchalantly  flop  a  cake  of  soap  on  the 
counter.  The  German  tradesman's  eyes  would  bulge  and 
he  would  yell  something  or  other  to  the  living  quarters 
in  the  rear.  A  rapid  shuffle  of  feet  announced  his  chat- 
tering frau  and  a  number  of  his  offspring.  They  would 
carefully  pick  up  the  soap  and  rub  it,  smell  it,  pass  it 
around,  and  when  thoroughly  convinced  it  was  soap  the 
bargaining  began.  Harry  Thorpe  lived  on  the  best  of 
the  land.  He  brought  a  few  mementoes  back,  too!  One 
was  a  brooch  of  fine  craftsmanship.  More  than  likely, 
besides  the  soap,  Harry's  big  grin  probably  had  a  lot  to 
do  with  his  success  in  Germany.  Charlie  Boyle  says, 
"That's  odd,  I  thought  they  used  perfume  instead  of 
soap." 

Now  that  the  war  is  fifteen  years  away  it  can  be  looked 
on  tolerantly.  The  old  members  of  the  Signal  Corps  get 
together  200  strong  each  year  to  celebrate  and  reminisce. 
This  get-together  is  held  on  Armistice  Day  each  year.  It 
generally  starts  in  some  big  hotel  in  Los  Angeles  and 
finishes,  etc.  Their  first  meeting  was  held  in  1922.  This 
year  members  are  expected  from  all  over  the  United 
States.  These  meetings  are  largely  made  possible  through 
the  efforts  of  Pete  Shamray,  who  was  another  that  did 
his  shooting  with  a  camera.  Shamray  was  a  busy  top 
sarge.  Norman  L.  Spear  and  Al  Kaufman,  too,  are  active 
in  the  matters  of  this  yearly  banquet.  Kaufman,  by  the 
way,  was  Major  Hardy's  assistant  in  Europe.  Major 
Hardy  was  in  charge  of  the  Photographic  Division  of  the 
Signal  Corps  while  Col.  Edward  J.  Steichen  was  in 
charge  of  the  Aerial  Division  Photographers. 

Some  of  the  more  noted  of  the  200  men  of  the  Signal 
Corp  are  prominent  in  Hollywood.  They  are  Vic  Flem- 
ing, Ernie  Schoedsack,  George  Hill,  Larry  Darmour, 
Farciot  Edouart,  Hal  Mohr,  Gus  Peterson,  Lynn  Smith, 
C.  R.  Wallace,  Joseph  Von  Sternberg,  Johnny  Waters, 
Alan  Crosland,  George  Seigman,  Wesley  Ruggles,  Ira 
(  Turn  to  Page  24) 


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November,  1933  T  he      INTERNATIONAL      P  H  O  T  O  G  RAPHER  Seven 


EMULSION 


THE  exceedingly  fine  grain  of  Eastman 
Background  Negative  easily  meets  the 
chief  requirement  of  composite  photog- 
raphy. But,  in  addition  to  minute  grain  this 
new  negative  has  surprising  speed  and  ex- 
cellent processing  characteristics.  Exhibiting 
a  rare  combination  of  qualities,  it  stands  out 
as  a  remarkable  emulsion... one  that  is  gain- 
ing in  importance  every  day.  You  are  urged 
to  explore  its  wide  possibilities.  Eastman 
Kodak  Co.  (J.  E.  Brulatour,  Inc.,  Distribu- 
tors, New  York,  Chicago,  Hollywood.) 


EASTMAN 

Background  Negative 

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Eight 


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INTERNATIONAL      PHOTOGRAPHER 


November,  1933 


Motion    Picture 
Sound   Recording 

Chapter  III 

By  CHARLES  FELSTEAD,  Associate  Editor 


In  the  first  and  second  chapters  of  this  series,  the 
hasic  principles  of  sound  recording  were  discussed,  so 
that  they  would  form  a  groundwork  on  which  to  build 
up  the  more  detailed  descriptions  of  the  various  portions 
of  the  recording  system  that  are  to  follow.  Since  the 
chief  variation  in  the  several  recording  systems  is  in  the 
recording  devices,  rather  brief  descriptions  of  the  record- 
ing devices  employed  by  the  different  recording  systems 
were  given.  Before  beginning  the  study  of  the  Western 
Electric  sound  recording  system,  we  will  digress  from 
the  subject  long  enough  to  review  comprehensively  the 
fundamentals  of  musical  and  speech  sounds ;  for  that 
is  a  field  that  has  been  sadly  neglected  in  the  magazines 
dealing  with  sound  recording. 

Throughout  this  series  of  articles,  we  will  continue 
to  speak  of  frequency,  of  cycles  per  second,  and  of  audio- 
frequency amplification  when  discussing  the  electrical 
energy  that  corresponds  to  sound  waves.  Tn  dealing  with 
the  sound  waves  themselves,  it 
is  necessary  to  refer  to  quality, 
intensity,  pitch,  double  vibra- 
tions per  second,  overtones, 
and  other  words  that  have  lit- 
tle meaning  to  the  layman. 
Now  we  will  see  just  what 
those  terms  mean  and  how: 
they  are  related  to  each  other. 

Characteristics  of  Sound 
Waves 

Sound  waves  (which  are 
referred  to  in  non-technical 
usage  as  "sound")  are  pro- 
duced by  material  bodies  in 
rapid  vibration.  The  strings 
of  a  harp  or  piano,  the  metal 
of  a  bell,  the  membrane  of  a 
drum,  the  vibrating  reed  of  a 
mouth-organ,    and    the    vocal 

chords  of  man  are  all  bodies  that  vibrate  and  produce 
sound  when  plucked,  struck,  or  subjected  to  a  current 
of  air  under  pressure.  Gases,  solids,  and  liquids  may 
serve  as  carriers  of  sound  ;  but  a  vacuum  will  not  trans- 
mit sound.  It  is  necessary  that  the  vibrating  body  have 
a  definite  and  rather  sizable  contact  with  the  air,  so 
that  its  vibrations  can  be  readily  transferred  to  that 
carrier  medium. 

There  are  three  features,  or  characteristics,  by  which 
musical  sounds  can  be  distinguished  from  one  another, 
and  each  depends  upon  some  physical  property  of  the 
sound  wave.  The  intensity  is  dictated  by  the  ampli- 
tude of  the  vibration,  the  pitch  by  the  frequency  of 
the  waves,  and  the  quality  by  the  vibration  form.  These 
features  of  sound  will  be  considered  in  detail  later. 

An  oscillating  body,  such  as  a  plucked  piano  string, 
vibrates  to  and  fro  at  a  certain  characteristic  speed  that 
is    the    result    of    its    length,    density,    diameter,    and    the 


Fig.   4.     Composite  acoustic   chart. 
(Courtesy   Electrical   Research   Products,    Inc. 


tension  applied  to  it.  Each  complete  to-and-fro  excur- 
sion per  second  produces  one  double  vibration  or  dr. 
Middle  C,  or  C:t,  with  its  frequency  of  256  dv,  cor- 
responds to  256  to  and  fro  motions  of  a  vibrating  bodv 
per  second.  ("Orchestral  pitch"  assigns  a  frequency  of 
264  dv  to  middle  C.)  Frequency  is  the  term  for  the 
rate  at  which  the  to  and  fro  motion  of  the  vibrating 
body  is  repeated,  and  is  always  given   in  seconds. 

The  intensity,  or  loudness,  of  a  sound  is  governed 
chiefly  by  the  amplitude  of  the  to-and-fro  movement  of 
the  vibrating  body  that  is  the  source  of  the  sound.  In- 
tensity refers  to  the  energy  present  in  the  sound  in  the 
form  of  vibration,  and  depends  on  the  amplitude  of 
vibration  of  the  waves.  Thus,  a  tuning  fork  or  piano 
string  gives  a  louder  sound  when  struck  hard  than  when 
struck  gently.  The  intensity  of  sound  in  free  air  varies 
inversely  as  the  square  of  the  distance  from  the  source ; 
but    that    law   does   not   apply   to   confined    places,    where 

reverberation  from  walls  adds 
its  energy  to  the  energy  of  the 
direct  sound  reaching  the  lis- 
tener. In  other  words,  in 
confined  places  the  sound  ener- 
gy is  concentrated  instead  of 
being  dissipated  in  all  direc- 
[      tions. 

The  actual  energy  content 
!      present  in  normal  sounds  is  so 
very  small  as  to  be  almost  un- 
believable ;    and    one    of    the 
greatest  difficulties   that   faced 
research  engineers  was  the  de- 
sign of  a  microphone  that  was 
sufficiently  sensitive  to  respond 
readily  to  weak  sounds.     The 
intensity  of  the  sound  during 
the  rendition  of  an  orchestral 
selection  often  varies  as  much 
as  100,000  to   1,  which  greatly  complicates  the  construc- 
tion of  suitable  recording  equipment. 

The  Pendulum  Analogy 
The  simple  pendulum  of  Figure  1  forms  a  good  ex- 
ample of  a  vibrating  body.  If  the  pendulum  bob  is 
pulled  to  the  point  A  and  released,  it  will  swing  through 
its  position  of  rest,  B,  to  a  point  C;  then  it  will  return 
through  B  to  the  point  A  (speaking  theoretically — 
actually  it  will  not  return  quite  that  far).  The  motion 
from  A  to  C  and  back  is  called  a  double  vibration.  The 
distance  the  bob  moves  each  side  of  its  position  of  rest, 
AB  or  BC,  is  the  amplitude  of  vibration.  The  length 
of  time  it  takes  the  bob  to  make  a  complete  double 
Vibration  is  its  period;  and  the  number  of  complete  double 
vibrations  made  per  second  is  its  frequency. 

Now,  in  place  of  the  pendulum,  we  will  use  the 
stretched  membrane  of  a  kettle  drum  for  our  example. 
When    the    membrane    is    struck    b\     the    drumstick,    it 


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Nine 


vibrates  at  its  natural  period,  the  center  of  the  mem- 
brane moving  in  much  the  same  way  as  the  bob  of  the 
pendulum ;  but  instead  of  swinging  in  an  arc,  it  moves 
to  and  fro. 

When  the  drum  membrane  moves  forward  in  its 
vibratory  movement,  it  compresses,  or  condenses,  the  air 
immediately  in  front  of  it.  This  pressure  change  moves 
forward  through  the  air  away  from  the  membrane  at 
a  speed  of  about  1100  feet  per  second,  the  speed  of 
travel  of  sound  in  air.  On  its  backward  movement,  the 
membrane  causes  a  rarefaction  of  the  air  in  front  of  it, 
producing  a  low-pressure  area  that  moves  outward  from 
the  membrane  and  follows  the  area  of  compression.  Thus, 
one  complete  to  and  fro  motion  of  the  drum  head  sends 
out  an  area  of  compression  of  the  air  followed  by  an 
area  of  rarefaction.  This  is  illustrated  crudely  in  Fig- 
ure 2. 

A  stone  dropped  into  water  makes  transverse  waves 
which  spread  out  in  ever-widening  concentric  circles,  the 
disturbance  moving  horizontally  and  the  water  particles 
oscillating  up  and  down.  But  sound  waves,  such  as 
made  by  the  drum  membrane,  cause  the  air  particles  to 
vibrate  to  and  fro  in  the  direction  of  propagation,  rue 
wave  front  being  spherical.  So  it  is  convenient  to  think 
of  a  sound  wave  as  made  up  of  alternate  spherical  shells 
of  compressed  and  of  rarefied  air  traveling  outward  in 
every  direction  at  the  speed  of  sound  in  air. 

The  action  of  the  air  particles  and  the  manner  in 
which  they  transmit  the  sound  wave  may  be  demon- 
strated by  a  long  coiled  spring  that  is  suspended  at  one 
end  from  a  hook.  If  the  lower  end  of  the  spring  is 
given  a  quick  jerk,  pulling  apart  the  turns  of  the  spring 
for  an  instant,  the  adjacent  turns  will  be  pulled  apart, 
one  after  another,  until  the  disturbance  reaches  the  top 
of  the  spring.  In  the  same  manner  that  the  metal  par- 
ticles of  the  spring  return  to  their  original  positions  after 
the  passage  of  the  disturbance,  just  so  do  the  particles 
of  air  return  to  their  places  after  the  passage  of  a  sound 
wave. 

Curve   Traced  by  the  Pendulum 

Figure  3  is  a  graphical  representation  of  the  motion 
of  the  pendulum.  The  movement  of  the  pendulum  to 
right  or  left  is  plotted  vertically;  and  time  is  plotted 
horizontally.  Referring  to  Figure  1,  it  will  be  seen  that 
when  the  bob  is  at  A  it  is  at  the  top  of  its  swing  to 
the  right.  This  point  is  marked  V  in  the  graph  of 
Figure  3.  As  the  pendulum  bob  swings  toward  B,  it 
approaches  its  position  of  rest,  which  is  represented  by 
the  zero  line  in  Figure  3,  but  it  also  moves  through  an 
interval  of  time.  The  combined  motion  from  right  to 
left  and  through  time  is  represented  by  the  curved  line 
VW  of  Figure  3. 

The  bob  does  not  stop  at  B ,  its  position  of  rest,  but 
continues  on  to  C,  forming  the  line  WX  in  the  graph. 
It  then  return  through  B  to  A,  which  is  now  repre- 
sented by  Y ,  due  to  the  progress  of  the  pendulum  through 
time.  This  motion  is  repeated  indefinitely,  resulting  in 
a  continuously  curved  line  that  follows  the  form  given. 
A  succession  of  such  curves  is  known  as  a  wave  train. 


Actually,  if  the  pendulum  were  released  and  allowed 
to  swing  freely,  each  peak  or  swing  of  the  pendulum 
would  be  a  definite  amount  lower  than  the  preceding 
peak,  due  to  the  loss  through  friction. 


Fig.  5.  Sound  wave  formed  by 
the  combination  of  a  fundamental 
tone   (A)   and  its  first  harmonic. 

This  would  be  the  case  if  the  pendulum  were  given 
a  little  impulse  of  energy,  or  push,  each  time  it  returned 
to  its  original  position,  the  amount  of  the  impulse  being 
regulated  so  it  would  be  just  sufficient  to  overcome  the 
loss  of  energy  by  the  pendulum  through  friction.  The 
result  would  be  a  sustained  motion  of  the  pendulum. 


y^embrant  belli'.J  outward 


Ketue  DRu 

/Cross   \ 
\iectl<m/-* 


/Membrane  movm^  backward 
jArea  of  rarefaction 
ofdir 


Area  of  compre5s- 
-ion  of  aii- 


/^embrane  bellied 
outward  afisin 


Areas  of 

X7  /    compression 

Fig.    2.      Generation    of    sound    waves    by    the    vibrating 
membrane  of  a  kettle-drum. 


The  portion  of  the  curve  of  Figure  3  from  W  to  Z 
is  one  cycle,  or  one  double  vibration ;  and  if  such  a  mo- 
tion of  the  pendulum  takes  place  once  a  second,  the  pen- 
dulum has  a  vibratory  period  of  one  second,  and  its 
frequency  is  one  cycle,  or  one  dv,  per  second.  The 
amplitude  of  the  motion  represented  by  the  curve  is  indi- 
cated by  the  distance  from  the  horizontal  axis  (the  line 
representing  the  position  of  rest  of  the  pendulum)  to 
X  or  Y.  The  curve  is  of  the  simple  and  symmetrical 
form  known  as  a  sine  wave,  which  is  an  abbreviation  of 
sinusoidal  wave. 

A  curve  having  the  shape  of  a  perfect  sine  wave  like 
that  shown  may  be  used  to  represent  the  sound  wave 
generated  by  a  tuning  fork.  In  such  a  case,  the  peaks 
of  the  curve  above  the  zero  line,  which  for  the  pendu- 
lum signified  motion  to  the  right,  would  represent  areas 
of  compression,  or  condensation,  of  the  air;  and  the  peaks 
below  the  line  would  indicate  areas  of  rarefaction  of 
the  air.  In  other  words,  when  the  membrane  of  the 
drum  was  bellied  outward  in  its  vibratory  movement 
it  would  produce  the  peaks  of  air  compression  above  the 
line ;  and  when  it  moved  backward,  it  would  create  the 
peaks  of  air  rarefaction  below  the  line.  The  zero  line 
would  represent  normal  air  pressure. 


L«.ft 


progress  throutfr.  tiw 


Fig.    1    (Left).     Simple   Pendulum.      Fig.  2    (Right).     The 
sine  wave  traced  by  an  ideal  pendulum. 

Fundamentals  and  Overtones 

A  sound  wave,  even  from  a  musical  instrument,  is 
not  so  pure  as  the  sine  wave  shown.  The  middle  C 
string  of  a  piano  has  a  fundamental  frequency  of  256  dv 
per  second.  A  person  hearing  that  frequency  recognizes 
it  for  middle  C,  because  he  has  learned  to  associate  it 
in  his  mind  with  that  note.  That  means  that  the  fun- 
damental frequency  establishes  the  pitch  of  a  sound.  But 
besides  generating  this  fundamental  frequency,  the  piano 
string  produces  a  great  number  of  overtones,  or  harmonics, 
each  of  which  is  a  multiple  of  the  fundamental  frequency. 

The  fundamental  frequency  is  known  as  the  first 
component,  or  partial.  In  the  case  of  middle  C,  the  fre- 
(Turn  to  Page  24) 


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The      INTERNATIONAL      PHOTOGRAPHER 


November,  1933 


LIGHT  FILTERS 

FROM  THE 

CINEMATOGRAPHERS 
VIEW  POINT 

By  EMERY  HUSE  and  NED  VAN  BUREN  : 

A  Series— Part  V 


When  one  considers  the  practical  aspects  of  filter  pho- 
tography and  studies  the  filters  most  commonly  used  in 
motion  picture  work,  it  becomes  quite  apparent  that  fil- 
tration is  applied  in  a  great  many  cases  to  alter  the  rendi- 
tion of  the  sky  in  the  scene.  In  considering  the  list  of 
filters  presented  earlier  in  this  article  most  of  them  are 
yellow,  that  is,  they  are  blue  absorbing.  The  increase  in 
absorption  from  the  Aero  1  to  the  G  filter  shows  itself 
particularly  in  the  sky  rendering.  Due  to  the  relatively 
high  total  transmission  of  the  Aero  1  relatively  little  filtra- 
tion is  accomplished.  On  the  other  hand,  due  to  the 
relatively  low  transmission  of  the  blue,  particularly  in  the 
G  filter,  considerable  absorption  takes  place  with  the  re- 
sult that  in  the  negative  a  much  smaller  reaction  takes 
place  with  this  filter  than  with  the  Aero  1.  Therefore, 
prints  from  these  negatives  made  with  a  G  filter  show  a 
much  darker  rendition  of  the  sky.  This  same  reasoning 
holds  true  with  the  use  of  red  filters,  and  the  deeper  one 
goes  into  the  red  the  darker  becomes  the  final  reproduc- 
tion of  the  sky.  If  there  are  clouds  in  the  sky,  then  nat- 
urally the  separation  between  the  blue  sky  and  the  clouds 
becomes  greater  the  deeper  the  filter  used.  The  cinema- 
tographer  must  choose  between  the  degree  of  sky  correction 
which  he  desires  and  the  effect  produced  by  the  filter 
chosen  upon  the  foreground  in  his  field  of  view.  Experi- 
ence has  shown  that  the  G  filter  can  be  used  very  satis- 
factorily for  both  sky  and  foreground  rendering,  and 
does  not  produce  "washed  out"  faces  of  any  actors  in  the 
scene  whether  they  are  wearing  make-up  or  not. 

It  should  again  be  borne  in  mind  that  in  these  con- 
siderations of  filters,  their  reaction  in  practical  cinematog- 


work,  it  is  for  this  reason  that  attention  is  directed  to 
sky  and  general  foreground  rendering  rather  than  to  the 
actual  reproduction  of  colored  objects  in  the  field  of  view. 
In  the  majority  of  cases  the  use  of  filters  is  confined 
to  exterior  photography  and  there  are  many  scenes  photo- 
graphed in  which  there  are  actors  wearing  make-up. 
Make-up  is  so  made  to  produce  with  the  types  of  film  and 
light  sources  available  a  pleasing  photographic  result.  It 
becomes  necessary,  therefore,  to  make  a  study  of  the  re- 
action of  the  film  to  make-up  when  filters  are  used  under 
normal  daylight  conditions.  To  that  end  Figures  12,  13, 
14  and  15  are  submitted  which  represent  exposures  first 
without  a  filter,  then  with  the  Aero  2,  G  and  23-A  filters, 
respectively.  These  photographs  were  made  under  a  con- 
stant condition  of  daylight  quality,  all  of  the  exposures 
having  been  made  within  a  five  minute  interval  of  time. 
The  unfiltered  exposure  was  made  at  a  lens  aperture  of 
F-5.6.  The  exposures  through  the  filters  were  balanced 
to  give  equivalent  exposures  to  the  unfiltered  shot  by 
making  use  of  the  filter  factors  of  the  three  filters  used. 
The  negative  emulsion  on  which  these  exposures  were 
made  was  Eastman  Super  Sensitive  Panchromatic  Nega- 
tive. The  negatives  received  the  same  development  and 
the  same  grade  of  paper  with  subsequently  equal  develop- 
ment being  used  in  making  the  prints.  It  will  be  seen  that 
there  is  relatively  little  difference  in  the  four  shots  as 
far  as  the  facial  rendering  is  concerned.  The  make-up 
used  was  the  regular  make-up  for  Super  Sensitive  film 
and  was  supplied  through  the  courtesy  of  the  Max  Factor 
Company.  It  is  difficult  to  observe  much  difference  in  the 
filter  exposures,  although  a  filter  as  deep  as  the  23-A  is 


Fig.  12 


Fig.  13 


Fig.  14 


Fig.  15 


raphy  is  uppermost  in  our  minds.  Therefore,  one  should 
read  this  article  without  giving  too  much  consideration  to 
true  orthochromatic  rendering.  Since  such  rendering  is 
not  generally  sought  after  or  even  desired  in  this  type  of 


not  usually  recommended  for  close-up  photography,  we 
feel  that  were  it  employed  it  would  not  be  detrimental  to 
the  pictorial  quality. 

The  choice  of  filters  for  scenic  effects  rests  squarely 


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The      INTERNATIONAL      PHOTOGRAPHER 


Eleven 


Fig.    16   (Upper)      Fig.   17    (Lower) 


Fig.   18   (Upper)      Fig.   19   (Lower) 


on  the  shoulders  of  the  cameraman  and  it  is  up  to  him  to 
determine  the  degree  of  effect  which  he  desires  to  pro- 
duce. 

Figures  16  and  17  illustrate  the  results  obtained  by  a 
small  amount  of  filtration.  Figure  16  was  exposed  at 
F-ll  with  no  filter.  Figure  17  was  exposed  at  F-9  using 
the  Aero  2  filter.  A  study  of  these  two  figures  will  reveal 
practically  no  difference  in  the  foreground  rendering, 
while  there  has  been  a  noticeable  change  in  the  rendition 
of  the  sky  and  the  clouds.  These  photographs  were  made 
on  a  day  during  which  there  was  an  appreciable  amount 
of  haze.  The  sky  was  of  the  type  colloquially  referred 
to  as  "washed  out." 

For  a  slightly  greater  degree  of  corection  the  G  filter 
is  commonly  used.  This  filter  shows  a  more  pronounced 
filtering  effect  than  the  Aero  2  but  not  quite  as  strong  an 
effect  as  the  23A.  Prints  are  presented  for  the  Aero  2 
and  the  23A.  The  G  filter  produces  a  dark  sky  render- 
ing thus  causing  clouds  to  stand  out  in  prominent  relief. 
This  filter  does  not  over  correct  the  foreground  portion 
of  a  scene  whether  it  be  made  up  of  landscape,  street 
scene,  or  people.  This  filter  can  be  used  very  successfully 
for  most  all  types  of  exterior  photography  where  moderate 
correction  is  desired. 

An  example  of  what  might  be  termed  exaggerated 
contrast  is  shown  in  Figures  18  and  19.  Figure  18  was 
made  at  F-ll  with  no  filter  and  shows  the  different  cloud 
formations  in  the  sky.  These  exposures  were  made  on 
the  same  day  as  the  previous  example  but  from  a  different 
camera  angle.  Figure  19  was  made  using  the  23-A  filter 
at  a  lens  aperture  of  F-6.3.  It  can  be  observed  readily 
how  much  darker  the  sky  is  rendered  and  how  much  more 
strongly  the  clouds  stand  out  in  relief  in  the  filtered  ex- 


posure. Again  attention  should  be  called  to  the  fact  that 
the  foreground  suffers  inappreciably.  If  filters  which  are 
deeper  red  in  color  than  the  23-A,  and  consequently  of 
greater  absorption  are  used,  more  exaggerated  contrasts 
can  be  obtained  than  those  shown  in  this  series  of  figures. 
It  is  recommended,  therefore,  that  except  for  weird  and 
strongly  exaggerated  effects,  filters  beyond  the  absorp- 
tion limit  of  the  23-A  be  not  used. 

Another  field  in  which  filters  are  used  extensively  is 
that  of  marine  photography.  Very  often  it  is  desired  to 
photograph  water  sequences  so  that  the  water  appears 
much  darker  in  proportion  to  the  surrounding  objects, 
such  as  boats.  The  choice  of  filters  for  this  type  of  work 
depends  upon  the  blueness  of  the  water  which  is  often 
governed  by  the  blueness  of  the  sky.  Naturally  if  the 
water  is  very  blue  a  deep  yellow  "G",  or  red  filter  23A, 
will  cause  that  water  to  be  rendered  quite  dark  in  the 
print.  If  the  water  is  muddy  and  reflects  no  blue  sky, 
then  such  filters  will  not  appreciably  change  the  rendition 
of  the  water. 

It  is  hoped  that  with  the  few  examples  which  have 
been  presented,  together  with  the  theoretical  consider- 
ations, a  little  more  light  has  been  thrown  on  the  general 
subject  of  the  use  of  filters  in  cinematography.  Practical 
examples  cannot  be  shown  to  answer  all  questions  which 
might  arise  in  the  minds  of  the  readers  of  this  article. 
However,  it  is  felt  that  with  the  explanations  given  in 
the  text  a  cinematographer  desiring  further  knowledge  of 
filter  photography  should  be  materially  assisted. 


In  the  October  issue  of  The  International  Photographer,  page  29, 
of  the  article  on  Light  Filters,  Part  4,  the  last  line  reads  "must  be 
used,  for  example,  a  red  filter."  This  should  read — "Must  be  used, 
for  example,   a    blue  filter." 


TWO  LEICA  FANS 

Among  the  rabid  and  incurable  Leica  enthusiasts  of 
Hollywood  and  vicinity  is  Frank  Muller,  of  the  famous 
Gasoline  Twins,  and  "Doug,"  the  unknown  person  who 
sits  atop  the  Tire  Totem  Pole  and  never  says  a  word. 
Who  is  this  "Doug,"  anyway?  He  must  be  all  right  or 
he  wouldn't  be  a  Leica  fan. 


DUPONT  BUSY 

Hollis  Moyse,  Dupont's  West  Coast  representative, 
has  just  returned  to  Hollywood  from  a  trip  to  the  Dupont 
factory  and  their  New  York  offices.  He  reports  the  film 
branch  of  the  Dupont  Company  as  having  an  unpre- 
cedented amount  of  business  on  hand  at  this  time  and 
the  factories  are  working  to  full  capacity. 


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Twelve 


The      INTERNATIONAL      PHOTOGRAPHER 


November,  1933 


Around  the  World 


With 


Herford  Tynes  Cowling 

SOME   TRIBES   OF   CENTRAL    AFRICA 

Number  Five 


Walking  sixteen  hundred  miles  across  Central  Africa 
on  a  safari  that  took  over  six  months  brought  me  in  con- 
tact with  the  most  interesting  tribes  of  that  region.  And 
since  it  was  my  objective  to  produce  interesting  films  of 
these  people  and  their  customs  I  chose  to  walk  because 
my  route  zigzagged  back  and  forth  into  "tsetse  fly"  coun- 
try— almost  certain  death  to  horse  transport — motor  roads 
would  not  take  me  to  the  regions  I  wanted  to  visit — 
and  besides  a  native  safari  makes  far  better  transport 
for  pictures.  In  this  installment  I  propose  to  show  only 
a  few  of  the  various  tribal  types  encountered  on  this 
trip. 

Up  from  Mombassa,  on  the  Red  Sea,  at  an  altitude 
of  nearly  seven  thousand  feet,  is  a  vast  tableland  stretch- 
ing across  British  East  Africa,  now  known  as  Kenya 
Colony,  and  sloping  down  to  Lake  Victoria  Nyanza,  the 
source  of  the  Nile  in  Central  Africa.  It  was  on  this 
great  veldt  I  encountered  the  Masai,  the  Nandi,  the 
Wakamba  and  the  Kukuyu  tribes  and,  on  the  eastern 
shores  of  Victoria  Nyanza,  met  the  Kavirando. 

Over  on  the  western  side  of  Lake  Victoria  lies  Ugan- 
da, the  people  of  which  country  are  known  as  the  Gu- 
ganda  and,  between  Uganda  and  the  Congo,  on  the 
eastern  side  of  Lake  Albert  Nyanza,  is  a  very  small 
province  known  as  Bunyore.  Just  across  Lake  Albert 
is  the  eastern  edge  of  the  Belgian  Congo  and  here  live 
the  more  primitive  of  the  tribes  I  have  encountered.  The 
River  Nile  has  its  source  near  here  at  Ripon  Falls,  an 
outlet  of  Lake  Victoria,  from  where  it  flows  through  Lake 
Albert  and  Upper  Sudan. 

It  was  about  a  week  after  we  left  Nairobi  that  our 
safari  encountered  the  Masai  people,  most  warlike  tribe 
of  British  East  Africa.  Despite  their  fighting  disposi- 
tions they  proved  very  friendly  to  us  and  I  was  able  to 
get  many  interesting  scenes.  They  acted  for  me  in  good 
humor  and  with  keen  interest,  if  not  with  a  great  knowl- 
edge of  just  what  it  was  all  about. 

Of  course  mine  was  not  the  first  photographic  ex- 
pedition to  visit  this  country  by  means,  although  most 
of  the  others  were  more  intent  on  big  game  shooting 
than  interested  in  the  natives.  But  these  people  inter- 
ested me  greatly.  In  appearance  they  were  good  look- 
ing; their  bodies  tall  and  slender,  their  features  good 
and  their  noses  well  defined. 

I  noticed  the  different  ways  in  which  they  wore  their 
hair  and  my  interpreter  explained  that  the  women  and 
married  men  shaved  their  heads  and  that  it  was  the  war- 
rior group  who  wore  their  hair  plaited  into  queues  and 
left  it  to  hang  down  their  backs  and  over  their  fore- 
heads. 

The  dress  of  the  women  is  very  much  alike  from 
youth  to  old  age.  They  were  clothed  with  dressed  skins 
and  leather  petticoats.  Beads,  bracelets  and  ornaments 
of  every  description  are  popular  with  both  sexes.  They 
are,  however,  extremely  filthy  and  appear  never  to  wash 
themselves.  This  of  course  is  to  be  expected  of  a  tribe 
of   nomads  that  live  in   desert  country  and   have  to  de- 


pend on  sparsely  distributed  waterholes  to  water  them- 
selves and  cattle  nine  months  of  the  year. 

To  say  the  least  their  dwellings  are  original  in  archi- 
tecture. The  long  continuous  huts,  called  kraals,  are 
about  six  feet  in  height  and  are  built  around  the  inside 
of  a  circular  thorn  fence  called  a  boma.  The  roofs  are 
flat  and  there  is  a  compartment  with  a  door  for  each 
family.  The  circular  thorned  bomas  are  necessary  to 
keep  out  lions  at  night. 

The  warriors,  during  their  period  of  service,  live  in 
separate  villages.  In  past  years  they  were  armed  with 
a  very  sharp  steel  spear,  but  in  recent  years  the  British 
have  prohibited  this  particular  spear  because  of  the  native 
warlike  tendencies. 

Milk,  blood  and  meat  form  the  table  diet  of  this  tribe, 
although  the  women  and  old  men  frequently  have  flour 
and  vegetables.  Tobacco  and  snuff  are  used  by  all  except 
the  warriors,  but  it  is  only  the  old  men  who  are  privi- 
leged to  drink  the  intoxicating  honey. 

The  Nandi  is  an  East  African  tribe  to  which  are 
allied  the  Lumbwa,  Buret  and  Satik  tribes  as  well  as  the 
Elgonyi  of  Mount  Elgon.  They  are,  however,  more 
closely  allied  with  the  Masai. 

The  young  men  form  a  separate  warrior  class  and 
seven  and  a  half  years  are  spent  in  this  service.  The 
ceremony  of  handing  over  the  country  from  one  age  to 
the  succeeding  age  is,  to  them,  of  extreme  importance. 

In  addition  to  the  usual  weapons,  spears,  swords  and 
clubs  many  of  this  tribe  possess  rifles. 

All  of  the  Nandis  are  divided  into  clans,  each  having 
its  own  sacred  animal  or  totem. 

There  are  no  towns;  each  family  lives  on  land  it 
cultivates.     The  huts  are  alike  and  of  circular  pattern. 

They  believe  their  supreme  deity,  Asis,  takes  a  benevo- 
lent interest  in  their  welfare  and,  to  this  god,  they  ad- 
dress prayers  daily. 

Few  of  the  African  tribes  bother  to  hunt  wild  ani- 
mals for  food  or  skins,  preferring  rather  the  skins  and 
meat  of  the  domestic  cattle ;  however,  the  Wanderobo, 
an  offshoot  of  the  Nandi  tribe,  specialize  in  wild  ani- 
mal skins  and  particularly  the  giraffe,  which  they  trap 
by  driving  them  at  full  speed,  running  them  into  open 
pits,  cleverly  covered  with  sticks  and  earth.  Here  the 
animals  are  clubbed  to  death  and  their  hides  stripped. 

Kavirondo  is  the  general  name  given  to  two  distinct 
groups  of  tribes,  one  Bantu  and  the  other  Nilotic.  These 
people  dwell  in  the  valley  of  the  Nzoia  River  on  the 
western  slope  of  Mt.  Elgon  and  along  the  northeast 
coast  of  Victoria  Nyanza.  Both  of  these  groups  are  im- 
migrants, the  Bantu  having  come  from  the  south  and 
the  Nilotic  from  the  north. 

These  people  are  known  for  their  honesty  and  inde- 
pendence. They  are  agricultural  and,  in  addition  to 
sorghum  and  maize  they  raise,  cultivate  and  smoke  to- 
bacco and  hemp.  Among  their  other  industries  are  in- 
cluded salt  making,  smelting  ore  and  basket  work. 

The   women   put   scars   on    their    bodies   for   various 


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November,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Thirteen 


reasons  and  a  husband  frequently  cuts  scars  on  the  body 
of  his  wife,  before  starting  on  a  perilous  journey,  to 
insure  good   luck. 

The  practice  of  disfiguring  the  women  has  long  been 
a  custom  throughout  many  tribes  of  Central  Africa.  It 
is  a  holdover  from  the  old  days  of  slave  raiding.  Arab 
slavers  would  swoop  down  on  a  native  village,  and 
while  the  men  often  were  either  absent  or  able  to  get 
away,  the  large  percentage  of  hostages  would  be  women. 


The  Arabs  would  select  the  finest  specimens  from  among 
the  younger  women  as  their  personal  captives  and  con- 
sequently the  natives  gradually  adopted  a  custom  of  dis- 
figuring their  women  to  discourage  the  Arabs  from  tak- 
ing them  as  slaves.  This  disfiguration  in  time  became 
so  inherent  as  a  custom  that  it  continues  today.  It  takes 
the  form  of  slitting  lips,  knocking  out  teeth,  greatly 
enlarging  ear  lobes,  binding  heads  and  burning  and  slash- 
ing the  breasts. 


(11) 


(8) 


:i6) 


ME . 


(2)  (1)  (3) 

No.  1 — Women  of  the  Masai  tribe,  Kenya  Colony  (British  East 
Africa).  Note  the  "hole  proof"  sleeves  and  stockings  made  of  heavy 
brass  wire,  in  a  spring-like  fashion.  These  are  decorations  worn 
constantly  and  never  removed  except  to  increase  the  size  as  they 
grow   older. 

No.  2 — A  woman  of  the  Nandi  tribe,  first  cousins  of  the  Masail 
and  living  in  adjoining  country  of  East  Africa.  Note  the  heavy  spiral 
ear  decorations  which  are  fastened  to  a  greatly  enlarged  ear  lobe 
by  heavy  leather  straps. 

No.  3 — Wakamba  drummers  about  to  start  a  dance.  Although 
the  Wakamba  men  are  the  best  workers  the  British  can  employ, 
they  demand  frequent  holidays,  when  they  dance  cross-country  dances, 
traveling  as   much  as  twenty   miles   in  a   day   during  the   dance. 

No.  7 — Kikuyu  woman  with  milk  gourd  suspended  on  her  back 
by  strap  from  her  head — thus  all  loads  are  carried  by  the  native 
women  of  East  Africa. 


(20)  Above 


(17) 


No.  8 — The  Kavirondo  are  a  very  vain  tribe.  The  men  like 
ot  dress  up  in  their  old  time  warrior  costumes  and  have  a  spear 
throwing  contest. 

No.  9 — They  go  in  for  all  kinds  of  amusing  head  decorations. 
The  third  from  left  is  wearing  two  hippo  tusks  to  frame  his  physi- 
ognomy. 

No.  11 — The  natives  of  Uganda  build  the  roofs  of  their  homes 
first,  later  elevating  the  roof  to  build  the  house  below. 

No.  16 — A  native  village  of  the  Upper  Sudan.  The  houses  are 
chiefly  of  straw,  mud  and  sticks;  the  small  elevated  shack  on  the 
left  is  a  granary  where  the  surplus  food  is  kept  from  mice. 

No.  17 — The  women  of  the  Sudanese  (upper  Nile)  are  very 
strong,  sturdy  individuals;  they  carry  loads  of  water  and  grain  on 
their  heads  and  they  have  an  extra  fine  physique  as  compared  to 
other  tribes  of  Central  Africa. 

No.  20 — My  main  safari  on  the  march — 180  porters  were  re- 
quired to  move  the  entire  equipment  and  supplies  of  my  party. 


IS  THE  SILENT  FILM  DEAD? 

(By  a  Colombo  Cinegoer) 

(An  East  Indian  View  in  "Sound  and  Shadow,"  Madras) 

Every  cine-goer,  every  producer  and  every  cinema 
owner  was  under  the  impression  that  with  the  advent  of 
"talkies"  a  new  era  with  a  bright  future  had  dawned 
on  filmdom.  As  time  goes  on  new  needs  arise  and 
Tennyson's  lines,  "The  old  order  changeth,"  are  not  an 
exception  to  the  general  rule.  Unlike  Western  film 
magnates,  the  film  producers  of  India,  who  recently  be- 
came master  of  Indian  silent  films,  turned  their  attention 
to  the  production  of  "talkies."  "Silent  films  are  dead. 
■They  will  rise  no  more,"  was  the  echo  that  sprang  from 
everywhere.  But  it  was  quite  wrong.  Still  there  is 
a  mass  and  class  appeal  for  silent  films  and  their  demand 
is  greater  than  that  of  the  "talkies." 

The  English  language  is  a  common  language  known 
to  more  than  half  the  world.  American  producers,  who 
produce  "talkies"  in  English,  would  not  be  hard  hit  by  the 
prevailing  depression,  as  there  is  still  a  world-wide  de- 
mand  for  them.      But    it   is  quite   inappropriate   to   pro- 


ducers in  India  at  a  time  like  this  when  the  whole  world 
is  in  economic  bondage.  A  Gujarati,  Marathi,  Hindi, 
Urdu  or  Bengali  talkie  would  only  appeal  to  the  section 
in  which  that  language  was  spoken. 

A  Sinhalese  or  a  Tamil,  a  European  or  a  Burgher 
will  never  understand  or  appreciate  such  "talkies."  Every 
nation  cannot  understand  a  talkie  produced  in  a  language 
other  than  English.  Although  many  cinema  enthusiasts 
prophesied  that  with  the  advent  of  "talkies"  silent  films 
would  be  at  an  end,  this  has  never  come  to  pass. 

The  silent  film  is  still  at  the  top  of  the  ladder,  with 
all  its  glory  and  splendor.  In  Colombo,  I  should  not 
say  of  the  suburbs,  there  is  a  certain  section  which  ap- 
preciates a  silent  film  more  than  it  does  a  "talkie." 
Whether  he  be  a  Sinhalese,  Tamil,  Burgher  or  a  Euro- 
pean he  understands  everything,  viz. :  Love,  romance, 
thrills,  excitement  or  danger.  It  would  be  a  great  folly 
if  the  producers  were  to  entirely  direct  their  thoughts 
towards  the  production  of  "talkies"  when  "talkies"  are 
not  the  kind  of  films  every  nation  wants.  In  years  to 
come  the  demand  for  silent  films  will  be  greater  and 
producers  will  have  to  turn  again  to  the  old  order. 


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Fourteen 


The      INTERNATIONAL      PHOTOGRAPHER 


November,  1933 


NEW 

TELEVISION 

Service  Inaugurated 

Television  has  taken  a  new  and  significant  step  for- 
ward, it  is  revealed  in  the  announcement  of  "full-length 
feature"  broadcasts  of  movie  film  by  the  Don  Lee  tele- 
vision transmitters  W6XS  and  W6XAO,  Los  Angeles. 

By  virtue  of  the  new  schedule,  full  length  Paramount 
features,  and  preview  trailers,  now  become  part  of  the 
regular  transmission  schedules  of  the  television  stations, 
in  addition  to  current  Pathe  newsreels  and  close-ups  here- 
tofore comprising  the  television  fare  of  W6XS  and 
W6XAO.  This  is  more  program  material  than  has  ever 
before  been  transmitted  by  any  television  station  in  the 
country. 

Cecil  B.  De  Mille's  "This  Day  and  Age"  and  "The 
Texan"  starring  Gary  Cooper,  were  the  first  features  to 
be  televised  under  the  new  set-up. 

"Although  all  television  is  as  yet  experimental,  motion 
picture  producers  with  an  eye  to  the  future  are  cooperating 
with  us  in  the  expansion  of  our  television  service,"  said 
Harry  R.  Lubcke,  director  of  television  for  the  Don  Lee 
Broadcasting  System.  "Since  the  Federal  Radio  Com- 
mission has  ruled  it  experimental,  the  transmission  of  feat- 
ured material  is  prefixed  with  the  prescribed  phrase, 
"These  visual  broadcasts  are  experimental." 

The  new  service  marks  a  distinct  advance  in  television 
perfection.  In  addition  to  closeups,  outdoor  scenes  and 
full  length  shots  are  received  with  surprising  clarity.  A 
certain  newsreel  contained  shots  of  a  women's  swimming 
meet  in  which  it  was  possible  to  see  the  various  contestants 
dive  into  the  water  and  swim  in  their  respective  lanes,  and 
to  notice  a  white-shirted  official  follow  them  in  a  rowboat. 

These  images  were  received  three  and  one-half  miles 
from  the  transmitter  under  regular  home  receiving  con- 
ditions, and  represent  a  much  closer  approach  to  commer- 
cial television  than  the  demonstrations  which  are  being 
held  from  room  to  room  in  a  laboratory,  or  upon  the 
stage. 

