Full text of "International photographer (Jan-Dec 1936)"

See other formats

kSHn

1 "'

■''\ v,.
ii

iftjjj

', ■iit,,-' ..,

ill

111

wMffli

'..•.*■.■,'■

ffilttlsm

■

ffl 1 '■■■■'*

' •■'V

■■Wff

■'•' ■'■■, ■'■-■■ *;,V,
ffigl ' ' ■■ -:. . ■!.!(■■"!■:■ M ■

WUuEBBasm

WW®

■

Scanned from the collection of
Dino Everett

Coordinated by the
Media History Digital Library
www.mediahistoryproject.org

Funded by a donation from
David Pierce

Digitized by the Internet Archive

in 2012 with funding from

Media History Digital Library

http://archive.org/details/internationalpho08holl

HOTOGRAPHER

/'ENTH YEAR

HOLLYWOOD

JANUARY, 1936

VOL. 7

No. 12

->5i

BY CLARENCE H. GUTERMUTH — LOCAL 666

CENTS
A COPY

Here our cameraman trapped this beautiful picture in the "good box," somewhere near Chicago,
typical shot of the New Year landscape worthy of any of our artist cameramen.

It is a

MOTION PICTURE ARTS AND GRAFTS

^fcW YEAR

R EC. U.S. PAT. OFF

DUPONT FILM MANUFACTURING
CORPORATION

SMITH AND ALL£R, LTD.

6656- ■ -SANTA MONICA BLVD

HOLLYWOOD • CAL.

35 WEST 45th STREET

NEW YORK CITY
PLANT • PARLIN, N. J.

January. 1936

T h c I N T E R N A T I O N A L PHOTOGRAPHER

Oni

Reindeer Have Nothing On This Dog Team

From the facile camera of Mi. Chalmer D. Sinkey, Chicago Daily News-Reel staff cameraman at Seattle.
Scene shot in Rainier National Park. Yes, the dog team belongs to Mr. Sinkey and — it is Happy New Year.

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol. 7

HOLLYWOOD, JANUARY, 1936

No. 12

Silas Edgar Snyder, Editor-in-Chief

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerberg, Technical Editors

Helen Boyce, Business Manager

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.

CONTENTS

Frontispiece by Chalmer D. Sinkey
THREE COLOR PHOTOGRAPHIC PROCESS ANNOUNCED - 3

By Silvio del Sarto
THE ARCHAEOLOGY OF THE MOTION PICTURE - 4

By Earl Theisen
WHAT IS HOLDING UP TELEVISION? ----- 6

By Delmar A. W hitson
MINIATURE CAMERA PHOTOGRAPHY 8

By Augustus Wolfman
JAPAN— A CENTER OF WORLDS FILM DISTRIBUTION - 10

By Harry Mimura
TELEVISION IN ENGLAND - -12

By Alan Faivson
WITH PRESIDENT ROOSEVELT AT BOULDER DAM - - 14

By Frank M. Black<well
AMATEUR PHOTOGRAPHY— SOME DATA ON BUILDING
A TITLE BOARD— AND "IT HAPPENED ONE DAY" 16 and 17

By F. Hamilton Riddel
THE CINEMATOGRAPHER'S BOOK OF TABLES 18

By Fred W esterberg
TECHNICOLOR AT LONESOME PINE ----- 20

By Raymond Palmer
RECENT PHOTOGRAPHIC AND SOUND PATENTS - - 21

By Robert Fulivider
AMATEUR PHOTOGRAPHY— (Continued) - 22

By F. Hamilton Riddell
MOTION PICTURE PRODUCTION IN SOUTH AMERICA - 23

By John Alton
PICKFORD-LASKY READY FOR PRODUCTION - 24

NEW ARC LIGHTING EQUIPMENT TO RIVAL INCAN-
DESCENT LIGHTS FOR STUDIO SOUND PICTURE
ILLUMINATION ---------- 25

By Associate Editor
DARK SECRETS OF THE STUDIOS ------ 26

By William Kislingbury
CLASSIFIED ADVERTISING ------- 30

TELEVISION AS A PROFESSION ----.. 31

By Harry R. Lubcke
CINEMACARONI ---------- 32

By Robert Tobey

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles,
California, under the act of March 3, 1879.

and Canada

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California

GLadstone 3235

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 Kates — United States, $2.50 : Canada and Foreign $3.00 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

eo~£cTggtr^>

SERVICE ENGRAVING CO

In this issue The International
Photographer presents three short
articles on Television by request that
the present status of this interesting
subject be cleared up.

Allen Lawson, chief cameraman
of the system of London states the
English point of view; Harry Lubcke,
well known to these columns, writes
instructively on the subject, Tele-
vision", while Delmar A. Whitson,
under the title "What Is Holding Up
Television," sets forth the startling
news that the machinery of commer-
cial Television is already a fact and
describes it in detail.

Motion picture cameramen, ac-
cording to Jesse Lasky of the Pick-
ford- Lasky Co. need not see in
the present Television situation any-
thing threatening to the craft, and
there are others who even go so far
?s to believe that the coming of
Television will be of great benefit to
the cameramen.

REMEMBER!

The International Photographer is
out to double its circulation during
our New Year beginning February,
1936, and it will be more than worth
its subscription price of $2.50 to any-
body interested in photography and
cinematography. Its price in Canada
and Foreign Countries is $3.00. A
year's subscription to this magazine
would be welcomed by anyone with
a hobby for the camera. Remember,
the price is

$2.50 in United States

16 MM.-
35 MM.

$1.00

At Your Dealers

Please mention The International Photographer when corresponding with advertisers.

January, 1936

r h

INTERNATIONAL PHOTOGRAPHER

Three

Three Color Process Announcement

By Henrik Sartov and Alfred Linstead of Hollywood

By Silvio del Sarto

HE announcement of the perfection of a three
color process of photography by Henrik
Sartov and Alfred Linstead is an event in
anybody's country, to say nothing of Holly-
wood itself, where even the Japanese house-boys are
researching in color, three dimension photography,
television, etc.

The sterling character of these well known men
is amply sufficient to guarantee the integrity of their
representations and, if other guarantees are required,
the practical results already attained are available
for examination.

It is not necessary herein to stress the importance
of color pictures, printable on paper, to the motion
picture industry. Everybody knows that color is at-
taining more and more prominence in the minds,
not only of motion picture executives and artists, but
also in the minds of the public generally. In other
words, America is color conscious and this is mani-
fested not only by the trend toward color productions,
but likewise in every field of advertising, whether it
be books, magazines or street signs and billboards.

The trend being toward color productions, it is
evident that color stills must follow in their wake, be-
cause it is through still pictures that the productions
are sold. Only color stills can properly describe
pictorially the players, the beautiful sets, gowns and
other natural colors that the director and cameramen
see when the production is being photographed.

For years cameramen have been seeking some
process in color that would enable them commer-
cially to market their product. By that is meant that
they have been seeking some commercially prac-
tical process for making three-color prints.

As far back as forty years ago they were able to
make color prints, but only by a long drawn-out,,
intricate, complicated, commercially impractical and
unprofitable process.

In the discovery of Sartov and Linstead there is
now ready to be marketed a process that enables
them to print three color pictures, which incidentally
means all the colors of the spectrum and these three
colors may be printed on any sort of paper, whether
it be glossy or satin finish.

They are photographed with a camera that en-
ables the photographer to make the pictures neces-
sary instantaneously with this process. In fact the
inventors' "stop motion" with it, as evidenced by a
certain print taken of one of the owners of this pro-
cess, wherein he is holding a smoking pipe in his
hand and the smoke is stopped. In other words, with
this process and camera, three color pictures, which
mean, of course, all color pictures, can be photo-
graphed as conveniently as with the present day
black and white still camera.

Let it be stressed that this process is not in its
experimental stage, but is an accomplished fact, an
achievement whereby, let it be repeated, a three-
color photography capable of being instantaneously
taken, printable on paper, reasonable in cost and,
therefore, commercially practicable.

The results speak for themselves, any photogra-
phic cameraman or producer interested in viewing

these results may see them through the medium of
this office.

Of the inventors and developers Henrik Sartov
is known as having been one of the outstanding
cameramen in the motion picture industry until the
time of his retirement to devote his efforts to othei
interests. He entered the motion picture business
through the suggestion and at the invitation of D. W.
Griffith at which time he photographed Lillian Gish
in "Orphans of the Storm." He also photographed
Marion Davies, under contract to the Cosmopolitan
Productions in "Quality Street", "La Boheme" and
"The Scarlet Letter," very favorably compared by
critics to the artistry of Rembrandt's paintings.

Mr. Sartov, while comparatively a young man,
has been prominent in the photographic profession
for a period of thirty-five years; entering it at a very
early age and his work has been favored with inter-
national honors. He was the first to introduce por-
trait close-ups of soft quality to the motion picture
industry and in doing so originated lenses of his own
make. He also designed incandescent lights, which
were for the first time used in the production of
"Broken Blossoms" and that picture forever will be
remembered for its marvelous close-ups. He was
recognized as outstanding in his close-up lightings
and is said to have commanded the highest salary up
to that time which had been paid to any motion pic-
ture cameraman. In this he has unquestionably done
much, not only to establish and maintain photogra-
phy as a true art, but likewise has impressed upon
the executives of the motion picture industry that the
cameraman was entitled to a greater remuneration
for his services than he had theretofore been receiv-
ing. Mr. Sartov was also one of the first to introduce
panchromatic film to the motion picture industry and
making thereon a complete production which was
"La Boheme", with Lillian Gish. At the time of mak-
ing this picture, Mr. Sartov prophesied the use of
panchromatic film exclusively by the industry within
a period of a year, which prophesy was fulfilled as
we are aware.

Mr. Linstead has been actively engaged in the
photographic profession for approximately thirty
years. Some years ago, it will be remembered, he
invented and developed an "etching process" which
he sold and taught to the prominent photographers
all over the country. He is recognized as one of the
outstanding portrait men of this section and has done
a number of notable things in the inventive field of
photography.

Color has attained such prominence in recent
months that this announcement will be considered
almost as revolutionary to the industry as was sound
and it is interesting to note that Mr. Sartov now pro-
phecies that within a year color portraits and color
prints will become as important to the industry as
panchromatic did within the time he predicted. Un-
questionably such a statement coming from a man
of his known ability and artistry is entitled to very
serious consideration.

It is also interesting to note that he now predicts
within a year there will be more than twenty color
(Turn to Page 18)

Please mention The International Photographer when corresponding with advertisers.

Four

The INTERNATIONAL PHOTOGRAPHER

Januarx, 1936

The Archaeology of the Motion Picture

IN THREE PARTS— PART II
Prepared for the Encyclopedia International Institute of Educational Cinematography, League of Nations

By Earl Theisen

Honorary Curator Motion Picture and Theatrical Arts, Los Angeles Museum

[Because of the pressure of other matters this article will be extended to Part III and Part IV, February and March.

respectively. — Editor's Note.]

Slide-Shows and Phantasmagoria

The audience is leaning forward, tingling with
fright. Amid a backstage clatter and a steady
thump-thump, a devil on a smoky cloud is approach-
ing. As he gets larger, the boldest of the audience
become less bold and the timid ones look to the near-
by exit. It is a new experience to them. It is magic!
Yes, magic to them; but to us the medieval slide-
show.

In the Slide-Shows of 1798-1835, which were
known then as the "magic lantern performances," or
"phantasmagoria," the audiences were held in a
spell of terror while they were shown pictures of the
devil, ghosts, monsters, or other subjects that would
impress them or arouse their fears. A favorite illusion
was having the devil with his trident approach the
audience. A simulation of motion was obtained by
the magic lantern operator slowly moving the lan-
tern, in which, hand-painted on glass, was a trans-
parency of the devil. The motion obtained was only
a static movement of the entire picture on the screen,
but because the audiences had heard much about
the devil and very little about the magic lantern, they
were tantalized with sincere doubts whether it might
not be the real thing. Such was this antecedent of
today's cinematic presentation.

It is popularly believed that the magic lantern
was invented by Athanasius Kircher in 1640. Kircher
called it the "Magia Catoptrica" or "Megaloscope."
He described it as his invention in his book, "Ars
Magna Lucis et Umbrae" (Great Art of Light and
Shade), which was published in 1646. Even though
Kircher is credited with this invention, it would ap-
pear that Cellini knew of it a century earlier, since,
to quote from W. I. Chadwick's "The Magic Lantern
Manual," published in 1886 as Number 19 of the
Scoville Photo Series, "Cellini must have used some
such instrument a century previous [to Kircher] to
produce phantom figures in the smoke of fire." Since
Daniello Barbaro in his book published in 1568 de-
scribes the use of a lens in conjunction with Camero
Obscuro, it is entirely possible the Camero Obscuro
could have been adapted to the lantern use credited
to Cellini by the addition of a light. That, howevei,
is a comment for the critical student, though it does
indicate that the underlying principle of projection i?
well over three centuries old.

A Belgian physicist, Etienne Gaspard Robert (also
known as Robertson), who had learned of the magic
lantern from Van Estin of Maestricht, perfected the
technique of the lantern shows through constant use
over a great number of years. As a fad while still in
school, he tried to invoke mystifying pictures of the
devil by incantation and magic wizardry, but without
success. He decided to create them himself. After
reading outstanding works on magic and physics of

his time, he realized the desired effect could be ob-
tained by the lantern. After a preamble, he would
make the show room totally dark. Then, unknown
to the audience, he would lower a screen, and in the
midst of terrifying noises, claps of thunder and weird
cries a ghost image would appear. He would in-
crease the size of the apparition by moving his lan-
tern, of which the audience was unaware. The
"seances" that he gave at Paris in March and April,
1798, established his reputation as a magician.
Lengthy articles in the press invested him with super-
natural powers. He was a master in dressing his
shows with the cunning of a perfect showman. -

The lantern may be said to have come into vogue
in England, and here it became something more
than a device to frighten people. Henry Langdon
Child, it is said by an authority, Will Day, inaugu-
rated them as early as 1806. Child started his slide-
shows as the "Phantasmagoria" at the Sanspareil
Theatre, now the Adelphi, in London. Under his use
the lantern attained a certain proficiency in story
telling. Child knew of the authoritative manner in
which a picture illustrates an idea.,.,

With the beginning of his shows the lantern was
heralded as an educational device. His lectures and
stories covered all subjects. He facilitated the per-
formance of the lantern with the addition of a "dis-
solver." This "dissolver" was used on his Bi-Unial
Lantern, which was one that had two optical sys-
tems, or in other words it could project two pictures
at once. The two objectives with slide holders were
side by side on the same lamp house. The "dis-
solver" was in the form of a rocker arm that extended
across the front of the two slide holders. With this
system such elaborate themes as "The Orphan's
Dream" could be presented. In this picture, which
was in essence a motion picture, a slide picture of
the "little orphan" was first shown asleep on a
couch; this was known as the "foundation image."
A second slide with a picture of angels in a bank of
dream clouds would be made to appear from the
other optical unit. The super-imposing of the two
slides presented a pleasing theme — an orphan
dreaming she was with angels in heaven.

Comedy was obtained from such slide-show sub-

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.

January, 1936

T h e I N T E R N A T I O N A L P H O T O G R A P H E R

Five

By EARL THEISEN, Associate Editor

jects as "The Boy and Cat." The first slide showed
the boy holding the cat by the tail over a tub of what
was evidently water. The comedy was in the climax-
ing second slide, which showed him dousing the cat.
They did not show a third slide of the boy getting
scratched, thereby overlooking the moral.

Another popular theme was "Proving the Rotund-
ity of the World." The method of doing this was to
project a slide picture of the world. A second slide
with a picture of a ship so placed that it coincided
with the outer circumference of the world was made
to revolve by means of a small gear. The Chromo-
trope, another invention credited to Child, was very
popular. It consisted of two slides. Each had a
spiral design in color. When the two were revolved
while in the lantern, a kaleidoscope of color in an
ever- varying pattern was the result.

Probably the most elaborate of these slide-shows
was the "Siege of Delhi," which was given at the
Royal Polytechnic Institution in England. Six lan-
terns were used and the field of battle with its burst-
ing of shells, fire of artillery, accompanied by suit-
able sound effects, made it a dramatic show.

The first of the "travel slides" was brought to-
gether by Richard Vaughan Yates of Liverpool some
time prior to 1837. He made a tour of the Holy Land
and then had noted artists paint transparencies of
the interesting points. (A transparency was a term
used to designate a transparent painting in color on

glass as used in the lantern slides. The hand-painted
slide was eliminated as photographic methods were
perfected.) John Smith, one of the editors of the
"Liverpool Mercury," became so enthused over the
Yates travel slides that he arranged an extensive
lecture course on geography which was delivered in
all the principal English towns.7

With the exception of the lecture tours and educa-
tional demonstration, the slide-shows were generally
put aside when the motion picture was finally made
possible; but until then it was a popular form of
entertainment for the class of people who were later
the motion picture fans. Even after the "pictures that
moved" were shown, the slides were used as a
means of announcing program changes and for ad-
vertising. As an advertising medium during the
"nickelodeon," or five-cent admission period, of the
film theatres, it seems that every merchant within a
radius of miles had a slide that he wanted on the
screen between the "pictures."

The illustrated song slide of this same period
must be mentioned. All the popular song hits were
made into elaborately colored slides which were
thrown on the screen to be sung by the audience,
accompanied by a rather worn piano and pianist
down near the screen. The song slides and adver-
tisements continued, particularly in the provincial
districts, until the advent of the sound film. (Part III
will appear in February 1936.)

Capt. Herford Tynes Cowling Joins National
Archive Service at Washington

Mr. R. D. W. Connor, Archivist of
the United States, announces the
appointment of Captain Herford
Tynes Cowling to be Technical
Assistant, Division of Motion Pic-
tures and Sound Recording, the
National Archives.

Since July 1st of the present
year, Capt. Cowling has been
with The National Archives in
connection with a survey of Gov-
ernment historical motion picture
films. Capt. Cowling is a native
of Suffolk, Nansemond County,
Virginia. Two years at George
Washington University. From 1909
to 1916 was photographer andchief photographer with the U.S.
Reclamation Service, traveling extensively throughout the United
States filming reclamation projects, Indian life on reservations, and
national parks; was selected by the late Franklin K. Lane to inau-
gurate a pictorial "See America First" film program for the United
States.

For seven years was with the Burton Holmes Paramount Pic-
tures, Inc., as Technical Director and Producer, which took him to
many countries in Europe, Asia and Africa. In 1922 Cowling was
managing director of a new production company, headed an expe-
dition to Central Africa, producing films of life and customs of
native tribes and several big game hunting expeditions.

Continuing his work in foreign fields, in 1923 he headed u
special expedition in Western Tibet, making the first films of
Tibetan people and customs.

In 1926 he made a trip to Kashmir, India, with a commission
from the Government to film the Durbar at the coronation of the
Maharaja of Kashmir for the Government Archives.

In 1927 Capt. Cowling was selected by George Eastman as
technical director for the Eastman Teaching Films Program which
produced a series of educational motion picture films for use in
American schools. This was discontinued in 1932, owing to the
death of the sponsor, Mr. Eastman. This program involved the
expenditure of over $2,000,000.

On duty as reserve officer in the Signal Corps, Photographic
Section of the U. S. Army, War College, Washington, D. C, Octo-
ber, 1934, to July 1, 1935, in connection with the preservation of
World War historical film records.

Cowling, motion picture engineer, producer, director and ex-
plorer, is probably better acguainted with the motion picture film
and photographic archives of the United States Government than
any other one person.

Please mention The International Photographer when corresponding with advertisers.

Sit

T 1 1

INTERNATIONAL P H O T O G R A 1> H K R

January, 1936

Is This The Answer?

What Is Holding Up Television?"

A Fool Proof Invention

By Delmar A. Whitson

"What is holding up television?"
This remark is heard on all sides, today, and is
practically replacing the classical weather subject
as a topic of universal interest. However, unlike a
remark attributed to Mark Twain: "Everybody talks
about the weather, but nobody does anything about
it," it seems that everybody of any scientific import-
ance has been, or is working on it, and the practical
instrument is said to be a near reality.

In the meantime the patient public has divided
itself into two general divisions of opinion, i.e. that,
either the large electrical companies are holding out
on them because of some commercial policy, or that
they have found it to be a scientific "joker" and the
public is left to be weaned of its expectations by
fiction writers. However encouragement is main-
tained by the announcement from time to time that,
this or that big electrical combine is to erect imme-
diately elaborate television stations, involving large
New Deal sums, meaning, of course, that the saving
in admission for the Saturday foot-ball game will
soon be applied to the payments on the home tele-
vision set. And, adding to the anxiety, the spot-light
inventors are busy hastening from coast to coast
explaining to Sunday magazine reporters a bagful
of reconditioned television fossils which will very
soon ruin the movies.

However, a confidential peep behind the scenes
reveals the important fact that we have a house
divided against itself, on the part of the inventors
working in the field. One class champion the Nip-
kow revolving disc scanner and its modified rotat-
ing lenses and prisms and the other class choose
their corner on the cathode ray scanner.

The cathode ray inventor claims that the problem
of synchronization is successfully solved by his in-
ertialess, weightless stream of scanning electrons,
as against the leading and lagging of his opponents'
revolving scanning system, which cannot be made
to keep in step for high quality vision.

The cathode ray inventor is vigorously met by his
opponents' criticism that the cost of the cathode ray
tube, in view of its short life, places too high a pre-
mium on the operating cost from the standpoint of
the average pocketbook, and is also discouragingly
limited to a small image, in the neighborhood of sev-
eral inches, while his wares in turn are enchanced
by a much greater image, several feet, in fact, and
a low operating cost.

While both systems have their offsetting merits,
they are each admittedly affected by what seems
to be a defeating element peculiar to their respective
scanners, and, as a consequence, have been unable
to graduate from the laboratory.

Food for thought may be found in the fact that
the television inventors have apparently fallen into
the same hypnosis which impelled our automobile

body maunfacturers to copy the horse drawn car-
riage for the greatest number of years and, likewise,
our radio manufacturers to repeat the same idiosyn-
crasy, by copying "His Master's Voice" type of horn,
for quite a number of years, despite the fact that
the phonograph people were greatly advanced in
cabinet design when broadcasting was at first com-
mercially introduced.

The present system of television, excepting the
amplifiers, that is, the scanners, are fossils of early
television schemes. Nipkow invented the Revolving
Disc in the latter part of the nineteenth century, and
Prof. Rosing proposed and actually used the Braun
tube or cathode ray scanner about 1910 or 1911 and,
with all our modern electronic technique, we are
still laboring with these outmoded hangovers.

However,it is the growing conviction of a large
number of recognized scientists, that the real answer
to the problem will be found in a new principle or a
new result from an old principle not yet applied to
television. Such was the parallel state of quandary
in the radio art. then called wireless, when, by an
inspiration Dr. Lee De Forest introduced a simple
grid shaped wire into what is known as the Fleming
Valve and, Presto! . . . wireless was reborn and
swept the world as radio!

In view of the conviction that history repeats itself
it is not thought passing strange that Dr. De Forest
should appear again at this stymied period, with
what is undoubtedly the key to practical television,
but this time it is as god-father. It was the writer's
good fortune to be invited by the Doctor to inspect
in his laboratory a scanning system regarding which
he stated: "Will sweep the country with the same
degree of success that attended the original recep-
tion of radio broadcasting in the early twenties."

Such a statement, coming from a recognized
world pioneer in electronics, was rather startling, al-
though incredulous.

The invitation was accepted, with the result that
the readers of this article have the opportunity to
ponder for themselves the prediction of Dr. De Forest,
whose accurate scientific prognostications are his-
toric.

The Doctor predicated the essentials of successful

35mm. Eastman or Dupont

Fresh Qray Backed Negative

Price 2V2C per Foot

for

AMATEURS or PROFESSIONALS

KINEMA KRAFTS KOMPANY

6510 Selma Ave. Hollywood, Calif. GLadstone 0276

Please mention The International Photographer when corresponding with advertisers.

January, 1936

7 /;

INTERNATIONAL P H 0 TOGRA P H E R

Seven

S «3SS£5«S«S- SHa SBftna^ -;-:„. as «s as jk-- arws ara

Torsional viurii of scanner showjng suspension of scanning frame.

television on several vital points:

"First, it must be fool-proof; that is, it must not
exceed the present simplicity of operation of the
standard radio set.

"Second, it must have clear definition and be
capable of being witnessed by at least a roomful of
people, or on a par with the latest 16 mm. film pro-
jection.