Accurate  identification  of  film  subject-matter,  has 
been  reported  by  lookers  as  far  away  as  Santa  Paula,  fifty- 
five  miles  airline  from  the  Don  Lee  Building,  Los  An- 
geles, the  receiver  operators  recognizing  such  objects  as 
pictures  on  the  wall  of  a  room.  Other  reception  reports 
include  accurate  and  useful  data  on  signal  strength,  of 
great  help  in  television  research  continually  being  carried 
on  by  the  Don  Lee  engineers. 

During  the  last  two  and  one-half  years  that  the  sta- 
tions have  been  operating,  over  4,000,000  feet  of  motion 
picture  film  has  been  shown.  This  is  believed  to  be  the 
largest  television  footage  exhibited  by  any  station. 


VERNA  HILLIE,  Paramount  featured  player,  being  shown 
a  tube  from  the  Don  Lee  television  transmitter  W6XS  by 
Harry  R.  Lubcke,  director  of  television  of  the  Don  Lee  Broad- 
casting system,  on  the  occasion  of  the  broadcast  of  the  first 
of  a  regular  series  of  Paramount  features  now  being  trans- 
mitted daily  by  the  Don  Lee  television  stations  W6XS  and 
W6XAO,  Los  Angeles.  Cecil  B.  DeMille's  "This  Day  and 
Age"  and  "The  Texan,"  starring  Gary  Cooper,  were  the  first 
features  to  be  televised  under  the  new  set-up. 

Both  W6XS  (1000  watts,  2150  kilocycles  or  140 
meters),  and  W6XAO  (150  watts,  44,500  kilocycles  or 
bY\  meters)  are  now  operated  from  7  to  9  P.  M.  nightly; 
and  on  Monday,  Wednesday  and  Friday  mornings  from 
9  to  11,  transmitting  images  of  80  lines  at  15  frames  a 
second. 

W6XAO  occupies  all  of  its  three  licensed  bands  on 
the  morning  schedules,  using,  in  addition  to  its  44,500 
kilocycle  frequency  on  Mondays,  66,700  kilocycles  or  \y2 
meters  and  49,400  kilocycles  or  6  meters  on  Wednesdays 
and  Fridays,  respectively. 

Data  on  the  construction  of  a  television  receiver  for 
reception  of  these  broadcasts  will  be  sent  to  those  sending 
in  a  stamped,  self-addressed  envelope  to  the  Television 
Department,  Don  Lee  Broadcasting  System,  Los  Angeles. 


THERE  AIN'T  NOTHIN'  NEW 


According  to  some  fine  old  sales  literature,  recently 
unearthed  by  Delmar  Whitson,  from  forgotten  archives, 
the  radio  was  old  stuff  as  far  back  as  20  years  ago. 

In  those  days,  1913,  the  United  States  Telephone 
Herald  Company  was  organized  to  broadcast  at  a  cost 
of  five  cents  a  day,  by  separate  and  distinct  wire  system, 
every  kind  of  entertainment,  news  matter,  music,  vaude- 
ville, base  ball,  markets,  financial,  bed  time  stories,  special 
announcements,  speeches,  language  lessons,  outline  of  daily 
news,  special  sales,  etc. — and  this  service  was  available 
from  8  A.  M.  to  midnight. 

The  United  States  Telephone  Herald  Company  had 
a  newspaper  of  its  own,  broadcasting  studios,  microphone, 
concert  rooms,  auditorium,  etc.     Everybody  who  listened 


in  had  to  be  equipped  with  an  ear  phone,  but  who  could 
object  to  that  at  a  net  cost  of  five  cents  per  day. 

The  announcer  was  called  a  stentor  (remember  the 
herald  in  the  Iliad?)  and  he  introduced  the  artists  just 
as  in  these  days  except  that  there  was  one  full  minute 
between  each  two  numbers. 

In  1913  the  Oregon  Telephone  Herald  Company, 
associate  company  of  the  United  States  Telephone  Her- 
ald Company  of  New  York,  was  organized  for  service 
at  Portland,  Oregon,  Royal  Building,  F.  S.  Doernbecker, 
president. 

And   listen — it   was   installed   anywhere   without    ex- 


pense to  the  subscriber. 
Please   mention  The    International    Photographer   when   corresponding   with   advertisers. 


November,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Fifteen 


CHROMATIC 

PICTUM  fum 

z,  J^r« 

>f     tfltiqitJl 


This  is  the  seventh  installment  of  the  Cinematographer's 
Book  of  Tables  compiled  and  computed  by  Mr.  Fred  Wester- 
berg,  one  of  the  technical  editors  of  THE  INTERNATIONAL 
PHOTOGRAPHER. 


Cinematographer's 

BOOK  of 
TABLES 

By  FREE)  WESTERBERG 


There  are  several  more  installments  to  come,  concluding 
with  the  January  issue,  1934,  and  when  completed  the  tables 
will  constitute  a  handy  reference  guide  welcome  to  all  cinema- 
tographers,  professional  and  amateur. 

Take  note  that  the  tables  are  so  placed  in  the  magazine 
as  to  be  easily  cut  out  and  bound  into  a  small  pocket  ring 
book.  Cut  down  the  middle  of  page  15;  then  trim  top  and 
bottom  to  fit  your  cover;  punch  holes  to  fit  rings  on  inner  and 
outer  edges  of  magazine  pages  15  and  16.  When  all  tables 
have  been  bound  into  your  ring  book  the  pages  will  number 
from  1  to  32  inclusive  with  complete  index  unless  others  are 
added. 


25 

PROJECTION 
35  mm.  FILM 

WIDTH    OF    PICTURE    OBTAINED    IN     PROJECTION    WITH 

DIFFERENT  LENSES  AT  VARIOUS   DISTANCES   FROM 

THE  SCREEN 


12-B 


Width 

of 
Picture 

on 
Screen 
In  Feet 

DISTANCE  IN   FEET  FROM  PROJECTOR  TO  SCREEN 

3-inch 
Proj. 
Lens 

3i/2-in. 
Proj. 
Lens 

4-inch 
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4i/2-in. 
Proj. 
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5-inch 
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6-inch 
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4.0 

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17 

20 

22 

24 

29 

34 

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18 

21 

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27 

30 

36 

42 

6.0 

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26 

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8.0 

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24.0 

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26.0 

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28.0 

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32.0 

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38.0 

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Sixteen 


The      INTERNATIONAL      PHOTOGkAPHER 


November,  1933 


NEW  OPTICS  FOR  LEICA  CAMERA 

E.  Leitz,  Inc.,  announces  a  new  fifty  millimeter 
lens,  the  Summar  f  :2,  which  possesses  important  charac- 
teristics. This  lens,  due  to  a  revolutionary  optical  de- 
sign, produces  needle-sharp  crispness,  even  when  used  at 
its  widest  aperture.  Because  of  this,  it  is  not  to  be  con- 
fused with  the  so-called  "speed  lenses"  which  sacrifice 
sharpness  and  definition  for  the  sake  of  speed.  It  may 
therefore  be  used  as  an  "all-purpose"  lens  on  the  Leica, 
for  when  stopped  down,  its  sharpness  and  depth  remain 
normal  as  is  customary  with  the  more  normal  lenses. 

The  Summar  f  :2,  50  mm.  lens  is  hailed  as  a  new 
objective  of  rare  qualities,  and  has  already  been  accorded 
unusual  popularity.  Its  value  under  unfavorable  light- 
ing conditions  can  be  well  imagined. 

A  new  135  mm.  Wektor  lens  is  announced  with  the 
Summar  lens.  This  lens  is  identical  to  the  Elmar  lens 
of  the  same  speed  and  focal  length,  but  its  lens  design 
is  quite  different.  It  possesses  a  remarkable  flatness  of 
field  and  color  correction,  hence  is  a  valuable  lens  for 
those  who  require  these  qualities. 

Both  the  new  Summar  and  Wektor  lenses  may  be 
obtained  in  the  regular  or  chromium  mountings.  The 
Summar  comes  in  two  styles,  one  a  fixed  or  rigid  mount- 
ing, the  other  in  collapsible  form  like  the  other  50  mm. 
Leica  objectives. 


SOMETHING  NEW  IN  CLOUDS 

Amateur  photographers  and  home  movie  experts  who 
experience  difficulties  in  obtaining  certain  cloud  effects 
will  undoubtedly  be  thrilled  when  they  see  the  photo- 
graphy in  the  screen  version  of  "Smoky,"  filmed  near 
Flagstaff,  Arizona,  by  Fox  Film. 

In  reproducing  photographically  the  beautiful  clouds 
and  sunsets,  for  which  that  country  is  noted,  Daniel 
Clark,  cinematographer  of  the  picture,  used  a  combina- 
tion of  light  filters  never  before  attempted  by  any  pho- 
tographer. 

Although  the  various  scenic  effects  appear  beautiful 
to  the  eye,  it  is  extremely  difficult  to  register  them  in 
their  proper  values  in  black  and  white  on  the  screen.  By 
means  of  certain  filters  Clark  has  reproduced  nature's 
wonders  as  nearly  as  can  be  done  without  the  use  of  color 
film. 

For  instance,  during  the  filming  of  the  rugged  coun- 
try around  Sedona  Valley,  where  the  colt,  Smoky,  was 
born,  red  was  the  predominating  color  and  red  to  the 
photographer  ordinarily  means  black.  In  the  finished 
picture  these  cliffs  appear  white,  thus  making  it  possible 
to  distinguish  between  shadows  and  highlights. 

"Smoky"  was  adapted  from  Will  James'  novel  and  the 
cast  includes  Smoky,  Victor  Tory,  Irene  Bentley,  Hank 
Mann,  LeRoy  Mason,  Frank  Campeau  and  others. 


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PROJECTION 

16  mm.  FILM 

EFFECT  OF  VARIOUS  MAGNIFICATIONS  ON  THE 
BRIGHTNESS  OF  THE  PROJECTED  PICTURE 


Size 
of  Picture 
On  Screen 
In  Inches 

Horizontal 
Projection 

Screen 

Magnification 

In 

Diameters 

Relative 
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Screen  Image 

at  Various 
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Relative  Light 

Required 

at  Various 

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for  Constant 

Screen 
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9.0  bv  12 

31.6 

1000 

10 

9.7  by  13 

34.2 

861 

12 

10.5  by  14 

36.8 

735 

14 

11.2  by  15 

39.5 

641 

16 

12.0  bv  16 

42.1 

564 

18 

13.5  by  IS 

47.4 

443 

22 

15.0  by  20 

52.6 

360 

28 

16.5  by  22 

57.9 

297 

34 

18.0  by  24 

63.2 

250 

40 

19.5  by  26 

68.4 

213 

47 

21.0  bv  28 

73.7 

184 

54 

22.5  bv  30 

79.0 

160 

63 

24.0  by  32 

84.2 

140 

71 

25.5  by  34 

89.5 

125 

87 

27.0  bv  36 

94.7 

111 

90 

28.4  by  38 

100.0 

100 

100 

30.0  by  40 

105.0 

90 

110 

33.0  by  44 

115.8 

75 

134 

36.0  by  48 

126.3 

62 

160 

39.0  by  52 

136.8 

54 

187 

42.0  by  56 

147.4 

46 

218 

45.0  bv  60 

158.0 

40 

250 

48.0  bv  64 

168.4 

35 

284 

54.0  by  72 

189.5 

28 

360 

60.0  by  80 

210.5 

23 

444 

66.0  bv  88 

231.6 

19 

538 

72.0  by  96 

252.6 

16 

640 

Based  on   Projection   Aperture  .284  by   .380  of  an  inch. 


November,  1933  The      INTERNATIONAL       PHOTOGRAPHER  Seventeen 


Yc 


OU'VE    NEVER    PHOTOGRAPHED 
any  picture  with  a  negative  better  than 

EASTMAN 

SUPERSENSITIVE 

PANCHROMATIC 


J.  E.  Brulatour,  Inc 


Please   mention  The   International   Photographer  when   corresponding  with   advertisers. 


Eighteen 


The      INTERNATIONAL      PHOTOGRAPHER 


November,  1933 


What  Has  Happened  to  Color? 


By  Milton  Moore 


Ye  Editor  of  The  International  Photographer  put 
me  on  the  spot.  He  printed  in  the  October  issue  of 
his  magazine  a  notice  to  the  effect  that  in  the  next  issue 
one  "Milton  Moore,  our  color  expert,  will  tell  what  is 
the  matter  with  color." 

Now,  no  guy  can  call  me  names  and  get  away  with 
it.  Here  is  where  I  take  the  genial  Silas  Edgar  Snyder 
for  a  ride.  I  am  going  to  try  to  tell  "What  is  the  matter 
with  color"  and  the  answer  isn't  what  our  editor  expected 
to  print  in  his  technical  magazine. — The  Author. 

WHAT  HAS  HAPPENED  TO  COLOR 

For  years  and  years  color  photography  has  been  trying 
to  crash  into  the  picture  studios.  Not  until  1929,  when 
she  teamed  up  with  a  new  boy  friend  who  taught  the 
movies  to  talk,  did  she  get  a  break.  What  happened  to 
cur  heroine  in  those  days  is  just  another  tragic  Hollywood 
story.  She  fell  by  the  wayside  and  since  there  are  no  good 
Samaritans  in  the  movie  capital,  she  is  still  there. 

But  all  is  not  lost.  Three  brave  little  pigs  have  come 
to  her  rescue  and  heroically  are  trying  to  put  her  on  her 
feet  again.  It's  a  big  job,  kiddies,  a  big  job  these  fear- 
less little  piggies  have  undertaken. 

The  trouble  with  color  is  not  that  prevalent  and  popu- 
lar alibi  "depressionitis" ;  it's  simply  a  hangover  from  the 
good  old  party  days  when  "inflationitis"  brought  on  a 
severe  attack  of  enlarged  ego  and  high  blood  pressure. 
The  parties  who  directed  the  destinies  of  color  at  that 
time  thought  they  had  the  moving  picture  world  by  that 
part  of  the  anatomy  named  after  a  certain  city  in  Ne- 
braska. They  did — but  color  didn't !  She  has  now  passed 
into  a  coma  complicated  by  an  inferiority  complex,  run- 
over  heels  and  subnormal  S.  A.  In  addition  to  these 
minor  diagnostic  symptoms,  she  is  in  disrepute  and  has 
been  branded.  Burned  into  her  schoolgirl  complexion  is 
the  dollar  mark,  which  is  the  Manhattan  Indian  sign 
meaning  "Taboo"  in  any  language. 

The  mysterious  circumstances  surrounding  her  birth 
may  have  something  to  do  with  the  persistent  hard  luck 
which  has  pursued  my  lady  color  through  all  her  hectic 
career.  Technically  speaking,  color  is  the  illegitimate 
offspring  of  black  and  white,  an  old  time  team  who  origi- 
nated the  cinema   (nickelodeon  to  you.) 

Color  is  synthetic.  It  has  never  been  discovered  as  a 
direct  process.  Chemists  have  searched  for  years  for  a 
substance  on  which  colors  could  be  directly  photographed 
in  color  and  subsequently  reproduced  by  printing.  Such 
a  discovery  would,  of  course,  be  the  answer  to  the  color 
researchers'  prayers — if  any.  But  since  no  wizard  of  the 
test  tube  or  master  of  the  fourth  dimension  or  even  the 
party  who  understands  Einstein's  theory,  has  come  for- 
ward with  such  a  process,  it  looks  as  if  we  would  have  to 
struggle  along  on  the  familiar  bootleg  brand. 

The  two  synthetic  processes  known  to  date  are  the 
addative  and  subtractive.  In  both  the  picture  is  first 
completed  through  the  black  and  white  stages  and  then 
converted  into  color.  The  myriad  difficulties  encountered 
in  such  conversions  are  the  chief  technical  things  which 
are  the  matter  with  color  and  accounts  for  both  the  in- 
different results  and  high  cost.  To  discuss  the  respective 
merits  of  these  two  processes  is  to  open  an  old  Hollywood 
argument  (like  what  sort  of  men  prefer  blondes — and 
why)   and  might  end  in  violence.     Let  it  pass! 


In  '28  and  '29  when  sound  came  to  the  screen  and 
transformed  the  "movies"  into  the  "talkies"  it  brought 
along  a  new  type  of  entertainment  in  the  form  of  the 
musical  extravaganza.  Here  was  an  ideal  set  up  for 
color.  Producers  made  an  honest  and  expensive  effort  to 
break  out  their  dancing  choruses  in  a  manner  befitting 
the  occasion.  They  tried  color  and  they  report  that  in- 
creased production  costs  were  not  offset  by  box  office 
returns. 

This  was  a  natural  reaction  on  the  part  of  the  cash 
customers.  They  refused  to  be  fooled.  They  had  been 
looking  at  Dame  Nature  so  long  they  knew  natural  colors 
were  not  limited  to  the  blue-green  and  orange-red  which 
they  saw  on  the  screen.  Color  failed  to  draw  over  pic- 
tures of  the  same  type  released  currently  in  black  and 
white  and  sound.  So  died  the  two-color  phase  of  sound 
pictures.  All  of  which  is  a  sad  state  of  affairs,  for  pro- 
ducers have  gone  sour  on  the  whole  color  family  and 
have  been  consistently  giving  all  of  us  film  dunkers  the 
run  around. 

Color  is  dead — Long  live  Color ! 

Here  comes  Mickey  Mouse's  papa  with  a  brand  new 
three-color  Technicolor  process  which  he  is  plugging 
through  the  land.  In  the  hands  of  a  master  cartoonist 
and  clever  entertainer  like  Walt  Disney,  color  has  again 
crashed  into  the  headlines.  Here  is  a  combination  that 
is  not  only  paying  dividends,  but  has  the  erstwhile  color- 
blind cash  customers  standing  on  their  seats  yelling  for 
more. 

Dame  Rumor  whispers  that  this  process  which  is  now 
limited  to  cartoons  will  be  made  available  for  produc- 
tions of  all  classes.  Meantime  the  rival  color  companies 
are  taking  nothing  for  granted  and  the  quest  for  cheap 
three  color  goes  merrily  on.  The  main  objection  to  all 
these  schemes  is  that  the  addition  of  the  third  color  com- 
plicates the  same  old  synthetic  process  of  conversion  from 
the  black  and  white.  Two  color — two  negatives;  three 
colors — three  negatives,  and  the  further  difficulties  of 
superimposing  three  images  on  the  print. 

Color  is  in  the  process  of  evolution  and  can't  make 
up  its  mind  whether  it  wants  finally  to  emerge  as  a  he 
or  a  she — addative  or  subtractive.  But  one  thing  is  cer- 
tain. When  this  chromatic  person  comes  out  of  the  la- 
boratory she  must  be  completely  rejuvenated — not  simply 
a  good  cosmetic  repaint  job.  She  will  have  to  face  the 
world  in  a  new  coat  of  raiment  which  looks  like  a  million 
and  costs  a  nickel  or  she  will  get  slapped  right  back  into 
oblivion.  She  must  emerge  like  the  new-born  butterfly 
breaking  free  of  the  cocoon,  resplendent  in  all  the  colors 
of  the  well  known  rainbow. 

There  are  dozens  of  experimenters  working  toward 
this  end.  I  doubt  if  there  is  a  cameraman  in  Hollywood 
who  can't  reach  into  that  dark  recess  located  between 
his  ears  and  pull  out  a  theoretically  perfect  (and  secret) 
answer  to  color  photography. 

Some  of  us  can  even  go  one  better.  If  you  aren't  con- 
stantly on  guard  we  will  back  you  into  a  corner  and  hold 
bits  of  vari-colored  film  before  you  until  you  go  cock- 
eyed. We  always  end  up  by  explaining  that  if  we  could 
only  get  some  producer  to  help  out — 

Moving  picture  studios  are  not  proving  grounds  for 
technical  experiments.     Producers  maintain  what  is  proba- 


Please   mention  The   International    Photographer   when   corresponding   with   advertisers. 


November,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Nineteen 


bly  one  of  the  most  unique  and  expensive  research  labora- 
tories in  the  world.  Millions  of  dollars  are  spent  in  dis- 
covery and  development  of  talent  for  the  screen.  They 
scout  the  world  over  from  Oshkosh  to  Timbuctoo  search- 
ing for  a  comedian  who  can  wiggle  his  ears  a  bit  funnier 
than  the  other  guy,  or  a  new  beauty  from  "over  there" 
who  can  say,  "I  go  home  now"  in  a  new  dialect.  If  they 
make  a  wrong  guess  on  potential  starring  material  it's 
just  too  bad. 

It  is  the  business  of  the  executives  of  any  manufactur- 
ing concern  to  buy  raw  material,  convert  it  into  a  salable 
product  and  sell  it.  The  raw  materials  which  come  to 
the  moving  picture  plant  are  human  emotions  both  in  the 
flesh  and  in  the  script.  These  must  be  woven  into  enter- 
tainment. Color  is  valuable  in  this  weaving  process  only 
to  the  degree  in  which  it  will  enhance  the  sales  value  of 
the  finished  product.  Up  to  date  color  has  failed  in  this 
particular — failed  because  of  technical  imperfections,  be- 
cause of  increased  costs  and  because  it  lacked  box  office 
appeal.  Since  the  last  two  are  the  effects  of  the  first, 
which  is  the  cause,  why  bring  them  up?  Search  me.  Let 
it  go — let  it  go! 

Color  is  condemned  to  the  guillotine,  the  gallows  and 
the  electric  chair,  but  save  your  tears,  folkses,  it  shall  not 
die,  for  the  simple  reason  that  there  is  money  in  it. 

To  establish  premises  for  that  statement  it  will  be 
necessary  to  indulge  in  one  of  those  Hollywood  reviews 
and  reel  back  a  couple  of  sequences  until  we  get  to  reel 
No.  1,  which  lands  us  back  in  the  days  when  our  nega- 
tive stock  was  limited  to  orthochromatic.  There  was  a 
film!  It  refused  to  see  anything  but  white  or  blue  light 
and  paid  only  slight  attention  to  the  rest  of  the  colors. 
It  was  entirely  blind  to  the  passionate  appeal  of  red, 
placing  it  in  a  class  with  black,  which  in  the  mathematics 
of  light  is  zero. 

Orthochromatic  negative  was  the  cameraman's  pal. 
Along  about  three  P.  M.  we  used  to  fold  up  the  works 
with  a  curt  "Gotta  quit  now,  the  light's  gettin'  yellow." 
We  struggled  along  with  this  alibi  stock  for  a  long  time. 
Our  compositions  photographically  were  distinctly  black 
and  white.  Contrast  was  the  order  of  the  day.  Trans- 
late all  this  into  music  and  you  have  the  effect  of  a  pianist 
massaging  the  keyboard  from  end  to  end  and  getting  re- 
sponse only  from  high  C  and  low  G — or  something. 

In  those  days  we  used  to  train  our  lenses  optimistically 
on  a  California  landscape  with  its  blue-veiled  mountains 
standing  against  a  deep  blue  sky  in  which  majestically 
floated  billowing  white  clouds.  But  all  we  got  on  the 
screen  was  a  landscape  which  might  have  been  anywhere, 
for  our  blue-veiled  mountains,  blue  sky  and  white  clouds 
were  not  there.  They  had  photographed  as  one,  just  a 
blank  wall  of  white. 

Then  the  manufacturers  of  raw  film  gave  us  pan- 
chromatic negative  stock.  They  had  been  making  this 
type  of  film  for  still  photographers  for  a  long  time,  but 
it  was  considered  too  tricky  for  the  cinematographer  who 
must  take  photographic  conditions  as  he  found  them.  The 
makers  recommended  that  the  new  negative  be  used  cau- 
tiously and  only  on  special  jobs  and  that  it  be  used  with 
a  filter  designed  to  give  a  certain  effect. 

We  were  warned  that  Panchromatic  was  color  sensi- 
tive to  the  entire  solar  spectrum,  especially  to  the  red. 
Every  cameraman  in  movieland  fell  ill  with  a  bad  case 
of  the  "jitters"  and  our  photographic  world  was  turned 
topsy-turvy.  We  had  to  forget  the  blue  sensitive  nega- 
tive and  face  new  problems  presented  by  the  red  sensitive 
panchromatic.  Gradually  we  found  out  things  about  the 
new  film  and  the  mountains,  sky  and  clouds  began  to 
take  their  proper  places  in  the  scheme  of  things.  On 
panchromatic  film  we  could  photograph  colors  in  their 
respective  monotone  values. 


Then  came  sound.  The  old  sputtering  arc  lights  we 
used  with  the  orthochromatic  film  got  on  the  mixer's 
nerves  and  had  to  go.  We  were  forced  to  use  the  silent 
incandescent  lamps  on  the  set  and  because  these  lamps 
gave  out  a  yellow-red  light  we  were  forced  to  use  pan- 
chromatic negative.  Since  that  time  the  color  range  sensi- 
tivity of  the  panchromatic  film  gradually  has  been  broad- 
ened. The  recent  introduction  of  a  new  type  panchro- 
matic with  a  practically  perfect  "color  separation"  has 
vastly  increased  the  subtle  influence  of  monotone  shading, 
present  in  the  original  subject  in  color,  and  has  made 
monotone  reproductions  more  natural. 

What  has  all  this  to  do  with  color? 

Oh,  that  is  just  an  unique  way  of  explaining  that  every 
individual  in  the  motion  picture  racket  from  manufac- 
turers of  raw  stock  through  the  production  staff  down 
to  the  laboratory  technician  has  been,  and  is  now,  intent 
upon  transferring  colors  to  the  screen  in  tones  of  black  and 
white  and  greys. 

In  characteristic  moving  picture  fashion  we  have  been 
saying  all  along  that  we  haven't  any  satisfactory  color 
process  and  couldn't  use  it  if  we  had,  because  we  don't 
like  color  anyway.  And  all  the  time  we  have  been  em- 
ploying every  device  of  the  art  and  science  of  photo- 
graphy to  perfect  the  black  and  white  and  bring  it  as 
closely  as  possible  to  color.  We  have,  in  fact,  put  color 
on  the  screen — in  black  and  white.  We  have  gone  as 
far  as  we  can  with  the  monotone  medium.  The  next  step 
is  COLOR. 

We  will  now  introduce  again  our  pianist  of  Act  One. 
He  has  grown  long  hair.  He  has  become  more  artistic. 
He  plays  with  feeling.  He  romps  up  and  down  the  key- 
board, hitting  them  all.  There  are  no  blanks.  He's  got 
the  ivories  under  control  at  last  and  he  "goes  to  town" 
with  a  popular  melody.  But  he  isn't  getting  anywhere. 
He's  standing  on  the  soft   pedal  with  both  feet! 

So  what  ? 

The  new  day  of  color  is  on  the  horizon.  It  must 
struggle  to  the  zenith  through  a  great  bank  of  black  and 
white  storm  clouds  from  which  come  thunderous  rum- 
blings which  sound  very  much  like  someone  grumbling 
about  production  costs. 

The  new  color  of  the  near  future  will  be  an  all- 
color  process;  simple  and  fool-proof.  It  will  require  no 
new  cameras  or-  projectors.  It  will  cost  more,  but  not 
(Turn  to  Page  28) 


THE  ASSISTANTS  TALK  IT  OVER 


"Did  you   see   Mae  West's   new   picture?" 
"No,  did  she  have  one  taken?" 


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Twenty 


The      INTERNATIONAL      PHOTOGRAPHER 


November,  1933 


HOW  TO  MAKE  A  CAMERA-STAND 


By  James  N.  Doolittle 


Camera  Stand  Adapted  from 
X-Ray  Apparatus. 
Left — Frontal  elevation  of 
unique  studio  equipment  show- 
ing camera  raised  to  maximum 
height  (about  six  feet).  Note 
that  the  extension  bracket  per- 
mits the  camera  to  be  tilted 
about  an  axis  perpendicular  to 
the  supporting  column.  For 
leveling  purposes  it  may  also 
be  adjusted  laterally. 

Right — The  very  same  thing 
in  position  for  low-down  pho- 
tography. The  knee-chest  po- 
sition is  recommended  as  the 
proper  posture  for  peering  into 
the  groundglass!  The  lens  is 
about  twenty  inches  above  the 
floor. 


At  a  quick  glance,  this  might  appear  like  another 
of  my  sparkling  wise-cracks  until  I  go  on  to  say  that 
I  have  no  idea  that  the  method  of  making  a  camera 
stand  presents  difficulties  to  any  of  you.  Especially  is 
this  true  of  the  older  men  who  have  been  making  cameras 
stand  for  years.  In  fact  you  have  made  many  of  them 
stand  for  altogether  too  much. 

More  to  the  point,  I  should  have  made  this  head 
read:  "How  to  Make  a  Stand  for  a  Camera" — a  por- 
trait or  commercial  camera,  in  this  case.  One  should 
be  less  frivolous  in  technical  matters ;  so  we  get  on  with 
the  description. 

In  a  late  article — several  weeks  late — I  ventured  the 
information  that  no  one  had  up  to  that  time  developed  the 
ideal  tripod  and  that  I  should  straightway  do  something 
about  it.  I  did,  or,  in  a  manner  of  speaking,  have  done 
just  that  thing  and,  if  the  tripod  isn't  exactly  the  con- 
ventional legged  contrivance  which  holds  up  the  familiar 
still  camera,  it  is  because  my  somewhat  unconventional 
requirements  prompted  me  to  get  tricky  about  it  and 
make  something  more  exactly  suited  to  my  still  uncon- 
ventional nature.  Besides  the  thing  is  actually  tri-pedal 
— not  three-legged,  to  be  etymologically  accurate. 

Let  me  digress  right  here  while  calling  your  atten- 
tion to  the  article  in  which  I  made  known  my  determi- 
nation to  do  something  about  the  tripod  matter  and  take 
a  verbal  swing  at  our  Editor.  You  know  how  these 
editors  are — you  write  a  perfectly  ducky  piece  of  tech- 
nical literature,  headings  and  everything,  hand  it  in  to 
him,  who  hasn't  much  to  do,  except  paste  the  stuff  in 
a  dummy  every  month  and  shoot  it  to  the  printers,  and 
he  has  to  add  a  quip  of  his  own  right  out  in  front  so 
it  will  be  sure  to  engage  your  attention. 

He  did  that  to  my  article  about  that  three-color 
camera  I  made  and  said  that  I  utilized  spare  parts  pur- 
chased at  Woolworth's.*  There  are  laws  about  slander, 
libel,  bearing  false  witness  against  thy  neighbor  or  some- 
thing, under  which  even  an  editor  should  be  made  to 
cringe  before  the  bar  of  Justice — if  it's  the  only  bar 
he  can  locate — for  making  such  unguarded  statements. 
I  did  make  the  camera  in  my  garage,  just  as  he  let  me 
say,  but  as  for  obtaining  the  parts  in  Woolworth's — 
why,  a  pox  upon  him ! 

Now  I'll  tell  you  about  the  camera  stand.  You  see 
I  run  a  sort  of  photographic  studio  where  one  has  to 
make  all  kinds  of  pictures  for  these  ads  which  you  see — 
or  do  you — in  the  magazines  and  newspapers.  The 
peculiar  aversion  which  art  directors  have  against  stuff 


being  photographed  from  the  point  of  the  unaided  human 
eye  makes  it  necessary  to  select  the  "unusual"  angle  for 
nearly  everything  one  shoots.  Now  a  tripod,  be  it  ever 
so  adaptable  and  versatile  in  an  acrobatic  sense,  severely 
cramps  one's  creative  style  by  reason  of  its  inherent  in- 
stahility  when  one  wishes  to  point  the  camera  heaven- 
ward or  in  a  direction  radial  to  the  center  of  the  earth. 
"Up"  and  "Down"  if  you  want  it  in  non-technical  terms. 
Nor  is  the  regular  type  of  studio  stand  adapted  to  any 
useful  purpose  except  as  an  article  of  furniture.  It  looks 
impressive  and  imparts  an  air  of  general  well-being  to 
the  atelier. 

I've  known  all  this  a  long  time  without  being  able 
to  do  much  about  it.  So,  as  I  said  a  moment  ago,  I'll 
tell  you  about  the  stand  and  how  you  too,  gentle  reader, 
may  be  just  as  well  equipped  as  I. 

By  reference  to  the  pictures  herewith  (which  is  the 
only  reason  for  publishing  them)  you  will  probably 
guess  that  I  didn't  make  the  thing  at  all  but  merely 
adapted  a  piece  of  apparatus  designed  for  an  entirely 
different  purpose.     Right ;  that's  exactly  what  I  did. 

Acquisition  of  the  main  elements  of  this  camera  stand 
is  the  simple  matter  of  going  to  the  Victor  Electric 
Company — branches  in  all  principal  cities* — and  ask  for 
a  complete  X-ray  installation.  Of  course  you'll  get  a 
lot  of  non-essentials — transformers,  insulators,  cable, 
fluoroscopes,  etc.,  but  one  never  knows  what  to  leave 
out  because  things  have  a  way  of  becoming  tremendously 
useful  when  least  expected.  Among  other  things  there'll 
probably  be  a  "tube"  or  two.  Just  why  they're  called 
tubes  will  stump  you  when,  in  a  general  way,  they  more 
c'osely  resemble  gold-fish  bowls.  But  don't  let  it  get  you 
down.  You  can,  in  fact,  break  off  one  of  the  cylindrical 
protuberances  and  actually  use  it  as  an  aquarium  or 
crochet  something  on  it  and  use  it  for  a  Christmas  present. 

As  you  look  over  the  ton  or  two  of  hardware,  it 
will  gradually  occur  to  you  that  there  is  a  lot  of  stuff 
which  has  but  little  bearing  on  the  case  and  proceed 
to  lay  it  by.  All  except  the  shiny  upright  column  on  three 
feet  and  little  wheels  which  is  to  become  the  hero  of 
the  story.  This,  too,  is  equipped  with  an  abundance  of 
fittings  which  probably  have  some  real  function  in  roent- 
genological work  and  these,  as  soon  as  their  usefulness 
has  been  detected,  may  be  put  by.  Mainly,  the  residue 
will  then  be  represented  by  this  shiny  pole  firmly  im- 
planted vertically  in  the  heavy  castings  forming  the  base, 
and  a  sliding  bracket  consisting  of  a  number  of  loose- 
coupled  arms  and  shoulders.  Hang  on  to  these  for  they 
are  to  become  very  useful  members  of  this  unique  ac- 
cessory. Way  out  on  the  end  of  the  limb,  you'll  see 
an  aluminum  plate  with  a  hole  in  the  middle  of  it  which 
was  intended  to  hold  that  "tube"  so  it  could  be  suitably 
adjusted  over  one's  chassis  when  one's  innermost  recesses 
were  being  scanned.  It  is  of  absolutely  no  use  here  so 
may  be  safely  given  to  the  children  to  play  with  and  lose 
if  possible.  In  place  of  this  thing,  fit  a  flat  piece  of 
Dural  equal  in  size  to  the  bottom  of  the  camera  upon 
which  it  is  ultimately  to  rest  and  of  such  gauge  as  to 
form  a  firm  support.  Quarter  inch  stuff  is  adequate. 
With  a  hole  through  this  for  the  regular  tripod  screw, 
the  thing  is  no  longer  an  X-ray  stand  but  the  best  piece 
of  laboratory  furniture  yet  conceived. 

It  will  be  found  that  the  camera  has  at  last  become 
a  wonderfully  flexible   instrument,  will   rise  and   fall   at 


*  I    hereby    affirm    that    not    one    cent   was   paid   to    me    for    this   tes- 
timonial. 


*lt  was  Kress'.  (Turn  to  Page  29) 

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November,  1933 


The      INTERNATIONAL      PHOTOGRAPHER 


Twenty-one 


THE   NEWSREEL  WORLD 

By  Ray  Fernstrom 

Home  again !  The  more  I  see  of  other  places,  de- 
lightful as  some  of  them  are  (especially  Sweden)  the 
more  I  love  California  and  good  ole  Hollywood. 

Across  the  North  Atlantic 

The  beautiful  white  Drottningholm  sailed  with  your 
reeler  from  Gothenburg  the  sixteenth  of  September. 
Ahead  lay  New  York. 

As  all  old  travelers  do,  I  almost  immediately  sought 
out  the  dining  salon  steward  to  secure  a  small  table, 
alone  in  a  corner,  for  my  meals.  As  usually  results  in 
such  cases  of  lone  gents,  when  lunch  was  served  I  found 
myself  at  a  bachelor  table.  There  were  five  of  us.  Each 
eyes  the  other  suspiciously  after  the  formal  Swedish  in- 
troductions. Each  steps  up  to  the  table  already  occupied 
by  some  of  the  others,  bows  and  speaks  his  name.  The 
others  arise,  bow  and  speak  their  respective  names. 

The  liquor  steward  comes  for  orders.  Each  orders 
according  to  his  taste — Kron,  Renat,  O.  P.  or  Overste. 
These  are,  as  my  readers  might  guess  by  now,  the  Snapps, 
akvavit,  plain  appetitzing  potato  alcohol.  Strange  as  it 
may  seem,  the  man  facing  me  was  returning  to  the  States 
with  a  large  load  of  empty  akvavit  bottles.  Upon  ques- 
tioning, he  explained  that  these  were  sample  bottles  to 
use  for  display.  When  the  Eighteenth  Amendment  is 
repealed  the  real  FULL  bottles  will  be  on  their  way. 
So  he  paid  for  the  first  round  of  appetizers. 

The  next  man  was  a  Swede,  a  real  honest-to-goodness 
baron,  but  also  a  regular  guy,  and  one  that  the  whole 
gang   immediately   took   to.     After   a   few   days  we   had 


all  laid  aside  titles  (described  in  earlier  installments) 
and  he  became  plain  Eric.  The  man  at  the  head  of  our 
table,  a  rotund,  happy  Swedish  Jew,  became  Bubblan 
and  the  cheer  leader  of  the  mess. 

Alongside  of  me  sat  a  young  man  whom  we  dubbed 
Snobble ;  as  for  me,  I  become  Kalif ornia  Pelle.  To- 
gether we  drank  and  played  ourselves  into  forming  a 
trans-Atlantic  sea  rovers'  club.  The  Drottningholm  be- 
came the  sea  going  club  house  and  the  cheerful  Red  Bar 
the  meeting  place.  Some  of  the  members  were  so  re- 
luctant to  leave  that  cheerful  salon  that  they  even  had 
the  good  natured  barber  shave  them  there. 

Across  America  by  Bus 

Others  travel  West  by  plane,  and  some  by  train,  even 
others  via  the  canal  on  boats,  but  your  newsreel  friend 
came  West  by  bus,  one  of  those  doggy  Greyhounds.  I 
had  heard  many  tales  of  long  distance  bus  travel,  the 
bouncing,  the  lack  of  sleep,  changes,  etc.,  so  I  was  tempted 
to  try  it. 

On  looking  over  the  bus  transportation  situation  I 
received  one  pleasant  surprise  after  the  other.  First, 
the  price,  $39.75  for  the  journey  from  New  York  to  Los 
Angeles.  Bear  that  in  mind,  for  the  show  en  route  is 
worthy  twenty  times  that  price  without  even  consider- 
ing the  ride.  It  was  one  human  interest  story  after 
another,  but  let  me  try  to  start  from  the  beginning. 

When  I  say  from  the  beginning,  let's  start  with  the 
beginning  of  the  Greyhound  Lines.  You  can  imagine 
my  surprise  when  I  met  Mr.  Walker,  the  manager, 
to  be  told  that  this  great  transportation  system  was 
started  by  a  SWEDE,  Erick  Wickman,  to  be  exact. 
When  I  heard  that  I  knew  at  once  where  I  had  seen 
(Turn  to  Page  26) 


B  &  H  Cooke  V aro  Lens 


B    &    H    Cooke    Varo    Lens    in   photographing 
position  on  the  Bell  &  Hoivell  Camera. 


I^TEVER  before  has  there  been  a  "zoom"  lens  anything  like 
"  the  Bell  &  Howell  Cooke  Varo  lens  in  its  speed,  quality 
of  definition,  and  ease  of  use.  At  F  3.5  the  range  is  from  40 
mm.  to  50  mm. ;  at  F  4.5,  from  40  mm.  to  85  mm.,  and  at 
F  5.6  and  F  8  the  full  "zoom",  from  40  mm.  to  120  mm.,  is 
obtainable.  Adjustable  stops  provide  for  limiting  the  "zoom" 
as  desired. 

One  crank  controls  all  moving  parts.  The  iris  is  varied  auto- 
matically with  the  focal  length  to  keep  the  f/  value  constant. 
Close  focusing  is  done  with  auxiliary  lenses.  Write  for  full 
details.     Sometimes  available  on  rental  to  responsible  studios. 


B  &  H  Cooke  F*2  Speed  Panchro  Lenses 


BELL  &  HOWELL 

COMPANY 

1849  Larchmont  Ave.,  Chicago;  11  West  42nd  St.,  New 
York;  716  North  La  Brea  Ave.,  Hollywood;  320 
Regent  St.,  London    (B  &  H   Co.,  Ltd.).     Estab.   1907. 


B  &  H  Cooke  F  2  Speed  Panchro 
Lenses  were  designed,  for  today's 
studio  requirements,  to  focus  the 
blue  and  red  rather  than  the  blue 
and  yellow  rays.  This  was  so 
successfully  accomplished  that  the 
lenses  are  almost  apochromatic. 
They  have  replaced  practically 
all   others   in   the   leading   studios. 


Made  in  eleven  focal  lengths, 
from  24  to  108  mm.  B  &  H  Cooke 
F  2.5  Panchro  Lenses  offer  the 
same  remarkable  correction.  At 
considerably  lower  prices  they 
meet  many  needs  where  their 
speed  is  adequate.  Seven  focal 
lengths  from  35  to  162  mm.  Write 
for  details  and  prices. 


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Twenty-two 


The      INTERNATIONAL      PHOTOGRAPHER 


November,  1933 


Hollywood's  Allied  Industries 


THE  TROPICAL  FILM  COMPANY 

La  Compania  Nacional  de  Cinematograficas  de  las 
Republicas  de  Guatemala  y  El  Salvador 

The  main  studio  of  this  company  will  be  established 
at  Antigua,  Guatemala,  among  the  ruins  of  the  old  capital 
of  Don  Pedro  de  Alvarado.  A  subsidiary  company  will 
be  established  in  the  city  of  San  Salvador  in  the  Re- 
public of  El  Salvador.  These  two  studios  will  be  admin- 
istered by  a  group  composed  of  the  officials  of  the  two 
governments  and  the  cinematographic  engineers  who  are 
members  of  this  company. 

This  venture  has  been  approved  by  His  Excellency, 
the  President  of  the  Republic  of  El  Salvador,  General 
Maximiliano  Hernandez  Martinez;  the  Honorable  Min- 
ister of  Foreign  Relations,  Doctor  Miguel  Angel  Araujo 
and  the  Honorable  Minister  from  El  Salvador,  Senor 
Don  Roberto  D.  Melendez.  For  Guatemala,  His  Ex- 
cellency, the  President  of  the  Republic  of  Guatemala, 
General  Jorge  Ubico;  the  Honorable  Ministers  of  For- 
eign Relations,  Public  Education,  and  Agriculture.  The 
Honorable  Minister  from  Guatemala,  Senor  Doctor 
Adrian  Recinos;  the  Honorable  Consul  General,  Senor 
Doctor  F.  Marquez,  Jr.,  and  the  Honorable  Senor  Doctor 
Frederick  Waller,  Consulado  of  Guatemala  at  Los  An- 
geles, California.  All  of  these  esteemed  gentlemen  have 
supported  this  company  and  the  success  of  the  venture  is 
due  to  their  kind  efforts  and  co-operation. 

Productions  will  be  made  under  the  supervision  of  the 
technical  staff  of  this  company  which  is  composed  of 
technicians  from  the  five  I.  A.  T.  S.  E.  Locals  of  the 
Motion  Picture  Industries.  Themes  for  pictures  will  be 
from  the  books  of  James  Churchward,  "The  Lost  Conti- 
nent of  Mu,"  "The  Children  of  Mu,"  and  "The  Symbols 
of  Mu."  Dramatic  talent  will  be  native  Central 
Americans. 

Additional  stories,  not  of  an  archaeological  type,  will 
be  produced  from  literary  works  by  Spanish  authors  and 
special  attention  will  be  given  to  keep  these  productions 
wholly  Latin  in  character  and  treatment.  Musical  scores 
for  these  pictures  will  be  from  ancient  manuscripts  now  in 
the  National  Conservatory  of  Music  of  Guatemala  and 
from  native  tunes  which  have  never  been  written  or  re- 
corded. 

An  expedition  Avill  be  organized  which  will  seek  out 
and  photograph  the  lost  race  of  Quetzales  who  are  a  race 
of  people  white  of  skin,  blue  eyed  and  with  golden  hair. 
Many  unknown  species  of  animals,  birds  and  reptiles 
will  also  be  photographed.  A  complete  series  of  short 
subjects  dealing  with  these  subjects  will  be  made  for  re- 
lease in  the  United  States. 


Equipments  for  these  two  studios  will  be  purchased 
in  Hollywood  and  installed  by  the  members  of  this  com- 
pany who  will  also  install  and  initiate  a  system  of  Visual 
Education  in  the  schools  and  educational  institutions  of 
the  two  Republics  aforementioned.  Efforts  will  also  be 
made  to  establish  in  Los  Angeles  a  Tourist  Bureau  in 
which  still  and  motion  pictures  will  be  kept  for  rental  to 
commercial  societies  seeking  information  on  Central 
America. 

When  the  studios  are  established  native  Central 
Americans  will  receive  instruction  in  motion  picture 
technic  from  the  cinematografic  engineers  of  this  com- 
pany and  will  be  permitted  to  operate  the  studios  under 
the  supervision  of  the  membership  of  I.  A. 

It  is  planned  to  make  these  studios  complete  in  every 
respect  and  to  operate  them  under  the  patronage  of  the 
two  Republics. 


WHAT  DO  YOU  KNOW! 

By  Phil  Tannura 
There  have  been  so  many  of  the  boys  of  659  writing 
me  to  find  out  what  the  chances  are  for  working  in 
Europe  and  the  conditions,  that  it  has  tempted  me  to 
write  the  following,  so  that  anyone  contemplating  a  jump 
overseas  will  know  what  is  in  store  for  him.  At  the 
present  time  it  isn't  so  difficult  as  it  was  three  or  four 
years  ago,  when  I  first  arrived  on  this  side  of  the  At- 
lantic. But  to  know  these  things  won't  do  anyone  harm, 
so  here  goes — wrack  your  brain  and  see  if  you  are  eligible. 
Do  you  know : 

1.  The   mechanics   of    a   camera,    Mitchell,    Bell   & 
Howell  and  De  Brie  ? 

2.  What  kinds  of  motors  are  used   on  cameras  for 
silent  and  sound    (cycles,  revolutions,   phases)  ? 

3.  About  different  specimens  of  negative  film? 

4.  Filter    combinations    and    values    under    different 
lighting  conditions? 

5.  About  lighting  equipment  and  costs? 

6.  Workings  of  a  laboratory? 

7.  Back  projection  shots  and  plates  combined? 

8.  Miniature  shots? 
How  to  ship  film  and  insurances? 
Custom  duties? 

Contract   guarantees   and    foreign    income   taxes? 
Foreign  languages? 

Working  permits  for  different  countries? 
Value  of  different  currencies? 


9. 
10. 
11. 
12. 
13. 
14. 
15. 


Passport  regulations? 


All  these  things  are  taken  care  of  in  Hollywood  for 
you,  but  if  you  were  on  your  own  could  you  overcome 
these  difficulties  without  the  aid  of  Hollywood  ? 


Four  Acres  of  Automobile  Service 

Cameramen's  Headquarters 

Distributors  for  Philco  Transitone  Radios 

"WORLD'S  GREATEST  SERVICE  STATION" 
6380  SUNSET  BLVD.,  NEAR  CAHUENCA,  HOLLYWOOD 


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November,  1933 


The      INTERNATIONAL   PHOTOGRAPHER 


Tzventy-three 


VICTOR'S  BIG  ORDER 

Victor  Animatograph  Corporation  broadcasts  the  im- 
portant news  that  Victor  has  closed  with  the  Agricul- 
tural Department  for  105  Sound-on-Film,  16  mm.  Ani- 
matophones  to  be  used  for  educational  projects,  among 
them  the  instruction  of  the  300,000  young  men  who  are 
in  the  1440  camps  of  the  Citizens'  Conservation  Corps. 
Let  Victor  tell  the  rest  of  it : 

...  It  is  believed  that  the  views  of  President  Roose- 
velt himself  had  a  great  deal  to  do  with  the  final  issu- 
ance of  the  order  to  proceed  with  the  original  plan  of 
using  motion  pictures  to  expedite  the  job  of  properly  in- 
structing the  Citizens'  Conservation  Corps  in  conserva- 
tion work. 

Inasmuch  as  the  films  to  be  used  for  this  purpose  were 
already  in  existence,  having  been  produced  by  the  Depart- 
ment of  Agriculture  for  previous  educational  projects, 
projection  equipment  offered  the  greatest  problem  in  con- 
nection with  actual  application.  Quite  a  number  of  the 
available  films  are  without  sound  and,  although  sound  ts 
being  recorded  as  rapidly  as  possible  for  these  subjects, 
provision  has  to  be  made  for  silent  as  well  as  sound  pro- 
jection. 

It  was  necessary,  also,  that  the  equipment  be  easily 
portable  and  adaptable  to  a  variety  of  operating  condi- 
tions, as  each  projector  will  be  constantly  moved  around 
a  circuit  comprised  of  about  14  camps. 

The  fact  that  operation  and  care  of  the  equipment 
was  to  be  entrusted  to  inexperienced  camp  members  (to 
be  especially  selected  for  the  responsibility)  required  an 
equipment  incorporating  extreme  simplicity  and  great  dur- 
ability, as  well  as  utmost  efficiency. 

Last,  but  not  least,  economy  of  cost  and  upkeep  was 
a  factor  of  major  importance.  The  Department  had  a 
job  to  do  and  a  limited  appropriation  with  which  to 
do  it. 

There  was  only  one  answer:  16  mm.  equipment.  The 
question  was  whether  or  not  there  was  available  an 
equipment  that  could  unconditionally  meet  each  of  the 
several  requirements. 

Bids  with  detailed  specifications  were  mailed.  Ex- 
haustive tests  were  conducted.  The  order  was  placed — 
for  105  Victor  Model  12B  Blimp  Type  Sound-on-Film 
Animatophones.     Delivery  has  been  practically  completed. 

If  the  reader  harbors  the  opinion  that  Uncle  Sam  is 
a  slip-shod  buyer  or  the  easy  prey  of  unscrupulous  sales- 
men, let  him  try  selling  the  Department  of  Agriculture  a 
motion  picture  projector! 

The  equipment  that  can  weather  the  merciless  criti- 
cism,   the   brutal   treatment   and    the    incessant    prodding 


and  testing  and  running  of  a  Department  of  Agriculture 
buyer  should,  by  all  rights,  be  inscribed  with  the  motto: 
"I  can  take  it." 


MONARCH   SOUND  PROJECTOR 

An  installation  of  Monarch  Sound  Projectors  of  the 
improved  type  has  just  been  completed  at  the  Elysian 
Theatre.  These  machines  replace  two  of  the  earlier 
models  that  have  seen  fifteen  months  of  trouble-free  ser- 
vice. The  Monarch  Sound  Projector  is  the  develop- 
ment of  Frank  Arrousez,  inventor  of  the  highly-satis- 
factory Laco  Light,  who  acts  as  sales  manager  for  the 
Monarch  Sound  Corporation,  which  will  soon  move 
its  offices  to  5951  Santa  Monica  Boulevard.  This  pro- 
jection machine  is  built  entirely  in  Hollywood  and  Mr. 
Arrousez  claims  it  to  be  the  last  word  in  mechanical 
refinements.  The  Monarch  Sound  Corporation  will 
specialize  in  the  construction  of  sound  projection  equip- 
ment, with  "Ultra  Dependable"  for  its  motto. 

Charles  Felstead,  Associate  Editor. 


THE  KO-OPERATIVE  KOMMISSARY 

A  group  of  the  bachelor  boys  of  the  International 
Photographers  have  organized  the  Ko-operative  Kommis- 
sary  with  club  house  at  6683  Lexington  Boulevard, 
Hollywood. 

It  is  a  non-profit  organization,  the  principal  feature 
being  the  culinary  department  which,  for  the  time  being, 
will  be  under  the  direction  of  Tod  LeClede,  who  is  a 
chef  of  experience. 

The  Kommissary  opened  Monday,  October  30,  with 
twenty  odd  members  on  the  roster  and  a  menu  that  de- 
lighted all  the  cash  customers.  A  great  success  is  fore- 
cast for  this  new  departure. 


SCREENCRAFT  AGAIN 

George  Meehan  reports  the  completion  of  another  big 
Screencraft  production  by  Al  Alt  and  Sam  Katzman, 
working  at  Alexander  Bros.  Studios  and  under  direction 
of  Fred  Neumeyer.  The  cast  included  Boots  Mallory, 
Phillips  Smalley,  J.  Darrow,  Frankie  Darrow,  Paul 
Hurst,  James  Flagin.  Another  production  will  be 
started  at  once. 


"RUDY"  MOVES 

R.  Geraus,  ("Rudy)  expert  in  foreign  made  cameras 
and  for  many  years  a  pioneer  in  the  photographic  supply 
field,  has  opened  a  complete  photographic  department  at 
the  headquarters  of  the  Camera  Supply  Company,  1515 
Cahuenga  Avenue.  The  trade  is  cordially  invited  to  visit 
Rudy  in  his  new  emporium. 


^Al-4-D  "DEPENDABLE  SOUND  RECORDING 

/\I       IV©©V©S       AND  LABORATORY  EQUIPMENT 
Demandez  nos  brochures  illustrees,  escomptes,  et  conditions. 

Sirvanse  pedirnos  el  catalogo  ilustrado,  descuentos,  y  condiciones. 

Send  for  illustrated  Catalog,  prices  and  particulars 


Motion  PicTure/^cujipmenT(o.  |Td. 


64  5  NORTH  MARTEL  AVE 


CABLE  ADDRESS  ARTREEVES 


HOLLYWOOD,  CALIFORNIA.    US  A 


Phone:  WYoming  4501 


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Twenty-four 


The      INTERNATIONAL   PHOTOGRAPHER 


November,  1933 


WEST  TO  PARADISE 

(Continued  from  Page  2) 

Waimea  Canyon,  with  a  depth  of  three  thousand  feet 
from  the  summit,  and  with  its  varied  rich  coloring,  gave 
us  opportunity  to  add  to  the  romance  of  our  story.  This 
canyon  is  like  a  miniature  replica  of  our  Grand  Canyon 
of  the  Colorado. 

After  the  serious  side  of  our  story  was  told  in  these 
surroundings  we  journeyed  on  to  the  eastern  and  north- 
ern coast  around  the  edge  of  the  island  through  Lihue, 
Kapaia,  Anahola,  Kalimiwai,  Honalai  and  Haena.  There 
are  no  cross  roads  and  very  few  trails,  due  to  the  pre- 
cipitous crests  of  mountains  and  deep  wooded  ravines. 
At  a  point  on  the  island  directly  north,  Kailauea,  the 
government  has  established  a  lighthouse  which  is  one 
of  the  largest  of  its  kind  in  the  world.  Its  guiding  light 
in  all  kinds  of  weather  is  visible  many  miles  out  to  sea. 

At  Hanalei  is  the  ancient  harbor  that  gave  shelter 
to  the  old  North-Pacific  whaling  ships  in  the  days  of 
that  industry,  for  it  was  here  that  supplies  could  be 
taken  on,  including  quantities  of  fresh  water,  and  the 
crews  could  not  desert.  From  here  on  to  Haena  are 
many  beautiful  summer  homes  with  the  finest  bathing 
beaches  to  be  found  anywhere  in  the  Pacific. 

And  for  the  sportsman  who  likes  game  fishing,  no 
better  place  than  these  waters  can  be  found.  In  the 
mountains  back  of  the  Napali  cliffs  excellent  sport  is 
afforded  the  trout  enthusiast  and  to  those  who  would 
stalk  the  wild  boar  and  mountain  sheep  these  mountains 
are  alluring. 

For  the  golf  enthusiast  there  is  no  finer  course  than 
Kukuiolona  Park.  Here  in  the  invigorating  heights, 
breathing  in  the  fresh  air  of  the  sea,  he  can  drive  across 
his  eighteen  holes  in  the  morning,  lunch  at  the  club- 
house, then  drive  another  eighteen  with  his  opponent, 
satisfied  that  he  has  played  across  the  finest  green  fair- 
way in  this  Dream  Island  of  Paradise.     Aloha! 


The  writer  and  all  members  of  the  Seven  Seas  ex- 
pedition extend  thanks  for  extraordinary  courtesies  from 
J.  R.  Senda,  official  photographer  of  the  Island  of  Kauai 
and   also   from   the  officials  of   the  hospital   at   Waimea. 


THE  PHOTOGRAPHER  IN  THE  WORLD  WAR 

(Continued  from  Page  6) 

Morgan,  Gordon  Hollingshead,  Jack  Wagner,  Blake 
Wagner,  William  Hamilton,  George  Marshall,  Eddie 
Snyder,  William  Williams,  James  C.  Brown,  John  Swain, 
Felix  Schoedsack,  Wardel  Bell,  B.  E.  Loper,  John  D.  W. 
Lambert. 

Of  course  there  were  many  men  who  were  promi- 
nent as  photographers  in  Hollywood  before  the  war,  but 
they  wanted  a  vacation  so  they  signed  up  by  flipping  a 
coin.  Charlie  Boyle  signed  up  in  the  Quartermaster 
Corp  because  he  had  heard  they  were  in  charge  of  the 
eats.  He  says  "Imagine  my  embarrassment,  when  I  found 
myself  in  a  Motor  Truck  Company  as  a  Sergeant  with 
44  other  sergeants  and  only  nine  soldiers.  In  my  trip 
across  the  country  no  one  died  or  jumped  off  the  train 
even  though  they  only  issued  us  two  worn  out  sandwiches 
on  the  way.  It  was  24  below  across  country  and  I  lost 
consciousness,  but  I  was  thawed  out  after  I  arrived." 
Charlie  Boyle  is  famous  as  the  soldier  who  had  the  best 
time  of  any  when  he  was  not  doing  Kitchen  Police;  too, 
he  is  noted  as  the  best  Rue  finder  and  because  he  did  not 
find  out  until  after  the  war  that  his  gas  mask  was  not  a 
pillow.  He  was  in  gas  attacks,  but  he  did  not  take  them 
seriously.     He  had  "hardly  any  liquor." 

But  the  war  is  over! 


MOTION  PICTURE  SOUND  RECORDING 

(Continued  from  Page  9) 

quency  of  256  cycles  per  second  is  the  first  component, 
as  well  as  the  fundamental.  Twice  that  frequency,  or 
512  cycles,  (C4)  is  the  first  harmonic,  or  second  com- 
ponent. A  note  of  512-cycles  frequency  is  said  to  be 
an  octave  higher  than  middle  C ;  for  when  two  notes 
have  frequencies  as  1  to  2,  the  relation,  or  interval,  is 
called  an  octave.  The  second  overtone  of  middle  C  is 
768  cycles  (three  times  256)  ;  and  the  third  harmonic  is 
1024  cycles,  which  is  one  octave  above  512  cycles  or 
two  octaves  above  middle  C.  A  note  whose  frequency 
is  128  cycles  is  one  octave  below  middle  C ;  for  the  fre- 
quencies of  the  two  notes  bear  the  relation  1  to  2.  This 
octave  relationship  is  demonstrated  by  the  frequencies 
marked  along  the  bottom  edge,  or  abscissa,  of  the  com- 
posite acoustic  chart  of  Figure  4. 

The  overtones  have  varying  degree  of  intensity ;  and 
they  add  their  energy  to  the  fundamental  frequency, 
giving  the  musical  note  a  recognizable  characteristic, 
which  is  variously  termed  quality,  brilliance,  or  timbre. 
It  is  this  characteristic  that  makes  it  possible  to  differ- 
entiate between  the  notes  of  a  violin  and  a  piano  even 
though  the  notes  are  of  the  same  pitch.  How  the  over- 
tones combine  with  each  other  and  with  the  fundamental 
frequency  is  illustrated  by  Figure  5. 

Here  a  simple  sine  wave  and  its  first  harmonic  are 
represented  by  the  dotted  lines,  A  being  the  fundamental 
sine  wave.  The  resultant  wave  is  shown  by  the  solid 
line.  It  was  obtained  by  adding  algebraically  the  positive 
and  negative  pressure  values  of  the  dotted  waves,  con- 
sidering all  sub-normal  pressures  below  the  zero  line 
as  negative.  Since  the  dotted  components  cross  the  hori- 
zontal axis  together  at  certain  points,  they  are  said  to 
be  in  phase  at  those  points.  Actually,  sound  waves  are 
much  more  complex  than  this  because  they  contain  more 
than  one  harmonic  and  the  components  are  not  necessarily 
in  phase. 

Characteristics  of  Human  Hearing 

The  average  human  ear  is  able  to  perceive  sounds 
having  frequencies  between  the  limits  of  twenty  dv  and 
20,000  dv  per  second.  This  is  the  audio-frequency 
range,  twenty  to  20,000  cycles  per  second ;  and  a  vacuum- 
tube  amplifier  designed  to  amplify  that  range  of  fre- 
quencies, or  a  portion  of  it,  is  termed  an  audio-frequency 
amplifier.  It  is  this  division  of  the  frequency  spectrum 
with  which  we  are  concerned  in  sound  recording  and  re- 
production. Sounds  that  are  of  low  frequency  have  a 
low  pitch,  or  low  tone ;  while  high-frequency  sounds  have 
a  high  pitch.  An  irregular  sound  having  a  wave  form 
that  is  an  uneven,  non-repeating  curve  is  classed  as  a 
noise ;  but  a  sound  that  traces  a  uniform  and  regular 
curve  is  termed  a  musical  note.  However,  it  must  be 
mentioned  that  the  demarcation  between  them  is  not 
precise. 

In  the  chart  of  Figure  4,  the  pressures  of  sounds 
in  dynes  per  square  centimeter  are  plotted  as  ordinates 
against  frequency  in  dv  per  second  as  abscissas.  A  loga- 
rithmic scale  is  employed  for  sound  pressures  because,  due 
to  the  peculiar  structure  of  the  human  ear,  equal  intensity 
steps  on  a  logarithmic  scale  sound  approximately  like 
equal  steps  of  loudness.  (The  Weber-Fechner  law.) 
In  other  words,  if  the  physical  intensity  of  a  sound  of 
certain  pitch  is  increased  ten  times  it  will  sound  twice 
as  loud — if  it  is  increased  1000  times  it  will  sound  four 
times  as  loud  as  the  original  sound. 

Any  sound  having  an  intensity  below  that  of  the 
curve  on  Figure  4  marked  "threshold  of  audibility"  will 
not  be  heard  by  the  average  person  ;  and  any  sound  hav- 
ing an  intensity  above  the  curve  marked  "threshold  of 
feeling"  will   be  felt  as  an  actual  sensation  of   pain  be- 


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November,  1933 


T  h  e 


NTERNATIONAI.       PHOTOGRAPH  K  H 


Tzventy-fit 


cause  of  its  excessive  pressure.  Thus,  a  sound  having 
a  frequency  of  512  cycles  and  a  pressure  of  less  than 
about  0.001  dyne  per  square  centimeter  will  not  be  heard 
by  the  normal  person,  and  a  sound  of  that  frequency 
having  a  pressure  above  about  3000  dynes  per  square 
centimeter  will  be  felt  as  pain.  That  represents  a 
pressure  change  of  3,000,000  to  1.  Sounds  of  that  fre- 
quency having  pressures,  or  intensities,  between  those 
limits  will  be  perceived  by  the  ear  as  being  of  varying 
degrees  of  loudness. 

Recording  Range 

The  average  pitch  of  man's  voice  is  128  dv,  and 
that  of  woman's  voice  is  just  one  octave  higher,  or  256 
dv,  as  may  be  seen  in  the  chart  of  Figure  4.  Man's 
speech  has  twice  as  many  tones  as  woman's;  but  in  both, 
overtones  of  the  fundamental  chord  occur.  Frequencies 
as  high  as  8000  dv  exist  in  certain  speech  sounds.  It 
is  desirable  to  record  up  to  and  including  at  least  the 
fourth  harmonic  of  a  tone,  because  if  a  reasonable  num- 
ber of  overtones  are  not  present  in  the  reproduced  sound, 
the  quality,  or  timbre,  will  be  impaired.  The  fourth 
harmonic  is  two  octaves  above  the  fundamental  tone, 
/'.  e.,  the  fourth  harmonic  of  512  dv  is  2048  dv.  It  is 
the  absence  of  sufficient  overtones  in  the  recording  that 
causes  certain  types  of  sound  equipment  to  produce  sound 
records  of  such  poor  quality. 

It  will  be  noted  that  the  frequency  ranges  of  various 
musical  instruments  are  given  in  the  acoustic  chart.  The 
greatest  frequency  range  of  any  instrument  is  possessed 
by  the  organ ;  but  the  piano,  with  its  range  of  26  dv 
to  4096  dv,  and  the  harp,  are  a  close  second.  If  quality 
sound  recording  and  reproduction  is  to  be  accomplished, 
at  least  the  first  overtone  of  musical  notes  must  be 
recorded.  That  means  that  the  sound  apparatus  must 
be  capable  of  recording  frequencies  up  to  not  less  than 
8192  dv,  or  cycles,  if  the  first  overtone  of  the  highest 
note  of  the  piano  is  to  be  recorded.  Sixteen  to  10,000 
cycles  is  the  range  the  ideal  recording  system  should 
possess. 

The  frequency  of  the  note  sounded  by  the  whistles 
of  Atlantic  liners  is  around  100  to  150  dv.  The  buzz 
of  a  mosquito  is  at  the  upper  end  of  the  scale ;  for  it 
has  a  frequency  of  about  7000  dv.  So  if  a  sound  sys- 
tem will   reproduce  these  two  types  of  sound   faithfully, 


it  undoubtedly  has  a  frequency  range  that  is  satisfactory 
for  all  normal  requirements. 

If  frequencies  much  below  8000  cycles  are  eliminated 
in  recording,  the  hissing  characteristic  of  speech  termed 
"sibilance"  is  lost.  This  is  most  readily  detected  by  an 
impoverishment  of  the  two  fricative  or  sibilant  con- 
sonants s  and  z;  for  most  of  their  essential  frequency 
components  lie  above  5000  cycles.  If  only  those  fre- 
quencies below  6000  cycles  are  recorded,  the  interpre- 
tation of  the  f,  s,  th  (/trough),  and  z  of  woman's  voice 
are  impaired. 

Musical  Instruments 

Musical  instruments  may  be  classed  as  wind  or  string 
instruments,  and  those  classes  may  be  further  divided 
into  harmony  and  melody  instruments.  Harmony  in- 
struments produce  several  notes  simultaneously;  melody 
instruments  usually  produce  one  note  at  a  time.  Wind 
instruments  are  subdivided  into  brass-wind  and  wood- 
wind instruments.  Either  type  of  wind  instrument  may 
use  a  reed  or  a  cupped  mouth-piece,  but  they  all  employ 
an  air  column  as  a  resonator. 

The  saxophone,  bugle,  cornet,  and  trombone  are  ex- 
amples of  brass-wind  instruments.  In  the  saxophone,  the 
length  of  the  air  column  is  varied  by  opening  holes  in 
the  tube,  which  is  equivalent  to  cutting  the  tube  off  at 
the  hole.  The  bugle  has  a  fixed  air  column,  and  is 
played  by  the  vibrating  lips  of  the  musician  acting  as 
a  reed,  their  vibration  setting  up  waves  in  the  air  within 
the  tube.  Only  the  fundamental  and  about  five  over- 
tones may  be  produced.  The  length  of  the  resonant 
air  column  within  the  cornet  can  be  changed  in  fixed 
amounts  by  means  of  pistons ;  while  the  air  column  of 
a  trombone  is  varied  by  sliding  a  portion  of  the  tube 
in  and  out.  Horns  and  tubas  are  equipped  with  valves, 
or  stops. 

The  wood-wind  instruments  include  the  clarinet, 
flute,  oboe,  and  the  like.  In  the  clarinet  and  flute  the 
length  of  the  air  column  is  broken  up  by  means  of  holes, 
after  the  fashion  of  the  saxophone.  The  organ  is  a 
wind  instrument,  the  current  of  air  being  provided  by 
a  mechanical  blower.  The  wave  length  of  the  air  col- 
umn is  determined  by  the  length  of  the  organ  pipe  (from 
about  two  inches  to  twenty  feet  in  large  organs)  and 
(Turn  to  Page  28) 


Hollywood's  Bargain  Spot 

Announcing  ♦  ♦  ♦ 

the  opening  of  a  photographic  specialties  department 
for  amateurs  and  professionals,  under  the  direction  of 

R.    "RUDDY"   GERAUS. 

Rentals  of 

MITCHELL,  BELL  &  HOWELL,  AKELEY,  EYEMO  CAMERAS 
MOTORS -MAGAZINES   and  other  Standard  Equipment 
Special  Finder  Adapters  for   25  mm  Lens 

CAMERA    SUPPLY    CO.,    LTD. 


FAXON  DEAN 


Phone  GL  2404 

Cable  Address  "CAMERAS"  All  Codes 


1515  CAHUENGA  BOULEVARD 


HOLLYWOOD,  CALIFORNIA 


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/  wcnty-six 


The      INTERNATIONAL      PHOTOGRAPHER 


November,  1933 


NEW  "MOVIEFLOOD"  LAMP 
A  new,  high-powered  light  source  for  studio  pho- 
tography, the  2000-watt  "Movieflood"  lamp,  has  been 
announced  by  the  Incandescent  Lamp  Department  of 
General  Electric  Company  at  Nela  Park,  Cleveland, 
Ohio. 

The  "Movieflood,"  big  brother  to  the  popular  "Pho- 
toflood"  lamp,  produces  approximately  68,000  lumens  of 


light  of  maximum  photographic  effectiveness.  (A  lumen 
is  the  amount  of  light  necessary  to  illuminate  an  area 
of  one  square  foot  to  an  intensity  of  one  footcandle.)  Its 
size  is  the  same  as  that  of  the  1000-watt  lamp  used  in 
general  lighting  service,  6}4  inches  in  diameter  and  13^ 
inches  from  top  to  bottom.  It  is  designed  to  operate 
on  voltages  from  105  to  120  inclusive,  and  at  115  volts 
has  a  design  life  of  15  hours.  It  has  a  mogul  screw 
base,  a  clear  glass  bulb,  and  can  be  burned  in  any  posi- 
tion. 

High-powered,  high-efficiency  lamps  such  as  the 
"Movieflood"  have  a  tendency  toward  bulb-blackening 
after  a  period  of  service.  To  overcome  this  character- 
istic, the  new  lamp  contains  a  quantity  of  cleaning  powder 
which,  when  the  lamp  is  shaken,  removes  the  blackening 
and  restores  the  clearness  of  the  bulb. 


NEWSREEL  WORLD 

( Continued  from  Page  21) 
that  shade  of  blue  combined  with  white  that  is  the  stand- 
ard coloring  of  the  busses.  Every  street  car  in  both 
Stockholm  and  Gothenburg,  Sweden,  carries  those  colors 
and  has  carried  them  for  many  years  before  the  bus  be- 
came a  reality.  Little  did  Wickman  think  back  in  1914 
that  his  one  little  bus  would  be  the  forerunner  of  1500 
large  busses  covering  the  United  States  from  coast  to 
coast,  border  to  border. 

Leaving  the  Capitol  Greyhound  Terminal  in  New 
York  we  rush  down  Eighth  Avenue  and  before  we  know 
it  we  are  in  another  bus  station.  This  one  is  back  of 
the  Pennsylvania  Station,  but  we  merely  pause  there. 
After  a  short  count  of  a  hundred  our  big  buggy  drops 
down  the  incline  into  the  Holland  tunnel,  called  Hol- 
land after  the  man  who  planned  it. 

At  our  first  big  stop  the  fun  began.  One  lady  asked 
the  operator  for  her  bag,  but  couldn't  tell  the  man 
whether  her  bag  was  brown,  black,  large  or  small.  An- 
other woman  wanted  to  know  if  our  operator  wouldn't 
please  turn  left  at  the  next  corner  and  drop  her  off  at 
her  doorstep.  He  was  forced  to  politely  explain  that 
the  franchise  granted  public  carriers  limited  them  to  cer- 
tain routes  through  cities. 

How  I  sympathize  with  those  bus  drivers,  or  operators 
as  they  are  called.  If  they  as  much  as  get  a  scratch 
on  their  bus  they  lose  the  bonus  for  safe  driving  that 
is  an  incentive  for  even  more  careful  operation  of  these 
safe  vehicles.  Just  think  of  rules  that  make  a  bus  driver 
liable  even  if  some  dumb  cluck  drives  his  wrecked  flivver 
near  enough  to  scratch  the  paint  on  one  of  those  blue 
highway  giants!  And  yet,  good  reader,  there  are  men  on 
those  busses  who  have  not  had  a  single  mark  against 
them  for  periods  of  six  years  and  more,  men  who  operate 
a  run  of  two  hundred  miles  a  day  and  much  of  it  in 
traffic,  too.  Makes  another  fellow  feel  less  proud  of  his 
driving  ability.  In  all  the  long  trip  across  our  wonder- 
ful United  States  I  couldn't  find  a  single  driver  who 
did  not  wear  at  least  one  or  two  badges  of  merit  for 
safe  driving  and  many  of  them  had  three  and  four.  No 
trouble  for  me  to  sleep  on  account  of  the  driving  of  a 
single  bus,  and  we  got  a  new  bus  almost  daily  and  a 
new  driver  every  two  hundred  miles,  depending  on  the 
kind  of  run. 

They  certainly  have  that  organization  well  in  hand, 
as  if  every  man  were  a  U.  S.  Marine  of  the  highway. 
And  have  they  got  friends?  In  the  night  nearly  every 
car  that  we  met  would  blink  its  lights  to  the  cheerful 
Greyhound    and    we    returned    the    salute.      One    driver 


ROY   DAVIDGE 

FILM   LABORATORIES 


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November,  1933 


T  1 1 


INTERNATI  O  NAI.      l'HOTUGR  A  1'  H  E  K 


Twenty-seven 


told  me  of  the  old  days,  the  early  days  of  busses,  and  this 
chap  had  been  at  this  business  since  its  earliest  days. 
Then  schedules  were  not  so  tight.  Ladies  in  distress  on 
the  road  would  stop  the  Greyhounds  for  assistance  in 
cases  of  tire  trouble  and  these  kindly  men  came  to  their 
rescue.  T  would  bet  right  now,  that  any  lady  in  dis- 
tress with  her  car,  some  dark  night  would  receive  kindlj 
aid  from  these  gentlemen  who  operate  the  busses. 

/   Learn   a   Few   Pointers   on   Niffht   Driving 

As  each  and  every  bus  operator  drives  exactly  the 
same  way  that  all  others  do,  I  came  to  the  conclusion 
that  the  company  must  have  very  strict  rules  of  driving. 
For  example,  at  night  each  uses  his  spotlight  when  no 
cars  were  approaching  to  illuminate  the  distant  roadway 
ahead  of  him.  First  lesson.  Before  reaching  any  curve 
or  underpass  a  few  blasts  on  the  air  horns  will  herald 
our  approach  in  cheerful  tones.  Every  bus  stops  at  rail- 
way crossings  and  the  front  door  is  opened.  Guess  why  ? 
So  the  driver  can  better  HEAR  if  any  trains  are  coming. 
Keep  that  in  your  bonnet.  When  descending  any  steep 
hill  they  always  let  her  go  down  under  compression  in 
a  lower  gear. 

Most  travelers  stop  over  to  sleep  in  hotels.  In  bus 
travel  this  is  convenience  itself,  as  your  bus  station  is 
usually  at  a  good  hotel  or  right  next  door  to  one.  No 
taxi  bills.  As  for  me,  I  sat  right  on  in  busses  from 
New  York  to  the  Pacific  and  have  not  a  single  complaint 
to  make.  A  few  suggestions  I  have  for  anyone  plan- 
ning to  see  the  country  this  way,  and  it's  a  swell  way 
to  do  it.  Take  a  blanket  roll  along.  Pillows  you  can 
rent  aboard,  for  a  quarter  and  it  is  a  quarter  well  spent 
for  a  clean,  white,  soft  pillow.  These  two  combined 
with  the  reclining-back  chair  make  a  restful  bed.  Take 
along  a  pair  of  comfortable  soft  slippers  for  the  night. 
I  suggest  this  because  I'm  a  nut  for  comfort.  If  you 
follow  these  simple  directions  and  do  not  become  a  bus 
enthusiast  my  only  advice  is  to  sleep  in  hotels  on  the 
next  long  trip. 

On  our  arrival  in  Pittsburg  I  had  a  two  hour  wait 
for  the  next  bus.  Here  the  bus  station  had  private  rooms, 
with  washstand,  shower,  shoeshine  service  and  clothes 
press.  Next  door  was  a  barber  shop,  but  I  saved  money 
by  shaving  myself. 

Absolutely  the  best  way  to  see  your  country  is  to 
travel  the  highways.  These  busses  have  the  finest  driv- 
ers, best  tires,  all  safety  factors  even  to  safety  glass  in 
all  windows,  air  brakes,  low  center  of  gravity  and  ever 
so  many  so  ons.  A  bus  gives  the  passenger  three  views 
as  he  travels,  through  the  windshield  and  out  both  sides 
of  those  modern  covered  wagons. 

Speaking  of  modern  covered  wagons,  I  could  not 
help  thinking  of  those  old  pioneers  traveling  over  this 
great  country  of  ours  by  ox  team,  and  then  in  contrast 
think  about  our  friends  in  speed  planes  tearing  across 
in  ten  hours.  At  Kansas  City  I  found  the  same  up-to- 
date  accommodations  as  at  Pittsburgh. 

From  there,  west,  the  United  States  started  spreading 
out  wider,  broader  and  more  beautiful.  Tearing  out 
across  the  states  of  New  Mexico,  Arizona  and  Califor- 
nia on  the  famous  Santa  Fe  Trail  our  eyes  see  sights 
that  cannot  help  but  thrill  an  American.  Out  over  these 
vast  plains,  mountains  and  deserts,  our  forefathers  plodded 
doggedly  with  their  ox-pulled  covered  wagons  to  settle 
the  grand  and  glorious  WEST.  We  can  imagine  In- 
dians coming  at  a  wild  gallop  from  those  red  hills  over 
there  on  our  left  and  thank  our  lucky  stars  for  the 
progress  our  country  has  made  these  last  hundred  years 
or  so. 

And  then  to  come  down  off  the  San  Bernardino  Moun- 
tains into  the  sunlight  of  California,  with  Hollywood 
but  a  few  hours  ahead,  home,  family  and  friends;  I   tell 


you    it    is    grand!      Home    again,    with    greetings    to    all 
of  you  from  little  Sweden,  away  up  there  in  the  North. 

The  Ole  Swede, 
RAY  FERN  STROM. 


The  LAST  CALL 


INTERNATIONAL 
PHOTOGRAPHER 

MOTION    PICTURE    ARTS    AND    CRAFTS 
HOLLYWOOD 


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AND 
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CHARLES  FELSTEAD,  an  acknowledged  authority 
on  the  subject  with  many  years  of  practical  studio 
experience  and  recently  SOUND  ENGINEER  at  the 
Universal  Studios. 

Name 

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City State 


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Twenty-eight 


The      INTERNATIONAL   PHOTOGRAPHER 


November,  1933 


MOTION  PICTURE  SOUND  RECORDING 

(Continued  from  Page  25) 

whether  the  pipe  is  open  or  closed  at  the  upper  end. 
Within  the  organ  pipe,  the  current  of  air  strikes  against 
a  sharp  edge  (in  a  flute  pipe),  and  the  air  is  set  in  vibra- 
tion, the  tube  acting  as  a  resonator.  In  some  organ 
pipes  there  are  reeds  {reed  pipes),  but  the  note  pro- 
duced is  due  chiefly  to  the  air  column  in  the  pipe,  the 
reed  serving  simply  to  set  it  in  vibration. 

Stringed  instruments,  such  as  the  piano,  harp,  and 
violin,  are  played  by  striking,  plucking,  or  bowing.  These 
instruments  have  wooden  bodies,  which  act  as  sounding 
boards  to  re-enforce  the  tones  of  the  strings  and  com- 
municate them  to  an  air  surface  of  greater  area.  Each 
violin  string  can  be  made  to  give  a  large  number  of  notes 
by  pressing  on  it  at  various  places  and  so  changing  its 
length.  The  variation  in  its  length  and  the  particular 
place   and   manner   in    which    the   string   is   bowed   deter- 


mines the  overtones ;  so  a  wide  range  not  only  of  pitch 
but  also  of  quality  may  be  obtained. 

Percussion  instruments,  such  as  the  kettle  drum  with 
its  vibrating  membrane,  produce  the  greatest  pressures 
used  in  music ;  and  although  the  fundamental  frequency 
of  their  notes  is  low,  their  overtones  extend  as  high  as 
10,000  dv.  That  most  wonderful  of  all  musical  instru- 
ments, the  human  voice,  also  employs  vibrating  mem- 
branes. The  vibration  of  a  pair  of  membranes,  one 
on  each  side  of  the  throat,  called  the  vocal  cords,  and 
the  vibration  of  the  tongue  and  lips  produce  its  notes. 
The  pitch  of  the  voice  is  varied  by  changing  the  mus- 
cular tension  on  the  vocal  cords;  while  the  overtones, 
and  so  the  quality  of  the  voice,  are  controlled  by  the 
shape  of  the  mouth. 

This  all  may  have  seemed  a  bit  aside  from  the  sub- 
ject of  sound  recording;  but  if  a  monitor  man  would 
"mix"  music  intelligently,  he  must  have  a  thorough 
knowledge  of  sound  and  musical  instruments. 


WHAT  HAS  HAPPENED  TO  COLOR? 

(Continued  from  Page  19) 

too  much,  and  it  will  be  so  appealing  that  it  will  cause 
two  box  offices  to  bloom  where  one  bloomed  before.  It 
probably  will  be  introduced  by  some  struggling  inde- 
pendent producer,  who  will  be  forced  to  hock  his  shirt 
and  the  buttons  thereof,  together  with  his  soul,  to  the 
money  lenders  who  will  think  he  is  "cuckoo,"  but  won't 
care  if  the  security  is  O.  K. 

We  will  not,  of  course,  bounce  our  old  and  faithful 
friends,  Black  and  AVhite,  into  the  street.  We  need  them 
in  the  new  setup.  Color  is  accentuated  and  modulated 
by  black,  which  is  the  absence  of  color,  and  white,  which 
is  the  combination  of  all  colors.  In  color  compositions 
they  may  be  compared  to  the  drums  of  symphonic  music, 
which  carry  the  rhythm,  punctuate  phrasing  and  form  a 
monotone  background  against  which  the  brilliance  of  the 
other  notes  stands  out. 

Color  will  open  new  roads  to  romance  and  make  it 
possible  to  travel  again  over  the  old  ones.  It  will  place 
a  new  brush  in  the  hands  of  the  director,  with  which  he 
may  paint  new  pictures  designed  to  produce  new  dra- 
matic reactions.  It  will  place  a  new  medium  in  the 
hands  of  the  cinematographer  but  he  must  be  more  than 
ever  an  artist  with  an  artist's  understanding  of  color  and 
capable  of  concealing  the  mechanics  of  his  profession  be- 
hind the  beauty  of  his  compositions. 

Color  will  meet  terrific  opposition  from  many  old 
timers,  who  are  the  "stand  patters."?  They  dismiss  color 
with  an  authoritative  wave  of  the  hand  and  a  curt:  "Don't 
waste  my  time."  They  are  quite  serious  about  it  when 
they  patiently  explain  that  color,  good,  bad  or  indifferent, 
hurts  the  eyes;  that  even  color  in  the"  raw,  as  Nature 
makes  it,  has  an  unpleasant  effect  on  the  nervous  sys- 
tem ;  that  one  reason  people  have  a  weakness  for  the 
black  and  white  cinema  is  because  it  offers  an  avenue  of 


escape  from  a  world  brilliant  with  color.  They  also  put 
up  this  same  kind  of  an  argument  about  sound. 

If  natural  colors  on  the  screen,  or  off  it,  causes  eye 
strain,  then  all  the  color  engineers  should  go  into  the 
spectacle  business  and  make  monotone  glasses  for  all  the 
animal  kingdom,  including  cows  and  asses.  They  must 
be  suffering  something  terrible — the  cows,  I  mean. 

We  close  our  program  now  with  our  theme  music 
entitled,  "We  Got  Color"  played  by  the  pianist  of  Act 
One  and  Act  Two.  He  has  developed  into  a  great  artist 
since  we  saw  him  last.  He  has  grown  pointed  whiskers 
and  affects  a  flowing  bow  tie.  Listen  to  that  baby  tickle 
the  ivories!  It's  an  original  composition,  brilliant  as  sun- 
shine and  as  appealing  as  moonlight.  He  hits  the  old 
music  box  with  everything  but  the  piano  bench  and  it 
comes  right  back  at  him  with  everything  he  asks  for. 
He  has  learned  that  standing  on  the  soft  pedal  with  both 
feet  isn't  so  hot.  He  now  uses  it  for  shading;  which,  in 
case  you  have  just  turned  your  dials  to  this  station,  is 
another  way  of  saying  that  color  cinematography  is  like 
that. 


OUR  NOVEMBER  COVER 

The  striking  and  unusual  front  cover  which  adorns 
our  magazine  this  month  is  a  combination  of  the  Ameri- 
can Great  Southwest  and  of  Hawaii.  The  production 
still  was  supervised  by  Alvin  Wyckoff,  chief  cinema- 
tographer of  the  Seven  Seas  Corporation  on  location  in 
the  Island  of  Kauai.  But  the  clouds  in  Hawaii  were  not 
functioning  the  day  the  still  was  shot  and  it  was  found 
necessary  to  appropriate  some  choice  ones  from  a  still 
recently  shot  by  Dan  Clark,  while  photographing 
"Smoky,"  the  big  wild-horse  picture  for  Fox.  The  com- 
bination was  suggested  by  our  General  Manager,  Mr. 
Edward  Estabrook,  and  the  necessary  art  work  to  com- 
plete the  combination  was  achieved  by  our  artist,  Mr. 
John  Corydon   Hill. 


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November,  1933 


T  h  e 


1  N  T  E  R  N  A  T  I  0  N  A 


PHOTOGE  A  1'  H  E  R 


Tweni  v-nine 


WHO  DID  IT  FIRST? 