"Third, it must be within reach of the average
pocketbook, and with no more upkeep cost than the
present set."

Having outlined these requirements, Doctor De
Forest then drew attention tc the actual machine
which was to qualify under these rather unmistak-
able counts, and prefaced his explanation by highly
complimenting the inventor who is responsible for
this ephocal invention.

This is William H. Priess, of New York City, who
is a brilliant scientist and well known in the U. S.
Patent Office for his important inventions.

He is also renowned in the electrical fraternity
for his valued contributions and, if Dr. De Forest is
correct in his estimate, Mr. Priess will, with the public
introduction of his invention, be added to the world's
immortals.

The scanning unit is completely disarming in its
simplicity of construction and one immediately rec-
ognizes in it these earmarks of all genuine solutions,
which invariably invoke the remark: "Why didn't
someone thing of that before?"

Doctor De Forest stated: "It makes use of the
torsional properties of a steel wire, somewhat after
the old and well known principle of the galvano-
meter, except in this case two wires of unequal
length are employed and crossed at right angles."
He indicated where a small lA- by Va inch metal
mirror was welded at the center of the shorter wire

and had a small iron vane or arm projecting from
the back side of the mirror and extending into an
air-gap between the poles of an electro magnet. The
Doctor interrupted the inspection at this point to ex-
plain what occurs here in practical operation. "This
electro magnet," he explained, "produces an alter-
nating magnet field of 1500 cycles per second, which
moves this arm to and fro as many times, produc-
ing an oscillating motion to the mirror around the
axis of the wire. This alternate rocking of the mirror
is sufficient to completely sweep a bright spot of
reflected light upon a screen measuring from two to
six feet in an optional size area. The wire, of course,
only sweeps the mirrored spot on the horizontal, or
in other words is to form just the lines."

The Doctor then continued his explanation of each
part by pointing out that this wire upon which the
mirror and vane are welded, is anchored at each
extremity upon an oval shaped channel framework
of aluminum, measuring about two by four inches
in area, and one-half inch thick, and weighing but
a few ounces. This wire is aligned in the direction
of the length of the framework and the framework,
in turn, is suspended at its exact mid-section by a
wire extending out at ach side, not unlike a pair of
oars in a small boat. These wires are fastened at
their outer extremity at the top of a pair of upright
metal standards mounted upon the final base. This
arrangement of mounting produces a balanced unit
or framework which may be rocked like a walking
beam or like a simple see-saw. Doctor De Forest
paused here to explain that when the device is in
operation this framework assembly is alternately
rocked by the larger electro-magnet underneath at
the rate of 24 vibrations per second, giving a verticle
displacement to the reflected spot after each hori-
zontal sweep.

He laid particular stress upon the fact that neither

(Turn to Page 27)

Please mention The International Photographer when corresponding with advertisers.

Eight

7 // c 1 N T K R NATIONAL PHOTOGRA P HER

January, 1936

Printing Paper

Miniature Camera Photography

RINTING PAPERS: We still occasionally en-
counter the amateur who is making an at-
tempt to try every type of printing paper the
market offers. The amount of different
papers is considerable, giving the photographer
much leeway in jumping from one type to the other.
If such practice is engaged in one cannot expect to
produce good prints.

At the start the photographer should select a
brand of enlarging paper which can be had in dif-
ferent contrasts, as hard, medium and soft. This
will enable him to have a correct type of paper for
each negative. Many papers are offered in but a
single grade of contrast. In such cases it is really
necessary to develop the negative in a manner to
suit the printing paper. Such procedure is relatively
simple with large negatives, as 31/4x41/4, 4x5, etc.,
plates or cut film, etc. Negatives of such size can
be developed singly to obtain the correct contrast
for the best results with a particular type of paper.

The miniature camera photographer is, however,
confronted with a different problem. He has many
negatives on a single roll of film; in many cases such
negatives having been exposed under varying con-
ditions and consisting of widely different subjects.
The entire roll of film is developed for the same
time in the same developing solution, so that nega-
tives of different contrasts usually result, necessitat-
ing the use of paper of different grades to obtain
good prints.

Then again papers are offered in quite a variety
of surfaces — another temptation for the beginner.
It would be best at the start to choose one of the
more popular surfaces, as semi-rough or rough
matte. In most cases such types of papers are ob-
tainable in a larger number of grades than the spe-
cial surfaces as linen, porcelain, stipple, etc.

Once a single type of paper has been selected
it would be advisable for. the photographer to work
with this paper until he is able to obtain good prints
with it. In many instances the reason for failure to
make an acceptable print is poor judgment in select-
ing the proper grade of paper for the negative. For
experience it would be advisable for the beginner to
pick about three or four negatives of varying con-
trasts and make a set of prints from each negative,
on each grade of paper. This will be a guide to
him in selecting the proper grade of paper to suit
the negative. After this step has been mastered it
will be simple for the photographer to indulge in
different paper surfaces and obtain excellent prints
with them.

Another step upon which the amateur trips,
though simple and often repeated in these columns,
is the correct exposure and development of the
paper.

In many instances where flat, lifeless prints are
encountered, it will be found that the paper is over-
exposed—the image comes up very quickly in the
developer, and it is necessary to pull it out of the
latter to prevent the print from becoming burned up.

Generally the exposure should be such that the
paper will require from 1 Vt. to 2 minutes develop-

Lens Speeds

ment time. In this manner — giving the paper a
short exposure and full development, the print will
have more snap and brilliance.

Another bit of advice for the beginner is that he
should not intend to make about two or three dozen
prints in a single night, but be contented with four
or five good ones. Care and time should be taken
with each negative; test strips made to determine the
exposure and developing times to obtain the best
results. Each negative to be printed should be ex-
amined for small particles of dust or dirt, and these
removed with a suitable expedient. This will ob-
viate much subsequent spotting. Care and thought
expended in this fashion will reveal itself in better
prints.

Quick Drying: In many cases in order to dry the
prints faster, photographers submit the ferrotype
tins with the prints on them to high temperatures.
Glossy prints which have been dried at too high a
temperature without sufficient circulation of air will
not have a high gloss, and in some cases will have
a "ground glass" effect. The excessive heat may
also affect the black japan surface, causing check
markings. In some cases the shape of the print will
show on the tin after the latter has been removed.
At times these may be removed by placing the tin
in hot water or near a steam pipe for a few minutes.
The oft repeated advice, "haste makes waste," is
quite applicable in this case.

Winter Exposures: Because snow is white, reflect-
ing a relatively large amount of light, it is the sup-
position of many photographers that snow scenes
require short exposures. Such a fact may be true
when we are photographing scenes containing a
large expanse of snow. The same procedure cannot
be followed when foreground objects are the center
of interest. In this case exposure should be judged
for the objects. If an exposure meter is used the
photographer should take the reading close to the
object so that the field covered by the meter will not
include the snow in the background. In such cases
it is well to keep the old photographic axiom in
mind, "Expose for the shadows and let the high-
lights take care of themselves," the objects in this
case representing the shadows and the snow the
highlights.

Filters and Contrasts: Many of the films employed
in miniature camera photography, especially those
of the extreme fine grain type, are prone to produce
contrasty results. Such films are usually developed
for less time than normal, to obtain normal contrast.

In outdoor pictorial work contrast can be addi-
tionally softened through the use of filters. Despite

/WiQVIOLlAFILM VIEWING and

REPRODUCING MACHINES

ALL MODELS ON DISPLAY— FOR SALE-
lllustrated Literature On Requt

FOR RENT

MOTION PICTURE CAMERA SUPPLY, INC.

723 7th AVE., NEW YORK CITY CABLE: "CINECAMERA'

Please mention The International Photographer when corresponding with advertisers.

January, 1936

T h

I N T E R N A T I O N A L P H 0 T () G R A P H E R

Nine

By AUGUSTUS WOLFMAN

the fact that a panchromatic film may be employed,
such films are still greatly sensitive to blue, and
without the use of a filter the sky will be rendered
too light. Greens are also generally reproduced too
dark. When a yellow filter is employed the blue of
the sky will be held back, and the latter will repro-
duce in a definite tone. Greens will reproduce light-
er, resulting in less contrast. Especially in brilliant
sunshine, in which case strong contrasts are prone

fully exposed negatives than the other. This may
be quite true. We may have two f:3.5 lenses of
different construction, and when both are used wide
open the results obtained relative to exposure will
not be the same.

The entire matter concerns itself with the manner
of determining the numbers denoting the speed value
of a lens. It is obtained by dividing the diameter of
the largest diaphragm opening into the focal length.

Left: Spring Cleaning, photo by A. Wolfman. Center; taken with a Summar f:2 lens wide open, on DuPont Superior film.

Right, Waterfront, by Karl A. Barleben, |r., F.R.P.S.

to exist, the use of filters will do much to eliminate
harsh results.

Formula for Supersensitive Panchromatic Film:

Many amateurs still seem to experience dire results
with supersensitive panchromatic films in relation
to grain. There are many instances where the illum-
ination is relatively weak, despite the fact that a
supersensitive film and a fast lens are employed, as
in night photography. In such cases the use of a
developer containing metol is advisable, to bring
out the shadow detail, extreme fine grain being
sacrificed for the proper shadow values.

However, there may be cases where sufficient
illumination is present, allowing the use of an ex-
tremely fine grain developing solution. The Sease
No. 3 formula is excellent, but many photographers
object to the doubling of exposure necessitated by
this developer. An excellent fine grain formula for
supersensitive panchromatic films has been repro-
duced in these pages some time ago, however, for
the benefit of those who are not acquainted with it,
we are listing this formula below. This formula re-
quires only normal exposure.

Formula for Supersensitive Pan Films:

Paraphenylene-diamine 6 grams

Glycin 6 grams

Sodium sulphite (dry) 37.5 grams

Water, to make 500 c.c.

The formula is prepared by dissolving a portion
of the sodium sulphite in about 250 c.c. hot water;
the paraphenylene-diamine is dissolved, then the
glycin and the remainder of the sulphite, and cold
water added to make 500 c.c.

The developing times are: 30 minutes at 65°F.,
and 25 minutes at 70°F.

Lens Speeds: Often we have heard from pho-
tographers that they have worked with two different
lenses, both of the same relative speed, and using
the same shutter speed, the exposures on the film
not being the same. One lens will produce more

However, due to variances in design or construction
of lenses some may actually transmit more light
than others, despite the fact that their speeds are
the same, as determined in the manner stated
above. Usually the differences are so small that the
latitude of the film will amply take care of them.

Straightening Film: This is the time of the year
when many of the films made during the past sum-
mer season are being printed. Usually the pho-
tographer keeps his negatives curled up in the orig-
inal roll, and if they have been kept in a warm
dry place the rolls of film will have curled up to a
considerable extent, especially in the case of cine
film. In many cases the curled film hampers the
photographer in enlarging. This condition can be
remedied by rolling the film in the opposite direction
of the curl, placing a rubber band around it, and
then putting the film in a warm place, such as near
a radiator, for an hour or two.

A Hint: By adding a small amount of sodium
chloride (ordinary table salt) to a normal MO paper
developer, prints with more brilliance and of a colder
tone will be produced.

TA&La.^iWo^<i

In Sound Recording

THE NEW PRINCIPLE
MINOR QUARTZ 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 intensify and
actinic value a distance away and on the film, which PROVIDES CLEAR-
ANCE and PREVENTS SCRATCHING of the sound track. The width of
the beam of light measures from .0005" to .0008" as it strikes the
moving film.

This Quartz Optical Unit was used for the sound effects in the
recent production of the "Tarzan" picture, filmed in Guatemala and
referred to in the March issue of International Photographer.
Send for details and specimen of sound track.

C. C. MINOR

1835 Whitley Avenue

Phone: GR. 4781

Hollywood

Please mention The International Photographer when corresponding with advertisers.

Ten

The INTERNATIONAL PHOTOGRAPHER

January, 7V.i<5

Japan-Center of World's Film Distribution''

By H. A. MiMURA,

Member of Local 65'J , 11 ho Received His Cinematographic Education in the Hollywood Motion Picture Studios

|HOUGH the entire country itself is smaller than the
State of California, the Japanese as a whole are among
the most ardent film fans. Together with our own pro-
duced features of over 500 a year, we have about the
egual number of foreign made pictures. Most theaters
are distinguished for their policies to show either home-made pic-
tures or foreign films. In comparison, the American pictures at
one time occupied the greater part of the Japanese market, while
European films followed in smaller scales. However, the present

Myrna Loy, William Powell, Clark Gable, Franchot Tone, James
Cagney, Grace Moore, Miriam Hopkins and Gary Cooper are
still well-known to the Japanese movie fans.

While such imported films are drawing some business, we
are making our own in the studios, more than ten in number.
With the exception of only one, the rest of the studios are all
using their own system, making talkies, sound pictures and some
are still making silents.

The studio that I am connected with is located about ten

Upper left: Shooting a bar scene. Director Kimura in front of the camera; Harry Mimura looking through the finder. Lower

Left: Nos. 1 and 2 stages of P. C. L. Studio. Talkie recording rooms are located on the third floor in the center of the

stages. Upper right: Love scene on fire escape. Harry Jvlimura at camera. Lower right: Screen process shot from

Hany Mimura's recent picture, "Seven thirty O'clock," a mystery story of a modern city.

year shows an amazing increase in European-made pictures — all
trying to wedge into the Nippon market. Now we see films from
England, France, Germany, Italy, Switzerland, Russia, Austria-
Hungary, Poland, Czechoslovakia and others. Titles are super-
imposed to make the audience understand. Another process cf
showing foreign film was recently attempted by Paramount on
their old film, "Feet First," Harold Lloyd's picture, in -which all
the English dialogues were taken off and in its place, Japanese
actors and actresses spoke in Japanese. This picture was shown
on the screen immediately after its completion and the great
hit that it made is something worthwhile speaking about. Seeing
the good box-office result, Paramount is making two more pictures
in the same manner.

The pictures which made a clean hit on the screen within a
year ■were "The Lives of a Bengal Lancer," "It Happened One
Night," "Manhattan Melodrama,'' "Talk of the Town," and "Un-
finished Symphony" (a German picture). The name of Robert
Riskin, of Columbia scenario department, is so famous among
fans that his name is printed in every advertisement, -which
draws more people. Shirley Temple is the topnotcher in fame.

miles from the heart of Tokyo. P.C.L. Studio is the name. It is
not the abbreviation of PenCiL, but stands for Photo Chemical
Laboratory, which is the origin of this organization. It is one of
the well eguipped studios in Japan, with every bit of machinery
made in Japan except cameras. Two new Mitchell sound cam-
eras, one silent Mitchell, two Parvos, Eyemos and other cameras
are the only ones bought from abroad. At present we have four
units making pictures, two at a time; however, short subject
staffs are working along with feature productions. Six cameramen
and eighteen assistants are under long term contract and each
cameraman has four assistants -when making pictures. Each
cameraman is scheduled to shoot four pictures a year and rest
between pictures with full monthly salary. Since we commenced
using the new Mitchell we avoid the clumsy "Blimp," and it gives
more pleasure for the cameraman than anything else. Our studio
is the only one in Japan using this super-machine.

I have just finished my fourth picture and am taking it easy
until the next picture, which will probably start about a month
later.

Please mention The International Photographer when corresponding with advertisers.

January, 1936

T h

I N T E R X A T I O N A

PHOTOGRAPHER

Eleven

The Best of Its Kind in a Field of Its Own

In December 1932 just as photographers were
beginning to realize that the miniature camera was
a serious instrument and was destined to revolution-
ize photography in many respects, the pioneer mag-
azine of miniature camera photography made its
appearance. At that time "Leica Photography" was
issued as an eight page offset bulletin.

The interest in the little magazine was tremend-
ous, and in April 1934 it was issued in regular print-
ed form. The number of its readers increased stead-
ily with remarkable speed; naturally the interest in
the magazine was also augmented. To cope with
this interest and provide its readers with much of
the valuable information contributed by authorita-
tive miniature camera users, "Leica Photography"
was increased in size from time to time, to include
more articles and illustrations.

With the number of its readers at present well
over 15,000 "Leica Photography" now appears in a
completely new and interesting dress. Its pages
number twenty-four, including much more material,
and it is profusely illustrated. The entire layout is
different, and the illustrations beautifully reproduced.
Nor does this mark the criterion, for improvements
and additions will be made from time to time.

Readers are always invited to send in sugges-
tions, ideas and photographs to "Leica Photogra-
phy," which are published in the magazine. In this
manner it serves as an exchange of ideas thereby
fostering the progress of miniature photography, and
the numerous photographs that are reproduced
serve to show the miniature photographer the possi-
bilities of his camera. Write for a sample copy of the
new Dec. 1935 "Leica Photography" to E. Leitz, Inc.,
60 East 10th St., New York City.

ArtReeves' Galvanometer

One of the latest additions to the long line of re-
cording and laboratory equipment manufactured by
the Hollywood Motion Picture Equipment Company
is an oil damped galvanometer and optical system
for recording the variable area type of sound track.
The complete unit is shown in the accompanying
photograph mounted on the standard model record-
ing camera with the automatic speed control motor.

Although in over 90% of all major studios, sound
recording in Hollywood is done on variable density
recording systems, foreign studios and the smaller
independent studios are finding it increasingly diffi-
cult to keep up with the high standards of quality set

The ArtReeves' New Galvanometer

by these Hollywood studios. The reason for this is
well known to all in the sound branch of the motion
picture industry. The smaller laboratories feel they
cannot afford the densitometers, sensitometers, con-
tinuous developing machines, exact temperature con-
trol of all developing solution and numerous other
costly accessories necessary to process variable

density sound track and to maintain the proper
gamma in both negative and prints.

Since in variable density improper development
of either the negative or prints results in a loss of
quality a variable area recording system inherently
stable and free from development troubles soon pays
for itself in savings on retakes and reprints.

The Hollywood Motion Picture Equipment Com-
pany after exhaustive tests and months of experi-
ments designed a foolproof oil damped galvano-
meter that far surpasses any previously offered to
the trade in ruggedness, frequency range and low
power requirements. The complete galvanometer is
encased in an oil tight, oil filled, duralumin case,
the light from the exciter lamp entering and leaving
through a lens window. Oil damping of the mirror is
used as the only means of damping the mirror which
does not introduce spurious harmonics and reson-
ance peaks. The oil also protects the mirror surface
and keps it free from dirt. No current is required for
the magnetic field, a powerful new designed cobalt
permanent magnet being used. The movement needs
a power level of only .060 watts for 100% modulation
of the sound track. This means that instead of the
large bulky amplifiers and associated batteries form-
erly used, small compact amplifiers and batteries,
weighing only a few pounds may be used.

The optical system is highly efficient, a 3 watt
exciter lamp being sufficient on regular sound re-
cording stock. Monitoring the sound track may at
all times be checked visually. All sliding surfaces
have been eliminated in the recording camera, a
great help in hot, humid climates.

For those studios already equipped with an Art
Reeves double sprocket recording camera a bracket
having galvanometer and optical system solidly
mounted may be purchased and their recorders
changed over to variable area in a few minutes. An
entirely new type amplifier, using the new all metal
tube and including adjustable noise reduction has
been built to go with the new galvanometer and
optical system.

Please mention The International Photographer when corresponding with advertisers.

Twelve

T 1 1

INTERNATIONAL PHOTOIiKAPH E R

J.nnmry, W36

Television In England

By Alan Lawson

(Chief Cameraman of Baird Television)

Telecine Electro Scanner for the transmission by television of
talking pictures with a definition from 100 - 500 lines.

IN 1934 the British Government formed a

|2§lij Television Advisory Committee to seek an
answer to the problem as to what system
should be used for Television transmission.

In February 1935 they published their report with
these recommendations: To build a Television sta-
tion, with Baird Television Company, Ltd., working
on 240 line definition and Electrical and Musical In-
dustries Ltd., working on 405 line definition, each
supplying a set of scanners.

The Advisory Committee recommended that all
patents relating to Television reception should be
laid open for all set manufacturers.

The site picked for the first Television Station is
situated in North London — at The Alexander Palace.
The Di pole Aerial will be some 650 ft. above sea
level.

The Transmitter to be installed there will be of
the ultra short wave type working on approximately
6.5 meters, with an output of 17.5 Kilowatts. The
service area of this station will be close on 40 miles
radius, which means that the whole of Greater Lon-
don will be given a chance to receive Television
programs that are expected to commence in the New
Year.

This is a short summary of the apparatus that
will probably be installed by the two companies:

Baird Television Company, Ltd.:

Spotlight Scanner. This is the older method of
Television Scanning known as The Flying Spot
Method. It consists of a moving spot of light which
passes over a subject and the reflected light is
picked up by photoelectric cells and then ampli-
fied.

The method is used for announcing, lectures, etc.,
and is capable of televising three quarter length
figures.

Telecine Scanner. Consisting of a continuous
projector turning at 25 pictures a second, a 60 hole
disc revolving at 6,000 r.p.m. the light source being

supplied by a 60 amp. arc. This Scanner is used for
Transmitting Films.

Intermediate Film Scanner. A direct pick-up
method of Television, using a motion picture camera,
sound recorder, developing machine, scanning gate
and sound reproducer. The same type of disc and
arc are used on this machine as on the Telecine
Scanner.

The total delay period of this Scanner is 30 sec-
onds, (the time from actual taking to actual scan-
ning) accounted for thus: 5 seconds developing, 3
seconds washing and 15 seconds fixing; the remain-
ing 7 seconds are taken up in the film travelling from
one bath to the next.

The film used is a Panchromatic stock approxi-
mately the same as the non-Super Sensitive Pan.

Lighting, make-up etc., for this method, is the
same as the usual film studio procedure.

This Scanner can be moved into a normal sized
truck as used by news reel companies and thus be-
comes almost as flexible as the news camera. Its
limitations are the same as the standard motion pic-
ture camera, which are comparatively small.

All the scanners mentioned so far have been of
the mechanical type. We come now to those known
as Electrical Scanners.

The Electron Camera. This was invented by Philo
Farnsworth in Philadelphia. It consists of a high
aperture lens focusing an image on to a photo-sensi-
tive plate which in turn produces an electronic
image on the anode of a dissector tube.

The electron image is moved electrically over an
aperture to produce the scanning movement. Thence
the signal is amplified in the usual way.

This scanner can be used either for Telecine
work, (thus displacing the Scanning disc) or for direct
pick-up on interiors or exteriors, as is the Intermedi-
ate Film Scanner.

Now we come to the E. M. I. installation which

Baird Television, Ltd., Crystal Palace Studios. Intermediate
film scanner, for use on interiors or exteriors.

Please mention The International Photographer when corresponding with advertisers.

January, 1936

I 1 1

INTERNATIONAL PHOTOGRAPHER

Thirteen

consists chiefly of the Iconoscope, invented by
Zworykin in America.

This method is a combination of a photo cell
and a Cathode Ray Tube: an image is focused on
to a mosaic photo-electric plate, charging the minute
cells which in turn are discharged by a Cathode
Ray Beam. The discharged current is collected on
a positive metal anode, this current is the Television
Signal and is now amplified.

The Iconoscope is used in the same manner as
the Farnsworth Electron Camera for Telecine or
direct pick-up.

Reception

All the leading radio manufacturers will be mar-
keting receivers that will be capable of receiving
both systems.

Most of these receivers will utilize the Cathode
Ray Tube for picture reception; picture size will vary
from 5" x 6" to 14" x 16". The cost of the receivers
will range from $130 to $500. The largest receiver
will be no larger than a large Console Radio.

Programs

There is no definite proposal as to the type of
programs that may be expected.

But this is a rough guess: The major part will be
in the form of films, with vaudeville and talks from
the direct pick-up methods. I do not think, that much
will be done in the way of play production until
Television has established itself as a definite enter-
tainment.

Big Screen Television in Cinemas

The Baird Company has two methods for big
screen work:

1. Intermediate Film Projection. The Television
Image is received on a Cathode Ray Tube and is
rephotographed by means of a continuous camera.
The film is developed and then projected on to the
screen in the space of 2 minutes.

Although this method is in its infancy, it shows
great promise. Some film that was taken by this
method was shown at the Cinema Exhibitors Asso-
ciation, at Cardiff, this year, making a good impres-
sion on those that saw it. It proved that Television
could be used in cinemas for more than a novelty
and that for important topical events it would be a
definite asset.

2. High Speed Mirror Drum. In this method the
Television Signal modulates a Kerr cell which al-
lows a varying amount of light to fall on a High
Speed Drum which throws the image on the screen.