(An  account  of  the  first  softfocus  lens  to  be  used 
in  motion  photography) 

In  1915  I  was  a  member  of  the  D.  W.  Griffith 
camera  staff  and  working  with  Paul  Powell,  a  director 
who  was  in  many  respects  the  same  type  of  idealist  as 
Mr.  Griffith.  Always  in  the  forefront  of  his  profession 
Mr.  Powell  welcomed  any  suggestion  however  untried 
and  theoretical.  It  was  the  policy  of  the  studio  to  give 
a  cash  bonus  to  the  director  finishing  a  picture  in  the 
shortest  length  of  time  and  to  the  one  making  the  most 
artistic  production.  Mr.  Powell  never  received  a  bonus 
for  speed  but  frequently  his  artistic  temperament  secured 
recognition  in  bonus  form  which  he  invariably  shared 
with  me.  An  acceptable  appreciation  in  those  days  of 
no  screen  credit. 

We  secured  soft  effects  in  our  photography  by  the 
use  of  gauze,  oil  on  the  lens  and  shooting  wide  open. 
All  of  which  expedients  were  lacking  in  the  results  de- 
sired. Therefore  when  Mr.  Powell  was  assigned  the 
title,  "Marriage  o'  Molly  O',"  with  Mae  Marsh  and 
Robert  Harron,  we  realized  that  the  great  opportunity 
was  at  hand  to  produce  that  which  we  both  had  in  mind. 

The  story  was  laid  in  Old  Ireland  and  of  course  the 
boy  and  girl  were  lovers.  As  often  as  they  met  the 
girl  would  beg  for  a  story  about  fairies  and  goblins,  ever 
dear  to  the  Irish  heart  whether  old  or  young.  The  tales 
that  the  boy  would  tell  presented  the  opportunity  re- 
ferred to.  To  be  sure  the  standard  double  exposure 
could  be  resorted  to  and  was,  yet  we  felt  that  a  misty, 
ethereal  atmosphere,  something  we  never  had  seen  on  the 
screen  before,  should  pervade  those  particular  scenes  in 
order  to  make  obvious  their  unnaturalness  although  they 
were  reality  itself  to  the  girl.  Then,  too,  by  confining 
our  efforts  to  the  fairy  stories  we  hoped  to  make  the 
scenes  all  the  more  effective  by  way  of  contrast.  (Have 
always  contended,  by  the  way,  that  soft  focus  photography 
must  not  be  used  indiscriminately  ;  that  there  must  be  a 
reason  for  it.) 

Karl  Struss  at  that  time  was  manufacturing  pictorial 
lenses  in  New  York  and,  having  seen  some  stills  made 
with  his  type  of  lens,  I  wrote  him  to  forward  me  a 
two-inch  provided  he  thought  it  would  fulfill  the  pur- 
pose for  which  we  intended  it.  Karl  sent  me  a  two  and 
a  three-inch  single  lens,  adjustable  diaphragm  and  advised 
that  so  far  as  he  knew  nothing  ever  had  been  attempted 
in  motion  picture  work  with  .that  type  of  lens,  yet  he 
saw  no  reason  why  some  interesting  pictures  could  not 
be  made  with  it. 

Well,  the  "pre-view"  occurred  at  the  old  Majestic, 
but  the  comments  from  press  and  individuals  were  not 
all  laudatory  by  any  means.  The  then  Evening  Express 
stated  frankly  that  in  its  opinion  the  cameraman  was 
no  doubt  intoxicated  when  he  photographed  the  pic- 
ture— a  portion  of  the  time  at  any  rate. 

During  the  life  of  the  picture  which  was  not  over 
long,  exhibitors  were  continually  asking  for  copies  to 
replace  the  ones  they  had  which  had  been  printed  out 
of  focus.  "Wids'  "  gave  us  a  most  encouraging  criti- 
cism as  did  the  editor  of  an  art  magazine  published  in 
Chicago  the  title  of  which  I  do  not  recall.  Mildred 
Harris  made  her  screen  debut  as  Queen  of  the  Fairies 
and  shared  in  the  favorable  comment  when  it  was  forth- 
coming.— John  Leezer. 


HOW  TO  MAKE  A  CAMERA-STAND 

(Continued  from  Page  20) 
will  from  somewhat  over  six  feet  to  almost  floor  level, 
will  point  its  lens  to  the  ceiling  with  the  same  facility 
as  it  may  be  directed  to  the  floor  and,  glory  of  glories,  it 
will  stay  level  if  so  desired.  Moreover,  the  operation  of 
moving  it  from  one  position  to  another  is  but  the  simple 
matter   of    releasing   a   hand-screw    and     permitting     the 


counterweight  concealed  within  the  column  to  do  its  stuff. 
Incident  to  the  late  depression  you  may  be  governed 
by  considerations  of  cost  and  might  harbor  the  illusion 
that  such  a  stand  is  a  tremendously  expensive  piece  of 
machinery.  It  is.  The  affluent  may  acquire  one  as  1 
have  outlined  here  or  may  do  as  I  did:  Look  over  the 
junk  yards  and  pick  up  one  for  five  inflated  dollars! 


CINEX  TESTINC   MACHINES 


CINEX   POLISHING   MACHINES 


BARSAM-TOLLAR   MECHANICAL  WKS. 

7239   Santa    Monica    Blvd. 
Phone   CRanite   9707  Hollywood,    California 


DR.  G.  FLOYD  JACKMAN,  Dentist 

Member    Local    No.    659 

706    Hollywood    First   Nat'l    Bldg.,    Hollywood    Blvd.    at    Highland 

Hours:    9    to   5  GLadstone    7507  And   by    Appointment 


^p*o^o*o*o*«*o*o^o^o*o*o*o*o^o*o*o^o*o*<v 


9, 
1 


Alvin  Wyckoff 


o 
1 

o 


^^O^O^O^O^O^O^O^O^O^O^O^Ot^O^O^O^O^O^O^CR 


Howard  Anderson 

Special   Effects  —  Animations 

Culver  City  3021  GRanite  3111 


MORGAN  CAMERA  SHOP 

ENLARGINC^FINE  CRAIN   FINISH  I  NC^PHOTO  SUPPLIES 

Headquarters  for 
6305  Sunset  Blvd.        Leica   Cameras  Hollywood 


Phone  GLadstone  4151 

HOLLYWOOD  STATE  BANK 

The  only   Bank   in  the   Industrial   District  of   Hollywood 
under  State  Supervision 

Santa   Monica   Boulevard  at  Highland  Avenue 


DOUBLE  MATTING 

(3    PATENTS.     1932) 

SHOTS  9 

Phone  OXford    1611 

8111  Santa  Monica  Blvd.     Hollywood,  Calif. 


MY 
FILTERS 
ARE  USED 

BY  AIL 
HOLLYWOOD 
STUDIOS 


IIVTERS 

IN  WORLD-WIDE  USE  . ...  .7^"^^ 
proiuce  MooolujW  mi  NiqntCf  facts  in  Uayrims- 
Fqo,  Scemts-  Diffusvdrtais  and  many  vtW  effects. 

WITH  ANY  CAMERA   -  IN  ANY  CLIMATE 

GEORGE  H.  SCHEIBE 

ORIGINATOR  OF  EFFECT  FILTERS 

I927-W-7812ST.  LOS  ANGELES.CAL . 


Please    mention   The    International    Photographer    when    corresponding    with    advertisers. 


Thirty 


T  h 


INTERNATIONAL      PHOTOGRAPHER 


November,  1933 


INTERNATIONAL 

CLASSIFIED  ADVERTISING 

Brings   results — Rates   45   cents   per  line — minimum   charge   one 

dollar     per     insertion.       For     Rent — For     Sale — Wanted — For 

Exchange,  etc. 

FOR  SALE  AND  RENT— CAMERAS 

MITCHELL  CAMERA,  Speed  movement,  all  equipment,  beautiful  shape, 
very  low  price.  Camera  Supply  Co.,  Ltd.,  1515  Cahuenga  Ave.,  Holly- 
wood. 

FOR  SALE  OR  RENT — Mitchell  and  Bell  &  Howell  silenced  cameras, 
follow  focus.  Pan  lenses,  free  head,  corrected  new  aperture.  AJ<eley, 
Da  Brie,  Pathe,  Universal,  Prevost,  Willart,  De  Vry,  Eyemo,  Sept, 
Leica.  Motors,  printers  lighting  equipment.  Also  every  variety  of 
In  mm.  and  still  cameras  and  projectors.  B  &  H  Cameras  with  old  type 
shuttles  silenced,  $150.  Everything  photographic  bought,  sold,  rented 
and  repaired.  Send  for  our  bargain  catalogue.  Hollywood  Camera  Ex- 
change,   1600    Cahuenga    Blvd.      Phone   HO.   3651.      Cable,   Hocamex. 

BELL  &  HOWELL  CAMERA,  tripod,  lenses,  magazines,  perfect  or- 
der, special  price.  $600.00.  Camera  Supply  Co.,  Ltd.,  1515  Cahuenga 
Ave.,    Hollywood. 

SINCE    1911.      Cameras   bought,   sold,    rented,   repaired. 

PETERSON'S  CAMERA  EXCHANGE 
356   South    Broadway,    Los   Angeles  Upstairs 

FOR  SALE  OR  TRADE 

MITCHELL  CAMERA  complete  with  speed  movement,  all  built-in 
features,  25  mm,  35  mm,  50  mm,  75  mm,  matched  Astro  Tachar  lenses, 
mounted  on  turret,  also  4)4  Heliar  lens  Mitchell  mounted,  2  tripod 
heads,  free  and  tilt,  six  400  foot,  two  1000  foot  magazines,  high  hat,  also 
Bell  &  Howell  camera  complete.  Address  Mervyn  Freeman,  1960  South 
Vermont   Ave.,   Los   Angeles,    Calif.      Phone:     REpublic   3171. 

FOR  SALE— CAMERAS  AND  EQUIPMENT 

BELL  &  HOWELL  5-way  sound  printer.  Bell  &  Howell  splicer.  Movi- 
ola Model  C,  like  new — cheap  for  cash.  Box  XYZ,  International  Pho- 
tographer,  1605   Cahuenga   Ave.,   Hollywood. 

BELL  &  HOWELL  CAMERA,  silenced  shuttle,  four  high  speed  lenses, 
four  magazines,  matt  box,  Mitchell  type  finder,  Mitchell  tripod,  beautiful 
cases  for  equipment,  complete  for  $1000.  F.  King,  36  Crestwood,  Buffalo, 
New   York. 

USED  MODEL  "D"  LEICA  in  first  class  condition— price  $80. 
Fine  grain  enlarging- — photo  supplies.  Morgan  Camera  Shop,  6305 
Sunset    Boulevard,    Hollywood. 

NEW  AND  USED  HOME  MOVIE  CAMERAS— DeVry  Motion  Pic- 
ture Cameras — sound  on  film  portable  projectors  with  operators  for  rent. 
Photographic  supplies — fine  grain  finishing — courteous  service.  Educa- 
tional  Project-O    Film    Co.,    1611    North   Cahuenga,   Hollywood. 

OUR  SPECIAL  SUBSCRIPTION  OFFER  of  one  year  for  $2  expires 
November  15,  1933.  If  you  want  the  best  magazine  of  its  kind  sent  to 
you  each  month  send  your  subscription  in  now.  THE  INTERNA- 
TIONAL   PHOTOGRAPHER,    Hollywood,    California. 


CAMERA  REPAIRING 


BELL  &  HOWELL  cameras  with  old  type  shuttles  silenced,  $150. 
Hollywood  Motion  Picture  Equipment  Co.,  645  No.  Martel  Ave., 
Hollywood. 


FOR  SALE  OR   RENT— MISCELLANEOUS 


ART  REEVES  LITE  TEST  MACHINE,  latest  model,  brand  new, 
come  for  demonstration,  special  price.  Camera  Supply  Co.,  Ltd.,  1515 
Cahuenga    Ave.,    Hollywood. 

STUDIO  LIGHTS,  Laco,  Mole- Richardson,  like  new,  special  bargains. 
Camera   Supply   Co.,   Ltd.,    1515   Cahuenga  Ave.,   Hollywood. 

25  MM.  FINDER  ADAPTERS  for  standard  finders,  showing  correct 
field  of  25  mm.  lens,  in  use  by  all  major  studios.  $30.00.  Camera  Sup- 
ply   Co.,    Ltd.,    1515    Cahuenga    Ave.,   Hollywood. 

THEATRICAL  EQUIPMENT— Machines,  chairs,  scenery,  costumes. 
35mm.  films,  etc.  Also  a  complete  line  of  16mm.  films.  Free  catalog 
of    16mm.   new   prints.      PECKER    FILMS.   31    Church   St.,   Boston,   Mass. 

DE  VRY  35  MM.  SOUND  PROJECTOR,  late  improved  model,  com- 
plete witli  amplifier  and  speaker,  in  cases,  like  new.  $550.00.  Camera 
Supply   Co.,   Ltd.,    1515    Cahuenga   Ave.,   Hollywood. 

MITCHELL  MOTOR— 1000  ft.  Mitchell  magazines.  J.  R.  Lockwood, 
Glendale.      Douglas  3361 -W. 

FOR  SALE — 75  mm.  Cooke  Lens.  F.2  in  Mitchell  mount  complete. 
50  and  75  mm.  Astro  lenses,  mounted  and  unmounted.  J.  R.  Lockwood, 
523    North    Orange    Street,   Glendale.      Douglas    3361-W. 

BUYERS  READ  these  classified  advertisements  as  you  are  now  doing. 
If  you  have  something  for  sale  or  exchange — advertise  it  in  these  col- 
umns. THE  INTERNATIONAL  PHOTOGRAPHER,  1605  No. 
Cahuenga   Ave.,   Hollywood. 

FOR  RENT — 25  and  35  mm.  lenses,  motor  adapters,  Mitchell  Standard 
tripod  head,  baby  tripod,  400  ft.  Mitchell  magazines.  J.  R.  Lockwood, 
523    North    Orange    St..    Glendale.    Douglas    3361-W. 


FOR  RENT— CAMERAS 


TWO  THOROUGHLY  silenced  Mitchell  cameras.  Follow  focus  device. 
Pan  Astro  lenses,  Freehead — 1000  ft.  magazines.  J.  R.  Lockwood,  523 
No.    Orange   St.,   Glendale.      Douglas   3361-W. 

THE  INTERNATIONAL  PRO)ECTIONIST 

THE  INTERNATIONAL  PROJECTIONIST,  a  monthly  magazine 
published  in  the  interests  of  the  projectionist.  Interesting,  instructive. 
Yearly  subscription  U.  S.  and  possessions,  $2;  foreign  countries,  $2.50. 
James  J.   Finn   Publishing   Corp.,   1    West   47th   St.,   New   York. 


CROSBY  AUTOMATIC  DEVELOPING  MACHINE 

James  Crosby,   for   thirty-five   years  a  cameraman   in 
California,  and  a  researcher  into  things  cinematographic. 


has  developed  an  automatic  film  developing  machine 
which  is  attracting  great  attention.  The  machine  is 
installed  at  his  demonstration  rooms,  Nos.  6323-5  Santa 
Monica  Boulevard,  corner  of  Lillian  Way,  where  Mr. 
Crosby  is  on  hand  to  personally  explain  its  fine  points. 

The  new  automatic  developer  occupies  a  space  only 
8  x  10  feet  and  has  a  capacity  of  1200  feet  of  film  per 
hour.  The  machine  runs  with  perfect  smoothness  and 
there  is  no  tension  on  the  film  at  any  time.  The  inter- 
ested public  is  invited  to  inspect  the  new  machine  day 
or    night. 


BACK-FLOW  FROM  OUT  OF  FOCUS 

( See  Page  32 ) 

It  seems  as  though  all  the  labor  representatives  wear 
diamonds.  The  larger  the  diamond  the  larger  the  leader. 
Elliott  has  the  largest  ring  of  anyone  I  saw  and  I  guess 
that  is  why  they  made  him  President.  I  didn't  have  a 
diamond  to  my  name,  but  I  was  an  exhibit  and  technical 
advisor  so  it  didn't  matter. 

POSITION  WANTED 

DO  YOU  WANT  A  CAMERAMAN  who  is  an  expert  on  studio  pro- 
duction ;  or  an  expedition  cameraman  who  knows  every  corner  of  the 
world  ;  or  a  cameraman  who  thoroughly  understands  the  making  of  indus- 
trial pictures ;  or  an  expert  newsreel  photographer ;  or  an  expert  color 
cameraman?  A  limited  number  of  cameramen,  backed  by  years  of  experi- 
ence, are  available.  Write  stating  your  requirements  and  we  shall  be 
glad  to  assist  you  in  choosing  the  kind  of  cameraman  you  want.  INTER- 
NATIONAL PHOTOGRAPHER,  1605  North  Cahuenga  Ave.,  Holly- 
wood. 

EXPEDITION  CAMERAMAN,  recently  returned  from  India,  China, 
Japan  desires  to  join  company  contemplating  series  of  pictures  anywhere 
in  the  world.  Many  years  experience — color  or  black  and  white  pho- 
tography. Write  Expedition  Cameraman,  care  International  Photogra- 
pher. 

MISCELLANEOUS 

COMPLETE  COURSE  IN  FLYING— If  interested  in  aviation,  see  Roy 
Klaffki,    1605    North    Cahuenga    Ave.,    Hollywood. 

WANTED — -To  know  of  the  whereabouts  of  motion  picture  relics,  docu- 
ments, or  equipment  of  a  historical  nature  for  Museum  purposes.  Write 
Earl  Theisen,  care  of  International  Photographer,  1605  Cahuenga  Ave., 
Hollywood. 

REAL  ESTATE— SALE  AND  EXCHANGE 

HOME  FOR  SALE  IN  CAMERAMAN'S  PARADISE— In  famed 
Green  Yerdugo  Hills,  with  background  of  huge  oaks  and  sycamore  trees. 
Sturdily  built,  artistic  two-story  Spanish  hillside  home,  with  3  bedrooms, 
2  fireplaces,  tile  bath  and  a  half,  extra  tile  shower ;  a  large  room  with 
cement  floor,  drain,  sink,  gas  and  electric  outlets,  built  for  laboratory  and 
dark  room ;  year  old,  overlooking  five-acre  lawn.  Thirty  minutes  from 
L.  A.  or  Hollywood,  swimming  pool,  Elevation  1470  feet.  ERTCKSON, 
South    End    of    New    York    Ave.,    La    Crescenta,    Calif.      Price    $5,500. 

MITCHELL,  BELL  &  HOWELL  or  other  camera  equipment  in  ex- 
change for  my  valuable  properties,  all  or  part.  Property  is  located  in 
East  Detroit,  Michigan,  consisting  of  26  lots,  improved  with  one  five- 
room  and  one  four-room  house,  adjoins  Golf  Club.  Conservatively  valued 
at  $16,500 — total  incumbrance  $3500.  For  full'  particulars  write 
S.   E.    Szabo,   5000   Fourth   Ave.,   Los   Angeles. 


Please    mention   The    International    Photographer    when    corresponding   with    advertisers. 


November,  1933 


T  he       IN  T  E  K  N  A  T  I  0  N  A 


1'  H  0  T  OGRAPHER 


Thirty-one 


AN  AID  TO  THE  STUDY  OF  OPTICAL 

PHENOMENA 

By  Dr.  A.  J.  Ginsberg 

Li^ht  and  the  study  of  optics,  while  a  subject  of  ma- 
jor interest  to  the  philosopher  and  physicist  for  hundreds 
of  years,  remains  a  mystery  to  the  average  man.  Thus, 
when  such  a  term  as  "optical  bench"  is  mentioned,  lay- 
men greet  it  with  expressions  of  polite  curiosity  or  simply 
raise  their  eyebrows.  Indeed,  it  is  surprising  how  many 
well  educated  persons  are  almost  completely  ignorant  re- 
garding a  branch  of  science  that  concerns  almost  every 
phase  of  modern  life.      *     *     *     * 

Heretofore,  such  an  important  adjunct  to  the  physics 
laboratory  as  the  optical  bench  has  been  too  costly  when 
accurate  enough  for  research  work ;  or,  if  cheap  enough 
for  individual  experimentation,  has  been  too  inaccurate 
and  limited  in  application  to  be  used  for  research  work. 

There  have  recently  appeared  advance  notices  of  a 
new  optical  bench  which  represents  a  revolutionary  im- 
provement in  design  and  manufacture,  permitting  it,  with 
its  accessories,  to  be  offered  at  prices  easily  within  the 
reach  of  the  average  industrial  laboratory,  high  school,  or 
college.  With  it  almost  every  conceivable  experiment  in 
optics  can  be  performed,  either  by  individuals  or  as  a 
classroom  demonstration.  Accessories  are  provided  for 
experiments  in  reflection,  refraction,  diffraction,  polariza- 
tion, telescopy,  microscopy,  photography,  spectroscopy, 
etc. 

The  usefulness  of  the  bench  can  be  further  extended 
into  the  fields  of  photo-electric  and  thermo-dynamic  phe- 
nomena by  the  addition  of  suitable  equipment.  Such  de- 
vices are  already  designed  and  under  construction  and 
more  items  will  be  added  to  the  already  extensive  list  as 
the  demand  increases.      *     *     *     * 


Statement  of  the  Ownership,  Management,  Circulation, 

Etc.,  Required  by  the  Act  of  Congress  of 

August  24,  1912 

Of     International     Photographer,     published     monthly     at     Los     Angeles, 
State   of    California,    County    of    Los    Angeles. 

Before  me,  a  notary  public  in  and  for  the  state  and  county  afore- 
said, personally  appeared  Silas  E.  Snyder,  who,  having  been  duly- 
sworn  according  to  law,  deposes  and  savs  that  be  is  the  editor  of 
The  International  Photographer  and  that  the  following  is,  to  the  best 
of  his  knowledge  and  belief,  a  true  statement  of  the  ownership,  man- 
agement (and  if  a  daily  paper,  the  circulation),  etc.,  of  the  aforesaid 
publication  for  the  date  shown  in  the  above  caption,  required  by  the 
Act  of  August  24.  1912,  embodied  in  Section  537.  Postal  Laws'  and 
Regulations,    printed    on    the    reverse    of    this    form,    to-wit: 

1.  That  the  names  and  addresses  of  the  publisher,  editor,  man 
aging  editor,  and  business  managers  are:  Publisher,  INTERNATIONAL 
PHOTOGRAPHER,  Los  Angeles,  California;  Editor,  Silas  E.  Snyder. 
Los  Angeles,  California;  Managing  Editor.  Edward  T.  Estabrook.  Los 
Angeles.    California. 

2.  That  the  owner  is  (If  owned  by  a  corporation,  its  name  and 
address  must  be  stated  and  also  immediately  thereunder  the  names  and 
addresses  of  stockholders  owning  or  holding  one  per  cent  or  more 
of  total  amount  of  stock.  If  not  owned  by  a  corporation  the  names 
and  addresses  of  the  individual  owners  must  be  given.  If  owned  by 
a  firm,  company  or  other  unincorporated  concern,  its  name  and  ad- 
dress, as  well  as  those  of  each  individual  member,  must  be  given.) 
International  Photographers,  Local  659,  International  Alliance  of 
Theatrical  Stage  Employees  and  Moving  Picture  Machine  Operators 
of  the  I'nited  States  and  Canada,  1605  North  Cahuenga  Avenue. 
Hollywood,  California.  President,  Alvin  Wyckoff;  First  Vice-Presi- 
dent, Roy  H.  Klaffki;  Second  Vice-President,  Arthur  Edeson;  Third 
Vice-President.    Hal    Mohr;    Treasurer    and    Financial    Secretary,    J.     O. 

Taylor;    Recording    Secretary,    Lyman    Broening;    Sergeant-at-Arms,    Len 
Powers;   all  of    1605   North  Cahuenga  Ave..   Hollywood.   California. 

3.  That  the  known  bondholders,  mortgagees,  and  other  security 
holders  owning  or  holding  1  per  cent  or  more  of  the  total  amount  of 
bonds,  mortgages,  or  other  securities  are  (If  there  are  none,  so  state): 
None. 

4.  That  the  two  paragraphs  next  above,  giving  the  names  of  the 
owners,  stockholders,  and  security  holders,  if  any,  contain  not  only 
the  list  of  stockholders  and  security  holders  as  they  appear  upon  the 
books  of  the  company  but  also,  in  cases  where  the  stockholder  or 
security  bolder  appears  upon  the  books  of  the  company  as  trustee  or 
in  any  other  fiduciary  relation,  the  name  of  the  person  or  corporation 
for  whom  such  trustee  is  acting,  is  given;  also  that  the  said  two 
|-<aragraphs  contain  statements  embracing  affiant's  full  knowledge  and 
belief  as  to  the  circumstances  and  conditions  under  which  the  stock- 
holders and  security  holders  who  do  not  appear  upon  the  books  of 
the  company  as  trustees,  hold  stock  and  securities  in  a  capacity  other 
than  that  of  a  bona  fide  owner;  and  this  affiant  has  no  reason  to 
believe  that  any  other  person,  association,  or  corporation  has  any 
interest  direct  or  indirect  in  the  said  stock,  bonds  or  other  securities 
than    as    so    stated    by    him. 

SILAS    E.     SNYDER.    Editor. 
Sworn   to   and    subscribed   before   me   this   29th   day   of    Sept.,    1933. 
LENOX   C.   DAY,   Notary    Public. 
In    and    for    the    County    of    Los    Angeles.    State   of    California.       (My 
Commission    expires    Oct.    30.    1933.) 


CARL    HAYS    PRESS 

PRINTED  INSERTS 

The   most   complete   library   of   foreign    research 

material  in  the  industry. 

NEW  ADDRESS 

6510  Santa  Monica  Blvd.    Near   Wilcox  Ave. 

Phone:  Hollywood   9591 


30%  to  60%  CASH  SAVINGS  on  16  mm. 

and  35  mm.  Cameras,  Projectors 

and  Accessories 

Write  for  Bass  Bargaingram.     Specify  size  of  apparatus 

interested   in.     For  over  22  years   Value   Leaders   of  the 

nation. 

Your   copy   is   ready.      Write  for  it. 


BASS  CAMERA  CO. 


179  W.   Madison  St. 


Chicago,   III. 


WE    WANT 

35   mm.  travel,  fight,  thrill   and   curiosity  films  from   all 
parts  of  the   earth. 

Send   description   and   length. 

All  kinds  of  film   at   reduced   prices. 

CONTINENTAL  FILM-CRAFT,  Inc. 


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Thirty-two 


T  1 1 


INTERNATIONAL      PHOTOGRAPHER 


November,  1933 


ao-eiEEtts- 


locus 


By  OTTO  PHOCUS 


A  FULL  REPORT 


This  faux  pas  was  committed  in  Child's  Restaurant  in  Wash- 
ington, D.  C.  and  shows  a  corner  of  the  U.  S.  Commerce  Building,  a 
lamp  post  and  the  Washington  Monument  with  buckwheat  cakes  in 
the  foreground.     It  was  shot  with  scrambled  eggs  and  butter  cakes. 

Having  spent  over  a  month  in  Washington  in  con- 
nection with  the  Proposed  Motion  Picture  Code,  before 
the  N.  R.  A.  Board,- 1  will  say  it  is  still  in  its  infancy.  A 
complete  report  has  been  made  to  the  membership  and  I 
am  so  full  of  factual  data,  proposals,  additions  and  modi- 
fications that  I  will  epitomize  my  remarks  and  say:  "See 
Hurd."  Another  week  there  and  I  would  have  been 
talking  like  a  lawyer,  which  is  not  bad  work  if  you  can 
get  it.  Well!  anyway,  here  is  my  "full"  report  for  this 
page : 

The  Congressional  Library  is  full  of  books. 
The  Bureau  of  Printing  and  Engraving  is  full  of  colored 

people. 
The  Arlington  Cemetery  is   full  of  patriots. 
The  Capitol   Building  is  full  of  cracks. 
The  Senate  is  full  of  chairs. 
The  Smithsonian  Institution  is  full  of  relics. 
The  relics   (guides)   are  full  of  hot  air. 
The  Potomac  River  is  full  of  mud. 
The    Commerce    Building    (covers    17 V2    acres — cost    17 

million) — is  full  of  hallways. 
The  Willard  Hotel  was  full  of  labor  leaders. 
The  labor  leaders  were  full  of  diamonds. 
The  Washington  Monument  is  full  of  visitors. 
The  Federal  offices  are  full  of  democrats. 
The  picture  shows  are  full  of  Republicans. 
And  all  the  West  Coast   Delegates  were  full  of  oysters. 

And  were  thev  good  ? 


DO  YOU  KNOW 

That  Bob  Martin  yodels  via  post  card  from  Madraz, 
Stubaital,  Tyrol,  Austria,  that  the  Alps  are  not  what  they 
are  cracked  up  to  be  and  sends  a  cheer  for  the  California 
mountains. 

That  Charlie  David,  EX-Pres.,  Local  666,  holds  the 
world's  record  for  being  exhibited  as  a  cameraman.  He 
has  been  with  an  act  at  Hollywood,  at  the  World's  Fan- 
in  Chicago  and  millions  have  seen  it.     Story  next  issue. 

That  Max  Markham,  his  assistant,  donated  a  beauti- 
ful panoramic  picture  of  the  fair  which  can  be  seen  at  the 
office  without  charge. 

That  Jack  McKenzie  has  been  working  at  the  Metro- 
politan Studios  and  rather  enjoys  it. 

That  Rolla  Flora  will  soon  open  his  bag  of  tricks  to 
the  entire  motion  picture  field  after  being  at  one  studio 
for  years. 


That  1  sat  in  the  lobby  of  the  Willard  Hotel  long 
enough  to  qualify  as  a  "lobbyist." 

That  I  have  been  under,  over  and  across  many  bridges, 
but  New  York  has  the  best  Bridges. 

That  Harry  Wild  arrived  in  Washington  for  a 
month's  stay  on  an  R.  K.  O.  picture.  He'll  get  tired  of 
it  too. 

That  I  went  under  the  Hudson  River  and  didn't  get 
wet. 

That  I  had  dinner  in  N.  Y.  with  Prince  Romanoff, 
Amos  and  Andy,  Winnie  Sheehan,  Bob  Kane,  Harold 
Lloyd,  Rudy  Vallee,  Paul  Whiteman,  O.  O.  Mclntyre, 
Mark  Hellinger,  and  many  other  celebrities  too  numer- 
ous to  mention. 

That  we  were  at  different  tables. 

That  the  Tropical  Film  Company  has  opened  offices 
and  expects  to  take  several  of  our  members  to  Central 
America  in  the  future  in  a  boat. 

That  Bill  Jasper  gave  my — T.  W.  A. — N.  R.  A.  gag 
to  Frazier  Edwards  and  it  was  published  in  the  Wash- 
ington Side  Show.     I  can  prove  it. 

That  the  larger  the  brief  case  you  carry  in  Washing- 
ton, the  larger  you  appear  as  a  lawyer.  Howard  helped 
me  out  by  making  me  carry  his  as  well  as  the  one  T  had. 


ANOTHER  VICTORY 

Deputy  Administrator  Sol  Rosenblatt  admitted  before 
witnesses  that  his  nose  was  larger  than  mine. 


GOOD   BOX  OFFICE  ATTRACTION 

In  the  Code  was  a  paragraph  asking  that  nepotism  not 
be  shown.  When  one  of  the  exhibitors  had  his  attention 
called  to  it  he  said :  "That's  up  to  the  censor  if  they 
don't  want  to  show  it,"  and  then  added —  "Who  pro- 
duced it  and  is  the  negative  cost  very  high  ?" 


AN  HISTORICAL  DOCUMENT 

This  historical  document  was  pushed  under  our  door 
by  the  mail  man  and  was  donated  by  A.  D.  Jewell  of 
Oradell,  N.  J.,  and  he  writes  as  follows: 

"It  shows  the  always  debonnaire  Hal  Mohr,  in  Sunday 
morning  negligee,  descend- 
ing front  steps  of  Charles 
Pathe's  house  in  Vincennes, 
France  en  route  to  his 
weekly  shower  in  the  serv- 
ant's quarters.  His  left 
hand  is  not  bandaged,  but 
merely  grasps  the  necessary 
towel  and  savon.  The  date 
is  early  in   1919. 

Such  was  life  in  the  old 
55th  Service  Co.,  Signal 
Corps,  (the  self-styled 
'Fighting  Photographers') 
while  on  duty  at  the  labor- 
atory in  the  Pathe  Freres 
plant.  Ah — them  days  is 
gone  forever !" 

Very  truly  yours, 
A.  L.  JEWELL. 

In  case  you  do  not  recog- 
nize Hal,  he  is  the  fellow 
with  the  overcoat. 


Please    mention    The    International    Photographer    when    corresponding    with    advertisers. 


A  brighter,  whiter,  cooler  light 

for   BETTER   PICTURES  .  .  . 

NEW  G-E  MAZDA  MOVIEFLOOD  LAMP 


THIS  amazing  new  lamp  puts  a  helpful  new 
tool  in  the  hands  of  the  cinematographer,  with 
these  definite  advantages: 

J  Brighter  light.  This  new  G-E  Mazda  Movieflood 
lamp,  rated  at  2000  watts,  gives  twice  as  much  light 
as  the  standard  1500-watt  lamp.  Photographically, 
it  is  3  times  as  effective.  Thus  fewer  units  are  needed 
on  the  set  and  more  natural  effects  are  possible. 

2  Whiter  light.  The  light  from  this  new  lamp 
matches  very  closely  the  sensitivity  of  super  pan 
film,  which  results  in  a  more  pleasing  rendition  of 
tone  and  texture.  It  brings  out  black  tones  especially 
well,  and  does  not  overemphasize  red  tones. 

3  Better  light  balances.  The  increased  intensity  of 
this  new  lamp  seems  to  give  its  light  greater  carry- 
ing power,  which  makes  shadows  softer  and  more 
natural,  while  highlights  still  retain  desirable  soft- 
ness and  definition. 

A  Less  heat  —  in  proportion  to  light.  This  new 
lamp  produces  less  infra  red,  or  heat  rays,  from  an 
equal  wattage  than  a  standard  lamp.  This  means 
greater  comfort  for  everyone  on  the  set  .  .  . 
especially  in  color  photography,  where  the  higher 
intensity  light  necessary  often  boosted  the  tempera- 
ture to  that  of  the  tropics. 

g  Designed  for  color  work.  Because  of  its  coolness, 
intensity  and  color  quality,  this  new  lamp  greatly 
simplifies  the  problem  of  lighting  for  color. 

This  new  G-E  MAZDA  Movieflood  lamp  has  a  life  of 
about  IS  hours.  It  may  be  prolonged  by  operating  at 
reduced  voltage  when  not  shooting. 

Typical  of  General  Electric's  constant  contributions 
to  better  photography — this  new  lamp  suggests  another 
reason  why  studios  from  coast  to  coast  use  G-E  MAZDA 
lamps  for  all  their  lighting,  from  set  to  "process"  work. 
General  Electric  Company,  Nela  Park,  Cleveland,  O. 


GEN  ERAL  ffigffl  ELECTRIC 
MAZDA  LAMPS 


645  NORTH  Hl!AR7EL  AVENUE* 
:.  '3   AN  JS.LES.    CALIFORNIA. 


Photographic 

QUALITY  is  PARAMOUNT 
AND 

Speed  is 

ESSENTIAL 


Directors  of  Photography 
Can  Render  Both,  Only 
With  the  Best  and  Most 
Efficient  Equipment. 


"Mitchell  Cameras" 

do  their  part 


Mitchell  Camera  Corporation 


665  N.  ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD,  CALIF. 


Cable  Address  "MITCAMCO' 


Phone  OXford  1051 


I 


HOTOGRAPHER 


HOLLYWOOD 


f.FTH  YEAR 


DECEMBER  1933 


I  C 


A   COPY 


It  required  the  Spirit  of  Christmas  to  get  the  Three  Little  Pigs  and  the  Big  Bad  Wolf  together,  and  here  they  are, 
the  fascinating  little  devils,  lining  a  Christmas  shindy  while  Mr.  Wolf,  as  cameraman,  cranks  his  wonder  box.  Any- 
how that's   what   Mr.    Disney's  drawing   tells   us — and    he   knows. 

— Drawn    especially    for    the    International    Photographer    by    Walt    Disney. 


MOTION    PICTURE    ARTS    AND    CRAFTS 


THE(fflEB>TRADE  MARK  HAS  NEVER  BEEN  PLACED  ON  AN  INFERIOR  PRODUCT 


In  BRIGHT  SUNSHINE  or  DEEP  SHADOW 
Under  INCANDESCENT  or  ARC  TIGHT 


Reg.  U.  S.  Pat.  Off. 

PANCHROMATIC 


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INTERNATIONAL 
PHOTOGRAPHER 

MOTION   PICTURE  ARTS  AND  CRAFTS 


Vol.  5 


HOLLYWOOD,   CALIFORNIA,   DECEMBER,   1933 


No.  11 


Howard  E.   Hurd,  Publisher's   Agent 

Silas  Edgar  Snyder,  Editor-in-Chief 

Edward  T.  Estabrook,  Managing  Editor 

Ira  Hoke  and  Charles  Felstead,  Associate  Editors 

Lewis  W.  Physioc,  Fred  Westerberg,  Technical  Editors 

John   Corydon   Hill,  Art  Editor 

A  Monthly   Publication    Dedicated   to   the   Advancement   of  Cinematography   in   All 

Its  Branches;    Professional  and   Amateur;   Photography;   Laboratory  and   Processing, 

Film   Editing,  Sound  Recording,  Projection,  Pictorialists. 


THE  COVER— By  WALT  DISNEY 

FRONTISPIECE 2 

By  Enrique  J'allejo 

YOUR   GREAT   GIFT        ------------       3 

The  Editor 

THE   STORY  OF   SLIDES  AND   TITLES       -------       4 

By  Earl   Theisen 

MOTION   PICTURE   IN   INTERNATIONAL   UNDERSTANDING     -       7 
By    William    A.    Reid 

A    NATIVE    INDIAN    DURBAR  ---------       g 

By  Herford  Tynes  Cowling 

MOTION    PICTURE    SOUND    RECORDING        ------     10 

By  Charles  Felstead 

A  GROUP   CALLED   CAMERAMEN  -     12 

The  Editor 

THE   CAMERA   IN   THE  EVERGLADES       -------     14 

By  Esselle  Parichy 

LIGHT  REFORM  IS  PENDING  ---------     15 

By  F.  Norris  Stead  man 

LAB.   MEN,   ETC.        -------------     13 

By  an  Old  Timer 

THE   NEWSREEL  WORLD        -----------     23 

By  Ray  Fernstrom 

CINEMATOGRAPHER'S    NOTE    BOOK         -       -       -       -       -       -     25  &  26 

By  Fred   W esterherg 

TELEVISION    SETS    FOOTBALL    RECORD        ------       29 

Contributed 

CLASSIFIED    SECTION  -       - -       -       -       -     30 

OUT   OF   FOCUS  ..-------..--     32 

By  Charles  P.  Boyle 


Entered    as    second    class    matter    Sept.    30,    1930,    at    the    Post    Office    at    Los    Angeles, 
California,  under  the  act  of   Maich  3,    1879. 


Copyright    1933    by    Local    659,    I.  A.  T.  S.  E.    and    M.  P.  M.  O.    of    the    United    States 

and  Canada 


Office    of    publication,    1605    North    Cahuenga    Avenue,    Hollywood,    California 

HEmpstead    1128 

James   J.    Finn,    1    West   47th    St.,   New   York,    Eastern    Representative 

McGill|s,    179   and   218   Elizabeth   St.,    Melbourne,    Australian   and   New   Zealand   agents. 

Subscription    Rates — United    States   and    Canada,    $3    a   year.      Single   copies,    25    cents. 


This   Magazine   represents  the   entire   personnel  ot  photographers   now  engaged   in 

professional  production  of  motion  pictures  in  the  United  States  and  Canada.     Thus 

THE  INTERNATIONAL  PHOTOGRAPHER  becomes  the  voice  of  the   Entire  Craft, 

covering  a  field  that  reaches  from  coast  to  coast  across  North  America. 

Printed  in  the  U.   S.  A.  at  Hollywood,  California 


8o^rggp^- 

SERVICE  ENGRAVING  CO 


OUR   OFFERINGS 
FOR   JANUARY 

Augustus  Wolfman,  editor  of  our  new 
miniature  camera  department,  will  open  his 
campaign  with  an  article  entitled,  "Miniature 
Camera  Photography."  Mr.  Wolfman  will 
direct   his  department  from    New  York. 


Shirley  Vance  Martin,  whose  article  "Stills 
and  the  Rationale  of  Still  Photography,"  was 
omitted  this  month  because  of  illness,  will 
be   among   those    present    in    January. 


Earl  Theisen,  brilliant  young  writer  on  sub- 
jects appertaining  to  motion  picture  history 
and  production,  will  begin  the  New  Year 
with  one  of  his  most  interesting  yarns, 
"Teaching    Mickey    Mouse   to   Walk." 


Milton  Moore  will  follow  up  his  fine  article 
on  color,  in  our  November  issue,  with  another 
of  the  same  kind  entitled,  "What  Will  Hap- 
pen  to   the   Movies  When  They  Get  Color?" 


F.  Morris  Steadman,  whose  articles  on 
"Light"  are  attracting  great  and  increasing 
attention  among  physicists  and  teachers,  will 
follow  his  current  story  with  another  of 
equal    interest. 


The  camera's  part  in  the  magnificent  "By 
a  Waterfall"  sequence,  in  Warner  Brothers' 
"Footlight  Parade,"  will  be  told  in  symposium 
by    cameramen. 


Lewis  W.  Physioc  will  tell  the  results  of 
his  experiments  with  Helio-lite.  the  new  de- 
velopment in  controlled  reflection  by  )ohn 
Q.  Roscoe,  of  the  famous  Sir  Henry  E. 
Roscoe  family  of  England. 


OUR  COVER   FOR   DECEMBER 
The    International    Photographer    is    proud 
of   the   front  cover  for    December. 

The  subject  is  popular  and  timely  and  the 
art  department  of  this  journal  enthusiastically 
hails  the  co-operation  and  good  will  of  Mr. 
Walt  Disney  and  his  amazing  assortment  of 
livestock  made  famous  by  the  genius  of  him- 
self and   his  extraordinary  organization. 

In  considering  the  aforesaid  genius  of  Mr. 
Disney  the  reader  will  certainly  call  to  mind, 
also,  the  large  part  taken  in  the  production 
of  the  "Three  Little  Pigs"  cartoon  by  Tech- 
nicolor, whose  new  three  color  system  has 
added  so  much  to  the  attractiveness  of  this 
delightful  novelty. 


Please  mention  The  International   Photographer  when  corresponding  with  advertisers 


Tn 


The       INTERNATIONAL       PHOTOGRAPHER 


December,  1933 


"par?  mtlEariij  (Sooo  Mill  to  Mm" 


"ADORATION    OF    THE     SHEPHERDS"-STILL   BY  E.  VALLEJO 


'  .  .  .  and,  lo,  the  star,  which  they  saw  in  the  east,  went  before 
them, — till  it  came  and  stood  over  where  the  young  child  was" 


December,  1933 


c       INTERNATIONAL       PHOTOGRAPHER 

fflur  «ratt  (gift 


Three 


Well,  here  it  is  Christmas  again.  Seems  like  they  come 
pretty  fast. 