This method of big screen Television is being
installed at a London Theatre where it will be pub-
licly demonstrated in the near future.

It has been stated that the Scophony Television
Company, of England, have perfected a big screen
Television Method, but to date no details have been
published.

This is the fairly advanced state in which Tele-
vision finds itself in England. Everybody is awaiting
1936 when Television transmissions start in earnest.

HOLLYWOOD TO JAPAN

Art Reeves reports the shipping to Japan, recent-
ly, of one of his latest type developing machines
which was billed to the Yokohama Cinema Com-
pany. The shipment was accompanied by a varied
assortment of other laboratory equipment.

"SPEAKING PAPER" DEMONSTRATED IN LONDON

"Speaking paper," an invention of an Argentine
engineer, was recently demonstrated in London, ac-
cording to a report from the American consulate-
general, London, made public by the Commerce De-
partment.

By means of this paper, it is possible to present
a record of speech, music or any other sound in as
handy a form as the daily newspaper. It is claimed
that the invention will create a new industry, which
will produce "speaking" books, sell the equivalent
of 12-inch graphophone records and will also permit
newspapers to print an actual record of a public
speech, concert or play which readers could repro-
duce in their own homes, the report states.

The system, called the Fotoliptofono, works more
or less on the principles of a talking picture. A sound
track is registered on a celluloid negative by means
of a microphone and oscillograph. From this pho-
tographic impression a block is made from which is
printed the "speaking paper," a series of close par-
allels of jagged black lines, it was stated.

The paper is then placed in the reproducing ap-
paratus, the subject of the recent demonstration. A
piece of paper about the size of a single newspaper
sheet was fitted on to the cylinder of a machine re-
sembling the early Edison phonograph and a photo-
electric cell retranslated the black lines into impulses
which issued from an ordinary portable wireless set
as speech, song and music in turn, according to the
report.

It is reported that negotiations are in progress
looking to the production of the "speaking paper"
by the English graphophone companies.

CAMERA & PROP
RENTALS

Camera Supply Co.

1515 Cahuenga Blvd.
Hollywood, Calif.

Ruddy Ceraus, Manager
CLadstone 2404

Nite Phone CLadstone 6583
Cable Address — "CAMERAS"

Please mention The International Photographer when corresponding with advertisers.

Fourteen

T 1 1

INTERNATIONAL PHOTOGRAPHER

January, /V.?6

With President Roosevelt At Boulder Dam

By Frank M. Blackwell

(Pa the News)

Fresident and Mrs. Roosevelt at Boulder Dam

Las Vegas, Nev., Sept. 27th, 1935.
Frank M. Blackwell,

Pathe News, 1926 South Vermont Ave.,
Los Angeles, Calif.

FOLLOWING INFO VIA OMAHA BUREAU QUOTE
PRESIDENTIAL SPECIAL ARRIVING SALT LAKE CITY
TWELVE FORTY FIVE PM SEPT TWENTY NINTH DE-
PARTING TWELVE FIFTY FIVE PM STOP ARRIVING
LAS VEGAS ONE THIRTY AM SEPT THIRTY DEPARTING
ONE FORTY AM STOP ARRIVING BOULDER CITY THREE
NAUGHT FOUR AM STOP PRESIDENT PROCEEDING
THENCE VIA AUTO TO DAMSITE WHERE DEDICATION
ADDRESS SCHEDULED NOON SAME DATE UNQUOTE
STOP ADVISE YOU ARRANGE BE LAS VEGAS LEAST
DAY IN ADVANCE ORDER COMPLETE FINAL AR-
RANGEMENTS FOR COVERAGE.

Union Pac, News Bureau Denton.

And then the fun began for all the "news hounds"
in Southern California. This wire, received by each
news reel office, was the signal for all the newsreel
trucks to be loaded with extra film — shipping boxes
— cans — all the dozens of spare parts and pieces of
equipment not carried in our trucks on the average
story and which are invariably needed when on an
assignment away from our bases.

President Roosevelt, headed cross-continent for
a rest from his duties in Washington, D. C, was
about to "swing into our territory!"

Greenwald and Jones, of Hearst Metrotone; Brick

and Tice, Lehman and McGrath, of Fox Movietone;
Johnson and Sawyer, Koverman and McCarroll (who
had to "break away" from the colony of Mormons
on Salt Creek in the wilds of Arizona in order to be
present), for Paramount; and the writer, with his
newly-wedded recordist, Michael James Duffy, for
Pathe — all pointed the noses of their "sound wag-
ons" out along the three hundred mile stretch of high-
way toward Las Vegas and, ultimately, Boulder
Dam, for the President's dedication of that great
engineering triumph.

Noon, Monday, Sept. 30th! Thermometer regis-
tering 102 ! ! ! The President arrives at the dam-
site. Ten thousand men, women and children — from
desert ranches — from verdant valleys — from city and
hamlet — from mountain cabins — on hand to hear
him dedicate this twentieth century marvel to the
well-being of humanity.

Cameras everywhere! ! ! News crews, travelling
with the President, stationed on specially built plat-
forms in front of, and just below, the speaker's stand,
ready to photograph his every move and record his
every word on this historic occasion. Others high
on the towering peaks of both Arizona and Nevada
— getting "long shots" — showing the entire awe-in-
spiring panorama — the mighty pile of cement block-
ing the turbulent waters which, for centuries, had cut
their way, unhindered, down through strata after
strata of the desert lands, to form the mile deep
Black and Boulder Canyons. Still others up in
"skips" — platforms travelling on cables, suspended
across and above the canyon, with ends embedded
and anchored in the mountain tops on either side
of the river — to "shoot" down upon the speakers —
the dam itself — the thousands of people, looking like
pigmies on its parapeted top.

The President first stops on top of the dam, seven
hundred and twenty-seven feet above the bared
floor of the mighty Colorado river, and gazes raptly
over the stone parapet of the highest dam ever built
by man. Then he looks out over a greenish blue
lake more than 380 feet below him — a lake
stretching away for some eighty-three miles up a
narrow canyon and spreading out over the arid, flat
lands of Nevada and Arizona. Finally he goes to the
flag-draped speaker's stand to make the dedication
address for which he has travelled almost the
breadth of our continent.

And the men, women and children stand and

See all these men? Well, most of 'em are news-reelers. Yes, that's the President delivering his address at Boulder Dam.
Please mention The International Photographer when corresponding with advertisers.

Jamtarv, 1936

The I N T E R N A T 1 O N A L P H O T O G R A 1' H E R

Fifteen

listen, out there on top of this great monument which
man, in skill and daring and science — with his very
sweat and blood — has erected — and the news cam-
eras grind — until the President's final: "Well Done!"

Sept. 30th, 1935.
C. R. Collins,

Assignment Editor, Pathe News,
35 West 45th St.,
New York, N. Y.

NONEXCLUSIVE DAM DEDICATION FILM DUE YOU
EIGHT FORTY FIVE TUESDAY MORNING VIA RAILWAY

AIR EXPRESS WAYBILL NUMBER THREE NINE TWO
FIVE EIGHT FOUR REGARDS.

Blackwell.

Then, with the exposed film packed and aboard
a New York bound plane, headed for our respective
editorial offices, and the sending of the above wire
—AND THEN ONLY— was the assignment ended—
the story "covered" — with the hope in the heart of
each "News Hound" that his editor would also say:
"Well Done!"

AMATEUR PHOTOGRAPHY

FILM CLIPS

Camera Speed For Close-Ups: Most average
home-movie reels of family and friends contain a
number of Big Close-ups. In such films the camera-
man is chiefly concerned in securing close-ups
which are characteristic of the subject being photo-
graphed, rather than portraying any specific action.
More often than not, if Big Close-ups are taken with
the camera running at normal speed, plus the in-
ability of the subject to gage the tempo of move-
ment, the nervousness of your subject becomes apal-
lingly apparent when later the shot looms on the
screen. You will get a much smoother shot, with a
lot of the jerks of the subject ironed out, when shoot-
ing a 3-foot focus Big Close-up, if you use 24 speed.
This slight increase in camera speed over normal
will effect a very natural motion of the face on the
screen. And when shooting at 24 speed, don't forget
to set your lens for the increased exposure. This
compensation calls for one-half stop larger than for
normal 16 speed.

Dolly Shots: Have you ever tried a traveling cam-
era shot? It is quite simple — if you can borrow
Junior's wagon — and adds variety to your films.
Simply seat yourself in the wagon, have Junior push
the wagon towards the subject, while you keep your
camera in operation. The wagon must not be pushed
too quickly; you need smooth motion. A camera
speed of 24 or 32 frames per second is indicated for
a dolly shot.

Snow Exposures: At this season of the year, do
not miss the opportunity of securing some scenic
shots of the snow-covered landscapes. A word of
caution, however, about exposure. Watch out for
over-exposure! A brilliantly sunlit expanse of dis-
tant snow has great reflecting power, so with regular
Panchromatic film stops F 11 and F 16 are advisable.
Splices: If you have never become adept at mak-
ing a good, strong and neat splice, there is no time
better spent than learning the art. With a few feet
of discarded film to work on, practice making splices.
This is one phase of amateur movies everyone
should be adept at.

Novelty Title: Alphabet soup letters provide
simple material for a novelty title, if your title board
is of the small card type which allows for the camera
to shoot down on a card. Lay out the wording of
the title with the alphabet soup letters. Start the
camera and when you have sufficient footage, care-
fully blow the letters from the title card. On the
screen, when the title has been read, the letters will
disappear as if by magic.

Backward Motion: Oldtimers can skip this para-
graph, as its content is directed to the beginner in
amateur movies. You can create scenes of cine-
magic by photographing a view, such as one of
heavy downtown traffic, by holding the camera up-

side-down during exposure. When your film is re-
turned from processing, cut out the traffic shot, re-
verse it end for end, and splice it into your roll again.
You'll see your city traffic doing queer things on
the screen. Always follow this same procedure
whenever you desire to obtain backward motion on
the screen.

Fast. Trick Motion: There are many amateurs
possessing variable speed and hand-crank cameras.
Too often when a shot calls for a bit of comedy ac-
tion, the amateur thinks only of the 8 speed. Now
this 8 speed is in many respects ideal, but why ig-
nore the hand-crank shaft? It's not there for emer-
gency use only, in case of a breakdown of your
motor drive, nor only to photograph an entire roll of
film continuously. Rather the hand-crank shaft is
the original trick crank; capable of giving various
speeds to your camera under the 8 per second. Just
a little practice at hand cranking with an empty
camera, will soon make you adept at judging speed.
And you'll find 4 frames per second will give you
the original Keystone Kop chase speed better than
by any other means. Such slow exposure speed as
4 per second requires a very small aperture setting
on your lens — cut it way down to F 16 at least,
when working in good light.

Projection Hint: When screening your movies,
don't allow a broken splice to cause a long interrup-
tion while you try the tuck-under system unassisted.
Your guests will fidget and you'll come close to los-
ing your mind trying to get that stray film onto the
take-up reel. Keep a box of paper clips handy, the
small, round variety. Then it is only a matter of a
moment to clip together the broken splice (after the
film has passed the last sprocket or roller), and con-
tinue with your show.

Storage Cans: After all, the only proper place for
a reel of film, when it is not in use, is in a container.
Not left open to attract dust, heat or moisture. Film
tins, in which originally is packed positive film, are
most inexpensive and serve well as a container for
a projection reel of film. A small piece of blotting-
paper slipped in the tin will act as a humidor. Small-
er tins, such as 16mm, 100-foot positive is packed in,
will serve nicely for projection reels of 8mm film.

Tripods: We don't care whether or not you have
nerves of steel — the truth is you can never hold a
motion picture camera as steady as can a tripod.
Tripods will always give better results. You want a
movie of your subject, not of a background. The true
illusion of motion is strengthened considerably when
the background remains in a constant position on
the screen. And too, once a camera rests upon a
good tripod, the temptation to panoram is greatly
lessened. Invest in a good tripod, you won't regret
it. And use it! If not on all your shots, certainly
on all your interior work.

(Turn to Page 22)

Please mention The International Photographer when corresponding with advertisers.

S ixtcen

T h e I N T E R X A 'J- I O N A L P H O TOGRAPHE R

January. W36

Some Data On
Building a Title Board

N such a popular hobby as home-movies,
j there are always to be found those ama-

Ulll teurs, possessing a small work shop and a
capacity for handling tools, who will desire
to build their own accessory equipment. To these
cine-makers we dedicate this data on building a title
board. We hope it may smooth their way because
constructing a title board presents many perplexing
problems, as only one who has made his own board
for the first time knows all too well. Be it said at the
beginning, however, that building a good title board
calls for great accuracy and much patience on the
part of the builder; yet your own board, made to
suit your own particular requirements, will never
cease to be a most useful adjunct to your personal
movie making.

The type of title board you will choose to build
will depend to a large extent on your camera; on
its features as well as on its limitations. For all
ordinary requirements, however, you will most likely
choose the type which has the camera mounted on
the board at one end, with the title card holder at
the other.

Two very important requisites of a title board are
sturdy construction and solidness in the camera
mount. A title board may not be altogether neat in
appearance — more often it is not — but it must by all
means possess these two, foregoing qualifications.
Flimsy construction and a hit or miss camera mount-
ing will only yield poor results in the last analysis.

Good, hard wood is the safest material for a title
board base. One inch, or three-quarter inch, stock
is preferable. Laminated stock of this thickness will
serve nicely for the purpose as it is less liable to
subsequent warping, thus destroying the accuracy
of your title setup.

Your camera mount must insure the camera be-
ing mounted to the title board in a rock steady posi-
tion. Not the slightest movement is permissible.
Moreover, as in most instances the average amateur
possesses only one camera, necessitating its re-
moval from the title board at frequent intervals for
other photographic work, the camera mount must
be of such accuracy that each time the camera is
replaced on the board, it will automatically assume
the same exact position as in former setups.

Whether you will mount your camera on the
title board vertically or horizontally depends upon
the make you own. Those amateur movie cameras
of Eastman manufacture, the Cine-Kodaks, which
follow the same general shape as the well-known
Brownie Box still camera — and all other makes of
movie cameras of like design — should be mounted
in normal vertical position. Their base is substan-
tial, and the regular tripod socket on the bottom may
well be used for attaching the camera to the board.
It is good practice, however, to provide side guides
of some sort, either of metal or of wood, screwed
permanently to the title board. These guides should
fit the sides of the camera as snugly as possible, to

By HAMILTON RIDDEL, Edito C

insure that the camera assumes the same, exact posi-
tioning at each setup. Without these side guides
there is a distinct tendency for the camera to shift
slightly, to the right or to the left, thus making for
lopsided results in your finished titles.

With other type amateur movie cameras which,
because of their particular design and shape, have
a smaller base, such as the Bell & Howell Filmo
and the Victor Cine Camera, it is more advisable to
mount this kind in a horizontal position on the title
board. A camera "bed", carefully cut out to fit the
general outline of the camera, with a wooden end
brace, through which a bolt extends into the tripod
socket, will assure rock steadiness and accurate
positioning every time. When the camera is mounted
horizontally, the title card holder must of course be
attached to the title board in a like, horizontal posi-
tion— to match the camera position. This is in no
way inconvenient.

The next consideration in building a board is the
matter of card-size which you will want to standard-
ize on. There are several sizes, all the way from
11x14 inches, 9x12 inches, down to the smaller
33/4x5!/2 inches. The larger size cards of course
allow some leeway in setups, but as they usually
call for hand-lettering, a rather difficult undertaking
for the average amateur with no particular training
in this line, the smaller cards seem to be more adapt-
able for home use. Again, a small card is advisable,
for in this case the title board need not be large
nor bulky, there being only a comparatively few
inches necessary between camera lens and title
card. Also, a small card is much cheaper in the
end, and it may be typed out on an ordinary type-
writer, a convenience you should not overlook.

A convenient method to determine the approxi-
mate area covered by the lens, working close to the
small card as on a title board, is as follows: Set up
your projector, making sure its lens is a regular 2-
inch focus one, and snap on the lamp. Move the
projector to or from the screen, as the case may be,
until the white frame area is somewhat smaller than
your title card. When this proper size has been de-
termined, measure carefully the distance from the
screen to the tip of the projection lens. For example,
the result may be 18 inches. If the lens on your
camera is a 1-inch (25mm) focus one, simply divide
your result, 18 inches, by two. The result, 9 inches,
is the distance which will be required on your board
from title card to the tip of your camera lens. This
method is a good aid in arriving at the overall length
of your title board base.

The most convenient type of title card holder is
a simple wooden frame. On the back of the frame
are screwed two pieces of spring metal strips, which
will hold the card in place and yet allow for con-
venient centering of the card to be photographed.
The card frame of course is permanently mounted,
at the proper distance, on the base of the title board.
Its center should match the center of the camera lens,
both sideways and up-and-down. Allowance must
be made so that no part of the frame will be included
by the camera lens. On the card frame there may
be guide lines, or marks, for easy centering of the
title before the camera lens. These guide lines are
(Turn to Page 28)

Please mention The International Photographer when corresponding with advertisers.

January, 1936

The INTERNATIONAL PHOTOGRAPH E R

Seventeen

vnt of Amateur Photography

Sggr^ES, sir, anything can happen in the film
game, and it sure did in the early days!"
We were comfortably seated in the lab
office. Art, the one time amateur, now su-
perintendent of a professional motion picture labor-
atory, had just finished speaking.

"What did?" I queried. For although there had
been a hard run of film through the lab that day,
even now continuing into the evening, I knew Art
was never too tired to talk pictures. "Sounds to me
as though you'd had some interesting experiences;
let's hear about 'em."

"Okay," Art rejoined. "Movie making was
mighty different in the old days. Today the amateur
movie maker has it pretty easy by comparison."

Settling himself in his chair, a bit tired perhaps
but with his face reflecting bygone happy days, Art
continued his story:

"Well, let's see ... it must have been over thirty
years ago when I first took up making motion pic-
tures. I lived in a small town in the northern part of
the state, where I worked for the railroad. The single
movie theatre the town boasted of was my favorite
hangout, and there it was that I spent most of my
spare moments. For a very long, long time I studied
the pictures shown on the screen. And then, with
the enthusiasm of my eighteen years, I got the idea
I'd like to make my own.

"In those days, however, buying a motion pic-
ture camera was a real job; hard on one's patience
as well as on one's pocketbook. There were no pho-
tographic dealers, nearby or far away, to offer sug-
gestions or to show you movie equipment. The one
popular camera used almost universally by early
film producers was the old Pathe — you remember,
the one with the rear crank on it. Being the profes-
sional standard of that time, the Pathe was beyond
the reach of the average amateur because of price.
Well, I'd watched every ad I could when at last I
ran across one offering a camera at the startling low
price of $150, I think it was.

"It took a lot of saving, for that first outfit, but
one day I sent to New York City for my first motion
picture camera, an Eberhardt Schneider. For those
days, it was the last word in moviecameras, though
this point could be argued today.

"The old Schneider box was made of teakwood,
and its capacity was 165 feet of 35mm film. The film
magazines were of the interior type, placed side by
side, with a cross-over loop to the aperture gate.
The gate itself was nothing more than a piece of flat
metal, with absolutely no tracks on it. The pressure
plate was felt-lined and was adjustable. And the
intermittent movement was the Slip Claw, also ad-
justable. Well, I'll tell you, those two adjustments
could drive a man crazy! If the pressure plate ot
the gate was adjusted too tightly, you'd scratch the
devil out of your negative or jam the camera! If the
Slip Claw adjustment wasn't just right, the move-
ment would back up your negative! A constant
frame-line in that camera was nothing short of a
miracle. There were only two gears in the old box
whcih, when they got spinning, made the camera
sound more like a threshing machine than anything

It Happened

One Day

else. And there was no footage counter or meter.
I soon found out you just cranked the camera until
you thought you were out of film — and more often
you were wrong rather than right. So I got a bright
idea. I mounted an old bicycle cyclometer, with a
'star and cam' connection, to the camera. This make-
shift meter gave me readings by half-foot steps.
Without doubt, the most valuble item on the camera
was the genuine Carl Zeiss, 2-inch, focusing F 3.5
lens. I've still got that great old lens, and have
used it on several of my later cameras.

"My next important acquisition for my outfit was
a tripod. I chose a surveyor's tripod, which set me
back about $40. Naturally, there were no pam or
tilt gears. But their lack didn't daunt me. Whenever
I wanted to pam, I'd just grab the old camera with
my left arm and twist while cranking the old box
with my right. The results on the screen were full
of jerks, but still the shots were pams! And if I
wanted a tilt, a friend of mine would slowly move
one leg of the tripod, as I cranked merrily away.

"Now that my outfit was more or less complete,
the difficulty was to secure some film stock. Again
I was snagged, until I learned of the French nega-
tive, Lumiere film. I sent off an order for a supply
... it was cheap in those days, believe negative
was only one and a half cents per foot. After sev-
eral weks, the film stock arrived and with a letter
of thanks for my order, containing advice on ex-
posure from Lumiere. But the darn thing was writ-
ten in French" What a help that was.

"Came the day when I was ready to take my first
movies, a parade in the old home town. Remember,
I was the first to ever have a moving picture camera
in town ... I thought I was somebody, and so did
everyone else. Practically bursting with pride over
my outfit, I set up the old Schneider on the main
street, while the townfolk looked on with interest.
Well, the parade started and so I began to crank
away. The first shot seemed to be going all right.
But as I turned the camera for the next scene, all of
a sudden — wham! — the camera crank shot out of
my hand and high into the air! My footage counter
had jammed and . locked the entire mechanism.
Forcing it by dead center, I regained my crank and
continued merrily on my way to finish the film . . .
or so I thought. I'd just emptied one magazine and
was loading another into the camera, meanwhile
thinking of the swell pictures I was getting when,
with a terrible feeling, I discovered I'd left the lens
cap on all the time I thought I'd been exposing the
first magazine! There it was, there could be no
doubt; the little lens cap to which was attached a
string leading to the box. But necessity was still the
mother of invention then as it is now. Yanking the
safety string from the box, I tied it to the camera
crank. No more was I harried. Thenceforth every
time I turned the crank, the cap very obligingly
popped from its perch on the lens! And so my sec-
(Turn to Page 29)

Please mention The International Photographer when corresponding with advertisers.

Eighteen

The INTERNATIONAL PHOTOGRAPHER

January, 1936

The Cinematographer's Book of Tables

By FRED WESTERBERC

SHUTTER OPENING— EQUIVALENT STOP

F-VALUES REQUIRED IN ORDER TO OBTAIN THE SAME
EXPOSURE AT VARIOUS DECREES OF SHUTTER OPENING

CAMERA SPEED CONSTANT

CAMERA SPEED— EQUIVALENT STOP

240°

160°

120°

60°

40°

30°

20°

1.7

1.4

1.2

1.0

2.0

1.6

1.4

1.15

1.0

2.5

2.0

1.7

1.4

1.2

1.0

2.8

2.3

2.0

1.6

1.4

1.15

1.0

3.5

2.8

2.5

2.0

1.7

1.4

1.2

1.0

4.0

3.3

2.8

2.3

2.0

1.6

1.4

1.15

4.9

4.0

3.5

2.8

2.5

2.0

1.7

1.4

5.6

4.6

4.0

3.3

2.8

2.3

2.0

1.6

6.9

5.6

4.9

4.0

3.5

2.8

2.5

2.0

8.0

6.5

5.6

4.6

4.0

3.3

2.8

2.3

9.8

8.0

6.9

5.6

4.9

4.0

3.5

2.8

EQUIVA
C

LENT F
HANCE

-VALUE

D INSTI

CAM

S OBTA

:ad of

ERA SPEE

INED W
THE LE

D CONS!