Seems  like  as  you  get  older  you  don't  look  forward  to 
Christmas  so  much  as  you  look  back  at  Christmases  past 
and  gone. 

Does  it  seem  so  to  you  ? 

And  this  takes  me  back  to  the  day  before  Christmas 
about  fifteen  years  ago. 

My  friend  Bartlett  and  I  were  among  those  doing  the 
Good  Fellow  act  back  there  in  Kansas  City,  Missouri. 

We  were  assigned  to  about  thirty  families  and  Bart- 
lett's  big  Cadillac  looked  like  a  moving  van,  so  full  was  it 
stacked  with  baskets,  and  right  on  top  was  a  big  basket 
of  good  things  on  which  lay  a  beautiful  blonde  doll  and 
a  lovely  doll  hat  trimmed  with  blue  ribbons.  It  was  some 
hat. 

The  Boss  Good  Fellow  in  his  instructions  said :  "At 

Street  look  for  a  family  named , 

man,  wife  and  little  girl  about  four.  Money,  coa',  food 
and  clothing  needed,  and  a  doll  for  baby.  Also  doll  hat — 
blonde  straw  trimmed  in  blue  ribbon,  and  don't  dare  to 
forget  doll  and  hat." 

(By  the  way,  jever  long  for  a  GREAT  GIFT — 
something  that  you  just  had  to  have — something  for  which 
there  could  be  no  substitute?  And  did  the  years  pass  and 
did  you  look  wistfully  for  the  GREAT  GIFT  to  come 
and  it  did  not?) 

Well,  Bartlett  and  I  had  the  time  of  our  lives  dis- 
tributing those  baskets  and  things  and  as  the  hours  passed 
we  were  both  sad  and  happy — for  some  of  the  things  we 
saw  made  our  hearts  heavy. 

At  last,  as  the  shadows  of  the  short  day  began  to 
lengthen,  the  weather  changed  and  a  heavy  snow  began 
falling,  turning  to  slush  as  it  touched  the  pavement,  and 
the  going  was  ticklish. 

At  last  all  the  baskets  had  been  delivered  except  the 
big  one  with  the  blonde  doll  and  hat  and,  to  our  con- 
sternation, when  we  reached  the  address  tagged  on  the 
basket,  it  was  a  rich  man's  home — no  such  family  lived 
in  all  that  section.    Some  one  had  blundered. 

Bartlett  and  I  were  sick.  We  simply  couldn't  endure 
the  thought  of  that  baby  looking  wistfully  for  her  ex- 
pected gift  and  being  disappointed.  Headquarters  couldn't 
help  us.    We  were  up  against  it. 


It  was  nearly  dark  when  we  turned  the  nose  of  the 
Cadillac  toward  down-town  and  I  think  both  of  us  were 
asking  the  Prince  of  Peace  to  guide  us  to  the  owner  of  this 
doll  when  the  car  turned  from  Gilham  Road  into  McGee 
Street  and  started  at  a  brisk  rate  down  the  thoroughfare. 
Just  across  the  viaduct  over  the  car  tracks  were  the 
McClure  flats — two  solid  blocks  of  one-story  houses, 
squalid  and  mean. 

As  we  struck  the  down  grade  toward  Nineteenth 
Street  a  truck  loaded  with  milk  suddenly  skidded  over  to 
our  side  of  the  street  and  before  Bartlett  could  apply  the 
brakes  we  hit  the  truck  head  on,  turned  around,  shot 
across  the  street  and  brought  up  on  the  parking  right  side 
up. 

A  policeman  came  running  up. 

"What  the — " 

That's  as  far  as  he  got  for  there,  not  six  feet  away, 
her  tear  stained  face  pressed  against  the  window,  looking 
sadly  out  into  the  night,  was  our  baby. 

"By  gad,  there  she  is,"  we  both  yelled  at  once,  and, 
with  the  flabbergasted  cop  looking  on  open  mouthed,  Bart- 
lett grabbed  the  basket  and  I  grabbed  the  doll  and  hat 
and  we  busted  into  that  house  like  an  avalanche.  While 
Bartlett  was  giving  his  goodies  and  other  gifts  to  the  par- 
ents I  thrust  the  big  doll  into  the  baby's  arms,  put  the 
hat  on  her  tousled  head,  gave  her  a  kiss  and  ran  out  to 
look  over  our  busted  bus  and  to  surrender  to  the  minion 
of  the  law,  but  not  before  I  heard  a  tiny  voice  say: 

"Look,  Mamma,  God  sent  my  gift." 

"I  knew  He  would,"  she  said. 

I  said  to  the  policeman : 

"Well,  here  we  are.    Anybody  hurt?" 

"No;  Good  Fellows,  eh?" 

"Tryin'  to  be.    Our  last  basket." 

"I  saw  that.    You  guys  gwan  home." 

Bartlett  joined  me. 

We  looked  back  at  the  happy  family  inside. 

Bartlett  said :  "When  God  has  a  package  to  deliver  He 
delivers  it  even  if  He  has  to  wreck  a  truck  to  do  it." 
(The  truck  wasn't  hurt  as  badly  as  we  were.) 


So  even  tho"ugh  the  shadows  may  be  falling  and  the 
day  far  spent,  if  we  do  not  weary  of  watching  I'm  sure 
that  the  GREAT  GIFT — our  heart's  desire — will  surely 
come  to  all  of  us. 


MERRY  CHRISTMAS— AND  MANY  THANKS 

To  Rob  Wagner,  of  the  famous  Script,  the  Sage  of 
Beverly  Hills ;  to  W.  R.  Wilkerson,  genius  of  the  Hol- 
lywood Reporter;  to  Elizabeth  Yeaman,  of  the  Holly- 
wood Citizen ;  to  Ralph  Wilk,  of  the  Film  Daily ;  to 
Arthur  Unger  and  his  brilliant  staff,  of  Variety,  for 
their  consistent,  friendly  attitude  toward  the  cameramen 
of  the  motion  picture  industry. 

These  writers  have  always  given  a  square  deal  to 
the  men  who  actually  photograph  the  picture  plays  and, 
not  only  are  they  friendly,  but  they  seem  to  understand 
the  camera  from  the  technical  angle. 

More  power  to  them  and  theirs,  and  may  their  por- 
tion of  Yule-tide  cheer  forever  increase! 


DIRECTOR  STAUB'S  THIRD 

Director  Ralph  Staub  has  started  production  on  his 
third  comedy  for  Warner  Brothers,  in  New  York.  Lulu 
McConnell,  famous  stage  star  is  featured.  Edward 
DuPar  is  handling  the  camera. 


ERPI  HIGH  SPEED 

Electrical  Research  Products  has  completed  its  first 
course  of  instruction  on  the  high  speed  camera.  The  men 
who  took  the  course  were :  Harry  J.  Banda,  Chief  Photo- 
grapher of  the  U.  S.  Navy  and  E.  C.  Buckley  of  the 
National  Advisory  Committee  on  Aeronautics,  high  speed 
camera  photographer  of  the  Langley  Memorial  Labora- 
tory at  Langley  Field,  Va.  Both  organizations  have  pur- 
chased several  of  the  Western  Electric  Cine-Timer,  the 
ultra-high  speed  camera  capable  of  photographing  2,000 
frames  per  second  and  of  recording  time  in  thousandths  of 
a  second. 


DEBRIE'S  LATEST 

Andre  Debrie,  Inc.,  have  on  exhibition  their  latest  roll- 
ing tripod.  This  rolling  tripod  is  a  large  improvement  on 
the  so-called  "dollies"  since  it  can  be  operated  by  the  cam- 
eraman himself,  steers  easily  like  an  automobile,  raises  and 
lowers  and  is  so  constructed  that  the  legs  are  not  in  the 
way  of  the  cameraman  or  his  assistant.  This  rolling  tripod 
together  with  the  ultra-silent  SUPER  PARVO  camera 
represents  the  latest  in  studio  equipment. 


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Four 


The       INTERNATIONAL       PHOTOGRAPHER 


December,  1933 


The  Story  of  Slides  &  Titles 


By  EARL  THEISEN 

Honorary  Curator 

Motion  Pictures 

L.  A.  Museum 


jHE  audience  is  leaning  forward,  tingling  with 
delicious  fright.  Amid  a  back-stage  clatter 
and  a  steady  thump,  thump,  a  devil  is  approach- 
ing on  a  misty  cloud.  As  he  gets  larger,  the 
bolder  of  the  audience  become  less  bold  and  the  tremu- 
lant ones  look  to  nearby  exits.  It  is  truly  impressive 
to  them. 

It  is  a  new  experience.  It  is  a  slide  show  early  in 
1800.  The  people  of  that  day  were  unaccustomed  to 
seeing  shadowy  pictures  thrown  on  the  wall  or  on  banks 
of  smoky  vapor.  To 'them  it  was  magic  and  these  shows 
were  known  far  and  wide  as  the  "magic  lantern  per- 
formances." 

They  began  in  England.  Henry  Langdon  Child, 
it  is  said  by  Will  Day,  an  authority,  inaugurated  them 
as  early  as  1806,  while  others  say  the  first  slide-show 
was  in  1811.  At  any  rate,  during  this  period,  he  held 
lantern  shows  at  the  Sanspareil  Theater,  now  the  Adelphi 
in  London.  They  were  known  as  the  "Phantasma- 
goria." 

That  was  a  suitable  name  for  them.  To  the  in- 
credulous then  they  were  fantastic  and  mystifying.  The 
pictures  which  were  usually  of  a  religious  or  pseudo- 
scientific  nature,  were  hand-painted  pictures  on  glass 
slides.  They  were  thrown  to  a  ten  or  twelve  foot  screen 
by  means  of  a  magic  lantern.  A  favorite  illusion  of 
the  slide-shows  was  having  the  devil  or  a  monster  ap- 
proach the  audience.  This  effect  was  gained  by  the 
operator  slowly  moving  his  lantern.  Back-stage  assist- 
ants lent  realism  with  suitable  noises.  Because  they  had 
heard  a  lot  about  the  devil  and  very  little  about  the 
magic  lantern,  the  populace  were  sure  it  was  the  real 
thing.  After  the  show,  if  they  stayed  that  long,  hesi- 
tantly they  went  down  poorly  lighted  streets  to  their 
homes.     And  they  resolved  to  mend  their  ways. 

Many  illusions  were  introduced  during  these  shows. 
By  the  use  of  the  Bi-Unial,  or  double  lantern,  such 
effects  as  visions  could  be  made  to  appear.  This  was 
done  by  projecting  what  was  called  the  "foundation 
image"  or  the  main  part  of  the  picture  to  the  screen. 
Then  by  means  of  a  second  lantern,  a  suitable  vision 
picture  could  be  overlaid.  Movement  effect  toward  or 
away  from  the  audience  was  gained  by  carrying  the  lan- 
tern either  towards  or  away  from  the  screen.  Often 
a  mystifying  effect  was  obtained  by  throwing  the  pic- 
ture to  a  bank  of  smoke.  The  wispiness  of  the  picture 
on  the  smoke  bank  floating  about  the  room  assured  the 
audience  they  were  favored  with  a  visitation  from  an- 
other world.  And  they  acted  accordingly.  The  back- 
stage noise,  which  was  always  voluminous,  added  to  the 
confusion. 

The  Magic  Lantern  had  first  been  invented  in   1640 


trica."  Even  though  Kircher  is  credited  with  this  in- 
vention, it  would  appear  that  Cellini  knew  of  it  a  cen- 
tury earlier  since  he  produced  "phantom  figures  in  the 
smoke  of  fires."  From  the  first,  until  photography  be- 
came available,  the  pictures  used  in  the  lanterns  were 
hand  drawn.  Until  Child  started  his  shows,  the  lan- 
tern was  hardly  more  than  a  toy.  With  the  beginning 
of  his  shows,  the  lantern  was  heralded  as  an  educa- 
tional device.  Besides  the  magic  thrill  effects,  Child  lec- 
tured with  the  aid  of  slides  on  scientific  accomplishments, 
travels  and  like  subjects.  He  facilitated  the  performance 
of  the  lantern  with  the  addition  of  a  "dissolver."  This 
"dissolver"  was  generally  used  on  his  Bi-Unial  Lantern, 
which  was  a  lantern  that  had  two  optical  systems,  or, 
in  other  words,  it  could  project  two  pictures.  It  had 
two  objectives  with  slide  holders  which  were  side  by 
side  from  the  same  lamp-house.  The  "dissolver"  was  in 
the  form  of  a  rocker  arm  that  extended  across  the  front 
of  the  two  slide  holders.  This  arm  was  so  set  that 
when  it  shut  off  the  light  from  one  picture,  the  other 
was  permitted  to  the  screen.  With  this  system,  such 
elaborate  themes  as  a  boy  holding  a  cat  by  the  tail  over 
a  tub  of  water  in  the  first  slide  picture  could  be  dis- 
solved to  a  second  slide  showing  the  cat  doused  in  the  tub. 
They  could  not  show  a  third  of  the  boy  getting  scratched, 
and  thereby  overlooked  the  moral.  Of  course,  that  was 
the  grand-daddy  of  today's  slap-stick  comedy. 

Too,  they  had  color  pictures !  All  these  slides  were 
hand  colored.  Many  of  them  were  done  by  noted 
artists.  The  artists  painted  directly  on  the  glass  with  a 
transparent  color.  Another  form  of  color  was  the 
"Chromotrope."  It  was  a  slide  with  a  spiral  color  de- 
sign. This  design  was  made  to  revolve  upon  the  screen. 
At  times  they  used  two  lanterns  and  simultaneously  pro- 
jected two  slides — two  slides  having  elaborately  colored 
designs.  When  the  two  slides  were  revolved,  a  kaliedo- 
scope  of  color  confusion  was  the  result.  They  liked  it. 
The  use  and  perfection  of  the  "chromotrope"  as  well 
as  the  Bi-Unial  Lantern  is  credited  to  Child.  He  is 
said  to  be  the  "father"  of  the  Stereopticon  and  Magic 
Lantern.  While  he  did  not  invent  the  lantern  he  cer- 
tainly made  it  a  popular  form  of  entertainment. 

The  first  of  travel  slides  were  brought  together  by 
Richard  Vaughan  Yates  of  Liverpool.  He  made  a  tour 
of  the  Holy  Land  and  then  had  noted  artists  paint 
slides  of  various  points  there.  This  was  sometime  prior 
to  1837.  John  Smith,  one  of  the  editors  of  the  "Liver- 
pool Mercury,"  was  so  interested  in  the  slides  that  he 
arranged  an  extensive  course  of  lectures  on  geography. 
They  were  delivered  in  the  principal  English  towns. 
For  illumination,  his  lantern  as  well  as  all  lanterns  at 
this  time  burned  oil.  In  1837,  he  started  to  use  the 
"Lime-light,"  or  as  it  was  then  known,  the  "Drummond 
Light." 

With  the  advent  of  the  limelight,  the  oil,  which 
was  usually  "Camphene,"  a  turpentine  derivative,  was 
largely  replaced.  Kerosene  was  used  to  some  extent  in 
the  lanterns  used  in  the  homes  after  it  was  discovered 
in  1853,  because  the  limelight  and  other  burning  gases 
was  beyond  the  reach  of  the  householder. 

It  is  of  interest  to  note  that,  at  first,  the  oxygen 
and  hydrogen  used  for  making  the  limelight  were  carried 
in  bags.  Pressure  to  operate  the  jets  was  obtained  by 
pressing  on  the  bags.  Metal  tanks  for  carrying  com- 
pressed g:as  were  used  first  in  this  country.  That  was 
about  1880.  The  intense  white  light  of  the  limelight 
was  the  result  of  the  oxygen  and  hydrogen  burning 
against  a  cylindrical  piece  of  lime. 


by  Athanasius  Kircher.     He  called  it  the  "Magia  Catop 

Please  mention  The  International   Photographer  when  corresponding  with  advertisers 


December,  1933 


The       INTERNATIONAL   PHOTOGRAPH Kk 


Five 


Different  forms  of  illumination  came  into   a  tempo-      dramatic   days  when   the   movie   producers   printed   long 


rary  use  such  as  the  magnesium  ribbons,  alcohol  flame 
with  oxygen  gas,  pyro-hydrogen  and  others.  Sir  Henry 
Roscoe  used  the  electric  light  at  Victoria  University 
(Owens  College)    during  the  early   '80s. 


lengths  of  stock  titles  such  as  "One  Hour  Later,"  which 
was  invariably  followed  by  a  scene  of  the  hero  or  sheriff 
coming  to  the  rescue  on  horseback  at  a  wild  gallop.  All 
the   early   companies   had   a   library   of   stock   titles   that 


ISNTSAFE 

i  trust  the  repairing  of 

»l  Flatirons.  Fans.  Door 
Bells  or  other  Electrical  Ap- 
paratus to  Amatuers. 
Have  an  Expert  repair  it 
by  taking  it  to 


STANDARD  ELECTRIC  CO. 

I  Order 7lo.  2273 


•  Seats  • 
Fartherest 

§from  the  aisle 
and  avoid  being 
disturbed  by  those  coming 
—     a  in  later.  ■■*■■ 


Parents  p&  H 
1      Requested 

to  keep  their  Children 
as  quiet  as  possible 
as  it  is  annoying  to 
those  interested  in. 
the  picture. 


i 


\dus  wanied' 


nickel  Office. 


SILENCE 
PLEASE 


I  Tlease  do  not  eat  peanut;  j 

and  throw  the  shucVs  upon  the  flooi* 


I  It  is  Doth  annoying  and  unclean.) 


■  THE  « 

CLANSMAN 

FromttigNovelaf7hos.DiM>nJr 

*    Produced  By  m 

D.-W.  GRIFFITH. 


COUING 

To  This  Theatre 

"Popular  Triced 

VAUDEVILLE 
EO&D  SH07S 

Waichjar  ike  Openiry  date! 


An  assortment  of  announcement  and  advertisement  slides  of  the  early  movie  palaces. 


A  popular  theme  of  the  earlier  slide  shows  was  "to 
prove  that  the  world  was  round."  Their  method  of 
doing  this  was  to  have  a  slide  picture  of  the  world.  A 
second  slide  with  a  picture  of  a  ship  placed  so  it  co- 
incided with  the  outer  circumference  of  the  world  was 
made  to  revolve  by  means  of  a  small  gear. 

The  titles  of  some  of  these  slide  shows  were  more 
of  a  melodramatic  nature — "The  Orphan's  Dream," 
"The  Christmas  Carol,"  "The  Pilgrim's  Progress."  In 
"The  Orphan's  Dream"  the  little  orphan  was  first  shown 
asleep  on  a  couch.  A  second  slide  superimposed  over 
the  first  showed  her  dreaming  that  she  was  in  Heaven 
with  angels.  Probably  the  most  elaborate  of  these  hand- 
painted  slides  was  the  show  at  the  Royal  Polytechnic 
Institution,  in  England,  in  which  six  lanterns  were  used 
to  show  the  Seige  of  Delhi.  The  bursting  of  shells,  fire 
of  artillery,  and  other  effects  produced  were  satisfactory 
if  we  may  judge  from  W.  I.  Chadwick,  who  said  in 
his  "Magic  Lantern  Manual"  of  1886 — "The  optical 
effects  were  assisted  by  various  sounds  of  war's  alarms, 
for  the  production  of  which  more  volunteers  than  were 
absolutely  required  would  occasionally  trespass  behind 
the  scenes,  and  aided  to  produce  those  terrific  sounds 
that  some  persons  of  a  nervous  temperament  said  were 
really  stunning." 

The  hand-painted  slide  was  eliminated  as  photographic 
methods  were  perfected.  With  the  exception  of  Lecture 
Tours,  and  educational  demonstration,  the  slide-shows 
were  put  aside  when  the  motion  picture  was  shown. 
The  slide  came  to  be  part  of  the  motion  picture  after 
the  first  glamour  of  the  "pictures  that  moved"  had  worn 
away. 

Slides  were  used  first  in  the  motion  picture  as  titles. 
In  fact,  all  the  earlier  projectors  had  slide  attachments. 
Later  the  titles  were  added  to  the  films,  then  the  slide 
found  a  further  use  as  announcements,  advertisements 
and  most  important  of  all  as  an  entertainment  milestone, 
the  illustrated  song  slides.  All  the  popular  song  hits 
were  made  into  slides  which  were  thrown  to  the  Nickelo- 
deon Screens  as  early  as  1900,  according  to  Paul  Panzer, 
who  was  later  the  Vitagraph  Hero  and  the  beloved  Pathe 
Villain.  They  were  sung  by  the  audience.  The  song 
slides  lingered  until  about  1920.  Advertisement  slides 
of  local  merchants  continued  on  the  screen  until  recently, 
in  fact,  many  of  the  very  lowbrow  theaters  and  com- 
munity show-houses  still  use  them. 

This  article  would  not  be  complete  unless  mention 
was  made  of  the  famous  early  movie  titles ;  of  the  melo- 


were  used  here  and  there  as  a  pinch  of  salt  in  practically 
every  picture. 

Until  1916  and  1917,  titles  were  considered  a  neces- 
sary evil.  At  this  time  there  was  a  general  trend  to- 
ward a  more  ornate  title.  This  move  may  be  said  to 
have  been  led  by  the  Lasky  Studio.  During  this  time 
such  men  as  Max  Handschegl,  Fred  Westerberg,  Mau- 
rice Greeley,  Jess  Hugbes  and  Wallace  Clendenin 
brought  credit  to  the  motion  picture  through  their  title 
improvements.  Wallace  Clendenin,  who  was  a  title 
maker  during  this  period,  recalls  many  interesting  rami- 
fications in  the  early  titles.  He  wrote  a  few  notes  as 
follows : 

"During  the  latter  part  of  1916  and  early  1917,  white 
ink  was  used  on  black  cards  by  Hugo  Jacobsmeyer  and 
others.  This  system  was  not  very  satisfactory  as  it  gave 
a  grayish  tint  to  the  lettering  and  was  also  apt  to  give  a 
lack  of  sharpness  on  the  edges. 

"In  March  or  April  of  1917,  Jess  Hughes  and  Mor- 
ris Greely  (Pacific  Title  Card  Co.)  started  using  white 
impression  paper,  which,  when  used  with  warmed  type, 
gave  a  dead  white  letter  on  a  black  card.  This  im- 
pression paper  was  similar  to  carbon  paper.  Defects  of 
the  system  were  liable  to  flake  off  along  the  edges  and 
difficulty  of  getting  small  sharp  lines  to  stick  on  the 
card. 

"Lasky  Studio,  Bosworth  Studio  and  others,  at  one 
time  used  lantern  slide  titles.  In  this  system  the  card 
was  printed  with  ordinary  black  ink  on  a  white  card, 
then  photographed  on  a  lantern  slide  plate  and  developed 
for  maximum  contrast.  The  lantern  slide  was  then  pho- 
tographed, giving  a  negative  title.  Lasky  used  one  of 
the  regular  cameras  for  this  work ;  some  places  used  a 
special   projection   printer — one  was  built   by  A.   Fried. 

"Kalem  Company  used  pictures  on  their  titles  as  far 
back  as  1907  but  they  were  discontinued  shortly.  Climax 
Company,  who  built  the  studio  later  used  by  Metro  at 
corner  of  Romaine  and  Lillian  Way  in  Hollywood,  used 
illustrated  titles  in  December,  1914,  on  the  picture,  "The 
Lone  Star  Rush."  Ince  began  using  illustrated  titles 
about  a  year  later.  Of  these,  the  body  of  the  title  was 
printed  on  one  black  card,  without  the  first  capital  let- 
ter. This  letter  was  then  done  by  hand,  and  was  more 
or  less  ornate.  The  illustration  was  done  on  a  black 
card  in  a  sort  of  gray  pastel,  and  the  two  were  then 
double  exposed  on  the  film.  After  the  Ince  outfit  pulled 
out  of  the  Triangle  Studio  early  in  '17,  the  cameraman 
on   this  work   was   a   man   by  the   name   of   Brown ;   he 


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Six 


The       INTERNATIONAL       PHOTOGRAPHER 


December,  1933 


EARLY  SLIDE  SHOW,  "THE  SIEGE  OF  DELHI' 


/^^' 


J0p — "Chromotype  Color  Slide."  Lower — A  two  slide  show, 
"Dousing   the   Cat." 

used  a  Bell  &  Howell  camera  on  a  tripod  with  the  points 
set  in  brass  floor  sockets — used  two  Cooper  Hewitt  "U" 
tubes  for  light. 

"The  William  Horsley  laboratory  on  the  Christie 
lot,  northwest  corn&r  of  Sunset  and  Gower,  at  this  time 
used  incandescent  light  to  shoot  titles ;  these  were  in  a 
big  box  with  a  hole  at  the  front  for  the  camera  to  shoot 
through  and  a  hinged  holder  for  the  cards  at  the  back. 
Studios  that  did  not  use  artificial  light  usually  pinned 
the  cards  up  against  the  wall  of  the  prop  room  on  the 
open  stage  and  shot  by  daylight,  but  rarely  used  direct 
sunlight." 

"In  some  cases  where  a  black  on  white  card  was 
used,  the  card  was  shot,  and  a  dupe  made  from  the 
resultant  negative,  this  becoming  the  negative  title." 

"The  Signal  Film  Company  on  Pasadena  Avenue 
used  a  gold  frame  around  the  title  card,  with  a  moving 
scene  double  exposed  over  the  title,  giving  the  effect 
of  a  moving  picture  with  a  title  over  it,  in  a  frame. 
That  was  in  1916." 

"Black  on  white  titles  were  sometimes  used,  but 
rarely;  they  showed  dirt  and  scratches,  and  were  not 
easy  on  the  eyes." 

"Thanhouser  and  Powers  Cos.,  about  1910,  used 
white  enameled  letters  set  in  grooved  velvet  outfit  made 
primarily  for  show  windows." 

"C.  B.  DeMille  in  1917  used  titles  with  back- 
grounds of  picture  illustrations  in  'The  Whispering 
Chorus,'  and  clay  titles  with  scratched  in  lettering  for 
Geraldine    Farrar's  film,   'The   Woman   God    Forgot.'  ' 

"Myself  and  Jack  Smeby  originated  and  developed 
art  title  process  early  in  '17,  making  composite  photo- 
graphic prints  of  complete  picture  title,  which  was  then 
photographed  on  the  film.  Gave  the  effect  of  raised  or 
sunk  lettering  in  marble,  etc.,  or  lettering  'floating'  in 
front  of  picture  and  casting  a  shadow." 

'  'Temp'  (temporary)  titles  were  usually  written  by 
hand  with  a  heavy  black  pencil  and  photographed  with 
the  film  reversed  in  the  camera ;  these  were  then  cut 
into  the  editor's  work  print  of  the  picture." 

"Flash  titles  were  used  on  foreign  copies — on  these 
the  printer  printed  only  about  a  foot  of  each  title,  then 
stopped  the  printer,  wound  the  negative  past  the  title, 
rethreaded,  and  printed  on  to  the  next  title.  After  the 
copy  was  received  in  whatever  country  it  was  intended 
for,  a  translation  title  was  made  and  cut  in." 

"In  the  early  days  Pathe  titles  were  always  red  ;  so 
were  Selig.     Gaumont  used  greenish  blue  titles.     Essanay, 


Vitagraph,  Edison,  Melies,  Biograph,  used  black  and 
white  main  titles.  Subtitles  usually  received  the  color 
of  the  roll  they  were  in." 

"A  picture  with  lots  of  titles  was  no  treat  for  the 
operator  who  had  to  crank  by  hand,  as  was  usual  in  the 
early  days.  Owing  to  the  greater  amount  of  silver  de- 
posit on  a  title,  there  was  quite  an  appreciable  amount 
of  extra  drag  when  a  title  was  going  through  the  pro- 
jector. By  the  same  token,  an  insert  of  a  letter  or  paper 
was  easy  cranking.  It  used  to  be  quite  possible  to  tell 
by  the  sound  of  the  projector  alone  when  a  title  was 
going  through — still  is  to  some  extent." 

"Christie  used  to  have  little  cartoons  on  their  titles, 
drawn  by  Norman  Macleod." 

"Ferdinand  Pinney  Earle  made  title  backgrounds  for 
some  of  the  Harry  Garson  pictures  in  '17.  They  were 
very  good." 

"Essanay  about  1907  used  a  book  main  title — opened 
book  showed  the  Indian  head  trademark,  page  turned 
over  and  showed  the  main  title,  all  black  on  white." 

"Main  titles  of  successful  larger  companies  used  to  be 
imitated — early  main  titles  used  by  Kay-Bee,  Broncho, 
Domino  and  Keystone  films  were  very  similar  to  the  main 
title  layout  used  by  Biograph,  but  without  the  Eagle  pic- 
ture." 

"Usually,  except  in  the  case  of  small  independent,  the 
main  title  had  a  border  of  some  sort,  with  no  decora- 
tions of  any  kind  on  the  subtitles  during  1908  to  1914." 

"Cast  titles  first  used  to  any  extent  about  1911 — ■ 
Edison  pioneered.  One  reel  burlesque  film  made  shortly 
before  sound  came  in,  had  one  scene,  all  the  rest  being 
credit  titles." 

'The  Servant  in  the  House,'  made  by  Triangle, 
'17,  probably  the  longest  of  titles  of  any  film  said  to 
have  more  title  footage  than  action.  That  picture  needed 
sound !" 

"Biograph  used  small  lettering;  Essanay,  Selig, 
Edison,  also  used  small  lettering;  Vitagraph,  Lubin, 
Pathe  used  larger  letters." 


WE  SALUTE  YOU! 


The  editors  and  staff  of  The  International  Photogra- 
pher take  this  opportunity  to  extend  the  follwing  named 
friends  and  co-operators  assurance  of  their  enduring  re- 
gard for  services  rendered  and  courtesies  extended  during 
the  current  year  and  to  wish  them  Merry  Christmases  and 
Happy  New  Years  so  long  as  such  things  be.  If  any  be 
inadvertently  omitted,  double  thanks  and  good  wishes 
are  in  our  hearts  for  them.  There'll  be  a  bigger,  better 
International  Photographer  next  year  and  we  shall  hope 
to  find  you,  everyone,  still  a  member  of  our  magazine 
family. 

Earl  Theisen,  Annette  Glick,  George  J.  Lancaster, 
Fred  Westerberg,  Tony  Gaudio,  Ray  Fernstrom,  Lewis 
W.  Phvsioc,  James  N.  Doolittle,  Charles  P.  Boyle,  Alvin 
Wyckoff,  Curtis  R.  Haupt,  Ph.D.,  Al.  Wetzel,  Willis 
O'Brien,  Guy  Wilky,  Paul  Perry,  Eugene  J.  Cour,  P.  B. 
Findley  (S.M.P.E.),  Robert  Lothar  Kendall,  Ralph  H. 
Linn,  Glen  R.  Kershner,  Jay  Cleis  Krosen,  Edward  H. 
Kemp,  James  B.  Shackelford,  Fred  R.  Archer,  Esselle 
Parichy,  William  Hartman,  Harry  Mimura,  August 
Wolfman,  Frank  W.  Vail,  Milton  Moore,  John  Leezer, 
Paul  Ivano,  Reed  N.  Haythorne,  Geoffrey  Hodson,  Elmer 
Dyer,  Irving  Akers,  Emery  Huse,  Ned  Van  Buren,  War- 
ren S.  Transue,  Neil  P.  Jack,  Rollie  Totheroh,  Lieut. 
R.  S.  Macrum,  U.  S.  A.,  J.  M.  F.  Haase,  Karl  A.  Barle- 
ben,  Jr.,  F.R.P.S.,  R.  Fawn  Mitchell,  Philip  Tannura, 
Elmer  Richardson,  Charles  Felstead,  Fred  Felbinger, 
George  Lyng,  J.  R.  Senda,  Roman  Freulich,  Kenneth 
Alexander,  Bert  Longworth,  William  Thomas,  Robert 
W.  Coburn,  Alexander  Kahle,  Fred  Archer. 


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December,  1933 


The       INTERNATIONAL       PHOTOGRAPHER 


Seven 


SOME  ASPECTS  OF  THE  MOTION  PICTURE 
IN  INTERNATIONAL  UNDERSTANDING 

By  WILLIAM  A.   REID,  Foreign   Trade  Adviser  of  the  Pan-American   Union 

(This  paper,  contributed   to  The   International   Photographer,  will  be  incorporated  in  a   report  to  be  presented  at  the 
International  League  of   Educational  and    International   Cinematographers   to    be    held    in    Rome    in    April,    1934.) 


i^—^JHE  motion  picture  speaks  to  the  learned  and  the 
|P|  'ftM  unlearned.  Of  the  millions  of  people  who  view 
kfsjS»j  motion  pictures  daily  a  large  percentage  do  not 
i  7.iftrlfind  jt  necessary  to  go  indoors ;  everywhere  in 
tropical  lands  the  evening  open  air  movie  theatre  is  as 
popular  as  the  darkened  and  artificially  heated  playhouse 
in  northern  climes. 

Illiteracy  in  such  countries  as  India,  China  and  cer- 
tain parts  of  the  Americas  is  a  well  known  and  lamentable 
fact ;  yet  in  all  parts  of  the  Orient  and  Occident  we  find 
the  motion  picture  a  popular  entertainer  of  old  and  young, 
educated  and  illiterate,  people  of  high  or  low  social  stand- 
ing. And  entertainment  is  only  one  phase  of  the  mission 
of  the  motion  picture.  It  is  carrying  instruction  to  millions 
— instructions  that  could  not  be  disseminated  in  any  other 
way  to  totally  ignorant  minds. 

On  the  other  hand,  the  news  reel  depicting  current 
events  and  the  educational  films  are  providing  cultured 
minds  with  stories  of  the  rise  and  fall  of  nations  and  what 
science  and  research  are  achieving  for  mankind.  Audiences 
of  millions  of  people  of  diverse  nationalities  are  but  a  cross 
current  of  humanity  that  is  entertained  and  informed  by 
the  magical  master  teacher — so  young,  yet  so  powerful. 
And  now  that  the  spoken  word  is  synchronized  with 
human  action  their  popularity  grows  among  all  peoples. 

We  visit  Hollywood  and  we  journey  around  the 
world  and  observe  how  the  output  of  that  famous  center 
of  international  workers  is  received  and  displayed  among 
foreign  peoples.  In  a  Hollywood  studio  we  sit  in  silence 
for  hours  and  watch  the  director  toiling  on  a  new  picture ; 
we  sigh,  we  look  in  amazement  at  the  infinite  detail  of 
production  ;  the  patience  of  Job  is  personified  in  the  direc- 
tor who,  for  a  dozen  times,  even  a  hundred  times  has  his 
performers  of  all  races  enter  or  leave  a  stadium,  utter  a 
cry  or  jump  from  a  precipice. 

Day  after  day  the  ordeal  is  repeated.  In  time  a  new 
picture  is  released.  People  of  many  nations  participated 
in  its  production  and,  if  it  proves  a  worthy  drawing  card 
for  box  offices,  it  may  go  into  many  editions  and  languages 
and  eventually  be  seen  by  millions  of  people.  In  the  film's 
course  about  the  world  for  months  and  years  it  carries  at 
least  some  phase  of  introduction  ;  it  depicts  life  and  condi- 
tions in  one  part  of  the  world  for  the  benefit  of  those  in 
other  parts. 

Consider  the  diversity  of  subject  matter  being  woven 
into  the  movie  at  Hollywood;  and  Hollywood  is  only  one 
of  the  great  picture  making  centers  of  the  world.  Here 
are  a  few  topics  in  the  making:  drama,  comedy,  history, 
travel,  agriculture,  industry,  hygiene,  railroading,  ship- 
ping, mining,  pastimes,  current  events. 

And  where  are  these  American  films  distributed  ?  A 
correct  answer  might  be  the  whole  world,  including  even 
Little  America  which  has  a  population  only  once  in  a 
while.  European  countries,  although  they  manufacture 
motion  picture  films  on  enormous  scales,  are  among  the 
leading  patrons  of  the  United  States  film.  Even  during 
one  of  the  depressed  years  Great  Britain  and  France  in- 
creased the  importation  of  American  pictures  bv  more  than 
20,000,000  feet  of  film. 

The  Dominion  of  Canada  and  the  twenty  Republics 
of  the  American  Continent  obtain  from  the  United  States 
millions  of  feet  of  film  annually;  and  each  of  these  coun- 


tries has  supplied  subject  matter  for  innumerable  motion 
pictures.  For  Latin  American  history  alone  Hollywood 
has  provided  a  library  of  worthy  dimensions  in  addition 
to  making  researches  into  the  dress  and  customs  of  south- 
ern nations  from  the  days  of  the  Incas  to  the  present  time. 

The  Jivaro  Indians  of  the  Upper  Amazon  region  are 
among  the  wildest  of  the  earth's  peoples.  But  in  1932-33 
numbers  of  these  denizens  of  the  jungles  followed  trails 
that  led  to  an  American  rancher's  home  in  eastern  Ecua- 
dor. The  object  of  their  pilgrimages  was  to  see  the  movies 
and  hear  the  radio — those  miraculous  sights  and  sounds 
that  came  from  nowhere  and  caused  the  wisest  of  the  wild 
men  no  end  of  wonder  and  amazement.  Hollywood's 
product  was  creating  a  kind  of  bond  between  culture  and 
semi-savagery. 

Is  it  not  interesting  to  look  backward  into  the  cen- 
turies and  see  how  the  aboriginals  practiced  their  handi- 
craft? No  people  of  the  Middle  Americas  are  more  pic- 
turesque in  garb  or  more  faithful  in  following  ancient 
methods  of  spinning  and  weaving  than  the  Indians  of 
Guatemala.  Journey  along  the  highway  from  the  Guate- 
malan capital  to  the  curious  old  city  of  Quezaltenango ; 
stop  here  and  there  and  observe  descendants  of  the  Tul- 
tecas  at  their  daily  tasks. 

It  takes  time  and  money  to  go  to  Guatemala.  But  the 
motion  picture  industry  has  sent  its  agents  to  mingle  with 
the  people ;  the  results  of  their  labors  comprise  some  of 
the  most  interesting  motion  picture  films  ever  "shot." 
They  present  burden-bearers  on  wild  trails,  the  pottery 
makers  at  their  tasks,  garment  weavers  in  action,  the  busy 
corn  grinders,  the  husbandmen — all  following  customs  of 
distant  yesterday  marvelously  recorded  by  movie  men  of 
today.  Such  films  form  pages  of  history  far  more  enter- 
taining than  lengthy  printed  books  and  records. 

In  a  section  of  "darkest  Africa"  the  native  rubber 
worker  has  a  new  urge.  He  is  employed  at  a  fair  wage, 
motion  pictures  show  him  how  to  set  out  young  rubber 
trees,  how  to  tap  older  ones,  how  to  protect  himself  from 
insects,  how  modern  sanitation  helps  him  to  live  in  more 
comfort  than  he  has  known.  In  short,  the  motion  picture 
is  "educating"  some  of  the  most  ignorant  of  peoples.  A 
long  time  must  elapse  before  the  primitive  African  learns 
his  letters  and  begins  to  use  the  primer. 

Meanwhile  this  new  kind  of  education  undoubtedly 
expands  his  mind  to  a  remarkable  degree. 

Conversely,  the  record  of  these  wild  workers  is  brought 
to  school  and  public  audience  in  the  United  States  where 
thousands,  if  not  millions  of  people,  learn  how  the  ignor- 
ant African  works  and  begins  to  take  part  in  the  real 
progress  of  mankind. 

The  International  Union  of  the  American  Republics 
at  Washington  has  long  utilized  the  motion  picture  in 
introducing  peoples  of  American  Nations.  A  division  of 
the  organization  gives  special  aid  to  club  women  in  arrang- 
ing their  international  programs,  and  lends  motion  pic- 
ture films  to  clubs  all  over  the  United  States.  There  is 
no  charge  for  this  service  other  than  the  nominal  express 
fees.  A  similar  feature  is  that  of  supplying  films  for 
university  use. 

So,  both  in  clubs  and  in  institutions  of  learning  the 
Union  brings  features  of  visual  inter-American  progress 
(Turn  to  Page  31) 


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Eight 


The       INTERNATIONAL       PHOTOGRAPHER 


December,  1933 


Around  the  World 


With 


Herford  Tynes  Cowling 

A  NATIVE  INDIAN   DURBAR 
Trip  Number  Six 


IR  Pratap  Singh,  Maharajah  of  Kashmir  was 
dead.  I  read  again  the  newspaper  account  and 
what  a  flood  of  memories  it  brought  back  to  me. 
Many  happy  months  I  had  spent  in  that  glorious 
part  of  the  earth,  so  close  to  the  heavens,  known  as  the 
Vale  of  Kashmir — far  up  in  the  northern  most  part  of 
India,  nestled  in  the  foothills  of  the  Himalayas  and  next 
to  the  famous  Khyber  Pass.  Sir  Pratap  I  had  known  and 
seen  often  during  my  sojourn  in  India.  The  orthodox  old 
Hindu  ruler  never  quite  approved  of  his  nephew,  Sir  Hari 
Singh,  Crown  Prince  and  heir  to  the  throne,  because  of 
his  friendship  with  foreigners  and  his  reform  ideas. 

What  did  the  future  hold  in  store  for  Hari  Singh  now, 
I  wondered  ;  would  he  succeed  his  uncle  and  become  the 
ruler  of  one  of  India's  most  powerful  states?  Surely,  if 
not  an  orthodox  Hindu,  he  was  popular  with  the  British 
Raj  and  that  was  even  tantamount  to  succeeding  his  uncle. 

I  remember  how  Sir  Hari  and  I  had  planned  the  Dur- 
bar or  royal  court  that  he  would  put  on  when  he  became 
King.  Far  into  the  night  we  had  so  many  times  talked 
and  visioned  a  real  Indian  Durbar  such  as  his  generations 
had  never  seen,  but  similar  to  the  old  time  Durbars  of  his 
ancestors,  the  mighty  Rajput  rulers,  as  was  Rangit  Singh, 
"Lions  of  the  Punja."  I,  of  course,  was  to  photograph  the 
ceremonies  and  produce  a  motion  picture  film,  the  like  of 
which  had  never  been  undertaken. 

Well,  several  years  had  since  passed  and  I  was  a  long 
way  from  India,  enjoying  a  vacation  at  my  home  in  Vir- 
ginia, the  first  for  about  fifteen  years. 

Shortly  after  seeing  the  account  of  Pratap  Singh's 
death,  I  received  a  cablegram  from  Hari  Singh  telling  me 
the  news  and  requesting  my  presence  at  his  coronation, 
principally  for  the  purpose  of  making  a  motion  picture 
film  record  as  we  had  planned.  There  was  little  time  to 
hesitate  or  make  plans  for  the  trip,  since  the  only  boat  that 
would  make  connections  to  get  me  to  India  in  time  for 
the  event  was  sailing  in  exactly  twenty-four  hours  from 
New  York. 

In  addition  to  film  supplies,  lights  would  have  to  be 
taken  for  some  events  that  would  be  held  inside  the  palace. 
In  spite  of  the  almost  seemingly  impossible  task  of  getting 
together  the  necessary  paraphernalia  for  so  long  a  trip  in 
such  a  short  time,  twenty-four  hours  later  found  me  aboard 
the  Aquitania  on  my  way  to  one  of  the  most  colorful  ad- 
ventures of  my  entire  life;  the  Durbar  of  the  ruling  Prince 
of  India. 