HEN Tl
NS DIA
ANT

HE SHU"
PHRACN

ITER IS
1

240

160°

120°

80°

60°

40°

30°

20°

1.15

1.4

1.6

2.0

2.3

2.8

3.3

4.0

1.3

1.6

1.9

2.3

2.7

3.3

3.8

4.6

1.6

2.0

2.3

2.8

3.3

4.0

4.6

5.6

1.9

2.3

2.7

3.3

3.8

4.6

5.3

6.5

2.3

2.8

3.3

4.0

4.6

5.6

6.5

8.0

2.7

3.3

3.8

4.6

5.3

6.5

7.5

9.2

3.3

4.0

4.6

5.6

6.5

8.0

9.2

11.3

3.8

4.6

5.3

6.5

7.5

9.2

10.7

13
16

4.6

5.6

6.5

8.0

9.2

11.3

5.3

6.5

7.5

9.2

10.7

6.5

8.0

9.2

11.3

EQUIVALENT F-VALUE OBTAINED AT DIFFERENT CAMERA
SPEEDS WHEN THE SHUTTER VALUE REMAINS CONSTANT

Camera

Speed

Pic-
tures
Per

Relative
Exposure

STOP ACTUALLY USED

11.3 8.0 5.6 4.0 , 2.8 i 2.0 1.4

EQUIVALENT F-VALUE

240

1/10

9.0

6.3

4.5

192

1/8

11.3

8.0

5.6

4.0

144

1/6

9.8

6.9

4.9

3.5

120

1/5

9.0

6.3

4.5

3.2

1/4

11.3

8.0

5.6

4.0

2.8

1/3

9.8

6.9

4.9

3.5

2.4

3/8

9.2

6.5

4.6

3.3

2.3

1/2

11.3

8.0

5.6

4.0

2.8

2.0

2/3

9.8

6.9

4.9

3.5

2.5

1.7

32 ' 3/4

9.2

6.5

4.6

3.3

2.3

1.6

24 i 1

11.3

8.0

5.6

4.0

2.8

2.0

1.4

1 1/10

10.8

7.6

5.4

3.8

2.7

1.9

1.4

1 1/5

10.3

7.3

5.2

3.6

2.6

1.8

1.3

1 1/3

9.8

6.9

4.9

3.5

2.5

1.7

1.2

1 1/2

9.2

6.5

4.6

3.3

2.3

1.6

1.2

1 7/10

8.6

6.1

4.3

3.1

2.2

1.5

1.1

8.0

5.6

4.0

2.8

2.0

1.4

1.0

2 2/5

7.3

5.2

3.7

2.6

1.8

1.3

6.5

4.6

3.3

2.3

1.6

1.2

5.6

4.0

2.8

2.0

1.4

1.0

4.6

3.3

2.3

1.6

1.2

4.0

2.8

2.0

1.4

1.0

3.3

2.3

1.6

1.2

1 24

2.3

1.6

1.2

THREE COLOR PROCESS ANNOUNCED

(Continued from Page 3)

feature productions made in this country and that an
average of twenty-five thousand dollars will be spent
on each production for color prints with which to
advertise the color production.

It is intended by the owners of this process, yet
to be given a name, to establish their permanent
place of business within the next thirty days and
before the expiration of this time they will be in a
position to introduce their product to a market that
will quickly absorb all their time and talent in the
production of motion picture colored stills alone. It
is also intended to enter the industrial field which is
much larger in its scope than that of motion pictures.
These two fertile fields offer them an unlimited op-
portunity to expand, though there are other lucrative
fields, such as portraits, miniature, three color lan-
tern slides for advertising purposes, etc.

The Sartov-Linstead camera is of a very peculiar

design, it being somewhat in the shape of an air-
plane, having wings and fuselage. The average
cameraman can possibly conceive of the funda-
mental and basic purposes of such a design and it
is exceedingly unique in its construction, though
mobile and light so as to enable the operator con-
veniently to move it about as he would the ordinary
still camera. This camera will soon be introduced
to the cameramen of Hollywood.

NEW KODACHROME PROCESSING STATION

Eastman Kodak Company has opened another
completed Kodachrome processing depot at Chicago.
There are now three such stations in the United
States, the two others being located at Rochester and
Los Angeles. The address of the Chicago station is
1727 Indiana Avenue.

Please mention The International Photographer when corresponding with advertisers.

January, 1936 T h e INTERNATIONAL PHOTO G R A P H E R Nineteen

COMPLETE

UNPARALLELED photographic quality...
speed . . . fine grain . . . Eastman Super X has
them all. It is the complete modern negative
film. Agreeing that it leaves nothing to be de-
sired, cameramen and producers are using it
in the bulk of today's feature productions.
Eastman Kodak Company, Rochester, N. Y.
(J. E. Brulatour, Inc., Distributors, Fort Lee,
New York, Chicago, Hollywood.)

EASTMAN SUPER X

PANCHROMATIC NEGATIVE

7 zventy

T h c INTERNATI O N A L PHOTOGRAPH E R

January, 1936

Technicolor On the Way To Its Greatest Triumph In The

Trail of the Lonesome Pine"

By Raymond Palmer

JILL Walter Wanger's "The Trail of the Lone-
some Pine," made in Technicolor, become
another motion picture history maker?
That is the question being asked by those
privileged few who have seen rough cuts from this
feature that was photographed by William Howard
Greene, Local 659, in the new three-color Techni-
color. It will be recalled that eleven years ago
"Wanderer of the Wasteland" was filmed in the old
two-color Technicolor process. That picture started
the stampede to color which reached its height in
the early thirties. It "made" the Technicolor com-
pany.

Nothing had ever been seen before that could
approach the film for sheer, breath-taking beauty.
The fundamental reason for its success was the fact
that it was a picture of the great out-doors. Nature
had provided the colors, and the camera had tran-
scribed them to the film as well as was possible with
the two-color process. Truly, it was natural color,
as near as it was mechanically possible to photo-
graph it. It charmed the theatre-going public; made
them color conscious.

Two-color Technicolor had its day and, as every-
one knows, color production fell off. Then came the
newly perfected three-color Technicolor process
which bids fair to revolutionize motion picture color
photography. A short has been made with it; also
the feature, "Becky Sharp." While the colors were
true and beautiful, there was too much color delib-
erately thrown into the productions. They did not
again make the public cry for color. But now with
"The Trail of the Lonesome Pine", according to those
who have seen it, we have something else again.

"We stuck to the natural in color in this film,"
explains Mr. Greene, the Technicolor cameraman in
charge of the photography. "Every effort was made
to keep away from adding color just for color's sake.
The story is laid in the Blue Ridge Mountains of Vir-
ginia, and while we did all our exteriors at Big Bear,
in California, we found locations that will match
anything in Virginia, and we set about to photo-
graph them just as they look to any traveler who
journeys down through the Southern state.

"Where as in so many productions in times past,
everything colorful that could be thought of was put
before the camera, in this film people and places
were photographed just as they really are. In other
words, in 'The Trail of the Lonesome Pine' we strove
to produce natural color, and not just color. When a
character naturally would wear a pair of dirty black
trousers, that's what he wore in this film, and not a
pair of bright red ones with green stripes running
down the sides. Even red and black checkered
shirts, which might well be found in the mountains,
were not allowed, because the effect might suggest
that they had been added to bring out more color.

"The lighting was all in a very low key; decid-
edly unlike most lighting for color pictures. But the
low key blends in with the story and the characters
and the locale.

"When you see Henry Fonda plowing in a field
in this film you will see him dressed in the drab

clothes such a character would wear in real life, and
not flashing on the screen in the outfit one would
look for in a musical comedy. Of course, there are
spectacular scenes, such as one in which a big
steam shovel is blown up by dynamite. That was a
thriller for everyone, especially those of us at the
cameras. Two hundred and forty-four sticks of dyna-
mite were planted under that shovel. The cameras
were protected by bulwarks made of 3 by 12 inch
planks. These were put up in front of the cameras
and over the tops of them, with a hole large enough
to shoot through. When the explosion came and the
debris started falling on the planks just over our
heads, well — it was exciting. With the new three-
color process we got that explosion exactly as it
looked.

"Another spectacular scene is the burning of a
big construction camp. That was a scene for which
we had to await the proper time for shooting, due to
the terrible fire hazard up in the Big Bear district.
We had to wait for rain before we were allowed to
do it.

"Like 'Wanderer of the Wasteland,' 'The Trail of
the Lonesome Pine' is made up largely of exteriors,
vast sweeps which thrill you with their beauty. Shot
with a color process that gives you the ultimate in
natural color reproductions, these exterior scenes
will give the public what it long has been wanting —
naturalness. Every vacation season hundreds of
thousands of persons travel far afield to see the
beauties of the various sections of the various coun-
tries. They exclaim as they look at the magnificent
colorings of the Grand Canyon, or the breath-taking
sight of the Green Mountains of Vermont.

"It is nature as God created it that they see and
thrill to; not a flock of color added by humans. Color
photography should place upon the screen these
same natural scenes in the same natural color. That
is what we strove for in 'The Trail of the Lonesome
Pine'. A restful valley is still restful on the film. It is
not spoiled by the sudden injection of a group of
colorfully garbed people waving bright colored flags.
The audience will not be conscious of the fact that
they are looking at color. They will only see men
and women going about the business of life looking
real."

It would seem as though Mr. Wanger, his direc-
tor, Henry Hathaway, and his cameraman, Mr.
Greene, have gone about something that promises
to be another milestone in the progress of motion
picture photography. Many are already saying that
this film will be the most important one made in
many years; that it will bring color to the front as
never before.

In selecting Green to handle the photography, a
man of great experience in photographing the great
outdoors in color was chosen. He has made Techni-
color films in Europe, by the shores of the Mediter-
ranean, in the magic Isle of Bali, in French and Indo-
China and far under water down off the coast of the
Bahamas where he once was nearly drowned when
a tropical hurricane swept their equipment to destruc-
tion. He knows color and how to photograph it.

Please mention The International Photographer when corresponding with advertisers.

1936

r h

INTERNATIONAL P H (") T O G R A P H E R

Tzventx-i

Recent Photograph and Sound Patents

By Robert Fulwider

Registered Patent Attorney
(Wilshire at La Brea, Los Angeles)

2,019,615-2,019,616 — Sound Transmission Sys-
tem; Sound Recording System. Both by Joseph P.
Maxfield, assignor to E. R. P. I., New York City.

2,019,675 — Sound Picture Screen. Harry Hertz-
berg, Brooklyn, N. Y.

2,019,698 — Device for Illuminating Lenticulated
Film. Fritz Fischer, Felix Strecker and Kurt Rantsch,
assignors to Siemens & Halski, Seimensstadt, Ger-
many.

2,019,718 — Differential Treatment of Color Images.
Leopold Mannes and Leopold Godowsky, Jr., Roch-
ester, N. Y.

2,019,735— Focusing Objective. John W. Scott,
assignor to Eastman Kodak Co., Rochester, N. Y.

2,019,748 — Photographic Printing Apparatus. C.
M. Tuttle, assignor to Eastman Kodak Co., Rochester,
N. Y.

2,019,767— Motion Picture Camera. C. E. Phil-
more, assignor to Tobin Tool & Die Co., Fond du lac,
Wise.

2,020,521— Projecting Apparatus. Albert B. Scott,
Los Angeles.

2,030,564— Method of Preparing Film for Repro-
duction in Color. Gabriel G. Moreno, assignor to
C M. C. Corp., New York City.

2,020607— Photographic Material (Film). Gerd
Heymer, assignor to Agfa Ansco Corp., Binghamton,
N. Y.

2,020,636 — Sensitizing of Silver Halide Emulsion.
Walter Dieterle, assignor to Agfa Ansco Corp.

2,020,688 — Process for Production of Color Separ-
ated Negatives and Positives. Michael Kronschnabl,
Munich, Germany.

2,020,775 — Method of Producing Photographic-
Pictures in Colors. Bela Gaspar, Brussels, Belgium.

2,020,820-2,020,821— Method of Producing Com-
posite Pictures. Conrad G. Briel, assignor to Cinema
Development Co., Chicago, 111.

2,020,857 — Device for Recording a Sound Film.
Willem Six and R. Vermeulen, assignor to N. V.
Philips' Corp., Eindhoven, Netherlands.

2,020,861 — Carrier for Recording and Process for
Making Same. R. C. van der Willigen and J. H. de
Boer, assignors to N. V. Philips' Corp., Eindhoven,
Netherlands.

2,020,901— Process for Producing Pictures. A. Mil-
ler and W. Keis, assignors to Agfa Ansco Corp.,
Binghamton, N. Y.

2,021,016 — Film Splicing. Albert Narath, assignor
to General Electric Co., New York.

2,021,162 — Apparatus for Stereoscopic Picture
Recording and Reproducing. George W. Walton,
London, England.

2,021,181 — Automatic Electric Change-over for
Motion Picture Machine Shutters. Cecil E. Hall, Free-
port, Texas.

2,021,264 — Printing Device for Sound Films. R.
Schmidt, assignor to Agfa Ansco Corp.

2,021,533 — Telltale System for Projection Appar-
atus. Walter S. Wolfe, Greenwood, Mass.

2,021,560 — Cinematographic Mechanism. Pedro
Lira, Santiago, Chile.

2,022,014— Method of Making Reflex Copies. L.
P. F. van der Grinten, Venlo, Netherlands.

2,022,108— Sound and Motion Picture Reproduc-
ing Machine. James W. Early, Los Angeles.

2,022,353 — Film Magazine. A. Kindelmann and
J. Pearlman, assignors to International Projector
Corp., N. Y.

2,022,362— Amateur Motion Picture Camera. E. S.
Porter, New York.

2,022,366 — Gate and Lens Structure of Motion
Picture Film. Ewald Boecking, assignor to Interna-
tional Projector Corp., N. Y.

2,022,432 — Printing Apparatus for Lenticulated
Film. A. Rodde, A. H. Herault, V. Hudely and Jean
Lagrave, Paris, France.

2,022,454 — Monocular Photographic Apparatus.
Allen L. Barnes, Oak Park, 111.

2,022,473 — Method of Rerecording Sound. James
V. Maresca, assignor to R. K. O. Corp.

2,022,492 — Phonographic Apparatus. Murray S.
Clay, assignor to R. C. A.

2,022,495 — Sound Recording Apparatus. Glenn
L. Dimmick, assignor to R. C. A.

WENDELL MACRAE

ENLARGED 7000 TIMES

— one of the most amazing feats of
candid camera history

The picture shows Ivan Dmitri standing alongside his mammoth enlarge-
ment— 10 feet long by 7 feet high — shown at the Second International
Leica Exhibition at Rockefeller Center, New York. (Now on tour to 20
of the principal cities.)

The spectacular has become almost commonplace with Leica. As one
critic said "it has revolutionized picture taking and placed it among the arts".

Are you familiar with the Leica? Would you like to take pictures
that are different — action pictures,
natural, unposed candid pictures?
Then write for our latest illustrated
booklet describing The Leica
Model G — just out.

^ica

1:2 Summar Lens

THE ORIGINAL MINIATURE CANDID CAMERA
PRICES START AT $99. U. S. PAT. NO 1,960,044

E. LEITZ, INC • DEPT. 108 • 60 EAST 10th ST., NEW YORK CITY
Branch Offices in CHICAGO • WASHINGTON ■ LOS ANGELES • SAN FRANCISCO

Please mention The International Photographer when corresponding with advertisers.

Twenty-two

The INTERNATIONAL PHOTOGRAPHER

January, 1936

AMATEUR PHOTOGRAPHY

(Continued from Page 15)

QUESTIONS and ANSWERS

By F. Hamilton Riddel

1. Is it possible to enlarge 16mm to 35mm film?

Yes, but this should only be done when there is
no other way out; such as a unique shot, of news
value, taken with a 16mm camera when there was
no 35mm outfit recording the scene. Or in the case
of early amateur films of family value filmed on
35mm. In such instances, the value of the shots
more than compensate for the considerable loss in
quality of the transferred image.

2. Are tests, for checking proper exposure and
lighting, advisable?

Very much so; and quite useful to the cinema-
tographer in filming important work. Two or three
feet, exposed, and developed in total darkness for
the specified time of such developer, will give a
positive check on exposure and lighting. The test
will, of course, render a negative film but is suffi-
cient in itself. Subsequent processing of the entire
roll of film by a laboratory, whether by reversal or
negative-positive processing, will give similar re-
sults.

3. Does amateur size film keep well?

Yes, quite, if properly stored away. The three
enemies to the life of such film are: dust, excessive
heat, or excessive moisture. Exposure of the film to
these common enemies quickly deteriorates it. Care-
ful storage, in film tins or in humidor cans, in a cool
place is advisable.

4. In certain shots there is a dark shadow in
the corner of the picture, cutting off part of the view.
What is the cause?

In holding a motion picture camera, do not allow
your finger or other solid object to come between
the camera lens and the subject you are photo-
graphing. The view-finder of the camera does not
warn of such obstruction to the camera's eye, so be
careful.

5. At what camera speed are sound films re-
corded?

Sound picture exposures are made at the stand-
ard rate of 24 pictures (or frames) per second. This
rate is, therefore, 8 more frames per second than the
standard 16 pictures per second for silents.

6. What is the cause of blurred pictures?

This condition occurs most often as a result of
panoraming too quickly with the camera. Panorams
should always be made very slowly, except in the
case of following a nearby, fast moving subject in
which event the moving subject is of greater im-
portance than the background. Another cause of
blurred pictures obtains when the camera is not held
steadily in the hand of the photographer.

7. Although the background of a scene is sharp,
an automobile in the foreground is blurred. Why is
this?

The automobile moved too rapidly and too close
to the camera to be stopped by the fixed shutter
speed of the usual amateur motion picture camera.
As such cameras do not have provision for chang-
ing shutter speeds, it is imperative to shoot rapidly
moving subjects from an acute angle of view, rather
than at right angles.

8. How is slow-motion accomplished? Fast-
motion?

For silent films, the normal speed of the camera
is 16 frames per second. Therefore, the greater

number of frames exposed per second the slower
will be the action. Conversely, the lesser number of
frames exposed per second the faster will be the
screen action.

9. Why is it standard practice to photograph
titles for Kodachrome or Dufaycolor pictures on a
tinted base film?

Since such movies are in natural color, it is more
appropriate to interrupt the pictures with a tinted ttile
than with a "cold" black and white one.

10. In stopping a projector for a single frame
still picture, is it advisable to hold same on the
screen for a considerable length of time?

No. It will bore the audience if held on the screen
too long. More important and in spite of safety film,
proper aperture ventilation and light shield, pro-
tracted still projection is hard on the film.

11. How may normal camera speed be checked?
With no film in the camera and with the camera

door open and with the camera set for 16 speed (if
camera is of the variable speed type), press the ex-
posure button. Watch and count the revolutions of
the film feed sprocket. This sprocket should revolve
at the rate of two times per second. For easy check-
ing, time the sprocket at 20 revolutions every ten
seconds. Some cameras, such as the Victor Cine,
have a regulating screw which is extremely conveni-
ent in adjusting speed to normal. Normal camera
speed is most important. Otherwise decided changes
take place in exposure calculations and in the tempo
of the screen action. Always be sure your camera
is running at proper speed for normal pictures.

12. Why do rental libraries reguest that their
film subjects be returned to them without rewinding
of the film?

Observance of this request saves your time and
saves theirs. After film subjects are returned to the
library, they must be thoroughly inspected for any
possible damage. Since this necessary film inspec-
tion can be done at one and at the same time as re-
winding, it is more convenient to the libraries, rather
than winding through a rewound subject for inspec-
tion purposes and then immediately rewind it again,
so that the film is ready for another screening.

As a service to amateur movie-makers, we ex-
tend a cordial invitation to write in questions which
will be replied to in this department. Address all
such letters to:

Questions and Answers Department

THE INTERNATIONAL PHOTOGRAPHER

1605 North Cahuenga Avenue

Hollywood, California

M P G

Reg. U. S. Patent Off.

THE MOST TALKED OF FINE GRAIN DEVELOPER ON THE
MARKET. IDEAL FOR MINIATURE CAMERA FILM. NO MIXING.
ONE QUART SOLUTION GOOD FOR MORE THAN A DOZEN FILMS.
FULL INSTRUCTIONS WITH EACH BOTTLE. AT YOUR DEALERS
AT SI. 25 A QUART. OR AT

R. J. FITZSIMONS CORP.
75 FIFTH AVE. (Dept. B) NEW YORK CITY

Please mention The International Photographer when corresponding with advertisers.

January, 1936

7 I, c INTER N ATIONAL PHOTOGRAPH E R

Twenty-thrci

Motion Picture Production In South America

By John Alton

(./ Letter to the Editor from John Alton of Local 659 "Tecnio de L/iz," "Cameraman" in Argentina.

RGENTINA'S motion picture production busi-
ness as yet cannot be called an industry.
It is still in its experimental stage, but judg-
ing by the talent of its pioneers and the
enormous progress it has made in such a short time,
it may soon turn out to be one.

Up to the year of 1932 a few insignificant silent
pictures were locally produced by amateurs. Then
the sound came. In the year of 1932 a well known
local theatrical producer built the first sound studio
and in the same year produced the first Argentine
"talkie" based on a successful stage play. This film,
partly because of being the first one of its kind, had
quite a success, both financially and artistically.
Prints of it were sold to all the republics of South
America and even to Spain.

Encouraged by this success, a few individuals
turned to the promising new field of film production.
The year of 1933 found several locally produced
talkies, a few of which were quite successful. And
so production, from one film a year in 1932, has
gradually grown to about fifteen in the year of 1935.
That local production has not progressed more is
partly due to the fact that local producers do not as
yet realize the importance of a good story as the
base of a successful film.

An early attempt to discover "new talent" and
use amateurs as actors, has failed completely. Pro-

ducers soon realized that, in order to sell their fin-
ished product, actors of the theatre must be em-
ployed. Some of these actors soon adapted them-
selves to the camera and today Argentine is proud
of the few box office names known throughout South
America.

Right now production has come to a standstill.
Several films are all ready, but the season being
over, producers prefer to wait for the higher entrance
fees of the coming season.

Local production is still in the hands of so called
private capitalists, with a limited sum at their dis-
posal, hence a product suitable only for the local
market. But in the background serious capitalists
are eagerly waiting and watching every step. If
the coming releases are only fairly successful they
expect to take the field. Great capital will be in-
vested, new studios built, more technicians imported,
resulting in better pictures, to be sold, not only to
the local market, but to the entire motion picture in-
dustry of Spanish films.

Mr. Alton is well known among the craft in Holly-
wood, having learned his cinematography in the
studios of the Film Capital. He has been in Argen-
tina several years and is the pioneer cameraman
of that country. There he is known as "Tecnio de
Luz" which is Spanish for "first cameraman" or
"the technician who does the light."

ETHIOPIA" IN 16MM FILM

The first new single-reel 16 mm. motion picture
subject on Ethiopia, sound-on-film or silent, is an-
nounced as available for sale or rental by the Li-
brary Division of the Bell <S Howell Company. This
timely and vitally interesting film portrays the nature
of the country and the intimate daily life of the peo-
ple. The sound narrative, entirely free from forced
"wisecracks", provides an intelligent, fair, and un-
varnished presentation of Ethiopian history, popula-
tion, form of government, economic peculiarities,
trades, religions, and many other points of interest.

It is not a transitory "war" film, although thou-
sands of tribesmen, afoot and on horseback, are

caught by the camera, and the problems of provid-
ing food for a vast army are drastically portrayed.
A high spot of the film is the raw-meat-eating ritual
of courage, practiced by the army on the eve of its
departure for battle, under the watchful eye of the
Emperor. The photography, of intense interest and
high educational content is by Burton Holmes, world-
renowned traveler.

The sound version can be rented through FILM-
OSOUND rental libraries. A silent version, with
copy of the narrative text supplementing a minimum
of titles, will also be available. Both sound and silent
versions can be bought through Bell & Howell.

ArtReeves film tested equipment

Light Test Machines, Amplifiers,

Bloop Punches, Microphones,

Soundolas, Cables.

Variable Area Recorders Glow Lamps,

Developing Machines
Galvanometers,
Interlock Motors,
Reeves Lights & Stands.

Dependable Equipment At Prices Within Reason.

Hollywood

Motion PicTure/^quipmenTCo. |Td.

645 NORTH MARTEL AVE-

CABLE ADDRESS ARTREEVES

HOLLYWOOD, CALIFORNIA, USA

Please mention The International Photographer when corresponding with advertisers.

Tzventy-four

The INTERNATIONAL P H O T O G R A P H E R

January, 1936

Jesse Lasky Foresees a Cycle of Operatic Films
Pickford-Lasky Ready For Production

Repeated predictions that television had been
perfected to the point where it is destined soon to
become a home-entertainment comparable to radio,
making it a threat to the motion picture industry, are
scouted by Jesse L. Lasky, president of the recently
formed Pickford-Lasky Productions, Inc., at United
Artists' studios.

"Perhaps some day," says Mr. Lasky, "but not
yet! The audience-instinct is still too strong among
the rank and file of people. They prefer to enjoy
their major amusements en masse.

"The crowd generates enthusiasm, which one
misses by himself. Who wants to listen to the details
of a football game, if he can join the spectators, to
cheer and suffer with them? Thus you make your-
self part of the drama, almost as much as the play-
ers. Moreover, when you applaud a performance
you want someone to applaud with. There is little
incentive to do so by yourself."