My  dreams  were  coming  true  and  before  me  unfolded 
a  rare  and  gorgeous  spectacle  seemingly  taken  from  the 
pages  of  the  Arabian  Nights.  All  foreigners  had  been 
excluded  from  the  country  that  no  modern  dress,  white 
helmets  or  umbrellas  might  mar  the  dramatic  spectacle. 

Hari  Singh  greeted  me  upon  my  arrival  and  such  a 
dashing  figure  he  made,  still  young  and  handsome,  but 
with  a  new  dignity  in  keeping  with  his  new  responsibilities. 
The  ceremonies  of  the  Hindu  ritual  had  been  in  progress 
several  weeks  prior  to  my  arrival  and  are  too  numerous 
to  describe  in  so  short  an  account,  but  immediately  upon 

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my  arrival  I  began  preparations  for  filming  the  court 
scenes  as  well  as  immediate  work  on  the  scenes  in  progress 
inside  the  temples.  Now,  photographing  inside  a  Hindu 
Temple  was  something  that  had  never  before  been  per- 
mitted, especially  during  a  religious  ceremony  and  it  was 
only  permitted  on  this  occasion  in  deference  to  his  High- 
ness' wish. 

Since,  as  a  foreigner,  I  coud  not  actually  step  inside 
the  temple  itself,  openings  were  arranged  through  which 
the  camera  lens  could  be  focused  on  the  principal  cere- 
monies of  the  ritual  and  I  was  able  to  photograph  Sir  Hari 
with  all  reverence  performing  Puja.  At  intervals  during 
these  ceremonies  word  would  come  that  a  visiting  guest, 
a  maharajah  or  ruling  prince  from  another  state  was  ar- 
riving by  special  train  and  custom  required  that  he  be  met 
at  the  station  by  our  prince  in  person.  Ceremonies  would 
be  terminated  for  the  moment  while  we  dashed  off  to  the 
station  in  one  of  the  prince's  many  Rolls-Royces  to  meet 
and  welcome  the  royal  guest. 

Fourteen  ranking  princes  arrived,  each  with  his  own 
private  train  with  many  Sir  Dars,  or  chieftains,  hundreds 
of  servants,  tons  of  baggage  and  last  but  not  least,  troupes 
of  beautiful  Nautch  or  dancing  girls. 

I  shall  never  forget  Patiala,  that  spectacular  prince  of 
the  Punjab.  All  of  his  chiefs  were  six  feet  in  height  and 
he  boasts  the  finest  flock  of  dancing  beauties  in  the  coun- 
try. Patiala  was  his  ever  brilliant  self,  his  huge  body  and 
turban  fairly  glistening  with  diamonds  and  precious  stones. 
Again  to  the  temple  for  more  Puja,  back  to  the  station  to 
greet  another  royal  guest,  to  the  temple  again  and  so  on 
for  five  days  prior  to  the  principal  ceremony  or  Durbar. 

Then  came  the  day  of  days  featuring  a  parade  that 
lasted  five  long  hours — the  new  Maharajah  draped  in 
emeralds  and  pearls  of  fabulous  value  mounted  upon  the 
largest  elephant  I  have  ever  seen,  rode  through  the  nar- 
row streets  to  the  shrine  of  his  forefathers  where  the 
sacred  caste  mark  of  his  Dogra  tribe  was  placed  upon  his 
forehead.  The  placing  of  this  caste  mark  constituted  the 
final  act  in  the  ritual  which  made  him  King  of  all  the  do- 
main within  the  states  of  Jammu  and  Kashmir.  Long  live 
Hari  Singh  Maharajah  Bahdur. 

As  Sir  Hari  Singh  came  out  of  his  palace,  he  was 
dressed  in  a  coat  of  gold,  with  ropes  of  pearls  around  his 
neck  and  yellow  turban  gleaming  with  diamonds  and 
emeralds.  His  pearls  alone  were  valued  at  about  five 
million  dollars.  He  was  preceded  by  a  group  of  dancing 
girls,  who  sang  and  danced  before  him  until  he  reached 
the  street,  where  the  procession  had  stopped,  awaiting  his 
arrival. 

Some  orthodox  Hindus  maintained  that  he  should  ride 
a  horse ;  others,  an  elephant.  He  compromised  by  having 
his  favorite  horse  stand  in  attendance,  with  trappings  set 
in  emeralds  and  with  a  rope  of  emeralds  around  his  neck. 
Custom  decreed  that  he  should  pass  by  an  ox  and  a  cow 
with  her  calf,  a  goat  and  a  sheep.  He  touched  the  horse 
and  then  mounted  to  the  golden  howdah  on  the  back  of 
that  amazing  elephant  before  mentioned.  The  ears  and 
trunk   of   the   elephant  were  painted   in   pleasing  design. 

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December,  1933 


The       INTERNATIONAL   PHOTOGRAPHER 


Nine 


Top  Left — Princes  and  Rajas  of  Kashmir,  also  mounted  on  elephants, 

follow  the  new  Maharaja  in  the  royal  procession.    The  gold  trappings 

of   these   elephants   cost   over   a    million   dollars   and    were    especially 

made  for  the  occasion. 

Top  Center — Spires  of  the  great  Hindu  Temple  at  jammu,  Kashmir, 

where  the  coronation  or  Durbar  ceremonies  were  held  and  Puja  rights 

celebrated. 

Top  Right — His  Highness,  Sir  Hari  Singh,  Maharaja  of  Kashmir, 
mounted  on  the  largest  elephant  in  all  India — passing  the  Royal  Palace 

The  anklets  and  headpiece  were  fringed  and  the  trappings 
were  all  of  solid  gold.  The  mahout  wore  a  golden  cos- 
tume and  so,  too,  did  the  attendant  who  sat  behind  him. 
Such  a  magnificent  study  in  gold  I  had  never  seen  before 
nor  do  I  expect  to  see  its  like  again. 

From  every  housetop  and  window  cries  of  acclamation 
went  up  as  the  procession  wound  its  way  through  the 
narrow  streets,  some  of  which  were  only  ten  feet  wide 
and  barely  roomy  enough  to  permit  the  elephants  to  pass 
in  single  file.  There  must  have  been  a  quarter  million  of 
spectators  in  Jammu  that  day  and  yet  there  was  hardly  a 
woman  in  sight.  Like  the  public  celebrations  among  the 
Hindus,  this  was  strictly  a  "man's  show." 

I  had  selected  the  places  beforehand  from  which  I  was 
to  take  my  pictures  and  as  I  moved  from  point  to  point, 
it  seemed  to  me  that  the  roofs  would  be  crushed  and 
broken  down  by  the  masses  of  shouting,  loyal  subjects  and 
guests  who  had  come  from  all  parts  of  India. 

First  in  the  procession  came  the  state  flag  mounted  on 
a  male  elephant ;  then  the  state  drums  on  a  male  elephant ; 
one  and  one-half  squadrons  of  cavalry  in  field  service  kit ; 
one  battery  of  artillery ;  one  battalion  of  be-medaled  in- 
fantry with  band  ;  twenty-five  led  horses,  each  with  saddle 
cloth  of  brilliant  color  and  a  syce,  or  groom,  in  gorgeous 
costume  (the  horses  at  the  disposal  of  the  guests  in  the 
procession — though  bold  the  one  who  would  have  ventured 
to  ride!)  ;  the  state  band  in  full  dress;  the  army  head- 
quarters staff  in  scarlet  full  dress ;  ten  asabardars,  or  at- 
tendants, carrying  heavy  staffs  of  gold  ;  the  elephant  of 
the  Maharajah  surrounded  by  one  hundred  bandukies,  or 
spearmen,  dressed  in  white  with  orange  turbans  and 
sashes ;  his  personal  staff  mounted ;  riding  on  two  ele- 
phants, the  four  rajahs  who  pay  tribute  to  the  Maharajah 
of  Kashmir — the  Rajkumar  Sahib,  the  Rajah  on  Poonch, 
the  Rajah  of  Chinani  and  the  Rajah  of  Ramkot,  twenty- 
five  cavalry  officers  in   full  dress;  six  elephants  in  single 


at  the  beginning  of  his  Royal  Progress  through  the  streets  of  |ammu 

his  capital  city — during  the  Durbar. 
Lower  Left — The  new   Maharaja — Sir  Hari  Singh,  ruler  of  the   Indian 
State  of  Kashmir,  with  his  A.  D.  C.s  and   private  secretary    (English). 
Lower    Center — Kashmiri    dancing     iNautch)     girls — long    famed    for 

their  beauty. 

Lower  Right — The   Prince — Sir  Hari  Singh — performs  "Puja"  a   Hindu 

religious  ceremony   of   purification — preparatory    to   receiving   the    Raj 

Tilak    mark   of   the   royal   office   to   which    he    succeeded   during   the 

ceremony. 

file  with  painted  faces  and  brilliant  trappings;  one  bat- 
talion of  infantry;  one  battery  of  artillery  and  one-half 
squadron  of  cavalry  all  in  field  service  kit,  etc. — five 
hours  of  it. 

Then  followed  a  public  Durbar  in  an  open  court  of 
the  palace  where  each  of  the  chiefs  and  public  officers 
passed  in  an  obeisance  ceremony  before  their  new  ruler. 
This  ceremony  consisted  of  presenting  a  newly  minted 
gold  coin  on  a*  silk  handkerchief  as  an  act  of  tribute  or 
obeisance  to  their  new  ruler  and  was  their  first  act  of 
fealty.  Following  the  public  Durbar  were  two  days  of 
private  Durbar  when  rare  gifts  were  received  from  all 
over  the  world.  The  end  of  the  week  of  ceremonies  was 
climaxed  by  a  grand  banquet  attended  by  all  the  ruling 
princes  and  was  a  gala  occasion.  Turbaned  and  bejeweled 
princes  ate  from  dishes  of  gold  and  shared  in  the  joy  and 
celebration  of  the  new  king.  Many  of  the  orthodox  Hindu 
guests  did  not  particularly  fancy  the  idea  of  a  motion  pic- 
ture camera  being  present  and  recording  the  event  while 
they  were  eating  and  no  doubt  this  remains  as  the  only 
motion  picture  film  that  was  ever  made  on  a  similar  occa- 
sion. 

Following  the  more  serious  and  formal  celebrations 
was  a  Holi  Durbar  or  burlesque  affair,  the  final  enter- 
tainment of  the  celebration.  To  this  the  new  Maharajah 
invited  only  his  best  friends,  every  one  dressed  in  white, 
and  they  spent  the  afternoon  in  horse-play,  throwing  vari- 
colored dyes  on  each  other  with  squirt  guns.  The  filming 
of  this  hilarious  ceremony  concluded  abruptly  when  the 
Maharajah  playfully  decided  to  turn  his  squirt  gun  in  the 
direction  of  my  cameras,  but  not  until  I  had  made  a  very 
interesting  film  record  of  the  event.  Before  I  hardly  knew 
it  I  was  on  my  way  back  home.  Two  weeks  in  India  and 
such  an  eventful  period,  I  had  filmed  a  ceremony  costing 
more  than  twelve  million  dollars,  the  like  of  which  will 
probably  not  be  seen  again  in  modern  India. 


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Ten 


I   I, 


INTERNATIONAL   PHOTOGRAPHER 


December,  1933 


Motion    Picture 
Sound   Recording 


Chapter  IV 


[N  earlier  chapters,  the  fundamental  principles 
of  sound  recording  and  the  various  forms  of 
■.  sound  recording  devices  employed  by  the  dif- 
ferent recording  systems  were  considered  briefly. 
Last  month  the  characteristics  of  sound  waves,  of  human 
hearing,  and  of  musical  instruments  were  discussed.  Now 
that  the  introductory  work  has  been  completed,  this  and 
the  following  chapters  will  be  concerned  with  the  actual 
sound  recording  equipment,  its  functioning  and  its 
operation. 

For  greatest  convenience  in  study,  it  is  desirable  to 
consider  that  a  sound  recording  studio  employing  Western 
Electric  equipment  is  divided  into  five  main  divisions. 
These  divisions  comprise  (1)  the  sound  stage  and  the 
microphone  equipment,  (2)  the  monitor  room  and  the 
monitoring  apparatus,  (3)  the  main  amplifying  equipment, 
(4)  the  wax  recording  machines  and  the  wax  recording 
device,  and  (5)  the  film  recording  machines  and  the  film 
recording  device. 

These  divisions  are  connected  by  an  intercommunicating 
telephone  system  and  a  special  signal  system,  which  makes 
possible  co-ordination  within  the  divisions  and  between 
the  sound  department  and  the  director  when  sound  record- 
ing is  being  done.  In  addition  to  these  main  divisions, 
there  is  the  re-recording,  or  dubbing,  division,  which  will 
be  discussed  separately  because  it  is  not  directly  affiliated 
with  the  actual  sound  recording  on  the  stages. 

In  the  next  several  chapters  on  sound-stage  apparatus 
and  on  monitoring,  no  mention  will  be  made  of  the 
portable  monitoring  eauipment  and  the  manner  in  which 
it  is  handled ;  for  the  similarity  of  the  portable  and  perma- 
nent monitoring  equipment  is  so  marked  that  it  is  un- 
necessary to  describe  them  both  in  detail.  The  technique 
of  indoor  and  outdoor  monitoring  differ  somewhat,  but 
not  so  radically  that  a  monitor  man  who  is  experienced 
in  indoor  monitoring  cannot  do  an  excellent  job  of  out- 
door monitoring  without  further  training.  In  monitoring, 
as  in  all  phases  of  sound  recording,  it  is  purely  a  matter 
of  knowing  the  equipment  and  its  functioning,  and  then 
applying  that  knowledge  leavened  with  "horse  sense"  to 
its  operation. 

Portable  Recording  Equipment 
Outdoor  recording  is  done  with  two  styles  of  recording 
equipment:  The  trunk  type  and  the  sound-truck  type. 
The  trunk  type  sound  equipment  is  divided  into  a  num- 
ber of  complementary  units,  and  each  unit  is  built  into  a 
strong,  trunk-like  box.  When  the  equipment  is  set  up 
for  operation,  the  trunks  are  opened  and  connected  by 
suitable  cables.  One  trunk  contains  the  monitoring  equip- 
ment, another  the  main  amplifiers,  and  a  third  the  film 
recording  machine.  Other  trunks  hold  the  microphones, 
cables,  film  magazines,  batteries  and  like  accessories. 

The  sound-truck  type  portable  equipment  is  perma- 
nently built  into  a  large  enclosed  truck,  and  is  a  simplified 
duplicate  of  the  permanent  indoor  recording  equipment. 
The  monitoring  apparatus  is  similar  to  that  employed  with 
the  trunk  type  equipment,  and  is  arranged  with  cables 
so  that  it  may  be  operated  up  to  a  distance  of  three  hun- 
dred feet  from  the  sound  truck.  Both  types  of  portable 
monitoring  equipment  employ  special  high-quality  head- 
phones in  place  of  monitor  horns.     The  microphones  are 


By 
Charles  Felstead 
Associate  Editor 


also  equipped  with  sectional  cables,  which  permit  them  to 
be  placed  several  hundred  feet  from  the  monitoring  equip- 
ment, the  cables  thus  making  it  possible  to  set  up  the 
microphones  and  the  monitor  trunk  in  locations  where 
the  portable  truck  may  not  be  driven.  There  have  been 
cases  where  the  microphones  and  monitoring  equipment 
have  been  placed  as  much  as  1800  feet  from  the  sound 
truck. 

The  trunk  type  portable  equipment  is  used  for  outdoor 
recording  in  locations  entirely  inaccessible  to  the  sound 
trucks,  such  as  in  jungles,  in  mountainous  regions,  in  air- 
planes and  in  similar  places  where  a  truck  could  not  be 
driven  or  its  bulk  and  weight  prevent  its  employment. 
The  sound  truck  is  preferred  for  all  location  recording 
because  of  the  ease  and  dispatch  with  which  it  can  be 
placed  in  operation. 

Certain  studios  also  use  sound  trucks  for  recording 
on  stages  that  are  not  equipped  with  permanent  recording 
channels.  The  sound  truck  is  driven  into  a  shed  built 
against  the  side  of  the  stage  and  the  monitor  trunk  and 
microphones  set  up  inside  the  stage.  The  cab'es  are  passed 
through  small  openings  in  the  wall  of  the  stage.  The 
resultant  saving  in  equipment  is  rather  considerable. 

Sound  Stages 

All  indoor  monitoring  takes  place  in  large  sound-proof 
structures  called  sound  stages.  In  the  days  of  the  silent 
motion  picture,  immense  enclosed  structures,  like  over- 
grown barns,  were  used  to  protect  the  "sets,"  lights  and 
other  equipment,  and  the  actors  from  inclement  weather. 
In  those  days  they  were  called  simply  "stages" ;  and,  in 
addition  to  acting  as  shelters,  they  served  to  prevent  varia- 
tions in  the  intensity  of  sunlight  from  affecting  the  pho- 
tography, allowing  the  more  satisfactory  artificial  lighting 
to  be  used  entirely.  There  was  no  necessity  for  sound 
proofing  nor  concern  about  the  amount  of  reverberation 
of  sound  that  was  present  in  the  stages. 

The  introduction  of  sound  recording  changed  all  that. 
It  became  necessary  to  sound  proof  the  stages  to  prevent 
the  intrusion  of  noises  originating  outside  the  stages ;  for 
any  infringing  sound  would  be  picked  up  by  the  micro- 
phones and  recorded  along  with  the  actors'  voices.  Mod- 
ern sound  stages  are  of  a  double-wall  construction  that 
practically  excludes  the  possibility  of  outside  sounds  pene- 
trating to  the  inside  of  the  stages.  There  is  an  air  space 
between  the  walls ;  and  the  walls  themselves  are  covered 
on  both  sides  with  sound-proof  material. 

Low-frequency  sounds,  such  as  the  rumble  made  by  a 
heavy  vehicle,  are  readily  transmitted  through  floors;  so 
special  precautions  are  necessary  in  the  construction  of  the 
floors  of  sound  stages  to  make  them  poor  conductors  of 
sounds  of  low  pitch.  In  some  studios  the  wood  floor 
of  the  stage  is  floated  on  a  sub-floor,  with  the  space  be- 
tween the  floors  filled  with  sand. 


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iJecember,  1933 


I  n  e 


INTERNATIONAL       PHOTOGRAPHER 


Eleven 


Sounds  of  higher  pitch,  such  as  produced  by  a  factory 
whistle,  are  transmitted  more  by  the  air  than  by  the 
ground;  and  it  is  to  prevent  the  passage  of  these  higher- 
pitch  sounds  that  the  double-wall  stage  construction  is 
provided.  So  it  will  be  seen  that  the  methods  employed 
for  filtering  out  low  and  high-frequency  sounds  are  en- 
tirely different. 

Walls  constructed  of  wood  or  other  hard  material  are 
highly  reverberatory.  Being  an  enclosed  space,  the  in- 
terior of  a  sound  stage  would  be  a  bedlam  of  reverbera- 
tory noise  whenever  a  loud  sound  was  produced  within 
the  stage  if  the  walls  were  not  covered  on  the  inside  with 
some  sound-absorbing  material.  Flaxlinum,  Celotex  or 
balsam  wool  are  usually  employed  for  this  purpose  ;  and 
the  entire  inner  surfaces  of  the  sound  stage,  including 
the  ventilator  shafts  and  overhead  runways  for  lights  are 
covered  with  one  or  more  of  these  materials.  Heavy  cloth 
drapes  and  quilts  padded  with  rock  wool  are  often  hung 
over  portions  of  the  interior  walls  as  additional  insulation 
from  sound  originating  on  the  outside,  and  to  lower  the 
period  of  reverberation  of  the  stage.  This  matter  of  rever- 
beration and  its  great  importance  to  the  monitor  man  will 
be  taken  up  at  a  later  time. 

Most  sound  stages  in  Hollywood  are  about  100  feet 
wide  by  50  feet  high  and  300  feet  long;  but  sometimes 
they  are  larger  than  that,  one  stage  having  a  width  of  150 
feet  and  a  length  of  450  feet.  There  are  no  windows 
in  the  walls  of  the  sound  stages ;  and  the  double  doors 
that  are  employed  are  constructed  like  the  doors  of  safes 
and  are  extremely  heavy.  The  doors  are  high  and  wide 
enough  to  permit  entire  walls  of  sets  to  be  brought  in 
without  dismantling  them.  A  ventilating  system  is  pro- 
vided for  each  stage ;  so,  except  in  extremely  hot  weather, 
there  is  no  need  to  open  the  doors  during  shooting  hours. 
Most  sound  stages  are  designed  to  be  more  than  eightv- 
five  per  cent  impervious  to  sound. 

Microphones 

The  constructional  features  of  the  various  microphones 
used  for  sound  recording  were  discussed  briefly  in  an 
article  published  in  the  August,  1933,  issue  of  this  maga- 
zine, and  the  reader  is  referred  to  it.  That  data  will 
not  be  repeated  here,  since  this  chapter  is  concerned  more 
with  the  practical  features  which  affect  the  use  of  micro- 
phones in  sound  recording. 

The  Western  Electric  recording  system  employs  two 
distinctly  different  types  of  microphones,  the  condenser 
microphone  and  the  dynamic  microphone.  The  condenser 
transmitter  is  only  about  the  size  of  a  doughnut ;  but  it 
has  the  disadvantage  that  it  must  always  be  closely  coupled 
to  its  amplifier.  (The  combination  of  transmitter  and 
amplifier  constitutes  the  microphone.)  The  resulting  de- 
vice is  very  heavy  and  cumbersome  to  handle,  especially 
when  it  is  out  on  the  end  of  a  microphone  boom.  The 
dynamic  transmitter  is  about  the  same  size  as  the  con- 
denser transmitter  ;  but  it  is  connected  to  its  amplifier  by 
a  cable  about  fifty  feet  long,  providing  a  sound  pick-up 
unit  of  light  weight  that  is  easy  to  manipulate. 

The  condenser  microphone  is  constructed  in  one-stage 
and  two-stage  models,  which  receive  their  designations 
from  the  number  of  stages  of  amplification  incorporated 
in  the  microphone  amplifier ;  but  the  dynamic  microphone 
is  built  only  in  the  two-stage  model.  The  one-stage  con- 
denser microphone  is  used  for  recording  sounds  of  ordinary 
level ;  while  the  two-stage  model  is  used  principally  when 
very  weak  sounds  are  to  be  recorded.  Monitor  men  often 
use  both  one  and  two-stage  microphones  simultaneously 
to  record  two  sounds  originating  a  little  distance  apart 
when  there  is  a  considerable  difference  in  intensity  of 
the  two  sounds. 

Either  type  of  microphone  is  connected  to  the  controls 
in  the  monitor  room  through  long,  heavily  insulated  and 


a  junction  box  mounted  on  the  wall  of  the  sound  stage, 
and  into  the  microphone  amplifier  on  the  other  end.  Lock 
plugs  are  provided  on  the  ends  of  the  cables  to  prevent 
them  being  accidentally  pulled  from  the  jacks.  The 
shielding  of  the  cables  and  the  metal  shells  of  the  plugs 
are    grounded.      The    cables    are     furnished     in     various 


Left — A  metal  blimp  of  latest  type.  Mounted  on  a  platform 
for  travelling  shots.     Courtesy   Paramount  Pictures. 

Center — Condenser  microphone.  Two  stage  type.  Courtesy 
Universal    Pictures  Corp. 

Right — Lightweight  celluloid  blimp  over  camera  on  regular  tripod. 
Courtesy    Universal    Pictures  Corp. 


lengths;  and  if  necessary  several  of  them  may  be  coupled 
together  for  greater  length.  The  junction  box  on  the 
wall  provides  outlets  for  six  microphones.  The  200-volt 
plate-supply  battery  that  is  required  by  the  microphones 
is  installed  in  the  junction  box. 

The  microphones  must  be  placed  within  a  reasonable 
distance  of  the  actors  whose  voices  are  to  be  recorded  ; 
and,  since  those  actors  move  about  in  performing  their 
parts,  it  is  necessary  that  the  microphones  be  moved  to 
accommodate  the  action.  When  sound  was  first  intro- 
duced, the  microphones  were  hung  from  the  overhead 
runways;  but  that  arrangement  was  unsatisfactory  be- 
cause it  did  not  permit  the  microphones  to  be  moved 
about  during  the  "take."  An  improvement  on  that 
method  was  brought  about  by  attaching  the  end  of  a 
fish  pole  to  the  suspended  microphone.  By  moving  the 
fish  pole,  the  microphone  man  was  able  to  move  the 
microphone  through  an  arc;  but  at  the  best  that  device 
was  crude. 

A  great  advance  was  made  along  this  line  when  the 
adjustable  microphone  boom  was  developed.  The  micro- 
phone boom  is  a  counterbalanced  derrick-like  affair  with 
the  microphone  suspended  from  the  end  of  the  derrick 
arm.  Several  adjustments  are  provided,  which  allow  the 
boom  arm  to  be  raised  or  lowered,  to  be  swung  around 
in  a  circle,  and  to  be  extended  or  retracted.  Since  the 
mechanism  is  mounted  on  rubber-tired  castors,  it  may  be 
rolled  along  during  a  take  to  follow  a  "traveling  shot." 
A  single  man  can  operate  the  boom  and  swing  the  micro- 
phone smoothly  and  swiftly  to  any  position.  The  boom 
operator  is  called  a  microphone  man. 

Camera  Motors  and  Blimps 

The  motion  picture  cameras  are  driven  by  special 
three-phase  motors  in  the  Western  Electric  system  ;  and 
these  motors  are  connected  by  heavy  motor  cables  to  the 
master  motor  control  system,  which  also  drives  the  re- 
corder motors  and  keeps  all  the  motors  in  synchronism. 
These  motor  cables  are  plugged  into  heavy  jacks  on  the 
sound  stage  wall.  The  master  motor  system  starts  all 
(Turn  to  Page  22) 


shielded  microphone  cables,  which  plug,  on  one  end,  into 

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M     1 

This  is  not  a  minia- 
ture. It  is  a  full  fledged 
set  done  in  the  temper 
of  Winter  in  Old  Paree. 
It  was  discovered  one 
hot  day  on  the  Paramount 
lot  by  Leslie  Rowley  who 
was  browsing  about  with 
his  Craflex  looking  for 
some  unusual  photo 
game.  Here  it  is  all  but 
sound  —  the  moaning 
winds  of  Winter. 


(THEY    KEEP    THE    STARS    SHINING) 


As  an  integral  part  of  the  great  motion  picture  indus- 
try there  is  a  group  of  men  known  as  the  International 
Photographers. 

They  are  the  men  who  manipulate  the  motion  cameras 
— who  direct  the  photography  of  the  photoplays  and,  in 
number,  they  are  somewhat  less  than  800  men  of  all  ages. 

In  this  group  is  numbered  also  the  men  who  make  the 
still  pictures  that  form  the  exhibits  by  which  the  motion 
pictures  are  sold  to  the  distributors  and  exhibitors. 

Most  of  these  still  men  are  pictorialists  and  artists, 
many  of  them  of  international  fame,  through  their  many 
exhibits  in  salons  in  America  and  abroad. 

Many  of  these  motion  picture  cameramen  are  experts 
of  the  highest  attainments  in  lighting  and,  after  all,  ef- 
fective lighting  is  the  sine  qua  non  of  photography  of  any 
kind. 

Then  there  is  a  group  called  assistants,  many  of  them 
scarcely  less  expert  than  their  superiors,  the  chief  cinema- 
tographers,  and  the  "operative  cameramen,"  which  latter 
actually  handle  the  mechanism  of  the  camera  in  produc- 
tion. 

Every  day  these  men  are  on  the  studio  sets  or  on  loca- 
tions, near  or  far,  photographing  the  pictures  that  are  to 
be  shown  on  the  screens  of  theatres  throughout  the  world, 
and  they  are  universally  thought  of  in  terms  of  camera- 
craft. 

But  you'd  be  surprised — for  the  camera-craft  is  the 
least  of  the  life  activities  of  this  group  of  men  just  casually 
referred  to  as  cameramen. 

It  would  require  a  complete  book  the  size  of  this  maga- 


zine to  go  into  detail  regarding  the  individual  activities  of 
this  camera  "group,"  but  brief  mention  may  convey  to  the 
reader's  mind  a  fair  idea  of  the  players  on  the  stages  of 
their  respective  private  lives. 

Here  is  talent  galore  and  of  every  kind — gold  mines 
of  it. 

The  inventors  are  numerous  with  patents  or  patents 
pending  on  everything  from  a  score  of  different  cameras 
and  a  hundred  or  more  camera  devices  to  Diesel  engines, 
color  processes,  dental  supplies  and  electric  lamps. 

There  are  two  ex-attorneys  and  several  school  teach- 
ers, one  practicing  dentist  and  dozens  of  M.  A.  and  B.  A. 
degrees. 

There  is  one  clever  lexicographer,  half  a  hundred 
chemists,  one  microscopical  expert,  a  couple  of  hundred  ex- 
soldiers,  three  taxidermists,  a  pharmacist,  one  meteor- 
olgist,  two  mining  engineers  and  a  metallurgist. 

The  musical  talent  is  abundant — many  good  pianists, 
two  or  three  concert  pianists,  enough  singers  for  twenty 
male  quartets,  enough  musicians  to  make  up  a  symphony 
orchestra,  a  band  of  100  pieces  and  half  a  dozen  more 
bands  like  the  popular  dance  orchestras  of  today.  All 
these  have  been  checked  up. 

There  are  two  organists  as  good  as  any  you  read  about, 
a  'cello  virtuoso,  a  mirimba  artist  and  a  few  professional 
dancers. 

There  are  many  excellent  public  speakers,  a  few  cap- 
able of  lecturing  on  timely  subjects,  also  a  considerable 
number  of  headline  actors,  comedians,  minstrel  perform- 
ers and  vaudevillians. 


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George  K.  Hollister, 
senior,  is  one  of  the 
cinema's  pioneer  still 
photographers.  In  this 
case  Mr.  Hollisrer  caught 
an  entrancing  view  of 
the  summit  of  Mount 
Lowe  under  the  cold 
moon  of  Winter — a  rare 
shot  considering  the 
balmy  weather  of  Cali- 
fornia. Mount  Lowe  is 
less  than  twenty  miles 
from    Hollywood — if   you 


Engineers  are  numerous — embracing  thermal,  electri- 
cal, mechanical,  sound,  mining,  hydraulic,  etc.,  and  besides 
technicians  of  many  kinds. 

In  the  personnel  are  a  number  of  clever  writers,  cap- 
able even  of  measuring  up  to  book  composition,  technical 
subjects,  novels,  travelogue,  etc.  (Oh,  if  the  editor  could 
only  get  'em  to  write!) 

One  or  two  clever  composers,  song  writers  and  poets, 
lend  lustre  to  the  group  and  two  at  least  can  write  plays, 
while  literally  scores  can  write  surefire  scenarios  and  some 
day  will  be  getting  rich  at  it. 

Three  horse  trainers,  one  wild  animal  trainer,  a  dozen 
breeders  of  blooded  dogs  clutter  up  the  records  and  this 
reminds  the  writer  that  some  sixteen  of  the  cameramen 
have  in  the  last  few  years  become  directors. 

Besides  all  these  there  are  architects,  a  bond  expert,  an 


ex-jockey,  a  former  first  class  boxer,  two  wood  carvers, 
many  former  laboratory  operatives,  a  book  binder,  a  won- 
derful embosser  of  leather  and  at  least  two  of  the  cleverest 
cartoonists  in  the  country,  and  a  number  of  first  class 
physicists. 

There  is  one  man  who  might  truthfully  be  called 
Leonardo  di  Vinci,  Jr.,  for  he  can  write,  model  in  clay, 
paint  in  pastels  and  oil,  write  fiction,  play  the  organ,  piano 
and  'cello,  compose  music — and  all  in  addition  to  being  an 
expert  laboratory  operative,  an  unbeatable  cinematogra- 
pher,  pictorialist  and  special  process  expert. 

Also  on  the  list  is  a  grower  of  iris  flowers,  unequaled 
in  California. 

A  brass  foundry  expert,  a  designer  in  ornamental  iron, 
several  chefs,  sixteen  aviators,  many  radio  experts,  para- 
chute jumpers  and  a  television  researcher  lend  variety  to 
the  group  and,  to  cap  the  climax,  the  group  claims  in  its 
ranks  a  first  class  hotel  man,  several  marine  navigators, 
first  class  chess  players,  lens  designers,  thirty-nine  globe 
trotters,  a  glass  blower,  many  fine  special  process  experts, 
a  dozen  death  defying  stunt  men  and  machinists  of  several 
kinds. 

The  cameramen  have  no  police  record  and  in  quality 
of  citizenship  they  bow  to  no  other  group  of  workers  in 
the  motion  picture  or  any  other  industry  on  earth. 


ERPI   REPLACEMENT 


What  the  average  cameraman  could   do  if  the   "Code"  called   for   it. 


More  than  1,500  theatres  have  signed  one  year  Repair 
and  Replacement  Agreements  which  were  recently  offered 
by  Electrical  Research  Products,  General  Sales  Manager 
C.  W.  Bunn  announces.  Among  the  larger  chains  that 
have  availed  themselves  of  this  contract  are  the  Golden 
State  Theatres  of  San  Francisco ;  the  Poli  New  England 
Chain ;  the  Walter  Reade  Theatres  in  New  Jersey  and 
New  York  and  the  Crescent  Amusement  Chain  in  New 
Orleans. 


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The  place  to  shoot 
Christmas  pictures  in 
California  is  up  on  the 
Truckee  River,  where 
the  movies  go  to  get 
their  Winter  stuff.  This 
particular  shot  was  a 
whim  of  Frank  Bjerring, 
who  at  the  time  was 
looking  for  a  Christmas 
eve  sunset  with  Christ- 
mas trees  and  every- 
thing. 


THE  CAMERA  IN  THE  EVERGLADES 
ON  AMERICA'S  LAST  FRONTIER 

By  ESSELLE  PARICHY 


HE  Florida  Everglades  is  America's  last  frontier 

today.     It  is  a  vast  trackless,  aquatic  waste  land 

spreading    over    central    Florida,    with    jungled 

swamp  and  island-like  oases  along  lagoons  and 

slush  waters  that  baffle  the  white  man. 

Miles  and  miles  of  Everglades  land  stretch  out  in  im- 
penetrability like  a  canopied  stockade,  admitting  no  human 
passage.  In  the  inner  heart  of  the  Everglades  there  is  an 
eerie  sense  of  unrealness  as  wild  as  prehistoric  time,  pal- 
pitating in  humid  intermezzo  as  though  Nature  had  turned 
back  the  Geological  Time  Clock  upon  a  Mesozoic  Age 
minus  the  grotesque  dinosaurs  and  the  thundering  bronto- 
saurus  that  plowed  the  earth  in  that  incandescent  past. 

These  hinterlands  in  spots  truly  symbolize  the  great 
Paleozoic  period  that  wedded  Nature  with  the  traverse  of 
Time  ...  a  land  sargasso  of  life  and  decay  .  .  .  birthing 
and  dying  in  the  sweet  rankness  of  growing,  of  growing 
things,  mingling  with  the  tissues  of  the  dead  that  the 
scavenger  buzzard  devours  in  its  ghoulish  flight  .  .  .  here 
every  wild  thing  blooms  with  deceptive  sweetness,  pungent 
in  haunt,  as  if  Mother  Nature  had  bolted  all  the  beauti- 
ful things  too  sweet  to  endure  and  spewed  them  up  again 
in  violence  all  over  the  counterpane  of  this  vast  area. 

Aromatic  seem  the  wild  smells  under  the  topaz  sun  in 
this  riotous  isolation  of  everglade  fastness  .  .  .  water  hya- 
cinth and  lily  bloom  with  enthusiasm  acre  on  end  .  .  .  cat- 
tail and  sawgrass  sway  rhythmically  in  the  humid  breeze, 


while  communities  of  swamp  lettuce  fringe  the  muck  edge 
of  the  big  cypress,  moss  covered  and  silent,  obliterating 
all  beyond  the  velvet  fringe  that  hangs  raggedly  below  an 
amethystine  sky. 

Here  and  there  wide  areas  grow  more  openly  admit- 
ting serpentining  canals  that  wind  leisurely  dotted  thickly 
with  lichened  vegetation,  cradling  the  white  plumed  aig- 
rette and  blazing  flamingo  and  other  brilliant  winged  life 
who  hold  sway  in  this  wild  abode,  while  the  alligator  and 
moccasin  slink  through  the  dense  under  waters. 

Futility  is  the  fruit  of  man's  effort  to  tame  this  wild- 
erness that  has  known  no  master  since  the  beginning  of 
Time.  Aloof  and  defiant  to  humankind,  it  stands  violent 
against  man's  trespass. 

It  is  only  the  tribal  Seminole  that  has  fathomed  the 
secrets  of  the  Everglades.  Here  he  dwells  in  seclusion, 
roaming  through  and  along  the  bayous  of  this  swamp  land 
ekeing  out  a  meager  existence.  The  Seminole  is  a  remnant 
of  the  Florida  aborigines  and  a  fast  vanishing  race. 

Civilization  has  touched  this  race  with  an  unkind  hand. 
The  history  of  the  Seminole  is  deeply  seamed  by  the  claws 
of  tragedy  to  a  persecuted  race.  He  lives  apart  as  much 
as  possible  from  his  pale  face  brother  and  calls  no  man 
master,  while  he  solves  the  problems  of  life  in  his  own 
primitive  way,  happy  and  contented  as  the  days  pass 
him  by. 

In   immobility  he  stands  gazing  at   the   vanguard   of 


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Bert  Anderson  takes 
them  as  he  finds  them 
and  Old  Boreas,  himself, 
would  delight  in  such  a 
panorama  of  Christmas 
beauties — the  snow,  the 
icy  stream,  the  dark 
skies,  the  forest  —  all 
that's  lacking  is  a  bob 
sled  and  a  party  of  merry 
makers  bringing  in  the 
Yule  log.  The  Eskimo 
looking  folk  across  the 
river  are  a  couple  of 
cameramen  looking  for  a 
place  to  set  up. 


civilization  marching  past.  The  proud  lineage  will  ever 
hold  fast  to  old  traditions  and  glories  of  Osceola. 

True,  he  has  adopted  some  of  the  white  man's  ways 
.  .  .  the  gun,  cooking  utensils  and  the  hand  sewing  ma- 
chine, and  too,  some  of  the  white  man's  iniquities  have 
sifted  through  his  creed,  but  he  has  changed  little  since 
Ponce  de  Leon  landed  on  the  Virgin  shores  of  Florida. 

It  is  indeed  a  strange  sight  to  come  upon  a  bevy  of 
Seminole  squaws  on  Miami's  busy  thoroughfares  among 
the  pulchritude  and  fashion  of  the  world's  elite  that  mi- 
grate here  during  the  winter  months  .  .  .  these  Seminoles 
with  their  bare  feet,  long  sweeping  dresses  of  myriad  hues 
.  .  .  their  necks  weighted  down  with  strand  after  strand 
of  glass  beads. 

However  the  city  streets  do  not  see  them  often,  as  they 
prefer  the  open  spaces  of  their  habitat. 

Seminole  women  are  not  permitted  to  wear  shoes 
under  the  laws  of  the  Indian  code,  and  this  along  with  the 
law  of  virtue  is  guarded  well,  under  the  penalty  of  their 
cruel  tribunal  which  deals  out  death  and  torture  to  the 


The   Seminole    Indian    bucks   wear   costumes  almost   like   those   of 
their  wives. 


guilty  in  their  own  manner.  Strong  codes  do  these  Semi- 
noles observe  in  their  tribal  laws  and  court  is  held  several 
times  a  year  in  the  deep  fastness  of  the  Everglades. 

In  their  desire  to  keep  the  race  clean  of  crime  they  do 
not  hesitate  to  exterminate  or  banish  those  members  who 
have  broken  the  faith  and  laws  according  to  the  Seminole 
statutes.  Favoritism  is  unknown  among  these  people  when 
justice  is  dealt  out  .  .  .  the  son  of  a  chief  is  shown  no  more 
consideration  than  the  offspring  of  a  common  squaw. 

The  Seminole  is  a  great  hunter  of  the  alligator.  It  is 
his  money  crop,  a  tangible  commodity  for  quick  cash.  He 
poles  the  shallow  currents  and  burrows,  not  much  wider 
than  his  canoe,  in  quest  of  these  saurians  that  lie  dormant 
along  false  hideouts  honeycombing  the  muddy  banks. 

He  lures  the  'gator  by  grunting  a  gutteral  sound  imi- 
tating the  mate  call.  The  Indian  approaches  cautiously, 
silent  paddling  until  he  comes  upon  one  of  these  reptiles. 

To  capture  these  'gators  alive  he  has  learned  from  long 
experience  that  he  must  be  alert  to  escape  the  vicious  lash- 
ing of  the  powerful  tail,  and  so  seize  the  head  of  his 
quarry  that  the  jaws  are  held  tightly  closed  until  roped 
and  hauled  into  the  canoe.  There  can  be  no  false  move- 
ment here  as  it  would  mean  the  loss  of  leg,  arm  or  death 
to  the  hunter,  but  the  dexerity  of  practice  has  made  the 
Indian  adept  at  this  dangerous  game.  He  always  prefers 
to  capture  these  amphibians  alive  for  the  remuneration  is 
greater  in  trade. 

Often  the  stomach  of  one  of  the  fifteen  or  sixteen  foot 
older  'gators  proves  to  be  a  veritable  junk  shop  when  dis- 
emboweled after  a  kill.  They  sometimes  hold  an  assort- 
ment of  astonishing  undigested  gadgets  such  as  iron  bolts, 
watch  cases,  belt  buckles,  old  shoes  and  many  other  grim 
diaries  of  unwary  and  unfortunate  victims. 

There  is  nothing  more  tragic  than  to  see  a  young 
squaw,  widowed,  and  heavy  with  first  born,  silently  cook- 
ing her  midday  meal  apart  from  the  tribe  .  .  .  her  hair 
torn  down  and  minus  the  neckload  of  beads  which  she  had 
(Turn  to  Page  26) 


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Sixteen 


The       INTERNATIONAL       PHOTOGRAPHER 


December,  1933 


LIGHT  REFORM  IS  PENDING 


By  F.  Morris  Steadman 


HE  people  struggle  long  and  painfully  in  giving 
U  birth  to  an  idea.  We  may  excuse  ourselves  some- 
what for  the  present  popular  ignorance  of  light 
by  taking  note  of  the  birth  struggles  of  other 
ideas  which  are  now  taken  for  granted  and  taught  in  all 
schools. 

Take,  for  example,  decimal  notation:  In  Mexico,  be- 
fore the  Chinese  were  banished,  all  banks  had  an  abacus 
on  their  writing  table  with  which  these  people  could  com- 
pute their  money  problems.  The  abacus  is  made  up  of 
a  series  of  wires  with  seven  buttons  on  each  and  a  dividing 
strip  which  confines  five  on  its  left  and  two  on  its  right. 
These  balls  represent  the  two  hands  and  the  five  fingers. 

This  decimal  counter  was  used  for  a  thousand  years 
before  a  way  was  found  to  write  numbers  freely  as  it  is 
done  now.  This  long  delay  was  due  solely  to  the  fact  that 
it  did  not  occur  to  anyone  to  use  a  sign  to  fill  in  the  space 
when  no  value  occurred,  as  in  tens  of  thousands.  For 
example:  104  could  not  be  written  out  because  for  a  thou- 
sand years  no  zero  sign  was  thought  of  to  fill  out  the  tens 
column.  For  that  simple  truth  or  plan — a  thousand  years. 
Then  it  took  another  few  centuries  to  discover  that  a  point 
could  be  placed  at  the  right  of  the  unit  and  the  same  plan 
used  for  writing  decimal  fractions. 

In  these  days  of  many  discoveries  we  are  inclined  to 
feel  that  we  are  a  right  brilliant  people  and  it  is  hard  to 
believe  that  we  are  as  torpid  as  ever. 

Let  us  locate  this  dumbness  now  in  the  matter  of  using 
light.  First  note  the  wonderful  activity  of  photography: 
It  employs  labor  and  capital.  It  manufactures  many 
things,  including  cameras,  lenses,  shutters,  chemicals  and 
sensitive  products,  as — films,  plates  and  papers.  It  is  used 
in  astronomy  to  locate  and  map  star  systems  which  the 
strongest  telescope  cannot  reveal  to  the  eyes.  It  pictures 
also  the  unseen  minutia  of  nature  with  the  microscopic 
camera.  It  gives  us  portraits  and  scenes.  It  reveals  with 
the  X-ray  defects  in  strucual  metals  and  locates  foreign 
substances,  bone  fractures,  etc.,  in  our  bodies  and  maps 
our  organs  so  that  they  may  be  treated.  Even  the  move- 
ments of  the  heart  are  now  pictured.  The  infra  red  rays 
penetrate  the  mists  and  give  us  views  that  the  eye  cannot 
see.  The  ultra  violet  and  infra  red  and  other  rays  are 
used  for  the  treatment  of  disease  and  the  ordinary  electric 
light  even  fools  the  hen  into  laying  more  eggs.  From  pho- 
tographs taken  from  the  air,  almost  impenetrable  stretches 
of  country  can  be  mapped. 

Photography  gives  us  motion  and  sound  pictures  and 
will  soon  add  scenes  to  the  radio  program.  It  gives  us  the 
vast  field  of  illustration  for  news,  education  and  entertain- 
ment, detects  crimes  and  forgeries  and  pictures  newly  ex- 
plored regions  for  us. 

But  here  enters  the  result  of  our  torpidity:  As  won- 
derful and  useful  as  photography  is,  its  own  particular 
processes,  as  in  exposing,  have  been  left  without  scientific 
guidance  in  the  schools. 

For  example:  We  know  that  a  brighter  subject,  a 
larger  stop  and  a  faster  film,  all  permit  and  require  a 
shorter  exposure,  but  we  have  no  unit  for  measuring  either 
the  subject  or  the  stop  and  for  lack  of  these  units  we  can- 
not say,  in  seconds,  the  speed  exposure  for  any  film.  That 
is — the  correct  exposure  to  take  a  one  unit  brightness  sub- 
ject with  the  unit  stop  in  the  lens. 

Here  now  is  our  blindness:  A  certain  thing  has  been 
taught  as  the  truth  concerning  light  in  the  schools  for 
some  300  years,  still,  we  ordinarily  do  not  find  it  at  all 
strange   that   the   students  who   have   studied   light   make 


only  "snap  shots"  with  their  cameras,  guessing  or  hoping 
that  they  will  get  results. 

Ask  yourself  the  simple  question:  If  light  were  taught 
correctly  in  the  schools  would  not  students  know  how  to 
use  it  in  their  cameras?  Many  physics  teachers  are  awak- 
ening to  this  absurd  situation  and  feel  that  something  is 
radically  wrong  with  the  way  that  light  is  now  taught. 

With  the  subject  brightness  and  the  lens  stop  known 
in  simple  physical  units  and  the  speed  of  film  known,  as 
based  on  the  time  required  for  photographing  under  those 
two  unit  conditions,  all  physics  students  would  be  able  to 
expose  correctly  even  at  night  by  electric  light  and  after 
sunset,  and  also  to  make  motion  pictures  with  the  correct 
stop.  If  they  cannot  do  these  things  then  they  have  not 
learned  the  truth  of  light.  That  is  the  stage  that  the 
schools  are  now  in. 

As  discussed  fully  in  my  article  in  this  magazine  for 
August,  1932,  this  misguiding  influence  which  has  been 
taught  for  300  years  is  the  "Point  Source"  theory  of  light 
intensity  and  the  accompanying  statement  that  "light 
weakens  by  spreading."  No  account  is  taken  of  any  other 
play  of  light  except  that  which  spreads  from  a  technical 
point  source.  Since  nature  knows  no  point  source,  that 
idea  is,  of  course,  purely  theoretical  and  inapplicable  to 
nature.  In  nature,  illumination  results  from  the  func- 
tioning of  whole  or  entire  light  sources,  whether  the  full 
sky  or  a  small  flame  and,  therefore,  it  is  a  simple  state- 
ment of  fact  to  say  that  light,  as  it  functions  in  nature, 
has  never  been  taught  in  the  schools. 

It  took  some  time  for  the  illuminating  engineers  to  fix 
the  standard  candle,  which  they  decided  should  burn  120 
grains  of  sperm  per  hour.  The  scientists  then  proceeded  to 
annihilate  the  flame  for  the  student  by  asking  him  to  ob- 
serve only  the  spreading  of  light  from  a  single  point  upon 
it.  Ever  since  photography  was  discovered,  photographs 
have  been  taken  only  by  the  convergence  of  light  from  the 
whole  area  of  some  lens  stop  to  each  grain  of  sensitive 
salts  in  the  film,  and  we  have  furthermore  built  into  lenses 
a  means  of  making  the  stop  larger  or  smaller  as  required. 
Yet  the  authors  of  the  physics  books  deem  it  sufficient  for 
the  student  to  study  the  technical  point  and  the  light 
which  spreads  from  it. 

The  study  of  light  and  the  use  of  it  in  photography 
have  been  thus  separated,  as  I  have  said,  ever  since  the 
discovery  of  photography,  or  about  one  hundred  years,  but 
the  signs  point  to  the  fact  that  we  are  about  ready  to  dis- 
card the  point  source  theory  and  put  the  study  of  natural 
light  sources  in  the  school  books.  In  closing  this  article 
it  will  be  well  to  observe  the  error  of  having  restricted 
students  to  the  study  of  spreading  light  only: 

Light  spreads  whenever  the  thing  illuminated  is  larger 
than  the  light  source  and  converges  when  the  opposite  is 
true.  This  is  a  purely  local  and  incidental  circumstance 
of  illumination  and  has  nothing  whatever  to  do  with  the 
problem  of  creating  intensity.  For  example :  We  step 
out  of  doors  and  find  ourselves  illuminated  by  the  whole 
hemisphere  of  sky,  the  light  converging  upon  us.  But  the 
sky  light  which  comes  through  a  small  hole,  as  in  an 
opaque  window  shade,  would  have  to  spread  to  illuminate 
us.  Again :  Consider  a  small  flame,  its  light  naturally 
spreads  out  in  all  directions.  Yet  if  we  place  a  grain  of 
chalk  on  some  surface  and  hold  it  against  the  flame,  the 
grain  will  be  illuminated  by  light  which  converges  upon 
it  from  a  hemisphere  of  directions,  just  as  we  are  illumin- 
ated under  the  full  sky. 

But  no  matter  whether   the  general   play  of   light   is 
(Concluded  on  Page  26) 


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December,  1933  The       INTERNATIONAL       PHOTOGRAPHER  Seventeen 


It's  A  Genuine 
ACHIEVEMENT 


.  .  .  There  is  no  doubt  on  that  point  in  the 
minds  of  the  cameramen  who  are  using 
Eastman  Background  Negative.  In  its 
amazingly  fine-grained  emulsion  they  find 
the  perfected  medium  for  their  composite 
shots.  They  benefit,  also  by  a  speed 
seldom  found  in  the  presence  of  such 
minute  gram. 

.  .  .  This  Eastman  film  achievement  is  a 
challenge  and  a  promise  to  every 
enterprising  cmematographer.  Nothing 
would  please  us  more  than  to  work  with 
you  in  your  exploitation  of  it. 


J.  E.  BRULATOUR,  Inc. 

New  York  Chicago  Hollywood 


EASTMAN 

Background  Negative 


The  high  Sierras  as 
seen  with  the  lens  of 
Walter  Van  Rossem's 
good-box  on  the  day  be- 
fore Christmas.  Note  the 
beautiful  mountain  path, 
the  gorgeous  flowers  in 
the  foreground  and  the 
snow  clad  peak  dominat- 
ing the  whole  theatre. 
What  a  subject  for  nat- 
ural color! 


Lab.  Men  of  the  Past,  Now  and   Tomorrow 


By  An  Old  Timer 


The  recent  strike  of  film  workers  brought  together  a 
lot  of  people  who  had  not  met  each  other  for  many  years. 
Such  a  group  met  by  chance  on  the  curb  at  the  corner  of 
Selma  and  Cahuenga  Boulevard,  Hollywood.  The  group, 
composed  of  Tom  Parsons,  James  Crosby,  Robert  Bro- 
therton,  Hank  Kohlar,  Jake  Kull,  Earl  Hinds  and  Otto 
Himm — all  worked  in  the  lab  of  the  old  Selig  Studios, 
Chicago,  during  1904-5  when  the  plant  was  in  its  heydey, 
processing  two  million  feet  of  film  a  week. 

Naturally  the  conversation  turned  to  a  discussion  of 
old  day  methods  against  the  modern  way  —  and  a  few 
guesses  of  the  future — of  motion  picture  making.  Al- 
though some  of  these  men  have  drifted  from  producer 
to  cameramen  that  old  devil  laboratory  still  remains  their 
first  love  and  they  are  always  ready  to  combat  the  boast- 
ing of  the  newcomer  whose  only  accomplishment  of  note 
(according  to  our  way  of  thinking)  is  in  the  improvement 
of  mechanical  equipment  for  speed  and  mass  production — 
which  never  creates  and,  therefore,  never  can  be  art. 
The  principle  is  still  the  same — the  rose  is  still  a  rose 
whether  you  call  it  "gamma"  or  bunk. 

An  interested  audience  had  now  gathered  around  and 
somebody  asked:  "But  how  about  our  developing  machine 
with  its  freedom  from  handling  scratches,  mutilations, 
etc.?" 

Yes,  that's  an  improvement,  but  you  must  not  say 
new.  The  writer  designed  and  worked  at  the  old  Phoenix 
Lab  in  1903  a  drum  machine  whereby  a  400-foot  roll  of 
negative  was  slipped  on  a  spiral  shaft  and  fed  itself 
through  all  the  operations  of  developing,  fixing  and  pol- 
ishing, without  having  been  touched  in  any  manner  (like 
the  well  known  advertised  product)   by  human  hands. 


"What  about  your  grainless  negative?" 

There  is  no  such  thing — all  have  grain.  It's  the  pat- 
tern of  grain  that  counts.  If  you  are  skeptical  just  un- 
der-expose and  force  developing,  then  see  if  there  is  any 
magic  in  borax.  From  the  depths  of  a  much  handled 
purse  appeared  a  strip  of  negative  of  the  Johnson  and 
Jeffries  prize  fight  film  made  when  lenses  were  slow  and 
negative  film  slower.  Compare  it  side  by  side  with  mod- 
ern negative  (here's  a  good  glass).  You  see  the  grain  is 
about  the  same,  the  printing  quality  about  14  B&H.  It 
is  quite  free  from  chemical  veil  and  is  very  even  in  its 
mass  dense  portions.  Now,  let's  examine  a  sky  or  sea 
negative  and  you  must  agree  that  borax  is  not  so  hot. 

This  old  negative  was  developed  as  follows:  A  Pyro 
2-grain  to  oz.  to  20'  <  equal  sodas,  the  sulphite  being  made 
neutral,  no  restrainer  used,  the  method  of  handling  was 
the  drum  (this  was  before  tanks  were  adopted  in  the 
United  States)  the  Watkins  Thermo  System  was  em- 
ployed ;  the  strength  or  coefficient  of  the  developer  was 
ascertained  by  strips  and  Watkins  log;  the  only  varia- 
tion in  time  would  be  caused  by  temperature  or  a  differ- 
ent maker's  raw  stock  and  in  this  case  the  appearance  of 
the  high  light  and  the  soups  factor  decided  the  final  time. 
So  we'll  say  that  sensitometry  is  not  so  new — it's  only 
still  calling  the  rose  a  pansy. 

We  not  only  copy  the  old  pathfinders  of  the  lab,  but 
also  in  the  production  of  the  picture.  If  you  have  at- 
tended many  shows  lately  you  will  have  observed  that 
every  two  out  of  three  will  have  somewhere  in  their  dia- 
logues: "Gee,  Bill  (or  Jake,  or  Jim — as  the  case  may  be) 
but  you're  sweet,"  and  the  very  latest  is  without  excep- 
tion— "Come  up  some  time" — which  makes  one  wish  it 
really  were  a  Mae  West  picture. 


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On  location  with  Char- 
lie Chaplin's  company 
filming  "The  Cold  Rush." 
The  man  up  ahead  point- 
ing is  Rollie  Totheroh, 
for  two  score  years 
Chaplin's  chief  cinema- 
tographer.  He  is  giving 
orders  for  the  camera 
set  up.  Every  day  was 
Christmas  on  this  pic- 
ture. Edward  B.  Ander- 
son made  the  still. 


This  is  to  show  how  the  whole  industry  just  copies,  the 
photography  is  as  good  or  bad ;  the  output  of  all  the 
studios  looks  alike.  If  it  were  not  for  the  final  "The 
End"  title,  one  would  hardly  know  where  one  picture 
ended  and  the  other  began  or  when  to  go  home.  Well, 
what  to  do?  That's  easy.  All  of  the  big  world  enter- 
prises conduct  research  laboratories.  In  our  industry  mil- 
lions are  wasted,  but  not  one  cent  for  research.  Any  ex- 
perimental work  that  is  being  done  is  by  the  16  mm.  ama- 
teur and  Eastman  who,  useful  as  they  have  been  and  al- 
ways will  be  to  photographers,  have  their  own  commer- 
cial side  to  care  for. 

Until  the  re-birth  of  sound  (talk  to  Mr.  M.  L. 
Physioc  and  his  experiments  with  Edison  20  years  ago 
about  old  time  sound)  the  picture  going  public  were 
about  fed  up  and  again  it's  about  time  to  work  for  to- 
morrow's pictures.  To  the  young  enthusiasts  there  is  a 
tremendous  field  and  fortune  in  future  pictures,  but  in 
your  experiments  go  quietly  and  slowly,  for,  "Alas,  prog- 
ress always  has  and  will  make  many  enemies."  One 
worker  is  developing  a  picture  in  the  projection  of  which 
the  screen's  presence  is  not  felt  by  the  viewing  public. 
The  effect  will  be  life  itself. 

Another  old  timer  is  processing  film  by  vapours,  an- 
other coats  the  back  of  the  film  with  a  dry  developing 
substance  that  needs  only  a  dish  of  clear  water  to  develop 
and  fix. 

By  the  dozen  workers  are  dabbling  with  colors;  an- 
other will  do  away  with  the  costly  water  washing;  an- 
other a  formula  that  gives  a  photographic  image  without 
the  usual  scratches,  friction  and  handling  (mark  short- 
hand note)  on  the  usual  film  which  so  distracts  one  from 
the  story,  but  for  the  lack  of  that  which  makes  the  wheels 
go,  progress  will  be  slow  if  left  to  these  enthusiasts  and 


the  wide  awake  electricians  will  seize  the  opportunity  to 
put  in  every  home  a  picture  without  the  aid  of  a  de- 
veloped film. 


For  the  student  of  cinematography  and  of  the  minia- 
ture camera  there  can  be  no  more  welcome  gift  than  a 
subscription  to  THE  INTERNATIONAL  PHOTOGRA- 
PHER. 


THE  ASSISTANTS  TALK  IT  OVER 


^UNNPtfjffV 


"When  do  you  think  the  Code  will  go  into  effect?" 
"A  few  days  after  I  am  out  of  work!" 


Please  mention  The   International   Photographer  when   corresponding  with  advertisers. 


William  H.  Strafford 
of  the  International  Pho- 
tographers at  Chicago, 
sends  along  a  jolly  fine 
Christmas  scene  shot  in 
the  midst  of  a  sugar- 
maple  grove.  Good,  sharp 
eyes  can  discern  the 
buckets  attached  to  sev- 
eral of  the  trees.  The 
locale  is  just  a  few  miles 
from  the  center  of  Chi- 
cago. 


PEARSON  TO  DE  VRY 


Elmer  Pearson,  former  Vice  President  and  General 
Manager  of  Pathe  Exchange,  Inc.,  has  become  the  new- 
General  Manager  of  Herman  A.  DeVry,  Inc.,  the  well 
known  manufacturer  of  portable  sound  projectors  and 
cameras. 

Herman  A.  DeVry  purchased  the  Q  R  S-DeVry  or- 
ganization last  fall.  Most  of  the  smaller  movie  projectors 
and  cameras  of  that  organization,  in  the  low  price  field 
have  been  dropped,  and  the  new  firm  concentrated  on  high 
quality  sound  projectors  and  cameras. 

Pathe  was  one  of  the  leaders  among  theatrical  organi- 


zations, in  establishing  a  non-theatrical  department,  and 
Mr.  Pearson  will  bring  to  his  new  position  a  wealth  of 
experience  in  that  field. 

The  new  connection  brings  together  two  of  the  really 
constructive  pioneers  in  the  movie  industry,  and  should 
be  productive  of  important  results. 

Mr.  Pearson's  first  campaign  will  be  the  launching  of 
the  new  DeVry  Straight  Feed  Portable  Sound  Projector, 
the  DeVry  Double  and  Single  Recording  Camera,  and  the 
coming  DeVry  16mm.  sound  unit,  which  he  regards  as  a 
distinct  advance  in  16mm.  sound  achievement. 


Scientific   lighting   makes    sparkling    indoor   shots 


W, 


How   Solite    Reflectors   Produc 
Daylight  Illumination 


ith  Solite  Reflectors  flooding  the  scene  every 
treasured  indoor  shot  is  preserved  with  true  daylight 
sharpness.  Solite's  exclusive  mirror  lens  doubles  light 
output  at  no  extra  lighting  cost.  Solite's  scientifically 
designed  Reflector  concentrates  light — eliminates  wastage. 
A  priceless  aid  to  finer  indoor  movies  and  stills.  Inci- 
dentally, a  splendid  Christmas  gift  for  some  photo- 
graphically-inclined  friend ! 


Solite  Unit,  $7.50.  With  Jr.  Tripod,  $11.  Complete  Kit 
(No.  3) — -i  Solites;  2  Tripods;  accessories;  carrying  case,  $42.50. 
(Prices  slightly  higher  West  of  Rockies.)  Write  for  full  details 
to    Solite   Sales   Co.,    1373    Sixth   Ave.,    New    York. 

SOLITE    UNIT    REFLECTOR 

Preferred    by   the    Light-Wise   from    Const    to    Coast 


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A  wonderful  aerial  view 
of  the  celebrated  Wright 
Glacier,  Ta  k  u  River, 
Alaska,  shot  by  J.  M.  F. 
Haase,  Chief  Photogra- 
pher of  the  United  States 
Navy.  The  three  airships 
are  army  hydroplanes  fly- 
ing in  echelon  over  the 
glacier. 

Marginal  drawings  of 
all  stills  by  our  art  edi- 
tor, John  Corydon  Hill. 


The  Motor  Driven 


EYEMO 

with  Improved  Viewfinder 

THE  new  motor  driven  Eyemo,  with  its  constant  sound 
speed  of  24  frames,  now  has  a  viewfinder  especially 
designed  for  use  with  the  camera's  auxiliary  magazine 
in  place.  The  eyepiece  is  larger  and  at  a  more  convenient 
offset  angle.  There's  plenty  of  room  to  sight,  even  when 
wearing  glasses.  The  new  viewfinder,  with  its  six  variable 
field  areas,  is  of  the  "positive"  type.  The  correct  field  is 
seen  regardless  of  whether  the  eye  is  "centered"  with  the 
eyepiece. 

The  Eyemo  has,  in  addition,  seven  precisely  governed  film 
speeds,  three-lens  turret,  Cooke  47  mm.  F  2.5  lens,  daylight 
loading  spools  of  100-foot  film  capacity,  200  or  400-foot  film 
magazines,  12  or  110-volt  electric  motor,  and  built-in  spring 
motor   and   hand   crank  drives.     Write   for   full   details. 

BELL  &  HOWELL 

1849  Larchmont  Ave.,  Chicago,  111.;  11  West  42nd  St.,  New 
York;  716  N.  La  Brea  Ave.,  Hollywood;  320  Regent  St., 
London    (B  &  H  Co.,  Ltd.)   Established   1907. 


Please   mention   The   International   Photographer   when   corresponding  with   advertisers. 


Twenty-two 


T  h 


INTERNATIONAL       PHOTOGRAPHER 


December,  1933 


MOTION   PICTURE  SOUND   RECORDING 

(Continued  from  Page  11 ) 

the  cameras  and  recorder  motors  at  the  same  instant, 
keeps  them  revolving  at  the  precise  speed  of  1200  revolu- 
tions per  minute,  and  stops  them  all  at  the  same  time. 
These  interlocking  motors  are  of  the  Selsyn  type,  and 
will  be  discussed  in  detail  in  a  subsequent  chapter. 

Camera  motors  are  now  mounted  directly  on  the  side 
or  top  of  the  motion  picture  camera ;  but  the  original 
type  of  camera  motor  stood  on  the  floor  besides  the 
camera  and  was  coupled  to  it  by  a  flexible  drive  shaft. 
The  microphone  man  must  care  for  the  camera  motors 
and  cables  as  well  as  the  microphones  and  their  cables, 
in  addition  to  serving  as  the  contact  man  between  the 
monitor  man  and  the  director.  It  is  his  duty  to  see  that 
the  equipment  is  brought  out  and  set  up  on  the  sound 
stage  at  the  beginning  of  each  day's  work,  and  that  it 
is  returned  to  the  sound  department  for  safekeeping  when 
the  work  is  finished. 

The  noise  produced  by  motion  picture  cameras  would 
be  picked  up  by  the  microphones  and  recorded  if  some 
precaution  was  not  taken  to  muffle  it.  In  the  early  days 
of  sound  motion  pictures,  small  sound-proof  rooms  on 
wheels  with  walls  that  were  heavily  sound  insulated 
were  used.  They  were  nicknamed  "bungalows,"  or  "ice 
boxes,"  by  the  soundmen  ;  and  they  were  so  large  that 
both  the  camera  and  the  cameraman  were  enclosed  by 
them.  The  scene  was  photographed  through  a  window 
formed  of  two  thicknesses  of  optical  glass  with  an  air 
space  between  them.  They  were  provided  with  a  heavy 
door  like  that  of  a  safe.  Needless  to  say,  they  were 
hot,   uncomfortable   places   for   the  cameramen   to   work. 

The  ice  boxes  have  now  been  replaced  by  smaller 
contrivances,  called  "blimps,"  that  fit  just  over  the 
camera  itself,  which  is  operated  by  controls  that  project 
through  the  walls  of  the  blimp.  One  form  of  blimp 
is  made  of  celluloid,  and  has  a  double-wall  construction 
with  an  air  space  between  the  walls.  It  is  very  small 
and  light  in  weight;  and  the  sound  insulation  is  sufficient 
for  all  ordinary  purposes. 

The  type  of  blimp  that  is  most  widely  employed  is 
a  heavy  metal  affair  that  is  permanently  mounted  on  a 
rugged  tripod  usually  equipped  with  rubber-tired  wheels. 
Despite  its  weight,  the  device  is  geared  so  that  it  can  be 
turned  swiftly  and  smoothly  in  any  direction.  The 
camera  is  slid  into  the  blimp  from  the  rear ;  and  then 
the  heavy  door  is  clamped  shut.  The  scene  is  photo- 
graphed through  a  double-thickness  window  in  the  front 
of   the  blimp  ;  and  a  second   double-thickness  window   is 


THERMOSTAT 

Paul  R.  Harmer,  well  known  motion  picture  techni- 
cian, sends  this  interesting  graph  to  the  editor  together 
with  the  accompanying  caption. 


Plastic  Wood  Filler  Seal 
with   Tar   or   Parafine      ■ 

Water  Line 


Center  Piece  of  Wood 
For    Separator 


To  Set  Thermostat 

Place  finished  instru- 
ment in  liquid  at 
desired  temperature, 
set  screw  so  coil 
points  contact,  watch 
operation  for  a  time 
to  make  sure  the  de- 
sired temperature  is 
maintained. 


Adjustment   Screw  " 


Brass  Rod 
Medium    Thickness 
Thermostat   Metal 
Yellow  Side  of  Thermo- 
stat  Metal    Facing 
Brass   Rod 
Dry   Air 


-6-inch  Class  Test  Tube 
Coated  with  Black  Lac- 
quer inside,  (after  reg- 
ulating points)  then 
fasten  in  tank.  Leave 
top  above  water   line. 


Ignition  Coil   Points 


BRASS 

ROD 


D   0 


o3o"xl 
THERMOSTAT 
METAL 


The  attached  diagram  is  of  a  thermostat  which  every 
small  shop  or  earnest  amateur  should  have,  now  that  the 
cold  weather  is  here.  The  cost  of  making  this  instrument 
is  about  one  dollar,  in  Los  Angeles.  I  have  kept  ten  gal- 
lons of  developer  at  a  constant  temperature  of  plus  or 
minus  less  than  one-half  of  one  degree  for  many  days  and 
at  very  small  cost  by  the  use  of  this  thermostat.  It  is  con- 
nected to  a  25  watt  carbon  electric  light  globe  which  is 
situated  in  an  insulated  box  under  the  developer  tank. 
After  the  temperature  has  been  established  the  light  burns 
only  a  few  seconds  at  a  time  as  the  thermostat  shuts  it 
off  promptly  and  controls  it  absolutely. 

provided  in  the  back  of  the  blimp  to  allow  the  camera- 
man to  watch  the  action  through  the  camera  finder  dur- 
ing the  take.  (To  Be  Continued  in  January) 


To   our   advertisers   and   subscribers   THE    INTERNATIONAL    PHOTOGRAPHER 

extends  compliments  of  the  season  with   sincerest  good  wishes  for  the   merriest 

of  Christmases  and  the  happiest  and  most  prosperous  of  New  Years. 


Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


December,  1933 


T  h 


INTERNATIONAL   PHOTOGRAPHER 


Twenty-three 


The  Newsreel  World 

By  RAY  FERNSTROM,  Svensk  Filmindustri 
{Swedish   Film  Industry) 


[N  my  return  from  Sweden  I  found  my  desk 
I  heaped  high  with  interesting  and  sad  news  of  you 
|  newsreel  birds. 

All  the  way  from  Stockholm,  Sweden  to 
Southern  California,  I  read  accounts  of  trouble  in  Cuba. 
Then  lo  and  behold  if  there  wasn't  some  personal  news, 
OKEECHOBEE  JOE  GIBSON  had  been  shot.  Stand- 
ing in  the  thick  of  the  fighting  down  there  in  Havana, 
Joe's  legs  caught  a  row  of  four  machine  bullets  as  he 
cranked  his  Akeley  for  Universal. 

Tough  luck  Joe  and  tougher  still  when  we  think  that 
you  had  to  lose  the  very  film  you  almost  gave  your  life 
to  get.  Such  is  the  reward  of  newsreeling.  The  greatest 
efforts  oft  bring  the  emptiest  rewards.  But  who  looks  for 
any  reward  in  news-shooting?  I've  never  known,  nor  do 
I  ever  expect  to  find,  a  real  newsreel  cameraman  that 
wasn't  and  isn't  always  broke.  It  must  be  the  game. 
They  stick  till  death  and  the  reward  is  merely  the  thrill 
of  being  there,  of  being  in  the  game,  of  being  IN  THE 
PLAY,  whether  it  is  a  crap  game  or  the  blowup  of  a 
whole  nation  by  gunfire. 

That's  where  Joe  got  his,  but  with  the  proverbial 
newsreel  luck  he  came  through  with  only  four  bullet  holes 
in  those  willing  legs  of  his  and  I'll  bet  Joe  would  have 
gone  back  the  next  day  and  done  the  same  thing.  Nor 
was  he  alone,  for  there  were  others — Al  Mingalone,  from 
Paramount;  Hugo  Johnson  (Swede),  Paramount;  Jimmy 
Pergola,  Pathe ;  little  ole  Jimmy ;  Dave  Oliver,  Univer- 
sal;  Ferdi  Delgado.  Well  Joe  here's  a  toast  to  you, 
SKOAL  sure  glad  you  are  still  with  us. 


By  way  of  contrast,  here  is  good  news  from  China. 
Mrs.  Allyn  Alexander  has  just  presented  Al  with  a  bounc- 
ing baby  boy,  Prentice  Pace  Alexander.  "Here's  looking 
at  you,"  Allyn  and  Lucille,  congratulations  and  "bottoms 
up."  And  here's  to  you  Prent  "SKOAL"  may  you  never 
be  bitten  with  the  newsreel  bug. 


Sorry  to  hear  about  good  ole  Hi  Lutz.  Herman  is 
confined  to  his  bed  in  the  Bellevue  Hospital,  New  York. 
That  great  big  healthy  specimen  stuck  to  his  crank  until 
he  landed  in  the  hospital  and  he's  been  there  ever  since, 
the  ole  Akelevs  with  frost  in  our  nostrils,  but  heat  in  the 


Remember  our  trip  to  Niagara,  Hi?  And  that  time  we 
busted  in  on  Bob's  EXCLUSIVE  story?  And  those 
stories  at  Lake  Placid?  We'll  be  back  there  together 
again  Hi  before  long,  setting  up  on  the  ice  and  cranking 


Joseph   Gibson    lines   up   his   Akeley   camera   alongside   of   the   Cuban 
Revolutionists'  machine  guns.     He  was  shot  four  times  in  the  legs. 

stomach  and  a  smile  on  the  mug.  Hurry  up  and  get  well 
pal,  and  I'll  set  up  a  few,  for  old  times'  sake.  Drop  us  a 
line  Hi,  and  as  for  you  other  mugs,  if  you  don't  write  Hi 
you  are  a  bunch  of  bums.  Let  him  know  we  are  with  him 
in  spirit  wherever  we  are  or  may  be  assigned.    Let's  go. 

And  that  goes  for  you  penguins  too.  Two  of  our  birds 
are  heading  for  down  under,  with  Admiral  Byrd.  John 
Herrmann  and  Carl  Peterson.  I  know  Herrmann  and 
he'll  tell  us  all  about  it  when  he  comes  back,  but  I  don't 
know  Peterson,  darn  the  luck  (DID  YOU  NOTE 
THAT  NAME?)  a  Swede,  and  I  don't  know  the  guy! 

Well  that  makes  the  trip  a  success,  with  Carl  along. 
Good  luck  fellers — and  drop  us  a  line  sometime. 

And  here  follows  a  story  about  my  old  side  kick  and 
buddy  Henry  DeSiena.  I'm  glad  John  Beecroft  wrote  it, 
Henry,  for  I'm  afraid  I,  with  my  humble  ability  could 
not  do  full  justice  to  one  of  the  best  pals  and  truest  old 
timers  in  the  game. 

SHOOTING  CELEBRITIES 

By  John  Beecroft 
One  day  it's  a  king,  the  next  day  a  bum.     There  is 
(Turn   to    Page  27) 


Six    Months  of  Actual  Studio  Use  Has  Proven 

"ArtReeveS"  Automatic  Speed  Control  Motor 

One  of  the  most  important  contributions  to  successful  sound 
recording  during  the  past  year. 


Motion  Picture/Equipment  Q.  |Td. 


645  NORTH  MARTEL  AVE 


CABLE  ADDRESS  ARTREEVES 


HOLLYWOOD,  CALIFORNIA,    US  A 


Phone:  WYoming  4501 


Please  mention  The   International   Photographei   when   corresponding  with  advertisers. 


Twenty-four 


The       INTERNATIONAL   PHOTOGRAPHER 


December,  1933 


Mitchell   Silent  Model    Is 
Winning    Its  Way 

Producers  of  motion  pictures  are  manifesting  con- 
siderable interest  in  the  silent  model  of  the  Mitchell 
Camera.  This  camera  was  first  announced  a  year  ago 
and  after  considerable  testing  on  actual  production  the 
producers  have  conceded  that  this  particular  type  of 
camera  deserved  their  attention. 

During  the  past  year  several  pictures  have  been  made 
where  this  camera  was  used.  These  pictures  were  pro- 
duced bv  the  Metro-Goldwvn-Mayer  Studios  and  the  Hal 


Detail  view  of  the  new  type  silent  Mitchell  movement. 

Roach  Studios.  During  the  production  of  these  pictures 
there  were  many  instances  where  it  was  possible  to  get 
shots  with  this  camera  which  would  have  been  impos- 
sible had  it  been  necessary  to  use  a  blimp,  on  account  of 
insufficient  room  to  work,  and  it  is  understood  that  the 
camera  performed  in  a  satisfactory  manner. 

When  this  camera  was  built,  the  Mitchell  Camera 
Company  did  not  claim  that  they  had  a  perfectly  silent 
camera.     At  that  time  Mr.  J.  D.  McCall  stated: 

"We  prefer  to  let  the  camera  speak  for  itself  ;  while 
we  know  that  the  camera  is  quiet  we  do  not  advance 
it  as  a  one  hundred  per  cent  noiseless  camera  which  all 
of  us  hope  to  see  some  day.  We  feel,  however,  that  it 
is  an  appreciable  advance  over  existing  apparatus ;  it 
achieves  a  very  satisfactory  degree  of  silence  in  opera- 
tion, without  the  sacrifice  of  any  of  the  features  of  con- 
venience,   precision   or   durability   for    which    the     name 


Mitchell  has  always  stood.  It  is  a  camera  designed 
especially  for  sound-film  use  and  for  conditions  existing 
in  the  industry  today — conditions  which  require  faster, 
more  reliable  operation  than  ever  before." 

In  spite  of  the  somewhat  pessimistic  attitude  of  Mr. 
McCall  the  camera  has  proved  in  actual  production  to 
be  a  very  satisfactory  instrument.  Fundamentally  the 
camera  is  somewhat  similar  to  the  standard  model,  which 
is  familiar  to  every  cameraman.  It  has  a  four  lens  tur- 
ret, a  hand  operated  dissolve,  visible  shutter  opening  indi- 
cator, a  new  type  silent  movement  of  the  compensating 
link  type,  an  illustration  of  which  appears  with  this 
article,  silent  gears  and  a  built-in  motor  especially  con- 
structed to  specifications  for  quietness — and  many  other 
features  too  numerous  to  mention.  The  only  feature 
which  the  previous  model  had  that  has  been  eliminated 
is  the  floating  iris.  One  of  the  studios  is  now  using  this 
camera  equipped  with  the  standard  Erpi  motor. 

The  weight  of  this  model  is  the  same  as  the  previous 
standard  model,  which  is  an  important  feature  with  com- 
panies who  like  to  make  anywhere  from  fifty  to  one 
hundred  and  fifty  set-ups  a  day.  In  addition  to  the 
Hollywood  studios  who  are  now  using  this  model,  studios 
in  India  and  England  have  already  received  delivery  of 
theirs  and  they  are  now  in  use. 

At  the  present  writing,  the  Mitchell  Company  is 
busily  engaged  in  manufacturing  another  lot  to  meet  the 
steadily  rising  demand. 


CONTROLLED  REFLECTION 

Helio-lite,  a  new  product  of  the  laboratory,  offers 
a  highly  selective  light  reflection.  The  purposes  of  Helio- 
lite  are  to  intensify  the  reflection  of  visible  light,  reduce 
its  temperature,  soften  shadows  and  to  enable  the  camera- 
man to  control  color  influence  at  will. 

Ultra-violet  can  be  intensified  or  eliminated. 

Tests  now  being  made  under  the  direction  of  Lewis 
Physioc,  of  Western  Film  Laboratories,  indicate  that 
Helio-lite  reflectors  of  sunlight  are  likely  to  solve  many 
of  the  present  day  problems  of  cameramen. 

Since  the  introduction  of  Panchromatic  film,  the 
ultra-vio'et  has  proven  a  stubborn  influence  to  overcome. 
This  is  especially  true  in  high  altitudes  filming  snow 
scenes  or  in  any  other  condition  where  especially  clear 
atmosphere  prevails.  One  type  of  Helio-lite  reflector 
aims  at  eradicating  this  ultra-violet  influence.  In  an- 
other fie'd  where  opposite  fluorescent  effects  are  desired 
in  color  photography,  an  ultra-violet  type  of  Helio-lite 
reflector  will  undoubtedly  add  to  the  range  of  possible 
effects.  Spot  lighting  is  an  important  phase  of  another 
type. 

Helio-lite  is  not  an  accident,  but  is  the  development 
of  research  and  experimentation  over  a  period  of  years 
(Turn  to  Vage  31) 


QHjriatmaa  (StftH  of  Automobile  Accessories 
Show  Rare  Discrimination 

TJMkiftm 

Distributors  for  Philco  Transitone  Radios 

"WORLD'S  GREATEST  SERVICE  STATION'' 

6380  Sunset  Boulevard,  Near  Cahuenga,  Hollywood 


Please   mention   The    International    Photographer   when   corresponding   with   advertisers. 


December,  1933 


The       INTERNATIONAL       PHOTOGRAP  II  E  R 


Tzvcnly-five 


This  is  the  eighth  installment  of  the  Cinematographer's 
Book  of  Tables  compiled  and  computed  by  Mr.  Fred  Wester- 
berg,  one  of  the  technical  editors  of  THE  INTERNATIONAL 
PHOTOGRAPHER. 


Cinematographer's 

BOOK  of 
TABLES 

By  FRED  WESTERBERG 


There  are  several  more  installments  to  come  probably  con- 
cluding with  the  April  issue,  1934,  and  when  completed  the 
tables  will  constitute  a  handy  reference  guide  welcome  to  all 
cinematographers,  professional   and   amateur. 

Take  note  that  the  tables  are  so  placed  in  the  magazine 
as  to  be  easily  cut  out  and  bound  into  a  small  pocket  ring 
book.  Cut  down  the  middle  of  page  25;  then  trim  top  and 
bottom  to  fit  your  cover;  punch  holes  to  fit  rings  on  inner  and 
outer  edges  of  magazine  pages  25  and  26.  When  all  tables 
have  been  bound  into  your  ring  book  the  pages  will  number 
from  1  to  32  inclusive  with  complete  index  unless  others  are 
added,   which  seems  very  likely  at  this  mailing. 


12-C 


22-B 


EQUIVALENT  MAGNIFICATION 


DISTANCES    TO    OBJECT     REQUIRED     FOR    VARIOUS    LENSES 

IN    ORDER    TO    PRODUCE    IMAGES    OF    EQUAL    SIZE 

ON  THE  FILM 


Magni- 
fication 

In 
Diameters 

DISTANCE 

N    FEET   FROM   LENS 

TO  OBJECT 

20 
mm. 
Lens 

25 
mm. 
Lens 

35 

mm. 

Lens 

40 
mm. 
Lens 

50 
mm. 
Lens 

75 
mm. 
Lens 

100 
mm. 
Lens 

125 
mm. 
Lens 

150 
mm. 
Lens 

.500 
.100 

.050 

.032 

.020 
.016 

.012 
.010 

.008 

.006 
.005 

.004 
.003 
.002 
.0016 

.2 

.25 

.35 

.40 

.5 

.75 

1.0 

1.25 

1.5 

.4 

.5 

.7 

.8 

1.0 

1.5 

2.0 

2.5 

3.0 

.8 

1.0 

1.4 

1.6 

2.0 

3.0 

4.0 

5.0 

6.0 

1.2 

1.5 

2.1 

2.4 

3.0 

4.5 

6.0 

7.5 

9.0 

1.6 

2.0 

2.8 

3.2 

4.0 

6.0 

8.0 

10.0 

12.0 

2.0 

2.5 

3.5 

4.0 

5.0 

7.5 

10.0 

12.5 

15.0 

2.4 

3.0 

4.2 

4.8 

6.0 

9.0 

12.0 

15.0 

18.0 

2.8 

3.5 

4.9 

5.6 

7.0 

10.5 

14.0 

17  5 

21.0 

3.2 

4.0 

5.6 

6.4 

8.0 

12.0 

16.0 

20.0 

24.0 

3.6 

4.5 

6.3 

7.2 

9.0 

13.5 

18.0 

JJ.'^ 

27.0 

4.0 

5.0 

7.0 

s.o 

10.0 

15.0 

20.0 

25.0 

30.0 

4.4 

5.5 

7.7 

8.8 

11.0 

16.5 

22.0 

27.5 

33.0 

4.8 

6.0 

8.4 

9.6 

12.0 

18.0 

24.0 

30.0 

36.0 

5.2 

6.5 

9.1 

10.4 

13.0 

19.5 

26.0 

32.5 

39.0 

5.6 

7.0 

9.8 

11.2 

14.0 

21.0 

2S.ll 

35.0 

42.0 

6.0 

7.5 

10.5 

12.0 

15.0 

22.5 

30.0 

37.5 

45.0 

6.4 

8.0 

11.2 

12.8 

16.0 

24.0 

32.0 

40.0 

48.0 

6.8 

8.5 

11.9 

13.6 

17.0 

25.5 

34.0 

42.5 

51.0 

7.2 

9.0 

12.6 

14.4 

18.0 

27.0 

36.0 

45.0 

54.0 

7.6 

9.5 

13.3 

15.2 

19.0 

2S..S 

38.0 

47.5 

57.0 

8.0 

10.0 

14.0 

16.0 

20.0 

30.0 

40.0 

50.0 

60.0 

8.8 

11.0 

15.4 

17.6 

22.0 

33.0 

44.0 

55.0 

66.0 

9.6 

12.0 

16.8 

19.2 

24.0 

36.0 

48.0 

60.0 

72.0 
78.0 

10.4 

13.0 

18.2 

20.8 

26.0 

39.0 

52.0 

65.0 

11.2 

14.0 

19.6 

22.4 

28.0 

42.0 

56.0 

70.0 

84.0 

12.0 

15.0 

21.0 

24.0 

30.0 

45.0 

60.0 

75.0 

90.0 

12.8 

16.0 

22.4 

25.6 

32.0 

48.0 

64.0 

80.0 

96.0 

13.6 

17.0 

23.8 

27  2 

34.0 

51.0 

68.0 

85.0 

102 

14.4 

18.0 

25.2 

28.8 

36.0 

54.0 
57.0 

72.0 

90.0 

108 

15.2 

1<J.  ii 

26.6 

30.4 

38.0 

76.0 

95.0 

114 

16.0 

20.0 

JS.o 

32.0 

40.0 

60.0 

80.0 

100 

120 

18.0 

22.5 

31.5 

36.0 

45.0 

67.5 

90.0 

113 

135 

2H.IJ 

25.0 

35.0 

40.0 

50.0 

75.0 

100 

125 

150 

24.0 

30.0 

42.0 

48.0 

60.0 

90.11 
105 

120 

150 

180 

28.0 

35.0 

49.0 

56.0 

70.0 

140 

175 

210 

32.0 

40.0 

56.0 

64.0 

80.0 

120 

160 

200 

240 

36.0 

45.0 

63.0 

72.0 

90.0 

135 

180 

225 

27H 

40.0 

50.0 

7d.ll 

80.0 

100.0 

150 

1     200 

250 

300 

SENSITOMETRY 

CONVERSION  TABLE  (Continued) 

1 


DENSITY  =  LOG 


TRANSMISSION 


-=  LOG  OPACITY 


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Twenty-six 


T  h, 


INTERNATIONAL       PHOTOGRAPHER 


December,  1933 


THE  CAMERA   IN  THE   EVERGLADES 

(Continued  from  Page  15) 
removed  according  to  the  custom  rite  of  widowhood.  She 
has  just  returned  from  the  four  day  burial  ritual.  Alone 
she  had  paddled  the  hand  hewn  canoe  carrying  the  corpse 
of  her  beloved  to  a  grave  hidden  deep  in  the  fastness  of 
the  Everglades.  His  bier  is  a  couch  fashioned  of  twigs 
and  grasses  elevated  on  four  poles  above  ground,  canopied 
with  saw  grass  interlaced  like  the  thatching  of  a  roof,  and 
like  the  ancient  Egyptians  all  the  belongings  of  the  dead 
brave  used  in  his  daily  life  on  earth  are  placed  by  his  side. 