Mr. Lasky opines that when television reaches
that stage of mechanical perfection, where produc-
tions are broadcast from a central station to scattered
theatres for audience reception, it may give the mo-
tion picture industry something to worry about. "But
that, it seems to me, is still in the dim and distant
future," says Mr. Lasky, "in spite of the undoubted
progress television is making. However, I do not see
it as a menace to the picture industry in 1936."

One of the developments during the New Year
that Mr. Lasky does look forward to expectantly is a
more intelligent use of music, as applied to the tell-
ing of screen stories. "By the creation of a new musi-
cal technique," he says, "I believe the international
appeal of motion pictures, which received a tem-
porary setback when the screen became audible,
can be enlarged.

"I do not mean to imply by this that we are in
for a cycle of operatic films — pictures dominated by

music. What I really foresee is a more discriminat-
ing use of music, to the end that screen-stories may
be unfolded more understandingly, in much the
same way that sound and dialogue have advanced
cinematography, in recent years."

Mr. Lasky makes this forecast, not theoretically,
but as a practical musician — one who knows and
loves music as a moving force of general appeal.
He got his original start in the amusement world as
a musician and has never lost sight of the unfailing
lure of melody and rhythm for the public-at-large, as
entertainment.

"Granted that comedy and the emotions speak
convincingly to most people everywhere," Mr. Lasky
points out, "music is generally conceded to be the
universal language best understood among civilized
nations. Such being the case, I feel there is room to
use it to still better advantage; and I look for definite
progress in that direction, during the year 1936."

Pickford-Lasky's program in the New Year calls
for the production of four pictures, all made for the
world-market. The first will be "One Rainy After-
noon," starring Francis Lederer. It is a romantic
comedy. Lederer will sing in it for the first time in
his screen career.

As part of the policy to cultivate the international
market, at least one production will be made abroad
annually. The first will most likely be done in Great
Britain, with Nino Martini as soon as he finishes his
current operatic season at the Metropolitan in New
York. It will naturally be a big musical production.

The association of Mary Pickford and Jesse L.
Lasky is regarded as a most fortunate one, as both
desire to produce outstanding motion pictures, off
the beaten path. Variety will characterize their out-
put, no particular type of story being preferred, save
that it must be entertaining as well as significant.

CROWING INTEREST OF FOREIGN COUNTRIES IN
GERMAN FILM PROCESSING MACHINES

As reported in business circles, exports of Ger-
man film working machines have considerably im-
proved during the last few months. Detailed export
figures could not be obtained, since this machinery
does not represent a statistical group of its own. It
has been learned that this improvement has included
principally developing and copying machines. Com-

petition with foreign producers of similar machinery
is said to be very sharp. In spite of this competition,
it is reported that German manufacturers have suc-
ceeded increasing sales of their product in Holland,
Austria, Italy and Spain, and also to some extent in
the Argentine and in Brazil, reports Acting Commer-
cial Attache Douglas Miller from Berlin.

MAX FACTOR'S

N EW

LIQUID FOUNDATION

A REVELATION IN FACIAL MAKE-UP

January, 1936

T h

INTERNATIONAL P H O T O G R A P H E R

7 iventy-five

New Arc Lighting Equipment to Rival Incandescent Lights
for Studio Sound Picture Illumination

[The designers of the equipment herewith outlined have brought their product to the point of commercial distribution and further announcement regarding
the new equipment will appear in the February International Photographer. — Editor's Note]

Today the designers of arc lighting equipment for
use in the modern studio for illuminating sound pic-
ture sets are faced with the problem of producing arc
lamps which will equal incandescent lamps in light,
weight, silence of operation of both arc and mechan-
ism and dependability in burning.

Having set about the task of so designing an arc
the designer will be obliged to adopt a radical de-

Arc Control and Element of New Light

parture from former types of arcs. The old arcs have
been characterized by low efficiency and great
weight and a multiplicity of parts.

High efficiency of light collection and distribution
present no problem providing the designer takes ad-
vantage of highly perfected mirrors which are al-
ready used in the other types of arc equipment
which although standard in theatre projectors have
not as yet found their way into studio equipment. In

fact such high efficiency may have to be secured by
the use of a reflector that the current consumption
now becomes less than half that formerly required,
while the light emission steps up amazingly, the arc
proper becomes small, cool and extremely steady
and quiet and light distribution on the set very
smooth and even.

Now having reduced the current to less than half
the designer finds it possible also to reduce the total
of the lamp weight by more than half, a step which
readily may be understood when it is realized for
instance that the weight of the ballast resistor, or
grid, is proportionate to the current it must carry,
also the cable and thus all the other parts. The final
step is the building into the new lamp those recently
developed but widely used aluminum alloys by
which weight of housing and stand become just one-
third that of former lamps using iron or steel. Not the
least of the satisfaction gained from the use of the
aluminum alloys is the knowledge that the housing
for the new lamp undergoes no deterioration from
internal heat nor extreme weather conditions.

The above illustration shows the arc control and
element which has been perfected for holding and
feeding carbons for the new light weight arc spot
lamp. Proper design here has resulted in a perfectly
noiseless mechanism which strikes and feeds the
carbons into the arc with such precise fashion as to
produce a stable arc flame rivalling the incandes-
cent in steadiness.

A valuable feature is the long burning resulting
from proper selection of carbon. By properly posi-
tioning these carbons the new lamp will operate
without aberration through an entire day's shooting.

Automatic Sound and Picture Printers

The last obstacle to the reproduction in theatres
of startingly realistic talking motion pictures has
now been removed, according to statements recently
issued by leading Hollywood executives. For several
months, cameramen and sound engineers have been
producing sound films of extraordinary quality, but
these master films could not be duplicated without
serious losses in sound and picture value in the hun-
dreds of copies needed for theater circulation. At a
cost of over $375,000, Metro-Goldwyn-Mayer, Para-
mount, and Columbia Pictures have contracted for
the installation of new duplicating equipment known
as Automatic Sound and Picture Printers.

These printers were developed in the Engineering
and Research Laboratories of the Bell & Howell Com-
pany, Chicago, and have been perfected as the re-
sult of five years of development work costing
$300,000.

Both the picture and the sound track are auto-
matically reproduced on these new machines at one
operation, retaining all of the depth and definition
of the original film and without loss of the full range
of the recorded sound. As a result, pictures are now
being released combining such photographic excel-
lence and faithful sound reproduction that the most
critical audience will be free to enjoy the new films
as pure entertainment without making allowances
for losses due to imperfect printing.

Unlike the printers formerly used, the new ma-
chines are entirely independent of the skill of the
operator. Although running at higher speeds, these
printers are equipped with interlocking controls and
safety devices which make them entirely foolproof.
They will stop instantly and automatically in case
of film breakage, lamp burn-outs, power-line varia-
tions, or failure of the air-supply lines which vacuum-
clean the film while it is being run. Film waste is
thus entirely eliminated.

Please mention The International Photographer when corresponding with advertisers.

/ zvcnlx-si.v

T I:

I N T E R N A T I O X A I. P H 0 T O GRAPHER

January, 1936

TELEVISION AS A PROFESSION

(Written Especially for the Readers of The International Photographer)

By Harry R. Lubcke

Director of Teh vision of the Don Lee Broadcasting System

ANY young men and those in allied fields are interested
in television as a profession. The following notes are
intended as a guide for those who are interested them-
selves, or for those who may have a young man that
they want to guide vocationally.
At the present time television is almost wholly a technical
endeavor. It goes without saying that the prospective employee
must therefore have a technical education.

It is well that a man examine himself to see if he is suited
for technical -work. Such work, in its higher aspects, calls
for continuous exercise of creative imagination, and offers no
opportunities to those -who are mentally lazy. As a boy, the
candidate should have shown a desire to make and understand
things rather than to use and break them. The former attribute
is the first manifestation of the creative instinct, which, in a
somewhat broader way, is a requisite for executives as well as
for technical men. To use and break things signifies a desire to
operate and consume. Operating work, such as the operation
of office machines, technical equipment, street cars and other
things, is comparatively easy on the brain, but not always easy
on the nerves. We are all consumers, but no one is paid to
consume.

After the usual grammar school education, the candidate's
high school training should be along scientific or engineering
lines, preparatory to similar work in college. It is not particu-
larly important that the young man secure top grades. Most
important is an enthusiasm in his chosen work and the habit of
carrying through difficult tasks to a conclusion. His grades in
the subjects akin to his profession should be high, otherwise the
profession has been wrongly chosen, or a lack of ability is indi-
cated. If the student secures excellent grades in all subjects, i
high natural ability or the will to make a success of all things,
including those essentially distasteful to him, is shown. A gen-
erous portion of this last attribute can never be amiss, for in
later life the greatest rewards go to those who have the ability
to bring pleasant solutions out of disagreeable problems.

It is important that the young man engage in extra curricula
activities, particularly during the high school and college years.
This brings into his nature an initiative, a self-reliance, and a
spirit of cooperaton, which is absent in purely academic work.
Extra curricula activities should not provide a means of mental
escape from the rigors or academic training, nor should the mere
accumulation of knowledge crowd out a proper exercise of what
might be called playing hookie from studies.

It is possible to engage in television work without a college
education. A trade or correspondence course taken at the
completion of high school will fit a student for television work. In
this case an extra portion of initiative and natural ability is nec-
essary to compensate for the lack of mind training and knowledge
secured in college. In Los Angeles, trade school training can be
had almost for the asking through the facilities of the Frank
Wiggins Trade School. This school is operated by the Board of
Education of the City and the fees are very small. In following
this path, the young man can secure a job in a radio receiver
factory, a radio service organization, or in similar enterprises
where it is possible to enter as an apprentice and learn while
working. His work must be supplemented by intelligent reading
of the higher professional periodicals, such as the Proceedings
of the Institute of Radio Engineers, and by study of modern text
books on radio, electronics and physics.

If it is financially possible, a complete college education in
engineering or physics is the best entree to the field. A student
should enroll in the College of Electrical Engineering, and special-
ize in communications engineering, or in the College of Physics,
and specialize in electronics, in any of the large or accredited

universities of the country. Four years of work leads to a
bachelor's degree. This forms an excellent foundation technically,
economically, and culturally if the student has applied himself
with a determination to learn something, rather than making an
effort to slide through an ordeal as easily as possible.

For pure research work a Master's or a Doctor's degree, se-
cured after a total attendance in the University of five or eight
years, respectively, is desirable. This specialized training is net
required for the broader aspects of television work, in fact, it
may tend to cramp the mind into purely technical channels. It
is an extremely useful tool of the out-and-out research scientist,
however, unless it makes the man too conservative and unwilling
to try the untried.

Having completed his formal training, it is necessary that the
candidate be fitted for jobs available in the field if he would be
employed at once. It is desirable for him to obtain a radio sta-
tion operator's license from the Federal government. The radio
telephone second class, or better, the first class grade is required.
This license is issued by the Federal Communications Commission
and is obtained by taking a government test which is given in
any of the large cities of the United States by the resident Radio
Supervisor. It embraces the theory and operation of radio trans-
mitters, as well as the International Regulations on distress sig-
nals, secrecy of messages, etc. Such license is required by
Federal Law for the operation of television and radio trans-
mitting equipment, and this is often included in the duties of the
young television engineer.

Should the candidate be particularly interested in television
receiver manufacturing field, the best preparation for this 'work
is employment in existing radio receiver factories and at a later
date, of course, employment in television receiver factories. A
Federal license is not required for this work.

The present positions in the radio field throughout the country
embrace the posts of director of television activities, television
engineer, television operator, and television technician. It is for
one of these positions that the above requirements have been
set forth as a prerequisite. This group of positions will gradually
expand to include the television continuity writers, program direc-
tors, producers, advertising salesmen and executives.

The best training for television continuity writers is previous
radio and motion picture continuity writing experience, with as
much of a grasp of the technical aspects of television as can be
acquired. Program directors and producers are best trained in
the radio field, for in live subject presentations there are no "re-
takes." Motion picture experience is. of course, valuable, and in
the production of motion pictures for television it is most important.
Motion picture cameramen will continue as such, photographing
simpler productions according to new requirements for television
motion pictures, or leave their field to engage in one of the other
activities here mentioned. Advertising salesmen will, of course,
sell sponsors television programs, and for such work advertising
agency or radio sales staff experience is the only preparation.

The executive will come from any of the above mentioned
branches of the television field, often to be those who entered
the field early or who are already in it. To be a well rounded
executive requires that the man have worked, or have a very
intimate experience, with all the divisions of the industry. At the
present time fantastic misconceptions about television reside in
the minds of some, who are now executives in other fields of
endeavor. Technical training is the only thing that will set these
people aright, whether it is gleaned from conversation with those
in the industry, or learned from text books in private. That a
technical training is suitable training for such positions is evi-
denced by the presidency of David Sarnoff of the Radio Corpora-
tion of America, who started life as a ship radio operator.

REFERENCES

In order to make this discussion as practical as
possible a list of periodicals and books is here given.
The first reference in each group has been listed as
most suitable for the beginner and for the person

who wants the most information for the least expend-
iture. The other references follow in the order of
need to one more and more deeply interested in the
art.

(Turn to Page 27)

January, 7V.iV>

T he INTERNATIONAL PHOTOGRAPHER

Twenty-

A. Periodicals.

1. "Proceedings of the Institute of Radio Engineers,''
monthly, The Institute of Radio Engineers, 33 W. 39th
St., New York City. Particularly the December 1933 and
November 1934 issues $1.00 per copy to non-members).
Membership in the organization can be secured by
responsible interested persons. Dues vary from $3.00 to
$15.00 per year depending upon the grade of mem-
bership. For information write to the Secretary at the
above address.

2. "Electronics," monthly, McGraw-Hill, 330 W. 42nd St.,
New York City.

B. Pamphlets.

Cathode-ray Tubes and allied Types, Series TS-2, RCA
Radiotron Division; RCA Mfg. Co., Harrison, N. J. (25c)

C. Books.

1. "Radio Engineering Handbook," Henney, Second Edition,

October 1935, McGraw-Hill. This one up-to-date volume
gives more radio-television information than any other
book.

2. "Television" Felix, McGraw-Hill. This gives the back-
ground and history of television and discusses the pro-
gram, entertainment, and commercial aspects.

3. "Measurements in Radio Enginering," Terman, 1935,
McGraw-Hill. This gives the measurement and labor-
atory technigue reguired by the prospective technical

(Continued from Page 26)

employee. Thirty-two experiments are found in the
back of the book.

4. "Experimental Radio Engineering," Morecroft, Wiley, 440
4th Avenue, New York City. This contains fifty-two
experiments, which comprise the book.

5. "Radio Operating Questions and Answers,'' Nilson and
Hornung, Fifth Edition, McGraw-Hill. This book gives
all the information required to pass any of the United
States Government examinations for a television (or
radio) station operators license.

6. "High Frequency Measurements," Hun, McGraw-Hill.
This is an advanced work, giving valuable data on a
wide variety of measurements and measuring technique.

7. "Photoelectric Phenomena," Hughes and DuBridge,
McGraw-Hill. This advanced book on photoelectric cells
furnishes excellent instruction for television research
workers to do.

8. "Higher Mathematics for Engineers and Physicists,"
Sokolnikoff, McGraw-Hill. This is an advanced work
intended to assist the research engineer in understand-
ing the mathematics found in advanced books and in
the advanced papers appearing in the "Proceedings of
the Institute of Radio Engineers," and similar publica-
tions.

9. "Inventions, Patents, and Trade Marks," Wright, Mc-
Graw-Hill. This gives information on patent practices
and is useful to either the executive or research worker.

WHAT IS HOLDING UP TELEVISION?

(Continued from Page 7)

of the wires were under any great tension, but were
given a natural period corresponding to the fre-
quency at which they were intended to oscillate. He
hastened to add: "The wires not being under a great
tension, are not subject to crystalization or fatigue,
hence have an extremely long life, at least longer
than any radio set so far built." Also he said: "Be-
ing that a torsional form of vibration was employed,
instead of a rotating-resolution, it could be kept under
a positive control at the receiving set at all times by
the master oscillator at the transmitting station."

This, of course, is something that has not been
approximated so far by any mechanical system of
scanning. The overall dimensions of the unit oc-
cupies a space of two by five by eight inches and
weighs about ten pounds. Incidentally, the manu-
facturing cost is said to be much lower than any
system yet devised.

Doctor De Forest's explanation and remarks re-
garding the optical light control, were also very in-
teresting in their practical aspects. The modulation
of the light which builds up the image on the screen
by the flying spot is obtained by the electrical in-
coming variations acting upon polarized light. This
light control principle is not new to television, but
it has been greatly refined in recent years.

It makes use of what is known as a Kerr cell,
the operation of which is a beautiful example of the
electro-magnetic nature of light. Its electro-static na-
ture was first studied by Dr. Kerr, of Glasgow, Scot-
land, about 1854. Doctor De Forest was very assur-
ing that these cells are now a practical article.

They are absolutely without inertia and have no
moving parts, are fool proof and have a low con-
struction cost. The only replacement cost encoun-
tered is in the life of the projection lamp, which is
around several thousand hours, and they may be
purchased anywhere at a nominal price.

However, to complete the decription of the scan-
ning system, use is made of proper lenses to con-
centrate the light from a 200 watt projection lamp
through the Kerr cell and on to a metal scanning
mirror where it is reflected through an objectifying
lens to sharpen the spot and then on to the screen.

Consistent with what Doctor De Forest outlined

in the beginning as practical television requirements,
the amplifier employed by Mr. Priess is greatly in
advance of the average television amplifier and it
has been developed by him over a long period of
years.

Some of this work has been done by Mr. Priess
while with the United States Government, especially
in connection with what he calls an "untuned" am-
plifier. This amplifier has no peaks or any form ot
emphasis throughout the entire television frequency
range, which assures a perfect transmission of the
image variations.

Doctor De Forest concluded by saying that Mr.
Priess had taken out patents in foreign countries as
well as here and that he has exclusive rights in the
United States on "untuned" amplifiers, which are
to issue shortly, as property of the United States Gov-
ernment. The scanning system is also thoroughly
protected here and abroad. Mr. Priess is now pre-
paring to manufacture these sets at a low market
price, within the reach of the average income.

HEAD STILLMAN MARION IS BUSY

Still Cameraman Art Marion has returned from
location where he shot the stills for Buck Jones, star-
ring in "Silver Spurs," Picture No. 10 of Universal
release. Direction, Ray Taylor; Mike Eason, assist-
ant director; Allan Thompson, first cameraman; Herb
Kirkpatrick, operative cameraman; Edward Jones,
assistant, first unit; Joe Lykens, assistant, second unit.

In (AtarlJ-OOid* Us*

prwltice C^^n li<gbr and Ni^bV
Offsets in Daytim^'F^ Sc^n^s-
Oif fuse*! F^ccis.arwl many vHicrvffvcts
Witb any Camera " In any Climate
GcorcjG H. ScHcibe

ORIGINATOR OF EFFECT FILTERS

1927 WEST 78TH ST.

LOS ANGELES, CAL

Please mention The International Photographer when corresponding with advertisers.

Twenty-eight

T h

INTERNATIONAL PHOTOGRAPHER

January, 1936

SOME DATA ON BUILDING A TITLE BOARD

{Continued from Page 16)

best determined by test. It is well to spend as much
time as is necessary in checking these guide lines,
for once determined they can always be depended
upon when you come to making your titles.

Exact focus between your card and camera lens,
at such short distance, is usually obtained by un-
screwing the lens slightly from its mounting. Again,
it is necessary to make tests to determine exact
focus.

The next consideration to be met in building your
own title board is the matter of lighting the card for
exposure. In this respect, there are three choices:
Ordinary daylight, Photoflood bulbs, and Projection
type bulbs, which we shall discuss in order.

Ordinary daylight, there can be no doubt, is the
cheapest and the simplest lighting source. But in
the matter of lighting when you will want to make
titles at any time during the day or night, nature's
own light is not the most convenient source to de-
pend on. Besides, you can never get constant results
in exposure, which is an absolute requisite in photo-
graphing any title matter.

The Photoflood bulbs are quite ideal. Their light
is brilliant and efficient, and their first cost is very
low. They also possess an advantage in that they
may be burned in any position, which is a matter
to consider, for you may some time desire to tilt your
entire title board when employing movable letters
on your title cards for purposes of animation. The
only slight drawback of these bulbs, from the view
point of service, is the short life of the Photoflood
if you will be making a great number of titles.

The Projection lamps, for example the 250 watt
type, are equally ideal for lighting a title board.
They must, however, only be burned base down;
tilting them to any great degree will cause them to
burn out prematurely. Projection lamps possess the
advantage of longer life than Photofloods; and
though their first cost is somewhat higher than the
Photoflood, replacements are few and they deliver
fine service.

Whichever type of artificial light source you
choose, Photoflood or Projection, reflectors are essen-
tial. As the lamps will be permanently mounted to
the title board, the reflector not only will give fullest
efficiency to your light source, but more important,
they will cut off any extraneous light rays from the
camera lens. Perfect positioning of the reflectors, it
must be noted, will leave the taking lens in shadow.

The permanent mounting of the lamp sockets on
the title board can only be determined by test. Gen-
erally speaking, the lamps should be practically
even with the camera lens and to each side of it, on
a small title board. In no case may there be any
trace of a "hot spot" on the title card. The lighting
must be very even, each lamp socket being equally
distant from the title card frame.

A toggle switch, controlling both lamps, should
be mounted at some convenient location on the title
board. Usually this will be near the rear of the
board, and near to the operating button of the cam-
era. A female supply plug is also attached to the
board. In some instances, it may be found conveni-
ent for purposes of focusing, etc., to light only one
lamp at a time. This may be accomplished with

pull-chain sockets, holding your lamps, making them
independent of each other.

Whether you will want to make your titles fade-
in and fade-out will depend upon what film you will
use. Ordinary positive titles (quite often called, di-
rect) can not have fades imparted to them. How-
ever, there may be occasion when you will be
making negative titles, or titles on reversal film, in
which case fades can be obtained. It is advisable,
therefore, to equip your title board for any such in-
stance. Probably the easiest way to secure fades
is by the so-called "fading glass." This is a glass
slide, clear at one end, which gradually darkens into
perfect opacity at the other. Since, in the operation
of the "fading glass," it must be passed in front of
the camera lens while the latter is in operation, your
fades will be far less subject to any possible error
if a guide is provided to accommodate the "fading
glass." This guide may be fashioned of metal or
wood. It should be permanently attached to the base
of the title board, so that it will hold the "fading
glass" at the center of, and just clearing, the camera
lens. This guide, or holder, will permit smooth action
of the "fading glass", thereby greatly improving the
quality of your title fades.

The final touch to your home-made title board
should include one or two coats of a good shellac,
applied to all wooden surfaces. Should there be any
reflection from the title card frame, due to its rela-
tively close proximity to the lighting units, the frame
should receive a coat or two of flat black paint. This
will produce a dull black finish which will "kill" all
reflected rays.

New Standard 2000 Foot Reel

Std j|"

Bushing

Keyway

24 G

Lightening Holes

Turned 6* Flattened Edges

Rolled Edge

"T"T
Section B-B

Designed IZ-17-34

by A G W
Revised 3-28-35
9-21-35

by A G W
Traced 11-4-35

by H R A

STANDARD 2000 FOOT RELEASE REEL

FOR 35 MM. MOTION PICTURE FILM

RESEARCH COUNCIL

OF THE

ACADEMY Of MOTION PICTURE ARTS 4 SCIENCES
HOLLYWOOD. CALIFORNIA

Original
specifications
approved 7~30'35

Revisions approved
11-6-35 by
Research Council
AMPA S

Please mention The International Photographer when corresponding with advertisers.

January, 1936

T h

INTERNATIONAL PHOTOGRAPHER

7 wenty-nine

IT HAPPENED ONE DAY

(Continued from Page 17)

ond magazine of film was exposed without further
mishap.