There  in  silent  loneliness  the  widow  built  a  fire  at  his 
head  ...  a  fire  of  mangrove  root  that  this  flame  should 
light  the  trail  to  the  Happy  Hunting  Grounds. 

For  four  days  and  four  nights  she  tended  this  sacred 
fire,  dreaming  dreams  of  the  brave  buck  who  brought  to 
the  cooking  pots  an  abundance  of  wild  turkey  and  deer  .  .  . 
fearless  of  the  lurking  dangers  of  saurian  infested  swamps 
and  the  death-dealing  lunge  of  the  cougar. 

Brave  was  this  husband  that  she  mourns  silently  in 
true  Indian  fashion  ...  no  emotion  playing  across  her 
bronze  features.  Brave,  also,  is  this  young  potential  per- 
petuator  of  a  fast  vanishing  race. 

If  in  the  course  of  time  her  mourning  becomes  less 
acute,  she  can  again  don  the  heavy  coils  of  beads  and  coif 
the  loosed  tresses  to  symbolize  to  the  men  of  the  tribe  that 
she  is  willing  to  mate  again. 

The  unsung  saga  of  the  Seminole  holds  many  a  legend 
of  tragedy  and  romance  .  .  .  interesting  in  any  language. 


LIGHT  REFORM  PENDING 

(Continued  from  Page  16) 
convergent  or  divergent,  intensity  is  always  created  inde- 
pendently on  each  molecule  of  matter  and  since  all  known 
light  sources  are  larger  than  the  molecule  the  rays  have 
to  converge  to  illuminate  it.  If  there  are  enough  molecules 
in  an  illuminated  surface  to  make  it  larger  than  the  light 
source,  then  the  general  play  of  rays  will  of  course  be  diver- 
gent, but  the  illumination  of  each  independent  molecule 
by  the  rays  which  converge  upon  it  has  not  been  altered 
in  the  least.  The  molecule  is  the  natural  illuminated  unit 
because  it  is  the  smallest  independent  thing  of  which  all 
other  things  are  made. 

I  hope  that  the  educator  who  may  read  this  article  will 
not  decide  that  I  am  simply  contending  that  photography 
be  taught  in  all  schools.  The  matter  is  much  more  impor- 
tant than  that.  My  contention  is  that  the  simple  truth  by 
which  all  actual  light  sources  function  in  nature  be  taught 
in  all  physics  books  with  the  value  tables  included  even 
in  the  common  school  arithmetic.  If  this  be  done  then 
photography  will  be  understood  along  with  all  the  other 
uses  of  light. 


If  he  uses  a  camera  of  any  kind  a  subscription  to  THE 
INTERNATIONAL  PHOTOGRAPHER  will  be  his 
most  acceptable  gift. 


SENSITOMETRY 
CONVERSION  TABLE 


DENSITY 


LOG 


1 


TRANSMISSION 


22-A 


LOG  OPACITY 


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12-D 

SUPPLEMENTARY  LENSES 
16  mm.  FILM 

DATA  ON   THE   USE   OF  VARIOUS   SUPPLEMENTARY   LENSES 

IN  PHOTOGRAPHING  OBJECTS  AT  CLOSE  RANGE  WITH 

CAMERAS  OF  THE  FIXED  FOCUS  TYPE 


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Supplementary 
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In 
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fication 

In 
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Total  Depth  of  Field 
In  Inches 

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In 
Diopters 

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Length 

In  Inches 

F-4 

F-8 

1    1 

40 

40 

.02 

19 

50 

INF 
24 

+2 

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20 

.04 

9H 

9/2 

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6 

6 

.13 

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1 

2 

+  10 

4 

4 

.20 

X 

1 

25  mm.  CAMERA  LENS 


Supplementary 
Lens 

Distance 

To 
Object 

In 
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Magni- 
fication 

In 
Diameters 

Width 

of 
Field 

In 
Inches 

Total  Depth  of  Field 
In  Inches 

Rating 

In 
Diopters 

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Length 
In  Inches 

F-4 

F-8 

+  1 

40 

4M 

.025 

15 

30 

94 

+2 

20 

20 

.05 

7y2 

6y2 

14 

+3 

13 

13 

.08 

5 

3 

6 

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.125 

3 

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+6/2 

6 

6 

.166 

2% 

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1 

+  10 

4 

4 

.25 

\y* 

Va 

V2 

December,  JOS.-! 


The       INTERNATIONAL       PHOTOGRAPHER 


Twenty-seven 


NEWSREEL  WORLD 

(Continued  from  Page  23) 

no  such  thing  as  deadly  monotony  in  the  life  of  a  camera- 
man. At  least  that  is  what  Henry  DeSiena  of  the  Para- 
mount Newsreel  staff  says.  Today  a  cameraman  may  dine 
with  a  president,  a  chief  justice  or  a  queen  and  tomorrow 
he  is  glad  if  he  can  grab  a  sandwich  in  a  quick  lunch  joint. 

One  day  he  is  the  honored  guest  of  distinguished 
people  who  courteously  put  at  his  service  every  facility 
for  making  his  job  easy  (and  a  cameraman's  job  is  to  get 
a  picture) — the  next  day's  job  is  done  in  spite  of  continu- 
ous threats  and  attempts  to  mob  him  and  smash  his  camera 
and,  maybe,  ends  with  a  police  escort  out  of  town  and  a 
clever  smuggling  out  of  his  exposed  him.  The  cameraman 
never  knows  what  his  next  day's  job  will  be  and  never 
can  complain  of  the  unending  sameness  of  the  days. 

Of  all  cameramen  Henry  DeSiena  is  one  of  the  busiest 
and  best  known.  Almost  since  newsreels  have  been  made 
DeSiena  has  been  meeting  the  incoming  celebrities  as  they 
enter  the  New  York  harbor.  He  has  seen  hundreds  of 
sunrises  from  the  unsteady  deck  of  a  cutter  on  his  way 
out  to  quarantine  to  meet  a  transatlantic  liner.  Even  the 
tug  Macon  hasn't  met  as  many  big  names  and  strange 
people  as  DeSiena  has  in  the  course  of  his  day's  work. 

Among  the  people  he  has  met  and  photographed  are: 
the  Prince  of  Wales,  General  Diaz  of  Italy,  Admiral 
Beatty  of  England,  General  Jaques  of  Belgium,  Marshal 
Foch  of  France,  Marshal  Joffre  of  France — (these  famed 
and  feared  military  leaders  smilingly  stood  where  DeSiena 
told  them  to  stand,  and  graciously  took  the  postures  De- 
Siena asked  them  to  take — a  performance  that  would  have 
surprised  any  of  the  soldiers  these  generals  command.) 

Among  the  political  leaders  DeSiena  has  met  are: 
Premier  Briand,  Georges  Clemenceau,  Lloyd  George,  the 
Crown  Prince  of  Sweden,  the  King  and  Queen  of  the 
Belgians,  Queen  Marie  of  Roumania,  Ramsey  Macdonald, 
Herriott,  Guido  Jung  of  Italy,  and  more  recently,  Profes- 
sor Moley  and  Secretary  Hull.  And  among  other  not- 
ables have  been  Marconi,  Einstein,  the  delegation  of  Card- 
inals who  came  over  to  attend  the  Eucharistic  Congress 
and  rode  out  to  Chicago  in  the  famous  crimson  train ; 
Colonel   Lindbergh   has  posed   for  DeSiena,   so  have  Sir 


Hubert  Wilkins,  Sir  Thomas  Lipton,  Gertrude  Ederle, 
George  Bernard  Shaw  (DeSiena  shot  him  when  he  was 
posing  but  got  his  best  pictures  when  Shaw  was  just  being 
G.  Bernard  Shaw.)  That  is  the  sort  of  acquaintances  one 
can  have  if  one  is  a  Paramount  cameraman. 


Sir  Hubert  and  Lady  Wilkins  posing  for  DeSiena  on  the  explorer's 


ship. 


Among  these  acquaintances  there  are  friends  and  ene- 
mies. Clemenceau,  the  Tiger  of  France,  was  not  exactly 
what  one  would  call  cordial.  He  objected  vociferously  to 
the  cameras  and  ordered  the  cameraman  off  the  train  that 
was  carrying  him  and  them  across  the  continent.  But  a 
good  cameraman  is  not  easily  prevented  from  taking  the 
pictures  he  has  been  assigned  to  get.  When  DeSiena  was 
ordered  off  Clemenceau's  train,  he  got  off  promptly ;  but 
he  took  a  fast  car  to  the  next  stop  on  the  train's  schedule, 
beat  the  train  to  that  station,  and  when  Clemenceau 
wasn't  looking,  got  back  on  the  train  again.  And  why 
shouldn't  he?  It  was  an  American  train  on  which  De- 
Siena had  paid  his  fare,  and  Clemenceau,  chances  were, 
hadn't  done  that.   Clemenceau,  however,  was  a  match  for 


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INTERNATIONAL   PHOTOGRAPHER 


December,  1933 


DeSiena.  When  the  cameras  were  next  set  up  Clemen- 
ceau  knocked  them  over  and  hacked  at  them  with  his  cane 
while  making  the  air  blue  with  choice  French  expressions. 

But  on  another  train  trip  DeSiena  was  better  treated. 
It  was  the  day  after  Coolidge  had  taken  the  oath  of 
President  of  the  United  States  in  the  sitting  room  of  the 
little  Vermont  farmhouse  and  was  hurrying  to  Washing- 
ton to  assume  office.  DeSiena  was  on  the  train  carrying 
the  new  President  to  Washington.  On  this  trip  he  had 
breakfast  with  Chief  Justice  Taft,  President  Coolidge 
and  Mrs.  Coolidge. 

Queen  Marie,  too,  DeSiena  says,  was  very  kind  and 
thoughtful.  She  appeared  to  be  very  glad  to  have  him 
with  her  when  she  started  on  her  much  ballyhooed  tour 
of  America.  The  queenly  Marie  treated  him  as  an  hon- 
ored guest,  made  all  provisions  for  his  comfort  and  did  all 
she  could  to  help  him  get  pictures  that  would  make  the 
reel  and  be  shown  to  forty  million  Americans,  to  say 
nothing  of  the  crowds  of  theatre  goers  in  Europe,  even  in 
Marie's  own  capital,  Bucharest. 

In  spite  of  breakfasts  with  presidents  and  teas  with 
reigning  and  beautiful  queens,  DeSiena  frequently  has  not 
been  such  a  welcome  figure  in  events  that  are  attracting 
nation  wide  attention.  On  one  Pennsylvania  coal  strike, 
DeSiena  was  shown  a  dummy  hanging  by  its  neck  and 
was  warned  by  the  strikers  that  his  neck  would  be  in  place 
of  the  dummy's  in  the  noose  if  he  didn't  get  out  of  town 
and  let  them  run  their  strike  without  him.  On  another 
strike  which  had  gone  along  quietly  until  DeSiena  came 
to  town,  the  police  suspected  him  of  fomenting  a  riot  in 
order  to  get  some  action  and  incidentally  some  pictures, 
and  gave  him  a  police  escort  out  of  town. 

Another  time  the  strikers  suspected  him  of  working 
with  the  police  and  when  DeSiena  set  up  his  camera  on  a 
roof  overlooking  a  massed  group  of  strikers,  they  mistook 
it  for  a  machine  gun  and  threw  bricks  and  rocks  at  it. 
DeSiena  has  said  there  is  little  problem  of  how  to  keep  fit. 
He  gets  plenty  of  exercise  in  a  day's  work.  If  it  isn't 
climbing  a  Jacob's  ladder  hauling  after  him  four  hundred 
pounds  of  equipment,  it's  dodging  rocks  on  a  narrow 
parapet  somewhere  in  the  United  States. 

One  incident  in  his  career  he  very  much  regrets,  and 
that  was  when  he  unwittingly  complicated  the  Lindbergh 
kidnaper  hunt.  DeSiena  had  been  at  Hopewell  several 
days  before  the  kidnapping  looking  over  the  site  with  the 


intention  of  making  some  shots.  Not  being  familiar  with 
the  location  he  asked  the  way  to  the  Lindbergh  home  from 
a  girl  in  a  lunchroom  and  from  another  girl  he  met  on 
the  road.  Two  days  after  he  returned  to  New  York  the 
Lindbergh  baby  was  kidnaped,  and  the  girls  remembered 
the  "suspicious"  looking  man  who  had  asked  them  the 
directions  to  the  Lindbergh  home.  A  description  of  De- 
Siena was  sent  to  the  New  York  police.  A  photograph  of 
a  man  looking  very  much  like  DeSiena  was  found  in  the 
Rogues  Gallery  and  DeSiena  went  to  the  police  head- 
quarters for  questioning.  It  was  with  some  difficulty  that 
he,  and  Louis  Cass,  his  sound  technician,  were  cleared  of 
all  suspicion  in  connection  with  the  kidnapers. 

His  trip  with  the  Prince  of  Wales  was  pleasant,  but 
more  or  less  uneventful,  though  successful.  He  also  toured 
America  with  the  King  and  Queen  of  the  Belgians  and 
heard  the  mayor's  wife  make  her  much  quoted  remark 
when  Queen  Elizabeth  commented  on  the  magnificence  of 
the  Woolworth  Building:  "You  sure  said  a  mouthful, 
Queen." 

Among  the  big  celebrities  DeSiena  has  known  inti- 
mately is  the  Goddess  of  Liberty  in  the  New  York  harbor. 
Someone  had  the  idea  of  giving  the  lady  a  scrubbing  and 
DeSiena  thought  it  would  be  a  good  idea  to  take  a  picture 
of  the  event.  It  was  a  cold  and  windy  day;  some  of  the 
workmen  were  lowering  a  bucket  of  wash  water;  DeSiena 
was  dangling  like  an  ear  ring  from  the  goddess'  left  ear 
when  the  rope  attached  to  the  pail  of  water  became  en- 
tangled with  the  rope  attached  to  DeSiena  and  a  gust  of 
wind  gave  DeSiena  the  bath  intended  for  the  goddess. 

Every  parade  up  Broadway  has  had  in  it,  close  to  the 
car  of  the  chief  guest,  DeSiena  and  his  camera.  He  is  well 
known  to  the  Broadway  welcome  fans  who  call  out  their 
recognition  as  he  passes  in  the  parade.  "There  he  is,  the 
short  guy" ;  "he  always  sweats  that  way,"  or,  "yeh,  he's 
always  there — got  something  to  do  with  the  parade,  I 
guess." 

DeSiena  has  the  essential  requirements  of  a  good 
cameraman — a  nose  for  news  and  the  ability  to  get  the 
picture.  His  stuff  is  free  of  frills,  just  good,  plain,  solid 
pictures — the  sort  you  want  to  see  of  an  event  of  national 
importance.  He  has  met  a  lot  of  people,  seen  lots  of  places, 
and  had  a  good  time  while  building  his  career  as  one  of 
the  world's  first  newsreel  cameramen. 


ROY    DAVIDGE 

FILM   LABORATORIES 


••• 


An  Exclusive  "Daily"  Laboratory 


••• 


Quality  and   Service 

6701-6715     SANTA     MONICA     BOULEVARD 

GRanite    3108 


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December,  1933 


Th 


INTERNATIONAL       PHOTOGRAPH!-.  R 


Twenty-nine 


Television  Football  Record  Set 

The  Editor 

At  8:45  p.  m.,  just  three  hours  and  forty-five  minutes 
after  the  close  of  the  Stanford-U.  S.  C.  Trojan  football 
game  on  Armistice  Day,  the  Don  Lee  television  trans- 
mitters, W6XS  and  W6XAO,  were  broadcasting  scenes 
showing  Stanford  University's  sensational  13  to  7  win. 

This  is  believed  to  be  the  shortest  time  in  which  foot- 
ball scenes  have  ever  reached  the  television  screen,  accord- 
ing to  Harry  R.  Lubcke,  Director  of  Television  of  the 
Don  Lee  Broadcasting  System.  So  far  as  is  known,  a  foot- 
ball game  has  not  yet  been  televised  directly.  Thus,  mo- 
tion picture  film  is  the  only  vehicle  for  television  presenta- 
tion of  a  scene  of  this  nature.  Paramount  Newsreel  made 
the  rapid  showing  possible  by  dispatching  the  film  to  the 
station  as  soon  as  it  came  irom  the  printing  tanks. 

That  the  Don  Lee  equipment  handled  this  difficult 
subject  in  a  satisfactory  manner  is  evidenced  by  a  letter 
from  Mr.  E.  D.  Erickson,  who  was  invited  to  view  the 
scenes  by  some  friends  at  1117  Venice  Boulevard,  Los 
Angeles,  on  equipment  built  by  themselves.  Mr.  Erickson 
had  never  before  seen  a  television  image,  but  wrote  as 
follows  of  the  scenes  that  flashed  before  him: 

"Bleachers  and  crowd  plainly  seen — Panorama  view  of 
bleachers  very  clear — lines  and  goal  post  very  clear — 
Follow  players  and  see  arms  and  legs  clearly — Lining  up 
and  plays  clear  but  could  not  distinguish  players  except  by 
uniforms  which  made  it  possible  to  designate  teams — Ball 
carrier  and  plays,  also  direction  of  plays  clearly  seen — 
Runner  going  towards  goal  post  with  others  after  him  and 
make  touchdown — could  distinctly  see  the  end  lines — 
could  see  legs  of  runners  plainly — then  the  line-up  play 
and  it  was  a  kick — See  the  yell  leaders  in  front  of  the 
grandstand  very  plainly — Another  play,  could  see  legs  and 
arms  but  not  very  plainly — Could  see  referee,  crouch, 
tackle  and  play  distinctly — Long  distance  shot  not  good — 
Could  see  them  spread  out  in  the  field,  but  could  not  see 
the  ball — Side  lines  and  stripes  very  distinct — Line  men 
with  tape  very  distinct.    Announcing  8  :49  p.  m. 

"The  above  was  seen  by  me,  and  in  my  opinion  the 

average  person  who  knows  nothing  of  football  would  be 

able  to  distinguish  it  as  a  football  game;  and  to  the  man 

familiar,  it  was  of  interest  and  distinct,  as  above  outlined." 

(Signed)     E.  D.  Erickson. 

All  the  scenes,  except  that  of  the  yell  leader,  were 
taken  from  the  highest  point  in  the  stadium,  in  the  usual 
newsreel  manner.  They  were  well  taken  and  much  credit 
is  due  Messrs.  Joe  Johnson,  Koverman,  and  Kelly  of 
Paramount  News  for  their  good  work. 

The  Don  Lee  stations  regularly  broadcast  Paramount 
features,  Paramount  trailers,  and  Pathe  Newsreels  nightly 
except  Sunday  from  7  to  9  p.  m.  and  on  Monday,  Wednes- 
day and  Friday  mornings  from  9  to  1 1  a.  m.  W6XS 
operates  on  2800  kilocycles  (107  meters),  simultaneously 
with  W6XAO  on  44,500  kilocycles  (6^4  meters). 


ILTTEHS^ 

In  UtarlJ-OOide  Us* 


Qif  fused.  Fvrcus.and  many  olkr  sffecrs 

Wrlb  any  Camera  "  In  any  Climare 

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INTERNATIONAL       PHOTOGRAPHER 


December,  1933 


INTERNATIONAL 

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era complete  with  2  in.,  6  in.,  17  in.  lenses.  Mervyn  Freeman,  1960 
South   Vermont   Ave.,    Los   Angeles,    Calif.     Phone:    REpublic   3171. 

SINCE    1911.      Cameras   bought,   sold,    rented,   repaired. 

PETERSON'S   CAMERA  EXCHANGE 
356  South    Broadway,   Los  Angeles  Upstairs 

FOR  SALE— CAMERAS  AND  EQUIPMENT 

BELL  &  HOWELL  5-way  sound  printer.  Bell  &  Howell  splicer.  Movi- 
ola Model  C,  like  new — cheap  for  cash.  Box  XYZ,  International  Pho- 
tographer,  1605    Cahuenga   Ave.,   Hollywood. 

AKELEY  CAMERA — three  matched  lenses — 5  magazines — Akeley  legs. 
Perfect  condition.  For  quick  sale,  $750.  Camera  Supply  Company, 
Ltd.,    1515    Cahuenga    Ave.,    Hollywood. 


SPENCER    DELINEASCOPE— like    new— $75. 
pany,    Ltd.,    1515    Cahuenga   Ave.,    Hollywood. 


Camera    Supply    C< 


HOLMES  35  MM.  PROJECTOR,  late  number,  beautiful  condition, 
perfect  running  order,  for  quick  sale,  $75.00.  Camera  Supply  Co.,  Ltd., 
1515    Cahuenga    Ave.,    Hollywood. 

NEW  AND  USED  HOME  MOVIE  CAMERAS— DeVry  Motion  Pic- 
ture Cameras — sound  on  film  portable  projectors  with  operators  for  rent. 
Photographic  supplies — fine  grain  finishing — courteous  service.  Educa- 
tional  Project-O    Film    Co.,    1611    North   Cahuenga,   Hollywood. 

TEST  BOXES  for  Mitchell  and  Bell  &  Howell  magazines.  Specially 
made  for  practical,  convenient  operation.  New.  $25.00.  Camera  Sup- 
ply   Co..    Ltd.,    1515    Cahuenga    Ave.,    Hollywood. 


LIKE  NEW — BELL  &  HOWELL — 5  way  sound  printer;  Cinex  Light 
Tester;  Moviola — Model  C  and  D;  Mole-Richardson  blimp  and  dolly. 
Cheap  for  cash.  Address  XYZ,  INTERNATIONAL  PHOTOGRA- 
PHER,    1605   No.    Cahuenga  Ave.,   Hollywood. 

REAL  BARGAINS  in  16  and  35  mm.  movie  equipment  and  still  cameras. 
Newest  types  cameras  and  projectors  in  all'  popular  makes.  Save  money 
on  film,  lights,  lenses  and  all  essential  accessories.  Our  36  years  of 
experience  stands  back  of  every  sale.  Before  you  buy,  send  for  our  new 
bargain   booklet.     Burke   &  James,   Inc.,   223   W.   Madison   St.,   Chicago. 

BLIMPS   FOR  SALE 

TWO  CELLULOID  BLIMPS — same  as  used  by  Warner  Brothers 
Studios.  Focus  change  is  built  into  blimp  and  accommodates  Mitchell 
cameras.  Blimps  weigh  only  55  pounds  and  can  be  used  on  regular 
Mitchell  tilt  head  or  friction  head  for  shooting  interiors  or  exteriors. 
Charles   M.    Glouner,    11160   La  Maida   St.,   North   Hollywood. 

CAMERA  REPAIRING 

BELL  &  HOWELL  cameras  with  old  type  shuttles  silenced,  $150. 
Hollywood  Motion  Picture  Equipment  Co.,  645  No.  Martel  Ave., 
Hollywood. 

FOR  SALE  OR   RENT— MISCELLANEOUS 

STUDIO  LIGHTS,  Laco,  Mole-Richardson,  like  new,  special  bargains. 
Camera  Supply   Co.,   Ltd.,    1515   Cahuenga  Ave.,   Hollywood. 

25  MM.  FINDER  ADAPTERS  for  standard  finders,  showing  correct 
field  of  25  mm.  lens,  in  use  by  all  major  studios.  $30.00.  Camera  Sup- 
ply  Co.,    Ltd.,    1515    Cahuenga   Ave.,   Hollywood. 

THEATRICAL  EQUIPMENT — Machines,  chairs,  scenery,  costumes, 
35mm.  films,  etc.  Also  a  complete  line  of  16mm.  films.  Free  catalog 
of   16mm.  new  prints.     PECKER  FILMS,  31   Church  St.,   Boston,  Mass. 

MITCHELL  MOTOR— 1000  ft.  Mitchell  magazines.  J.  R.  Lockwood, 
Glendale.      Douglas  3361-W. 

FOR  SALE — 75  mm.  Cooke  Lens.  F.2  in  Mitchell  mount  complete. 
50  and  75  mm.  Astro  lenses,  mounted  and  unmounted.  J.  R.  Lockwood, 
523    North   Orange   Street,   Glendale.      Douglas    3361-W. 

BUYERS  READ  these  classified  advertisements  as  you  are  now  doing. 
If  you  have  something  for  sale  or  exchange — advertise  it  in  these  col- 
umns. THE  INTERNATIONAL  PHOTOGRAPHER,  1605  No. 
Cahuenga  Ave.,   Hollywood. 

FOR  RENT — 25  and  35  mm.  lenses,  motor  adapters,  Mitchell  Standard 
tripod  head,  baby  tripod,  400  ft.  Mitchell  magazines.  J.  R.  Lockwood, 
523    North    Orange   St.,    Glendale,    Douglas    3361-W. 


I   NEVER  SEE   DEPARTMENT 

(Back  floiv  from  Out-of-Focus,  Page  32) 

Dewey  Wrigley  without  a  cigar. 

Johnnie  Mescal  without  knickers. 

Hal  Mohr  without  a  job. 

Fred  Kaifer  with  a  hat. 

Alvin  Wyckoff  without  a  brief  case. 

Ed.  Estabrook  without  his  glasses. 

J.  O.  Taylor  without  a  pipe. 

Archie  Stout  without  a  smile. 

John  Nicholaus  without  a  bow  tie. 

Harry  Gant  without  a  Bull  Durham  cigarette. 

Harvey  Gould  without  his  dog. 

FOR  RENT— CAMERAS 

TWO  THOROUGHLY  silenced  Mitchell  cameras.  Follow  focus  device. 
Pan  Astro  lenses,  Freehead — 1000  ft.  magazines.  J.  R.  Lockwood,  523 
No.    Orange   St.,   Glendale.      Douglas   3361-W. 

THE  INTERNATIONAL  PROJECTIONIST 

THE  INTERNATIONAL  PROJECTIONIST,  a  monthly  magazine 
published  in  the  interests  of  the  projectionist.  Interesting,  instructive. 
Yearly  subscription  U.  S.  and  possessions,  $2;  foreign  countries,  $2.50. 
Tamr*  T.   Finn   Publishing   Corp.,   1   West  47th   St.,   New   York. 

POSITION  WANTED 

DO  YOU  WANT  A  CAMERAMAN  who  is  an  expert  on  studio  pro- 
duction ;  or  an  expedition  cameraman  who  knows  every  corner  of  the 
world  ;  or  a  cameraman  who  thoroughly  understands  the  making  of  indus- 
trial pictures ;  or  an  expert  newsreel  photographer ;  or  an  expert  color 
cameraman?  A  limited  number  of  cameramen,  backed  by  years  of  experi- 
ence, are  available.  Write  stating  your  requirements  and  we  shall  be 
glad  to  assist  you  in  choosing  the  kind  of  cameraman  you  want.  INTER- 
NATIONAL PHOTOGRAPHER,  1605  North  Cahuenga  Ave.,  Holly- 
wood. 

AN  AUDITOR  AND  ACCOUNTANT  of  thirty  years'  experience 
with  large  companies  wants  small  accounts  with  individuals  or  business 
houses.  Wide  experience  in  opening,  closing  and  keeping  books,  in 
auditing,  and  in  income  tax  procedure.  Wishes  to  assist  individuals 
in  opening  their  own  books.  Advice  and  assistance  on  filing  income 
tax  returns  and  income  tax  regulations.  Very  reasonable  rates. 
CHARLES   D.   FELSTEAD,   2010   Sixth  Avenue.      Telephone:   PA-676S. 

MISCELLANEOUS 

COMPLETE  COURSE  IN  FLYING — If  interested  in  aviation,  see  Roy 
Klaffki,    1605    North    Cahuenga    Ave.,    Hollywood. 

WANTED — -To  know  of  the  whereabouts  of  motion  picture  relics,  docu- 
ments, or  equipment  of  a  historical  nature  for  Museum  purposes.  Write 
Earl  Theisen,  care  of  International  Photographer,  1605  Cahuenga  Ave., 
Hollywood. 

TRICK  PHOTOGRAPHY.  Exclusive  agency  for  three  leading  Holly- 
wood makers  of  trick  lenses.  Apply  for  prices  and  demonstration,  sale 
or  rentals.  Camera  Supply  Co.,  Ltd.,  1515  Cahuenga  Ave.,  Holly- 
wood. 


Please  mention  The   International   Photographer  when  corresponding  with  advertisers. 


December,  1933 


The       INTERNATIONAL       PHOTOGRAPHER 


Thirty-one 


SOME  ASPECTS  OF  THE  MOTION  PICTURE  IN 
INTERNATIONAL  UNDERSTANDING 

(Continued  from  Page  7) 

to  thousands  of  people.  A  few  titles  further  suggest  the 
scope  of  information  thus  provided:  After  the  govern- 
ment of  Bolivia  caused  a  series  of  films  to  be  made  depict- 
ing her  various  mining  operations  the  Union  obtained 
copies  and  provided  for  showing  them  in  the  United 
States. 

In  the  same  way  the  Brazilian  coffee  film,  that  of  the 
banana  industry,  the  Argentine  cattle  business,  and  other 
motion  pictures  were  loaned  to  interested  organizations 
in  this  country.  Many  popular  travel  films  have  likewise 
introduced  the  people  of  the  United  States  to  some  of  the 
marvelous  sights  in  South  and  Central  America.  Con- 
versely, the  Union  has  been  instrumental  in  obtaining  in- 
dustrial, scientific  and  sanitary  films  made  in  this  country 
which  have  been  widely  displayed  in  Latin  America. 

The  educational  value  and  good  understanding  feat- 
ures of  this  work  are  far-reaching;  they  have  developed 
in  many  people  a  desire  to  know  more  of  the  subject  mat- 
ter they  have  seen  on  the  screen ;  they  have  intensified  the 
desire  of  tourists  to  visit  and  personally  see  the  wonders  of 
Latin  America. 

During  1933  motion  picture  equipment  manufactured 
in  the  United  States  was  exported  to  more  than  fifty  dif- 
ferent countries  of  the  world,  says  a  report  issued  by  the 
Department  of  Commerce.  Shipments  included  standard 
and  sub-standard  outfits  and  they  were  destined  to  leading 
countries  of  Europe,  Asia,  Africa  and  the  Americas  as  well 
as  to  New  Zealand,  Labrador,  Siam,  Iraq,  French  and 
British  Oceania  and  elsewhere. 

Of  course,  such  equipment,  including  that  for  sound 
productions  as  well  as  for  silent  films,  would  be  useless 
without  the  follow-up  system  of  the  regular  motion  pic- 
ture films.  And  naturally  the  subject  matter  included 
almost  every  phase  of  activity  that  the  great  industry  finds 
to  depict.  It  seems  safe  in  saying,  therefore,  that  this  vast 
activity  in  the  single  year  above  mentioned  took  entertain- 
ment and  enlightenment  to  many  millions  of  people. 

The  motion  picture  is  as  susceptible  of  creating  wrong 
impressions  and  developing  ill-feeling  as  it  is  of  fostering 
friendly  interest  among  peoples.  To  the  Union  of  Na- 
tions at  Washington  has  fallen  the  duty  of  seeking  to  cor- 
rect inaccuracies  or  misrepresentations  which  have  caused 
widespread  criticism  in  the  past. 


CONTROLLED  REFLECTION 

(Continued  from  Page  24) 
by  John  Q.  Roscoe.  Mr.  Roscoe  has  ample  background 
for  this  work  as  a  member  of  a  family  of  authorities  on 
light,  notably  among  whom  was  Sir  Henry  E.  Roscoe, 
LL.D.,  Fellow  of  Royal  Society,  author  of  "Spectrum 
Analysis,"  a  recognized  hand  book  of  the  Chemistry  of 
Light. 

Mr.  Roscoe  is  the  husband  of  Clover  Roscoe  and  a 
brother-in-law  of  Malcolm  Stuart  Boyian,  famous 
writers. 

These  developments  are  a  further  indication  of  the 
merging  of  the  principles  of  chemistry  and  physics  in 
their  combined  application  to  the  techniques  of  the  mo- 
tion picture  industry.  When  Helio-lite  does  these  things 
commercially,  we  reduce  heat,  are  kind  to  people's 
wrinkles  and  conserve  and  heighten  the  morale  of  artists 
working  under  strain. 

Helio-lite  is  neither  a  metal  nor  a  paint,  but  is  a 
process  evolved  in  Mr.  Roscoe's  search  for  a  reflective 
agent  which  would  have  selective  affinities  for  light. 
William  A.  (Gus)  Tnglis  can  be  accredited  with  hav- 
ing induced  him  to  apply  his  research  in  the  realm  of 
light  to  problems  of  motion  picture  photography. 

Please  mention  The   International   Photogra 


CARL    HAYS    PRESS 

PRINTED  INSERTS 

The    most    complete    library   of    foreign    research 

material  in  the  industry. 

NEW  ADDRESS 

6510  Santa  Monica  Blvd.    Near   Wilcox  Ave. 

Phone:   Hollywood   9591 


30%   to  60%  CASH  SAVINGS  on  16  mm. 

and  35  mm.  Cameras,  Projectors 

and  Accessories 

Write  for  Bass  Bargaingram.     Specify  size  of  apparatus 

interested    in.     For  over  22  years  Value  Leaders   of   the 

nation. 


Your   copy   is   ready.      Write  for   it. 


BASS  CAMERA  CO. 


179  W.   Madison  St. 


Chicago, 


WE    WANT 

35   mm.  travel,  fight,  thrill   and   curiosity  films  from   all 
parts  of  the   earth. 

Send   description   and   length. 

All  kinds  of  film   at   reduced   prices. 

CONTINENTAL  FILM-CRAFT,  Inc. 

1611   Cosmo  Street  Hollywood,  Calif. 


Calling    %YE%^  OWNERS 

Try  Our  New  35M.M.  "3  in  1     Service 

We  will  Supply  100  Foot  Daylight  Loader  of  Eastman 
or  Dupont  Film;  Develop  and  Make  One  Print. 

Complete  For  ^O 

Bargains.in  Standard  Motion  Picture  Equipment 

FRESH  NEGATIVE  .02'/2  CENTS  PER  FOOT 

Kinema  Krafts  Kompany 

6510    SELMA    AVE.         GLADSTONE    0276         HOLLYWOOD.    CALIFORNIA 


NOT  A  CLUB! 

Just   a    Bargain    Day   Offer   of 

CINEMA   CRAFTS 

and  a  year's  subscription  of 

The  International  Photographer 

Combined 

The  Two   Most   Practical  and   Useful   journals   in   the   Field   of 

Motion  Picture  Arts  and  Crafts  and  Newsreel  Cinematography 

for  $3.00 — and   Each  One  Worth  the   Price. 

If  You  Can  Buy  Only  One  of  These  Magazines  By  All  Means 
Buy  This  Wonderful  Little   Book 

CINEMA    CRAFTS 

Order  from  THE  INTERNATIONAL  PHOTOCRAPHER,  1605  Cahuenga 
Boulevard,  Hollywood,  or  CINEMA  CRAFTS,  Suite  306,  1029  So. 
Wabash    Avenue,    Chicago,    III. 


pher  when  corresponding  with  advertisers. 


1  hirty-iwo 


The       INTERNATIONAL.       PHOTOGRAPHER 


December,  1933 


01  iOCUS 


eo-SlBEBS- 


By  OTTO  PHOCUS 


SIR  GUY  SITTING 


This  outstanding  view  of  wild  animal  life  was  photographed 
by  P.  P.  Perry  with  a  pith  helmet  and  a  pair  of  shorts  and  was  exposed 
west  of  San  Francisco  (Ceylon).  It  depicts  Guy  Wilkie  resting  his 
hands  and   face  and  double  crossing  the   monk. 

Shortly  after  Guv's  return  from  the  Far  East,  we 
asked  him  if  he  had  any  unusual  views  of  animal  life 
in  the  tropics  and  he  brought  in  the  above  picture.  We 
asked  him  if  he  would  suggest  a  title  for  it  and  he  sug- 
gested, "Growth  of  Vegetation  in  the  Tropics."  This 
was  considered  a  good  title  as  it  applies  to  the  fore- 
ground as  well  as  the  background.  Guy  has  grown  a 
beautiful  crop  of  vegetation  on  his  lower  chin  and  ex- 
plained his  reason  for  doing  so  as  follows: 

The  nights  were  so  dark  it  was  impossible  to  see 
your  nose  in  front  of  your  face.  At  times  this  was 
embarrassing,  especially  when  he  and  Perry  had  to  bunk 
together.  So-o-o-o,  if  Guy  felt  his  chin  and  there  were 
whiskers  on  it,  he  knew  it  was  he ;  if  there  were  no 
whiskens  on  his  chin,  then  it  was  Perry. 

We  asked  him  if  he  did  not  have  his  feet  too  close 
to  the  camera  and  he  explained  that  things  are  different 
in  the  Far  East,  and  the  effect  was  caused  by  having 
the  camera  too  close  to  his  feet.  Also  you  will  note  that 
the  sole  on  his  right  foot  is  worn  more  than  the  left. 
This  was  caused  by  always  starting  out  with  his  right 
foot — an  old  army  custom. 

Guy  wrote  a  very  interesting  article,  "Care  of  Film 
in  the  Tropics,"  but  we  believe  a  story  on  "Care  of 
Perry  in  the  Tropics"  would  contain  much  valuable  in- 
formation for  any  of  our  readers  that  might  contemplate 
a  trip  to  the  East  Indies. 

The  monk  was  used  throughout  the  picture,  a  Tom 
White  Production — "Dus-Tu-Ran,"  and  was  brought 
back  to  Hollywood  and  can  be  seen  at  the  Selig  Zoo. 
Guy  can  be  seen  at  the  offices  of  the  International  Pho- 
tographer. 


DO  YOU  KNOW— 

That  the  Multicolor  Lab  will  soon  become  a  brewery. 

That  the  two  color  process  can  be  used  there.  Sell- 
ing GREEN  beer  will  put  them  in  the  RED. 

That  Henry  Kruse  is  technical  director  for  a  Swedish 
film. 

That  Chuck  Geissler  told  a  couple  of  hungry  kids 
to  go  into  a  restaurant  and  get  something  to  eat.  He 
would   pay. 

That  he  was  handed  a  check  for  one  dollar.     He  did. 

That  Willoughby's,  New  York,  have  increased  their 
order  for  International  Photographer  over  100  per  cent. 

That  when  we  get  our  liberty  after  December  5th, 
unless  prices  come  down,  the  bootlegger  will  get  the  busi- 
ness. 

That  you  can  tell  the  employed  from  the  unemployed, 
in  the  picture  shows  in  Washington,  from  the  amount  of 
applause  Hoover  or  Roosevelt  receive  when  their  pic- 
tures come  on  the  screen. 

That  Walt  Disney  does  not  expect  to  make  over 
$25,000  in  two  years  with  his  Three  Little  Pigs. 

That  he  can't  blame  the  high  salaries  of  his  actors 
for  this. 

That  Paul  Perry  knows  of  a  cafe  in  Hollywood 
that  does  not  sell  liquor. 

That  the  Big  Bad  Wolf  Cameraman  on  the  cover 
reminds  me  of  someone  I  know. 

That  Ray  Fernstrom  should  have  his  fare  refunded 
from  the  bus  company  after  the  article  in  the  last  issue. 

That  the  best  fish  dinner  I  have  had  in  ages  was  on 
the  Santa  Monica  Pier.     Bennett's.     Yes,  I  paid  for  it. 

That  Phil  Tannura  asked  15  questions  in  the  last 
artie'e  in  connection  with  cameramen  seeking  work  in 
Europe  and  forgot  to  ask — Can  you  photograph  a  pro- 
duction ? 

That  a  nudist  picture  was  photographed  recentlv  and 
the  camera  crew  had  to  work  "in  the  nude."  Can  this 
come  under  paragraph  12:  "Cameramen  refusing  to 
assume  hazardous  nosition  will  not  jeopardize  their  work- 
ing opportunities"  ? 

That  some  of  the  cameramen  are  having  3-A  trouble, 
and  this  is  not  a  filter. 

That  I  am  not  mad  at  anyone  and  wish  all  youse 
mugs  a  Merry  Xmas  and  a  Happy  New  Year. 


ALL  ARMY  ADMINISTRATION 

The  Motion  Picture  Code  is  being  "rushed"  to  com- 
pletion bv  GEN.  Tohnson,  COL.  Lea  and  SOL  Rosen- 
blatt. GEN.  for  General,  COL.  for  Colonel  and  SOL 
for  (ask  any  o'd  soMier).  But  regardless  the  set-up  is 
the  same  as  in  the  army. 

Rosenblatt  is  the  private.  He  does  a'l  the  work 
and  then  the  officers  tell  him  what  is  wrong  with  it. 


THIS  YEAR?    MAYBE! 

Four  years  ago  a  notice  was  placed  on  the  bulletin 
board  of  an  independent  studio  to  the  effect  that  no 
bonuses  or  presents  would  be  distributed  at  Xmas.  Thev 
would,  however,  be  forthcoming  if  it  took  until  July  to 
do  it.  They  did  not  state  which  year  and  if  we  never 
get  it  we  will  always  have  it  coming.  This  is  the  same 
studio  that  gave  the  emp'oyees  a  pair  of  socks  and  a 
goose  last  year. 


Please  mention  The   International   Photographer  when   corresponding  with  advertisers. 


Greeted  With 

APPLAUSE 


E 


ASTMAN    Background    Negative    is 


winning  wide  acclaim  among  the  many 
producers  and  cameramen  who  have  already 
discovered  its  possibilities.  Its  remarkably 
fine  grain  meets  the  prime  requirement  of 
background  shots  that  are  to  be  projected 
and  rephotographed.  Other  qualities  .  .  . 
particularly  a  surprising  degree  of  speed  .  .  . 
give  it  a  potential  versatility  that  may  well 
lead  to  finer  photography  in  other  direc- 
tions. Eastman  Kodak  Company,  Rochester, 
N.  Y.  (J.  E.  Brulatour,  Inc.,  Distributors, 
New  York,  Chicago,  Hollywood.) 


EASTMAN 
Background  Negative 


The  SILENT  MITCHELL  CAMERA 


Major  studios  are  finding  it  practical  and  economical  to  use  the 

SILENT  MODEL  MITCHELL  CAMERA 

on  the  majority  of  shots  without  the  use  of  cumbersome  blimps. 


Light  in  weight — including  all  the  advantages  of  the  standard  model  Mitchell  Camera 


Mitchell  Camera  Corporation 


665  N.  ROBERTSON  BOULEVARD 
WEST  HOLLYWOOD,  CALIF. 


Cable  Address  "MITCAMCO" 


Phone  OXford   1051