"With one negative worth developing I turned
to the problem of processing when I arrived home.
Again it was in the cards I was to come to grief.
From some old discarded wood, I constructed a
single developing tray. You see, in those days, you
made what you needed. I had an awful time mak-
ing the tray liquid-proof; guess I used oil cloth, par-
affin and tar before the tray quit leaking. As the
tray would only accommodate approximately 50
feet of film, I had to proceed to slice up my exposed
165 feet; spliced film didn't mean anything in those
days. Next 1 needed a film rack on which to place
my 50-foot lengths of negative. This I made of wood,
the rack being the cross-rack type, with separation
pins made from common nails. Probably if I'd ended
there everything would have been okay. But an
article on film developing came to mind and, fol-
lowing its suggestion, I tarred the rack. The job
was done neatly but all too well. Developing the
negative was some job! Having but a single tray
to work with, one had to work fast — and when I say
fast, I mean fast! I had to dip the rack, with the film
wound on it, into the developer, then pull it out and
dump the solution; quickly refill the tray with water
to wash the film, then dump the water; refill the tray
with hypo, fix the film, then again dump the tray;
and lastly again fill the tray with water so that the
film might receive its last immersion. And I had to
repeat this process every fifty feet! As a told you
before, my job of tarring the rack had been done
neatly but all too well, as I soon found out right after
my first length of film was processed. For when I
tried to remove the negative from the rack, it wanted
to remain! Trying to get it off was worse than en-
gaging in a taffy pulling contest. The negative was
certainly tarred, if not feathered, yet in the end I
pried it loose. Don't ask me how I ever cleared the
film of the tar, I only know I finally succeeded.

"There still remained the necessity of a print.
This proved a difficult problem until, removing the
mechanism from the camera box, I decided the
mechanism would serve as a printer. An old wooden
cracker box, lightproofed with film tin tape, became
the container for the printing light. The rays of an
ordinary lamp bulb passed from a small hole in the
side of the container and then onto the aperture of
my makeshift printing machine — thus I made my
first print. What light changes there were in making
the print were accomplished by varying the crank-
ing speed of the printer. Believe me, it took some
maneuvering of that home-made printer to prevent
the positive strip of film from being exposed in the
wrong places.

"Then came the night of nights . . . when I was
to exhibit my first movies to a group of friends and
neighbors. On an old Powers projector, recently
resurrected from the junk pile, and equipped with
an arc lamp. Careful not to overload the ordinary
house fuse circuit, I'd cut into the power line ahead
of the fuses. The sputtering arc finally lit up with
a glare, and I started cranking the old Powers. At
last, my show was under way despite all difficulties.

"Not fifty feet had passed by on the screen when
there came a loud rapping at the front door. Who
could it be?, I wondered. The knocking became more

determined ... I must see what was wanted. Open-
ing the door I was confronted by an extremely ex-
cited old German neighbor from next door. He was
tense. He pointed excitedly in the direction of the
main power wires, running from the line to my home,
as he exclaimed: 'The wire, red from the houze midt
the pole!' Sure enough, he was right, the wires
were redder than red, the arc lamp was proving too
much a load. My show was over for that evening!
And that's the story of my first movie making experi-
ence ..."

Art had hardly finished speaking when his re-
marks were interrupted by a loud cry of distress
from the direction of the laboratory. There was an
unmistakable sound of a great splash, followed by
a great rush of water from the developing room, as
we both dashed towards it. But before we could
reach the door, the victim slowly emerged. What
a sight greeted our eyes! There stood Jack, the
assistant lab man, dripping wet, soaking from head
to foot! With a sheepish grin, Jack explained: "I
was only adjusting the safe lamp and climbed onto
the wash tank," he sputtered, "guess I slipped in!"

Midst our roar of laughter at Jack's rather moist
condition, Art turned to me and exclaimed: "This
just goes to prove what I've been telling you — any-
thing can happen in the film game!"

And so we prepared Jack for the drying room.

Davidge Developing System

Developing outfits, 25 feet to 1000 feet. Light, compact
and efficient. The ideal equipment for small studio labor-
atories, expedition work, schools and the home. You can
get superior results at low cost with the patented Roto-
Tank processing. We also manufacture The Davidge Im-
proved Celluloid Apron for use with our units or as a
replacement apron for any of the developing tanks using
the 16 or 35 M.M. sizes. Bakelite spooling discs, negative
tightwinders and synchronizing machines at attractive
prices. Send for the new illustrated catalog and price list.

Hollywood Roto-Tank Ltd.

5225 Wilshire Blvd. Los Angeles, Calif.

Please mention The International Photographer when corresponding with advertisers.

Thirty

T 1 1

INTERNATIONAL PHOTOGRAPHER

January, 1936

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 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 variety of
16 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.

FOR SALE— CAMERAS AND EQUIPMENT

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.

MODEL L DE BRIE CAMERA — Full ground glass focusing auto-
matic dissolve, 40 mm, 50 mm. 75 mm, 100 mm lenses mounted. Has
special upright image view-finder, De Brie motor, tripod, six magazines.
Motion Picture Camera Supply, Inc., 723 Seventh Avenue, New York
City. Cable: Cinecamera.

SILENCED BELL & HOWELL with new Fearless Movement 40 mm,
50 mm and 75 mm F.2:7 lenses mounted. Two'1000-ft. magazines, tri-
pod, finder and sunshade. Rebuilt like new. Motion Picture Camera
Supply, Inc.. 723 Seventh Avenue, New York City. Cable: Cinecamera.

SILENCED BELL & HOWELL with check pawl shuttle. 40 mm,
50 mm, and 75 mm F.2:7 lenses mounted. Two 1000-ft. magazines, tri-
pod, finder and sunshade. Rebuilt like new. Motion Picture Camera
Supply, Inc., 723 Seventh Avenue, New York City. Cable: Cinecamera.

MITCHELL CAMERA; Mitchell & B. & H. Magazines; Mitchell Tri-
pods ; Cooke Lenses — mounted and unmounted ; Duplex Printer ; Maga-
zine and Accessory Cases ; and other miscellaneous equipment. Ed
Estabrook, 430 No. Flores St., Hollywood. OR. 5003.

BELL & HOWELL and Eyemo Cameras, Lenses, Magazines, Tripods,
Moviolas, Splicers, all kinds of Sound and Laboratory equipment. East-
man and Dupont spliced negative, tested and guaranteed, 2^4^ per foot,
on daylight loading rolls, $2.75. Inquiries invited. CONTINENTAL
FILMCRAFT. 1611 Cosmo St., Hollywood.

MITCHELL CAMERA, COMPLETE with equipment. Excellent con-
dition Price $2500. Box AC, Internatnonal Photographer.

35 mm CAMERAS, Universal, Erneman, Pathe, DeBrie, Akeley. Hell &
Howell, $50 up; 35mm Projectors, $25 up; Holmes, Portable Sound
Projector, Special $450 ; 35 mm Sound Recording Outfit, single or
double system, complete, less batteries, $750 ; 35 mm Fried Step Printer,
$65. Camera Supply Co., 1515 No. Cahuenga Blvd., Hollywood. Calif.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

COMPLETE RECORDING SYSTEM CHEAP— Includes beautiful
amplifier in case, special condenser microphone, chrome plated slit block
with Artreeves quartz slit, glowlamp with holder, all battery cases and
cables. Ready to install in single or double system camera. Like new,
beautiful quality, will last years. SOUNDFILM COMPANY. 261
Golden Crate Ave., San Francisco, Calif.

ART REEVES, latest model 1935, double system sound recording in-
stallation, factory guaranteed, Automatic Speed Control Motor, Twin
Fidelity Optical Unit, Bomb microphone, the only genuine, modern,
workable ArtReeves equipment for sale in Hollywood outside factory.
Price, complete in every detail, $2,400. Slightly used ArtReeves sound
equipment, complete, $1,800. CAMERA SUPPLY COMPANY, LTD.,
1515 No. Cahuenga Blvd., Hollywood.

POWERS CINEPHONE RECORDERS with Slit Block and Syn-
chronous Motor $200.00 each. Also used Synchronous and D-C Inter-
lock Camera Motors. T. BURGI CONTNER, 723 Seventh Ave., New
York City.

CAMERA REPAIRING

FOR SALE— MISCELLANEOUS EQUIPMENT

VERY POWERFUL FLOODLIGHTS of new design. Will burn
through a 1000 W. Rifle with Cable — $5.00. With 12 foot collapsible
Stand, $22.50. Camera Supply Company, 1515 North Cahuenga Blvd.,
Hollywood, Calif.

SEVERAL HOLMES PROJECTORS, 35 mm., excellent condition.
Full Guarantee. Prices $75.00 to $95.00. Camera Supply Co., Ltd.,
1515 Cahuenga Blvd., Hollywood, Calif.

BELL & HOWELL cameras with old type shuttles silenced, $150.
Hollywood Motion Picture Equipment Co., 645 No. Martel Ave.,
Hollywood.

WANTED TO BUY

WILL PAY CASH FOR: Bell &: Howell, Mitchell, Akeley or De Brie
Cameras, lenses, motors, parts and accessories. Motion Picture Camera
Supply, Inc., 723 Seventh Avenue, New York City.

MOTION PICTURE — Still Picture — Laboratory and Cutting Room
Equipment — Lenses — Finders — Tripods. Highest prices paid. CONTI-
NENTAL FILMCRAFT, 1611 Cosmo St., Hollywood, Calif.

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.

MISCELLANEOUS

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 L. Finn Publishing Corp., 580 Fifth Ave., New York.

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.

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.

For the Most Authentic
Technical Information
About the Motion Picture
Industry Consult —

International
Photographer

Order Your Copy Now!
$25° A YEAR

IN THE UNITED STATES

Name

Address

City State

Please mention The International Photographer when corresponding with advertisers.

January, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

HOT POINTS

By William Kislingbury

I HE average visitor to Hollywood, fortunate
enough to gain admittance to a studio lot,
usually ventures to express an amazed in-
credulity at what appears to him a need-
less waste of time and materials on the part of the
personnel and management in picture making. One
interested in psycho-analysis can form rapid and
fairly accurate conclusions from the observations
and reactions of these visitors placed in his charge.

forming light rays to captured images. Everything
may be at a standstill on the stages as production
is held up for one cause or another, but the labora-
tory works on schedule with an incessant rhythm
and an alertness for any possible error which might
destroy efficiency.

Experience has taught me to discreetly detour
from the vicinity of our huge continually blazing in-
cinerator when escorting the practical minded sight-
seer. Such a display of wanton incendiarism has
not always been a practice within the studios, but
because a few greedy workers incorrigibly took ad-
vantage of their permission to haul away discarded
material by hiding valuable properties among the
junk pile, this privilege to the employees had to be
definitely and permanently rescinded. This is by no
means pleasant to explain to our guests,

Of the thousands of visitors shown through the
studios each year a very few indeed ever reach or
even know of the existence of the most practical and
interesting department of the motion picture indus-
try, the Lab. It is to this department I resort for any
necessary refutation of inefficiency or waste and I
have yet to find the practically-minded person the
laboratory has not intrigued and convinced. There
is something extremely fascinating about the work of
a dark room and the wizardry and magic in trans-

It is rather difficult to explain the intricate pro-
cedure of laboratory methods, and one can only be
discursive in enlightening a layman, but once they
have held a strip of film in their hands and exam-
ined it, tested it for strength and shown how easily
it can be torn, the guide acting then as mentor need
only answer eager questions. From the 80 mil strip
of modulations forming the sound track enough in-
quiry can arise to tax the mentality of a professor.
When hard put, I have found an immediate remedy
by pointing out the operations of a splicing machine.
More curiosity is expressed regarding the manner in
which films are welded together than of any other
task in the industry. Splicing seems to be an answer
to a great mystery in peoples' minds and explains
simply how motion pictures are edited into story
telling continuity.

A tour down the long row of overspeeding pro-
jectors of the inspecting room (which is positive proof
that the multiple feature bill has always been an
institution within the laboratory) and our practical
minded guests are quite satisfied that efficient, prac-
tical methods do exist within the motion picture in-
dustry, yet it took to convince them, an extra added
attraction.

SOVIET MOTION PICTURE INDUSTRY
By V. I. Verlinsk£,

(Reprinted from S. M. P. E. Journal by request.)
| HE motion picture industry of the Soviet Union is essen-
tially a growth of the past ten years, but, if I may say
so, a substantial and healthy growth. During the czar-
ist regime the industry was insignificant, most of the
films being imported from foreign countries. When the
Soviet Government came into power in 1917, it found itself in pos-
session of two small studios which represented the entire produc-
tive equipment of the country.

Conditions during the next few years were not conducive to
the expansion of the industry. The few films made during this
period were documentary records of important events during those
stormy days, perhaps of no great artistic pretensions, but of in-
creasing historical importance. It -was not until the close of the
period of civil wars and invasions that the country was in a posi-
tion to build up the motion picture industry. During the past
decade the growth has been rapid. Today there are over ten
studios, located in Moscow, Leningrad, Odessa, Kiev, Yalta, and
other centers, and the country has become one of the most impor-
tant world producers. There are upwards of 30,000 theatres, and
the attendance at performances was over 650,000,000 last year.
In addition to motion picture schools for the development of its
artistic and technical staffs, the industry has its own academy and
a special research institute.

The days of the silent pictures brought to the fore some great
masters and some great productions, which commanded artistic
admiration and respect far beyond the Soviet borders. Eisenstein's
"Potemkin" and Pudovkin's "Mother" were among the pioneers in
these great works, and others outstanding in this period included
Dovzhenko's "Soil" and "Arsenal" and Pudovkin's "Storm Over
Asia" and "End of St. Petersburg."

The transition from silent to sound pictures has been a pecul-
iarly difficult one in the Soviet industry for many reasons, not the
least of which is the fact that the Soviet Union is composed of 182
different nationalistic stocks speaking 150 different languages and
dialects. Obviously the creation of talking pictures for such a
polyglot population presents special problems. . . .

The Soviet studios are working beyond their capacity. For
1935, 150 full-length pictures will be produced, in addition to
many short subjects and news reels. The most recent efforts of the
Soviet film industry tend toward a mastery of film technic result-

ing in a finished product of great art. Such films have already
been made and have received universal recognition, as was
shown at the International Motion Picture Exhibition in Venice,
where the Soviet Union was awarded first prize as the producer
of the world's most artistic films.

The motion picture industry of the Soviet Union has been de-
veloped under the aegis of the government. Each of the seven
constituent Republics of the Union has its own motion picture
industry, operating under the People's Commissariat for Education
of the Republic in which it exists. The whole industry is combined
in the Motion Picture Trust of the U. S. S. R. It is the problem of
each division of the industry to satisfy the public in its territory.

All the silent films produced have to be released with titles in
some 150 languages, to accommodate the entire polyglot popula-
tion of the Soviet Union. The talking pictures are made in ten
principal languages, and have superimposed titles for the various
minor linguistic groups. In this respect the Soviet industry is faced
with a complication that does not affect the industry in the United
States.

All the newsreels in the Soviet Union are under the control of
the newsreel trust, Soyuz filmnews, which takes care of the entire
territory of the U. S. S. R. Every month Soyuz filmnews issues
three silent newsreels of general interest, three sound newsreels
of general interest, two shorts on village life, a special short de-
voted to children, one on science and mechanics, one on art, and
one on national defense. In addition, Soyuz filmnews participates
in all scientific expeditions, and in this line has produced films of
such expeditions as those of Sibiryakovs and the Cheliuskin and
the exploration of the desert Kara-Kum. The trust has over 100
news cameramen scattered over the Soviet Union. The aim of
Soyuzfilmnews is to install a system similar to that of the Ameri-
can newsreel companies to enable them to have the newsreels in
the theatres 24 hours after being filmed.

All the scientific films are produced by a special scientific
trust, which is assisted by the leading scientists, those of the
Academy of Science of the U. S. S. R., including the famous physi-
cist Pavlov. In 1933 the trust issued 107 silent short subjects and
only three sound; in the first nine months of 1934 there were 177
silent short subjects and 24 sound.

It is only lately that the Soviet Union has begun to develop its
own manufacture of raw stock and equipment.

Thirty-two

The INTERNATIONAL PHOTO G R A P H E R

Robert »
Tobey

CINEMACARONI

(With sauce for those who like it.)

HOLLYWOOD HONEYMOON

(A novel novel of a thousand and our nights
in a daze )

By
R. THRITIS

Synopsis of preceding chapters, for you dopes
who can't remember anything overnight.

Lili Liverblossom, long on beauty but sold short
m the engine-room, is a famous screen star on
the wane. She has for her Public Relations Coun-
sel the trigger-witted

Perriwether Murgle, young and handsome press-
agent extraordinary. In the line of duty Perri is
carried off to the eyrie of a huge Bald Eagle

named

Willy Nilly. Here in the Eagle's lair Willy
Nilly's wife,

Nelly Nilly, makes googly eyes at Perri, and it's
getting pretty hot for our little friends. Mean-
while

Bill, a writer, has just sent a ghost over to Lili's
apartment, t.ili has figured out, reith her Einstein-
like brain, that a ghost can help her find her lost
Perri. As we raise the field-glasses to our eyes.
J. Hi has fust been making friends with tne ghost
and preparing to leave in search of Perri. Note
it's yotti turn at the pecpsight.

CHAPTER XV.
Over the Hills and Far Away

"And now to the rescue!" cried Lili.

"The Rescue?" repeated the ghost inquiringly,
v/ith a touch of interest in his voice. "What is it,
a new Night Club?"

"Certainly not!" snapped Lili. "It's a Boy Scout
deed. Didn't Bill tell you what he made you up
for?"

"He didn't even tell me he made me up," said
the ghost. "He just sent me over here in a hurry.
I thought maybe it was Hallowe'en."

"Giblets!" exclaimed Lili. "Then I'd better tell
you the story." And she told him the story.

"... and Perri is probably a prisoner by
now in an eagle's lair," she sobbed in conclu-
sion.

"What you need is an eagle's ghost, lady,"
said the ghost -with a sigh. "And a couple of
handkerchiefs," he added hollowly as Lili's tears
dripped into an old straw hat she had placed on
the floor to catch them.

"Do you mean you can't help me?" asked Lili
pitifully, looking up, her big blue eyes dark with
sorrow.

"Oh, I guess we can find some way of rescu-
ing your boy-friend," the ghost answered.

"My press-agent," corrected Lili.

"Don't quibble," said the ghost.

"I can't help it," said Lili. "I itch."

"Grab hold of me," commanded the ghost,
"and we'll be off."

"Do you mean you're going to carry me?"
asked Lili.

"Certainly," said the ghost. "Did you think
we were going by bus?"

"How fast do you generally go?" asked Lili ^
dubiously, stepping forward hesitantly.

"I can be anywhere in a second," said the
ghost. "But I can't go that fast if I'm taking you.
You'd melt. So I'll just sort of mosey along.
Come on, hang onto me."

Diffidently Lili clasped her arms around the
ghost's waist. They went right on through and
she found she was merely hugging herself. She
put her arms around him again, with the same
result.

"My, but you're flimsy," said Lili exasperat-
edly. "What do I do now?"

"I guess I'll have to grab hold of yon," said
the ghost and, suiting action to words, he picked
her up in his arms as if she were a feather and
immediately began to rise in the air and float
off across the city. In no time at all he -was up
to sixty or seventy miles an hour. To Lili the
sensation was that of being transported on a
eloud or an infinitely soft oillow. The moon had
just come up over the Hollywood hills, and the
stars were sparkling and flashing in the cold
crystalline air above the city.

"Looka here." said Lili, "If you're going to
romp on it like this, you'd better take me back
for my fur coat. I haven't got my red flannels
on, you know, partner."

(How zvill the ghost take the wise-cracking Lili?
And where! Will they reach Perri in time? And
what of Lili's career? Any fool can ask questions
like those So I guess any fool ran answer them.
See next month's installment of this super-serial.)

Mad Hattie says that stenographers with weak
eyes must find it very trying, typing on onion-
skin paper.

DAILY INCONGRUITY

A man walked up to an office boy on the
Columbia lot and borrowed a dime from him to
buy a magazine.

The boy turned to a fellow-worker when the
man was out of earshot. "That's the writer,"
said he, "who is "working on the story, "Millions
To Spend!"

KNEECAP REVIEWS
l I have my thumb in my month)

"PI I lili IBBETSON." with Ann Hardin,, and
Gary Cooper. Here is a picture so superbly eon
structed that it brings an ache to the heart. Haz-
ing nothing but praise for the picture. I am pained
to wager it will not he a box office hit. I fear it
is a little too fine for the average public taste and
comprehension, but hope i am wrong,

/'raise falls equally on all heads in this produc-
tion. Ann Harding will never look more divine
than she does in "Peter Ibbetsoii." Judged by
this picture alone. Miss Harding would be the
most beautiful woman on the American screen.
The subtle direction of Henry Hathaway was a
thing of beauty. Great credit must go to the one
or ones who evolved the interesting, beautiful, and
thoroughly satisfactory method of handling the
dream transition sequences. Ann Harding's act-
ing is as impeccable as her appearance, and al
though Gary (o per's touch is not quite so mas-
terful, on the whole his part is well bandied. John
HalliJay. Virginia Weidler, Douglas Dumbrille,
and Dickie Moore play their small parts well.

II you doubt that the screen can adequately eon-
vey an idea with a truly haunting and ethereal
beauty, see "Peter Ibbetson" and unreel in objec-
tion.

"DR. SOCRATES." Interesting chiefly because
it puts Paul Muni into a type of role that he
has not handled before. Some say he is pretty
bad in the role of the brilliant medical student
turned country doctor for personal reasons and
embroiled in gangland didoes for reasons beyond
his control. Some say he is excellent.

I'll take vanilla.

Ann Dvorak should have stayed home when
they called her for this production. She is poorly
photographed and has a part that is quite thank-
less.

The film is fast moving, and especially is inter-
esting if you like anti-gangster films.

"THE LAST DAYS OF POMPEII." This is mostly
Preston Foster, and if his fan-mail from love-lorn
ladies doesn't jump a thousand fold after this
epic I'll pop my gum. It's a he-man tale of
bloodletting among the Old Romans, and don't
see it unless you have a strong stomach. Prac-
tically all of the then means of sudden death are
graphicaly illustrated.

Basil Rathbone portrays Pontius Pilate with a
master's touch, and Gloria Shea does well with
a casting crumb thrown her way.

"I LIVE MY LIFE." Since Joan Crawford can
practically write her own ticket, I don't see why
she chose a story that made her out such a heel
in general. She is nevertheless a lovely and
desirable little heel, and manages to make you
long to be in Brian Aherne's shoes even if she
is addicted to nasty feminine wiles and the New
Deal platform involving furniture demolition.
Aherne improves each shining hour in this, his
first juicy part.

"ANNA KAREN IN A." Garb,, climbs :„, I
again. Threatened seriously with extinction, II,.
Garbo legend is thoroughly alive once more. No
one can stop the great Garbo. She gives a ;
fill performance here, as the tragic Tolstoy lu
whose great love transcends the bonds of man
and motherhood. Fredric March ably supports hei
Drinking ceremonial sequence opening the /
is uotab'c. Whole thing is slightly heavy fart
•■he general public. Photography excellent.

IS MY FACE RED DEPT.

One of the better known columnists did himself
proud in a recent day's work. Said columnist
wrote, "The making of a Technicolor picture is
not quite so simple as it is cracked up to be . . . "

// you'll pardon the interruption. I didn't knoa
a color picture was cracked up to be a simple
thing to make.

But to go on. " 'THE TRAIL OF THE LONE-
SOME PINE' is on a location that is SO cold the
noses of the cast are continually red and frost
bitten and, as red photographs black, the effect
should be too startling."

The italics are mine. Tsk. tsk. What a weird
color process.

The same renowned scribe, on the same day
(it must have been Blue Monday) states that he
is advised that when color pictures predominate
the industry, blondes will fade from the Holly-
wood spotlight, because in color they photograph
BLAH.

A new color, no doubt; this BLAH. Better than
Brownette.

But seriously, consider this statement just aftet
the production of "Becky Sharp"; come, come.

HOLLYWOODCUTS, by the Shovel Boys (They
dish the dirt). * * * No matter what they find
out for the benefit of the headlines, two facts
about Thelma Todd are undisputed — she was
superbly beautiful, and she was a beguiling and
witty actress. * • * The Rochelle Hudson - Harry
Richman crush is wearing off already. For a
while they were seen everywhere together. It
was only natural that a sweet youngster like
Rochelle should be intrigued by the worldliness
of a man like Richman. * * * Lionel Stande:
wanted to get paid when he was asked to work
in a newsreel. Heigh ho. * * * The morals case
against Dave Allen of Central Casting and Gloria
Marsh, alias Turner, was thrown out of court
because two of the chief prosecution witnesses
were accused of horse-stealing. Tut, tut! Mrs.
Astor's horse, no doubt. * * * At the Pain".
Springs Dog Show held last month Jeanette Mac-
Donald's two pedigreed dogs won three prizes.
Jeanette drew a few rounds of applause herself.

ADVANCE FASHION NOTE

A writer who is NOT noted for remarkable pen-
manship wrote the line, "She was wearing a
bracelet set with emeralds and diamonds."

In the first typed script it came out. "She was
wearing a bracelet \ct with emeralds and drain
ends."'

Pardon me while I dust off a batch of slightly
used New Year's Resolutions.

Water, pic, no'

MS N >*YH MART EL AVENUE,

;, is atieles, ca: kornia.

EASTMAN

Super X

PANCHROMATIC
NEGATIVE

Has No Equal —
— No Superior/

J. E. BRULATOUR, INC

DISTRIBUTORS

INTERNATIONAL
HOTOGRAPHER

HOLLYWOOD

"H YEAR

FEBRUARY ,1936

VOL.
No. 1

PICKFORD-LASKY LAUNCHES PICTURE UNIQUELY

Coincidenlally with Hollywood's iirst rainy allernoon in the New Year, Pickford-Lasky launched its initial
production, "One Rainy Afternoon," with a unique scientific feat. For the first time in cinema history,
the actinic ray which makes photography possible was harnessed to provide power to start the cameras
grinding, by projecting the ray through a photo-electric cell. The achievement was attended by a number
of eminent scientists, notable among them being Dr. Edison Pettit, astronomer and solar radiation expert
of Mount Wilson Solar Observatory staff, Pasadena. This picture shows Miss Pickford operating the cell,
by passing her hand through the beam. Surrounding her are, left to right: Countess Liv de Maigret,
Phil Friedman, Jesse L. Lasky, Dr. Pettit and Samuel Goldwyn. Mr. Lasky is president of Pickford Lasky
Productions. The Countess is a member of the "One Rainy Afternoon" cast.

CENTS
A COPY

lOTION PICTURE ARTS AND CRAFTS

ANNA KARENINA
THE HEADLINE WOMAN
THE EAGLE'S BROOD
WANDERER OF THE

WASTELAND
ACCENT ON YOUTH
FATHER BROWN, DETECTIVE
MAN'S BEST FRIEND
$20 A WEEK
SWEEPSTAKE ANNIE
ONE HOUR LATE
LIGHTNING STRIKES TWICE
ROBERTA
BEHOLD MY WIFE
VANESSA, HER LOVE STORY

THE WEDDING NIGHT
RUGGLES OF RED GAP
NAUGHTY MARIETTA
THE MARRIAGE BARGAIN
THE CASINO MURDER CASE
PORT OF LOST DREAMS
PRIVATE WORLDS
WILDERNESS MAIL
BEHIND THE GREEN LIGHTS
McFADDEN'S FLATS
CYCLONE RANGER
HIGH SCHOOL GIRL
LADDIE

THE WORLD ACCUSES
ROCKY MOUNTAIN MYSTERY
THE GHOST WALKS
STRANGERS ALL
FOUR HOURS TO KILL
CIRCLE OF DEATH
SONS OF STEEL
RECKLESS

THE DEVIL IS A WOMAN
ON PROBATION
STOLEN HARMONY
GOIN' TO TOWN
ONE FRIGHTENED NIGHT
RESCUE SQUAD
THE TEXAS RAMBLER
SUNSET RANGE
HOT TIP

NEW ADVENTURES OF
TARZAN

THE DARK ANGEL
UNCONQUERED BANDIT
NO RANSOM
ENTER MADAME
ENCHANTED APRIL
THE NITWITS
PEOPLE WILL TALK

ADVENTUROUS KNIGHTS
KENTUCKY BLUE STREAK
LADIES CRAVE EXCITEMENT
SYMPHONY OF LIVING
CODE OF THE MOUNTED
KID COURAGEOUS
THE VANISHING RIDERS
MEN WITHOUT NAMES
NOW OR NEVER
COLLEGE SCANDAL
MEN OF ACTION
CIRCUMSTANTIAL EVIDENCE
RAINBOW'S END
DANGER AHEAD

CHINA SEAS

JALNA

HOP-ALONG CASSIDY

SMOKEY SMITH

CAPTURED IN CHINATOWN

SMART GIRL

OLD MAN RHYTHM

ACCENT ON YOUTH

MANHATTAN BUTTERFLY

HARMf

TWO F

THE Rl

TWO FOR TONIGHT

WATERFRONT LADY

PURSUIT

TWO-FISTED

THE MAN ON THE FLYING

TRAPEZE
HOT OFF THE PRESS
I LIVE MY LIFE
SADDLE ACES
WHEN A MAN'S A MAN
HARD ROCK HARRIGAN
THUNDER MOUNTAIN
BARBARY COAST
THE JUDGEMENT BOOK
CONFIDENTIAL
THE RIDER OF THE LAW
WILD MUSTANG
VALLEY OF WANTED MEN
FALSE PRETENSES
SOCIETY FEVER
IN PERSON
THE RAINMAKERS
MARY BURNS, FUGITIVE
SHIP CAFE
SKYBOUND

THE LAST OF THE CLINTONS
MILLIONS IN THE AIR
SPLENDOR

THE SAGEBRUSH TROUBADOUR
THE IVORY-HANDLED GUN

ST. LO
TAKE

FIGHTlfS
A SHOfSl
WHAT
THE RE
COUI
STREA
TUMBL
DEATH 5
PUBLIC
THE GVE
THE Li

IN 1935

DUPONT NEGATIVE WAS CHOSEN
OFTEN AND WISELY BY PRODUCERS
AND CAMERA MEN.

WE THANK YOU

BJ PON!

REG U.S.PAT.OFF.

Du Pont Film Manufacturing Corporation

35 WEST 45™ STREET
NEW YORK CITY

PLANT

PARLIN, N. J.

SMITH & ALLER LTD.

6656 --SANTA MONICA BLVD.

HOLLYWOOD, CAL.

iPi

REG US PAT OFF

TRADEMARK HAS NEVER BEEN PLACED ON AN INFERIOR PRODUCT

THE CLIPPER SHIP
A masterpiece by Mr. Fred Archer who shot this grand old windjammer while on location one
day at sea off San Pedro. California. Note the U. S. battleship faintly through the mist away down
on the horizon. Thanks. Mr. Archer. It isn't often that the landlubber gets a marine eye-ful like this.

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol. 8

HOLLYWOOD, FEBRUARY, 1936

No. 1

Silas Edgar Snyder, Editor-in-Chief

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerberc, Technical Editors

Helen Boyce, Business Manager

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.

CONTENTS

Cover Still by Kenneth Alexander
Frontispiece by Fred Archer

MOTION PICTURE SOUND RECORDING, CHAPTER XXIII - 3

By Charles Felstead
THE LEGION OF HONOR DECORATES DISNEY - - - 5

By H. O. Stechan
THE ARCHAEOLOGY OF THE MOTION PICTURE 6

By Earl Theisen
SHARPSHOOTERS IN THE "ARTICHOKE RACKET" - - - 7

By Golden Gate Wing, Local 659
JOSEPH ALLER PROMOTED - - - - - - - 8

By the Editor
THE AKERS CAMERA COMES INTO ITS OWN - - 9

THE QUESTION OF DEVELOPMENT TIME 10

By William Flaherty
MINIATURE CAMERA PHOTOGRAPHY - - 12

By Augustus Wolf man
MINIATURE CAMERAS IN THE STUDIOS - - - 14

By Kenneth Alexander
AMATEUR MOTION PICTURE SECTION - 16 and 17

By Hamilton Riddel
THE CINEMATOGRAPHERS BOOK OF TABLES - 22

By Fred W esterbcrg
ASHCRAFT AUTOMATIC CONTROL CO. - - - - - 23

By Donald Ashhy
ART WORK ON PHOTOGRAPHIC PRINTS - - - 24

By Avenir he Heart
RECENT PHOTOGRAPHIC AND SOUND PATENTS - - 27

By Robert Fulnvider
CINE CAMERA FORNIA ........ 2i

By William Kislingbury
CLASSIFIED ........ 30

APPLYING WIDE-RANGE PRINCIPLES TO HIGH

POWER LAMPS - 31

By Elmer Richardson
CINEMACARONI - - - - 32

By Robert Tobey
IN MEMORIUM, James Seeback

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles,
California, under the act of March 3, 1879.

and Canada

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California

GLadstone 3235

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, $2.50: Canada and Foreign $3.00 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

Our Writers for
March, 1936

LEWIS W. PHYSIOC

FRED WESTERBERC

EARL THEISEN

•

CHARLES FELSTEAD

ROBERT TOBEY

DELMAR A. WHITSON

E. HAMILTON RIDDEL

ROBERT W. PARKER

•
WILLIAM KISLINGBURY

*
WARREN TRANSUE

CAPT. HERFORD TYNES

COWLING

H. O. STECHAN

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPHER

Three

Motion Picture Sound Recording

Chapter XXIII

By CHARLES FELSTEAD, Associate Editor

Our Associate Editor, Charles Felstead, who was formerly
Night Foreman of the Sound Department at the Universal Pictures
Corporation, is now connected with the Southern California
Telephone Company.

FTER a regrettable but unavoidable absence
from these pages, we resume our study of
sound recording as it is practiced in the mo-
tion picture studios. As though no lapse
had occurred in this series of chapters, the present
installment continues the discussion suspended by
the chapter published in the November, 1935, issue
of the International Photographer.

In that twenty-third chapter, the circuit for and
the elementary mathematical design of a highly
effective three-stage audio-frequency amplifier were
presented. This amplifier was termed a "basic"
amplifier, since it will serve with equal success as
a speech amplifier for a radio broadcast transmitter,
as a preliminary amplifier for a public address sys-
tem or a centralized radio installation in a hotel, or
as a main recording amplifier for a motion picture
sound recording installation.

fier must be center tapped, as shown at A in Figure
2. When such a microphone is used, a separate
battery, sometimes termed a D battery, is required
to supply current for the buttons of the microphone;
and the voltage is regulated by a rheostat.

A jack is connected in series with each button
to permti the meter, which will be described later,

0-20 A\A

Analysis of the Amplifier

The first two stages of the amplifier function as
voltage amplifiers, while the final, or third, stage of
amplification functions as a power amplifier of mod-
erate output. See Figure 1. The type -56 tube in

>oubi? 1
button L

&«
bi
CSrbon

In uropU

'SMUNT

Rkeostd +
-WVWW |— 1'|'|<-
t— J " n-

, Snunt

0 B^t+er^

O- 20 /*% A

200-ohm

■ I M00t

circuit
to grid of

■F>rst-S6
^"■ropdone

Transforms r

Figure 1. Circuit of the basic amplifier.

Figure 2A. Double button carbon microphone circuit.

to be plugged in to check the current taken by the
buttons and to determine if a condition of balance
exists between them (in other words, to determine if
they are drawing, as they should, equal amounts of
current). Shunts to provide the meter with a 0-20
milliampere range are connected across the jacks
as shown in the illustration. The method of cal-
culating the values of these shunts will also be
described. For the average two-button carbon mi-
crophone, a current of approximately ten milliam-
peres should be passed through each button.

the first stage provides voltage amplification alone,
since its power output (measured in watts) is quite
low. The push-pull type -56 tubes in the second
stage also served as voltage amplifiers; and are
connected in this manner to handle the increased
grid voltage swing provided by the preceding stage
without overload or distortion.

The final stage of this basic amplifier employs
push-pull type 2A3 tubes, which together will handle
a grid voltage swing as great as 124 volts. The
power output of this stage is relatively high, being
in the order of ten or fifteen watts. This output
power is sufficient to supply a pair of loud speakers
with enough energy to provide sound coverage for
a moderate size crowd of people for public address
work, to modulate the output of a small radiophone
transmitter, or to drive a wax-cutting head or light-
modulating device for sound recording.

The Input Circuit

If a double-button carbon microphone is to be
used as the sound pick-up device, the 200-ohm pri-
mary winding of the input transformer of the ampli-

Y~ 200-ohm input

S i iv) I e
t>u tton

CArbon

microphone

' 3 volt

'P* b Jt+ery

Figure 2B. Single-button carbon microphone circuit.

At B in Figure 2 is shown the circuit arrangement
when a simple single-button carbon microphone is
connected to the input transformer. If the voltage
of the battery used is correct as specified for the
particular microphone employed, usually about
three volts, no rheostat or meter are required. A
single-button carbon transmitter is not recommended,
as the quality of reproduction is decidedly poor.
Even a double-button carbon microphone does not
provide the sound quality deserved by this amplifier.

High-Quality Input Circuits

If a condenser microphone; crystal, piezo-electric,
microphone; ribbon, or "velocity," microphone; or
a dynamic ("moving-coil") microphone is used with

Please mention The International Photographer when corresponding with advertisers.

Foui

The INTERNATIONAL PHOTOGRAPHER

February, 1936

this amplifier, a different input arrangement is neces-
sitated. These microphones have a very low level
output, the power in watts measured at the trans-
mitter is infinitesimal, so pre-amplification is neces-
sary with them. The pre-amplifier is usually a two
or three-stage affair, and it has a circuit resembling
that shown in Figure 3, which is a standard two-
stage pre-amplifier for a condenser transmitter.

2 61 -A

mote- Output ii-ipcohmce
so w whcn winding* in parallel

2O0w WllEN WINPIN4J ix SHItt

■26+-A ^OUTPUT TM«S««»'«

CONPClMSelV

T«»N:nin(n

I OO 000 <"

Joov. Y/^ijv.+ ov.

"B"Batt«a<J -A'BATrCRY

6 +2 00 </

" B" SATTtrtV

Figure 3. Circuit of a standard two-stage condenser microphone pre-
amplifier.

The microphone, or transmitter, is connected to
the input circuit of this pre-amplifier, the exact meth-
od of connection depending on the type of trans-
mitter. This matter of microphone connection will
not be discussed here, since several chapters have
already been devoted to the study of high-quality
microphones, but the circuits for ribbon, dynamic,
and crystal transmitters are shown in Figs. 4A, B,
and C.

/'MICROPHONE
TRAMSroffPIC R

0i[U

,9—

aoQwOUTPUT

MlCRopHoNt ,

Figure 4A. Coupling circuit for a ribbon microphone.

MlCRoPrtOWe TRANS-
FORMER

2oo vvoutput

PYrVAMlc UX\

MICROPHONfl

Figure 4B. Coupling circuit for a dynamic microphone.

-•OUTPUT
i.Omf 264-A (TRANSFORMS

c«vstal| ~ ; — 7C^£— ~^* r°-+

— ► >Wi

Micro- ~~\~
PHowe 2 °f

B * R+-

A- A+ B +

Figure 4C. Coupling circuit for a crystal microphone.

The output impedance of commercial pre-ampli-
fiers is usually adjustable to provide either fifty or
200 ohms impedance. The change in impedance is
accomplished by means of straps on the terminal
plate. When the two secondary windings of the
output transformer are connected in parallel, the out-
put impedance is fifty ohms; when the windings are
connected in series, the output impedance becomes
200 ohms. This arrangement will be apparent from
Figure 3. Naturally, the latter connection must be
used when a pre-amplifier is to be employed with
the basic amplifier described last month, for im-
pedances must always match at junction points in
a circuit if reflection losses and distortion are to be
avoided.

If a phonograph pick-up is to be used, its con-

nection will depend on its output impedance. Cer-
tain types of phonograph pick-ups are designed to
be connected directly in the grid circuit of the first
stage of the basic amplifier, replacing the input
transformer shown; while other types are provided
with their own output transformer and may be con-
nected directly to the primary of the input trans-
former, just as a pre-amplifier would be.

Grade of Transformers Determines Quality

The quality of output to be secured from this
basic amplifier is determined in a very large meas-
ure by the grade of audio-frequency transformers
used in its construction. Here, as in most radio
equipment, the cost of the item is a good measure
of its worth. A few dollars extra spent for the pur-
chase of the best grade of audio transformers that
may be secured is an investment that will be re-
turned many times over in pleasing sound quality
from the amplifier.

If transformers with permalloy cores are em-
ployed, it will be necessary to use parallel feed in
the plate circuit of the first stage of amplification.
The passage of the steady direct current from the
power supply through the winding of a transformer
with a permalloy core will cause magnetic satura-
tion of the core material; and if the direct current
becomes excessive, the transformer will be harmed
to the extent that it will no longer function satis-
factorily.

Parallel Plate Feed

Parallel plate feed is not necessary in the other
two stages of amplification, since push-pull circuits
are used, and the direct current to the plates of the
tubes flows in opposite directions through the pri-
mary windings, resulting in the cancellation of the
magnetic fields created thereby.

The arrangement of the first stage circuit for
parallel plate feed is shown in Figure 5. Separate

.PLATE. Blocking

>(• CONDENSER
jlJ^MFMwioUE
U o>||)es TO C.BI0S OF ,
>. o^ Ci<. PUSH- PUU -56
Ac .3 6 TUBES |M SECOND

*> t D«=\IIC — kSTAtt OF Ai-
PLIFIER

OUPLING

TRANSFORMER

AUDIO- FrUQUF/VCV
CHOKE COI1.

Figure 5. Parallel plate feed for first stage of the basic amplifier.

paths are provided for the d-c. plate current from
the power supply to the tubes and for the a-c. speech
current generated by the microphone. The d-c.
plate current can flow with but little opposition
through the audio-frequency choke, but cannot pass
through the condenser; while the choke coil offers
very high impedance to the a-c. speech current,
practically preventing its passage, although the con-
denser passes the a-c. speech current with practi-
cally no loss.

This provision of separate paths for the two com-
ponents of the plate current precludes any possi-
bility that the audio transformer core will become
saturated with magnetic flux by the plate current
drawn by the tube. Whether or not the transformer
employed has a permalloy core, this parallel plate
feed circuit is highly desirable.

The only precautions that must be taken when
this plate circuit is used are to secure an audio
choke that has an inductance of at least thirty
henrys and low ohmic resistance, and to provide a
plate blocking condenser that is capable of standing
the full plate voltage of that particular amplifier

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPHER

Five

stage without puncturing. Also, for the sake of
sound quality, this condenser must have a capacity
of at least one-half microfarad, with a capacity of
two microfarads being more desirable.
Matching the Push-Pull Tubes

It is important that the tubes used in the push-
pull stages of this amplifier match in characteristics,
so that a perfectly balanced condition will prevail.
With standard tubes, there is not a great reason for
concern on this score, since modern production meth-
ods produce tubes of high uniformity. This is par-
ticularly true of the type -56 tubes.

The type 2A3 tubes used in the last stage, how-
ever, have a tendency to be less uniform in charac-
teristics than most other types of tubes. Tubes for
this stage should be selected carefully, taking pre-
cautions that tubes that draw nearly the same plate
current under conditions of identical filament and
plate voltages are chosen to work together.

The Amplifier Output Transformer

The output impedance of the transformer that is
connected in the plate circuit of the last stage of
amplification is an important matter, and is governed
by the impedance of the circuit into which the ampli-
fier is to operate.

For normal conditions, the standard output im-
pedance of 500 ohms should be selected; but if the
amplifier is to work directly into a loud speaker,
or bank of loud speakers, as in public address work,
the output impedance of this transformer should be

matched to the impedance of these speakers.

Where the amplifier is to feed a transmission line
that carries its output to some more distant point, the
standard line impedance of 500 ohms is most desir-
able for the secondary of this transformer.

If the basic amplifier is intended to serve as a
speech amplifier for a radio broadcast transmitter,
the secondary of its output transformer should have
an impedance that will match the grid input im-
pedance of the high-power modulator stage it
drives. The secondary, in such cases, will be either
without taps or center-tapped, depending on whether
the modulator stage is of the single tube or push-
pull type.

For sound recording, this transformer should be
provided with a secondary impedance of four ohms
if it is to feed directly into a light valve; or with an
impedance of 500 ohms if it is to supply energy to
a wax record cutting head.

The next chapter will describe the adaptation of
this amplifier to operation from an a-c. power sup-
ply, and the arrangements of grid and plate filter-
ing circuits to prevent interaction between the stages
and "motorboating." The power supply for use
with this amplifier will also be described.

The arrangement and calculation of the shunts
to permit a single plate current meter to be used
with all stages of this amplifier, and the design of a
high-power amplifier capable of feeding a large
number of loud speakers, will also be discussed.

The Legion of Honor Decorates Walt Disney

By H. O. Stechan

With appropriate ceremony, Walt Disney, creator
of Micky Mouse, was recently decorated with the
Legion of Honor, conferred upon him by the French
Government. The presentation took place at the
Disney Studios, on Hyperion Avenue, in Hollywood.

The decoration, one of the most coveted honors
in the world, was pinned on Mr. Disney in the pres-
ence of a large number of friends and associates,
by Mons. J. J. Viala, French consul in Los Angeles.
It came from the French Embassy in Washington,
D. C.

Mr. Disney was awarded the Legion of Honor in
recognition of his contribution to the screen, as the
French people feel that he has raised the movie-
cartoon to an art. In his use of animals to interpret
the human comedy, Mr. Disney is regarded abroad
as a modern Aesop.

Mr. Viala pointed out that Micky Mouse has be-
come a world-famed screen star second to none, for
the good humor that he radiates. The legends he
enacts are understandable everywhere. He has
developed into an institution for the promotion of
international good will, in appreciation of which the
French Government singled out Mr. Disney for the
Legion of Honor. It also feels that his "Silly Sym-
phonies" exert a benign influence around the world.

OVIOLA

AAQVIOl

FILM VIEWING and

2 ▼ 1 REPRODUCING MACHINES

ALL MODELS ON DISPLAY— FOR SALE— FOR RENT

Illustrated Literature On Request

MOTION PICTURE CAMERA SUPPLY, INC.

723 7th AVE., NEW YORK CITY CABLE: "CINECAMERA1

Napoleon Bonaparte instituted the Legion of Hon-
or in the year 1802. He was its first grand master.
It was originally a general military and civil order;
but in the century that has elapsed, it has undergone
many changes. Nevertheless, it exists pretty much
today as conceived by the Corsican and is the sole
order of France. Its higher grades rank in estima-
tion with the most distinguished European orders.

Now the President of the French Republic is the
real head of the Legion of Honor, which consists of
five classes. There is a limit to the membership in
all classifications, except the one relating to foreign
recipients. In the present order, as it was conferred
on Walt Disney, the symbolical head of the French
Republic appears in the center and a laurel wreath
replaces the imperial crown of Napoleon. The in-
scription around the medallion is "Republique Fran-
caise."

In establishing the Legion of Honor, Napoleon
said: "In ambition is to be found the chief motive
force of humanity; and a man puts forth his best
powers in proportion to his hopes for advancement."
With this order the founder sought to recognize and
reward merit in all walks of life. The decoration is
bestowed on foreigners solely for the purpose of
creating good will toward France.

In accepting the Legion of Honor medal and the
button, which is worn on the lapel, Mr. Disney ex-
pressed his gratitude to the French Government, say-
ing that he felt it was not all entirely his own, but
that a goodly share of it belonged to his associates
who helped him bring Mickey Mouse and the Silly
Symphonies to life. This French decoration is one
of the few which American citizens are permitted
to accept, by Uncle Sam.

Please mention The International Photographer when corresponding with advertisers.

Six

I I, e I X T K R N AT10NA1. PHOTOGRAPH E R

February, 1036

The Archaeology of the Motion

Picture

Prepared for the Encyclopedia International Institute of Educational Cinematography,

League of Nations

By Earl Theisen

Honorary Curator Motion Picture and Theatrical Arts, Los Angeles Museum

V.
Devices Dealing With Persistence of Vision

Through the characteristic of the eye to retain an
image for a momentary flash after the image has
ceased is based the whole phenomena of the motion
picture. The eye does not see motion on the screen,
but instead sees a series of poses. These poses con-
tain a record of the motion stage by stage as it pro-
gresses, and when they are projected at high speed
on the theatre screen the eye remembers each static
pose until it is replaced by the succeeding one. In
this manner the individual pictures blend to show
motion. The discovery of this principle of persistence
of vision dates back at least 2,000 years. Lucretius,
as has been noted, in his fourth book of "De Rerum
Natura" mentions the phenomena. Ptolemy, in his
"Optics," which was written about 130 A. D., men-
tions that if a sector of a disc is colored and then
revolved, the whole will appear colored. Allhazen
mentions the subject about 1100 A. D.; Leonardo da
Vinci, Newton, Boyle and others refer to it.

Abbe Nollet, in his "Lecons de Physique," tome
5, written 1765, mentions it: "When as an object
moves very rapidly before our eyes, we often attrib-
ute to it size and shape which it does not possess.
A Polyhedron revolved on its axis seems to us a
sphere; as does also a circle revolved on one of its
diameters, etc." Many top-like toys were made at
this time illustrative of this principle.

On December 9, 1824, Peter Mark Roget read a
paper before the Royal Society which dealt with
Persistence of Vision. He illustrated his paper with
a spoked wheel device. When viewing the wheel,
which was revolving forward through a vertical
aperture, the illusion that it was turning forward
when turned at one speed and backward at another
was witnessed. s

The "Thaumatrope" may be said to be the
"grandfather" of the motion picture because it was
the first device that dealt with persistence of vision
in connection with pictures. Though William H. Wol-
laston, Sir John Herschel, W. H. Fitton and others are
said to have invented the Thaumatrope, its invention
is now generally credited to John Ayrton Paris. This
confusion evidently arises from the fact that these
men, who were members of the Royal Society, had
much to say of this little device that could combine
two pictures as one. In fact, it attracted so much
attention and interest as a scientific novelty that the
Royal Society undertook to sell them. It was put on
the market in 1826 by Paris and he described it as
his own invention in his book, "Philosophy in Sport
Made Science in Earnest," which was published a
year later. In Charles Babbage's autobiography,

"Passages from the Life of a Philosopher," we find
the following passage: "One day Herschel, sitting
with me after dinner, amusing himself by spinning a
pear upon the table, suddenly asked whether I could
show him the two sides of a shilling at the same
moment. I took out of my pocket a shilling, and
holding it up before the looking glass pointed out my
method. 'No," said my friend, 'that won't do'; then,
spinning my shilling upon the table, he pointed oui
his method of seeing both sides at once. The next
day I mentioned the anecdote to the late Dr. Fitton,
who a few days after brought me a beautiful illustra-
tion of the principle. It consisted of a round disc of
card suspended between two pieces of sewing-silk.
These threads, being held between the finger and
thumb of each hand, were then made to turn quickly
when the disc of card, of course, revolved also. Upon
one side of this disc of card was painted a bird; upon
the other an empty bird cage. On turning the thread
rapidly the bird appeared to have got inside the
cage." He goes on to say, in substance, that some
months later at a dinner at the Royal Society Club,
he was told of a "wonderful, invention of Dr. Paris"
being sold at the Royal Institution. After investiga-
tion the next day he found a device selling as the
thaumatrope which was similar to "our unnamed
toy" that Dr. Fitton had made months before for Sir
John Herschel and him.1"

In 1831, Michael Faraday conducted a series of
experiments with revolving wheels similar to those
of Roget. Faraday went further and revolved two
wheels in opposite directions which at certain speeds
gave the illusion that one of the wheels was station-
ary. His device, which was known as "Faraday's
Wheel," was a direct approach to the problem of the
animated picture. He could have had pictures in
motion by a substitution of the rear wheel for one
bearing a series of pictures around its periphery.11

In the meantime Joseph Antoine Ferdinand Pla-
teau had been conducting experiments of a similar
nature in Belgium. He approached the problem in
1828 and in 1831 he announced the "Phenakisto-

35 mm. Eastman Super X

Panchromatic Negative
Price 2V2C per Foot

KINEMA KRAFTS KOMPANY

6510 Selma Ave. Hollywood, Calif. GLadstone 0276

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPHER

Seven

Sharpshooters of Local 659
In the Artichoke Racket

Herewith is a snapshot of the Newsreelers of Local 659, Golden
Gate Wing, in action. The shot was made during the photographing
of a story on the "Artichoke Racket." As all of the artichokes sold
commercially are raised in the district twenty miles south of San
Francisco, naturally, with Mayor La Guardia (N. Y.) making a
proclamation decrying the racketeering, the boys here went to work
on the story. Left to right: Carl Wallen, Still Man; Eric Mayell,
Fox Movietone; George Lyng, Hearst Metrotone; Capt. John Mac-
Henry, Universal Newsreels; Joe Rucker, Paramount News; Frank
Vail, Pathe News; and the dressed up cameraman, Frank Lowery,
Paramount News. (The Fox Soundman, Paul Heise, is under the
blanket alongside of his cameraman — "it's raining.")

scope." The "Phenakistoscope" consisted of two
discs which revolved on the same shaft. The front
disc had a series of slits and the rear disc had a cor-
responding number of progressive cartoon drawings.
While peering through the slits at the passing draw-
ings on the rear disc the appearance of motion was
created. His drawings were of cartoon characters
somewhat similar to those used in the films today.
The first drawing portrayed the character in one po-
sition; the next drawing showed the character in a
slightly progressed pose of the action, until eight or
ten drawings of progressive poses had been made.
When they were mounted on the rear disc of the
"Phenakistoscope" and spun, the drawings blended
together to simulate motion.

It was the tantalizing beginning of motion pic-
tures for the first time. Though it is true the few draw-
ings that he used could not tell a story, it was prog-
ress toward the screen. Plateau continued his exper-
iments with the hope of improving and making
longer motion pictures. He tried every means at his
disposal until finally through endless peering into
devices, he lost his eyesight in 1843. Even that did
not deter him. He continued with the aid of his wife
and assistants, who worked at the problem under his
direction. His favorite subject was depicting the
devil in the act of blowing up a fire. In his later
years he tried to use photography, but as yet it had
not reached the stage of usefulness for this kind of
work, i o

In December of 1832 Simon Ritter von Stampfer in
Austria made his "Stroboscope," which was very
similar to the Plateau Phenakistoscope, though
neither was aware of the other's experiments.

In England, William George Horner tried to
achieve pictures with another system. His "Daeda-
leum," or Wheel of the Devil, as it was popularly
known, was a shallow cylinder mounted on a stand
for revolving that had a sequence of action drawings
mounted around its interior. The drawings could be
seen through slits. The "Daedaleum" was announced
in "The Philosophical Magazine" in 1834: ". . . The
phenomena may be displayed with full effect to a
numerous audience. I have given this instrument
the name of 'Daedaleum' as imitating the practice
which the celebrated artist of antiquity was fabled to
have invented, of creating figures of men and ani-
mals endued with motion ..."

Desvignes re-invented the Daedaleum and pat-
ented it in France in 1860. Now it came to be known
as "The Wheel of Life" because it showed action
and portrayed little every-day happenings, such as
a child jumping rope, a man pumping water, a top
spinning, a darky sawing wood, or perhaps a more
serious theme, a monster swallowing an angel.

Many such events were recorded by hand drawings
on strips of paper which were to be inserted in the
interior of the cylinder. They were motion pictures
2Vz feet in length.

The Wheel of Life was first introduced in the
United States by William Lincoln, who patented it on
April 23, 1867 (U. S. Patent No. 64,117). It was then
known as the "Zoetrope," and as such became very
popular. Its popularity is attested to by the fact that
one of these fragile devices is known to have been
carried across the plains of the United States in a
"covered wagon."

There were a host of experimenters who, seem-
ingly unrelated, tried to devise instruments or toys in
an attempt to achieve the motion picture.13- 14 Space
would not permit a complete resume of all the ap-
proaches which by count of the records indicate 146
different devices before 1890.1"' Among them was
Lieutenant Baron Franz von Uchatius, who in 1853
tried to combine the "Stroboscope" with a magic lan-
tern in order to project pictures showing the trajec-
tory of bullets. This is thought to be the first time a
certain measure of success attended an attempt to
project pictorial motion.

In 1869 Linnett patented the first of the book form
devices for showing pictures of objects in motion
which, in principle, was used later in the American
Biograph Mutoscope. By thumbing the edge of the
pictures that were bound in a pack the illusion of
motion was obtained as the different pictures flipped
into view.

In narrative ability, the most notable of the pre-
photographic inventions was the "Praxinoscope" de-
vised by Emile Reynaud in 1877. The Praxinoscope
was a magic lantern arranged with a mechanism
that could project strips of pictures 30 feet in length.
Reynaud drew bits of dramatic action or fairy tales
on a transparent medium which he termed "crystal-
oid" and then projected them on a large screen to
audiences in his "Optical Theatre." His most notable
subject, "Pauvre Pierrot," was a picture-play 30 feet
in length. It is of interest to note that he used a trans-
parent medium twelve years before Eastman intro-
duced his first emulsion on a Tollable celluloid base.

VI.
The Photographic Motion Picture

While some scientists were studying motion, oth-
ers, notably Wedgewood, Fox-Talbot, Daguerre, Her-
schel and Archer, had introduced photography. In
1802 Wedgewood published his photographic proc-
ess, and by 1835, after two years' experimentation,
Fox-Talbot had achieved a certain measure of suc-
cess in fixing a photographic image. Then within a
few years photographic methods were improved suf-

(Turn to Page 19)

Please mention The International Photographer when corresponding with advertisers.

lilt I lit

The INTERNATIONAL PHOTOGRAPHER

February, 1936

fi I

' - >■ ^9

:.4::> -Sjl

f'i

&iF

Cfl

jMH* flf

-.'-tX " T^2^t"'

Joseph Aller, "Joe" to all cameramen of the mo-
tion picture industry, is back on his old stamping
ground, this time as general manager of the Con-
solidated Film Laboratories on the Pacific Coast.

On December 10, 1935, he succeeded Benjamin
Goetz, Vice-president and General Manager, as chief
executive who goes to take charge of M-G-M pro-
duction in Europe.

It was 1903 when Aller, a young laboratory tech-
nician from Russia, arrived in America and sought
a connection with a first class lab. He didn't have
to wait long, for the famous old Biograph, New York,
needed a bright young man and the youthful Rus-
sian made good at once.

He soon came under the eagle eye of D. W. Grif-
fith, that great shining light of the cinema, then just
arising in the east, and D. W. packed him off to
Hollywood.

He arrived at the Fine Arts Studios in 1913 and
remained there until 1919. This was the Golden Age
of the cinema when "Intolerance," "Birth of a Na-
tion," "Hearts of the World," "Broken Blossoms" and
other cinema classics were unfolding their banners
to the breezes.

It was 1919 when Mr. Aller decided to go into
business for himself and, for a beginning, he pur-
chased the old Triangle lab. at 4500 Sunset Boule-
vard, now known as the Talisman Studio, where he
handled many great productions and made a host
of friends among the cameramen for his geniality
and for his eagerness to help them with their film
problems.

Joseph Aller Elevated By Con-
solidated to the Chief Execu
tiveship of the West Coast

By The Editor

In the meantime another lab. man was coming
to the front, in the person of Watterson R. Rothacker,
president of the Rothacker Film Manufacturing Com-
pany, of Chicago, pioneer of industrial advertising
with film.

It was 1921 when these two enterprising young
men came in contact and it did not require any
lengthy negotiations to bring about a partnership;
an alliance was formed and within less than four
months the Rothacker-Aller Laboratory was a fact.

It location on Melrose Avenue, was in the heart
of the motion picture studio district, the finest and
most up-to-date of the kind in the industry.

For six years the new lab. prospered beyond ex-
pectation and then, in 1926, the Rothacker-Aller Lab-
oratory was sold to Consolidated, Mr. Aller remain-
ing with the concern and Benjamin Goetz assuming
charge as executive vice-president.

Three years later this fine plant was destroyed
by fire and the service was transferred to Consoli-
dated No. 2 (the Bennett Lab. on Santa Monica Boule-
vard), G. W. Yates in charge.

From this time to December 10, 1935, Mr. Aller
acted as lieutenant to Mr. Goetz, with headquarters
at the Consolidated branch on Seward and Romaine
Streets, Hollywood.

There the concern owns a tract of seven acres,
which is rapidly building into the largest and most
up-to-date film laboratory in the world, and it is here
that Joseph Aller, as General Manager of Consoli-
dated on the Pacific Coast, will again be surrounded
by his cameramen and producer friends of early
days, but now big shots in the industry where he
helped largely to make them great.

But Joe Aller's activities were not alone of the
dark room and the conventional duties of the lab. —
he had other things to think about.

Being naturally of an inventive turn of mind he
was quick to see the need for improvement in vari-
ous directions and, between the years 1917 and 1926
he was awarded patents as follows:

FILM CUTTING INDICATOR (1917), "a device to
make changes" in film during editing.

TO FACILITATE DEVELOPMENT AND WASH-
ING OF FILM (1921), "improved film racks."

NUMBERED FILMS (May, 1926), "to provide
means by which every foot of film may be instantly
found."

This last was first employed at Griffith Studio,
Sunset Boulevard, and has since come into universal
use. Note first strip of film with number printed on
edge, cut from the picture "Home, Sweet Home,"
featuring the late Bobbie Herron.

These, with other patents applied for, have made
the name of Joseph Aller prominent throughout the
technical world of motion pictures, and others may

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPHER

Nine

The Akers Camera Comes Into Its Own

The new Akers Camera is now being manufac-
tured by the originators and executives of the Duplex
Machine Co., manufacturers of cinemachinery,
Messrs. H. O. Carleton, G. W. Carleton and C. R.
Carleton, who developed the now famous Duplex
Printers, developing machines, etc., have taken over
the manufacturing rights of all the products of the
Akers Camera Co., of Hollywood.

The world-wide demand for this flexible little
camera brought it to the attention of the Carleton
Brothers and seeing the future of a new departure
from the old type heavy cameras they concluded a
deal for its perfection and production on a large
scale.

The manufacture of the Akers Camera by this
recognized cinemachinery organization puts the
Akers products now on a plane of substantiality en-
joyed by the best of camera concerns. The toler-
ances of manufacturing precision have been raised
to the highest possible standards and the new
cameras are comparable now to the finest the pro-
fessional market can show.

Five months have been spent by the Duplex or-
ganization in perfecting manufacturing details, re-
designing and tooling up for production of the new
model Akers cameras the first of which will make
its appearance about February 1st.

From this point they will be produced in manu-
facturing lots of twelve, thus insuring customers a
steady supply and overcoming the difficulties of de-
lay in delivery which, heretofore, caused incon-
venience both to the Akers Camera Co. and pur-
chasers.

Essentially the camera remains the same as to
size and weight; however, everything is contained
in this little camera that can oe found in the largest

studio camera, plus its being excellently silenced
for sound, and the beauty and precision of work-
manship leave nothing to be desired.

Back of all this is the story of a cameraman, effi-
cient, highly respected in his trade and with many
years of experience whom the depression found, like
many others, broke.

In sheer force of desperation he envisioned a
new thing — a new mechanical help to his trade — -
perhaps if he had been employed he would not have
had time to dream — anyway almost four years ago
in the deepest gloom of the depression he borrowed
a few tools and in a little shed in the rear of his
house he built his first camera — entirely by hand.

The result was a little camera that could do many
things the larger cameras could not do and he found
quite a bit of employment making shots that big
cameras could not accomplish. Others saw him
working with it and wanted one like it, which led
to the first order, and slowly the demand grew until
today a substantial organization is producing this
new camera which helps so greatly the men who
use it.

And now that the dream is a reality, the dreamer,
Irving Akers, is now returning to the field of his
trade — production cinematography. He will remain
president of the Akers Camera Co. and is still on
call to his firm as consulting engineer, but his ability
as a cameraman far outweighs his necessity of re-
maining in the shops and he is anxiously awaiting
his return to active production.

For years Irving Akers has been known as one
of Hollywood's best production cinematographers
and it is understood that he has had several for-
eign offers to photograph productions abroad, but
here or abroad he will be an ornament to his pro-
fession.

S.M. P. E. To Hold Spring Meeting at Edge water Beach Hotel,
Chicago, Illinois, April 27-30, 1936

The Spring Meeting of the Society of Motion Pic-
ture Engineers will be held at the Edgewater Beach
Hotel, Chicago, Illinois, April 27-30, according to an
announcement recently by W. C. Kunzmann, Con-
vention Vice-president.

Mr. Kunzmann has just completed advance ar-
rangements for the Convention and has appointed
all local committees. C. H. Stone is Chairman of
the Local Arrangements and Reception Committee.
Herbert Griffin of New York will handle Projection

and O. F. Neu of New York is in charge of the Ap-
paratus Exhibit. Mrs. C. H. Stone has been ap-
pointed Hostess in charge of all entertainment for
women guests.

Seven technical sessions are scheduled for the
four-day convention. A get-together luncheon will
be held the first day and the semi-annual banquet
will be held on April 29th. One afternoon has been
set aside for visits to prominent motion picture plants
in the Chicago area.

be expected as the years go by.

Congratulations, Joseph Aller, upon both your
past achievements and your recent elevation to the
big job and may the procession of the years be
filled with bundles of prosperity.

The Austin Company is building the new Con-
solidated Lab. on the tract at Seward Street where
Mr. Aller will once more gather about him the
cameramen and producers whose mentor he was
in the good days at 4500 Sunset Boulevard and at
the big W-R Lab. on Melrose Avenue.

1 <

m * '

| Variable area recorders'

r ■ POTENT NO. 1985584. OTHERS PENOINC
1 ALSO

^^ 35 mm to 16 mm ^^
L ITJ REDUCTION SOUND PRINTER €jt

% \ ^ SOUND EQUIPMENT ^l

* ^J Cable address CRSCO \J

* C. R. SKINNER MFG. Co.

290 TURK STREET. PHONE ORDUTiV 6909

^ ^ San Francisco. California U. S. A. j

Please mention The International Photographer when corresponding with advertisers.

Ten

The INTERNATIONAL PHOTOGRAPHER

February, 1936

The Question of Development Time

By William Flaherty

a.-flNE of the hardest problems which confronts
riul 'he novice (and the professional, too) in
photography is that of correct development
time for films or plates. That is, how long
should he develop a certain film or plate to obtain
the best results. It is by no means an easy problem
to solve. In fact, the question of development time
is so important that one authority has stated that
the whole science of development consists in know-
ing when to stop. This is true because, generally
speaking, the photographer can best control the con-
trast of negatives by varying the time of develop-
ment.

Most beginners have an erroneous conception of
what development means. They are concerned
mainly with getting a negative image on the film
and then searching until they find a printing paper
that will give a suitable print; one that is neither
too contrasty, nor too flat. This is usually the case
with roll film where there are from six to sixty ex-
posures on one roll. When the photographer has
a camera using plates, cut film, or film pack he can
give each exposed film individual development. And
individual development means developing the nega-
tive to suit the printing paper, and not vice-versa.

Contact paper usually comes in six degrees of
contrast, ranging from soft to hard. Enlarging bro-
mide paper comes in three or four degrees, and most
of the higher grade chloride and chloro-bromide
papers come in only one degree. In any case, select
some standard brand of paper, and endeavor to
develop all negatives so that they give suitable
prints on the normal or average grades of paper.
That means that the negatives should be such that
they can be printed on paper calling for negatives
of average contrast, which in turn, is all dependent
upon the length of time that the exposed film is left
in the developer.

However, there are a number of things govern-
ing the time of development. These are mainly:

I. Nature of the subject to be photographed.

II. Temperature of developer.

III. Exposure given to film.

IV. The film itself.

V. The printing paper.

Photographic subjects can be divided roughly
into those of high, medium and low contrast. Under
high contrast subjects can be listed:

I. Landscapes which show the sky, and have
large areas of shadow in the foreground.

II. Shots made in the shade of trees, and show-
ing some sky; or else showing both the shade from
trees and patches of bright, sunlit ground.

III. Indoor scenes illuminated by light from the
windows.

IV. Landscapes with snow and dark objects or
shadows in the foreground.

V. Scenes in streets with high buildings and
showing some sky. Also indoor shots made with
Photo flash and Photo flood lamps are generally
contrasty unless the light is very well balanced or
diffused. Light which comes from a small source

such as an open electric arc or a clear glass elec-
tric light bulb gives a contrasty subject, hence the
use of diffusers. Fog and grey, overcast skies are
nature's diffusers. Any subject which has good
bright highlights and large areas of shadow near the
camera is a contrasty subject. Usually, the more
contrasty the subject the shorter the development
time.

Subjects of medium contrast include:

I. Average shots made in sunlight, such as
small groups of people, animals, etc.

II. Shots made on ordinary, well lighted streets
in which theer are no large areas of shadow within,
say 100 or 150 yards of the camera.

III. Landscapes with no heavy shadows in
foreground.

A subject of medium contrast, should be de-
veloped so that the negative will give a suitable
print on a paper of normal grade. This will be re-
ferred to later.

Low contrast subjects include:

I. Ordinary landscapes on a dull, cloudy day.

II. Shots taken in the shade where there is no
bright sunlight, or no bright sunlit areas showing,
such as in a well shaded porch.

III. Distant landscapes.

Subjects of low contrast usually call for longer
development, depending on the subject.

Temperature also has its effect on the length of
development. Ordinary developers give more con-
trast in a given time as the temperature increases.
This is especially true of metol-hydroquinone devel-
opers. In this case the increased temperature gives
the hydroquinone greater energy, resulting in more
contrast in the negative. Sixty-five degrees F. is the
temperature generally recommended by manufactur-
ers. When it is not possible to maintain this tem-
perature one must refer to the time and temperature
tables for the particular developer being used. Most
of these tables give a time which is suitable for
amateur film when exposed to subjects of medium
contrast. The time must be varied one way or an-
other when the subject is not one of medium con-
trast; contrasty subjects requiring less time, and vice
versa.

Exposure governs the shadow density of the nega-
tive, and development governs the highlight density,
so the two are related. Low contrast subjects re-

Attention

Foreign Producers!

DE BRIE AT SACRIFICE

New Type SUPER PARVO DEBRIE

Ultra Silent Camera No Blimp Necessary

Has built in motor, automatic dissolve, pilot pins and anti-
buckling device. Four 1000-ft. magazines — 40mm, 50mm and
75mm lenses — Debrie friction tripod and new type Debris
finder. Leather-covered carrying trunk and tripod cover. It's
the latest type equipment . . . like new!

Thoroughly Guaranteed

MOTION PICTURE CAMERA SUPPLY, Inc.

723 Seventh Avenue New York City

Cable: "Cinecamera"

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPH KK

Eleven

Top Left — Subject of high contrast.
Lower Left — Subject of medium contrast

Top Right — Subject of low contrast.
Lower Right — Subject of low contrast.

quire less exposure as a rule, but there are excep-
tions. Distant landscapes are low in contrast but
reflect a great deal of light toward the camera. There-
fore, less exposure and longer development. Ex-
perience will soon enable one to know when such
a procedure should be followed.

When the subject is contrasty one must give
more exposure; enough so that detail in the shadows
will have time to be recorded in the negative, and
now the development time must be less than that
shown in the tables. How much less depends on
the subject.

Some films will develop to greater contrast in a
given time than others. Until one becomes pro-
ficient in judging contrast in negatives it is better
to use only one kind of film and learn just what it
will do.

The last and most important factor to be con-
sidered is the printing paper and the kind of nega-
tive it calls for. Enlarging bromide of normal grade
requires a negative of a little more contrast than
would be necessary for normal contact papers.
Chloro-bromide enlarging papers are about midway
between the other two.

Let us suppose that we wish to photograph a
subject of normal contrast. After three or four films
are exposed, in succession, to the same subject we
go to the dark room and find that the temperature
of the developer is 60° F.

The tables might read something like this:
55° - — 30 minutes development
60° - — 25 minutes development
65° — 20 minutes development
70° -15 minutes development

One of the above films is developed for 25 min-
utes and printed on let us say, normal contact paper.
If the print is of suitable contrast we can use the
different times given in the table for all negatives
intended to be printed on this same make and kind
of paper. If the subject had been contrasty, about
18 or 19 minutes time would do. On the other hand,
if the subject had been dull or low in contrast 35

to 37 minutes development would be necessary.

In the example above, suppose that 25 minutes
development resulted in a negative of too much con-
trast for the contact paper. Take another of the
exposed films and develop for 23 minutes at 60° F.
and print again on the same kind of paper. If this
does not give a good print, try a still different length
of time. If the correct time is found to be 21 min-
utes, then we can amend the time and temperature
tables thus:

Av.

High

Low

26 min.

19 min.

41 min.

60°

21 min.

16 min.

33 min.

65°

16 min.

12 min.

25 min.

70°

1 1 min.

8 min.

17 min.

The table as it now stands will practically always
give the correct times of development when using
the same kind of film and paper as was used in the
test exposures. In the first column the times are
for average subjects; the second for subjects of high
contrast; and the third column for subjects of low
contrast.

Each particular make of developer has its own
time and temperature tables. If necessary write to
the manufacturer and ask for them. After you get
the tables try them out at 60° or 65° and find the
time for your favorite film and paper combination
and make a table as shown above. The times all
have about the same relationship to one another,
i. e.: 25-16-12 for subjects of low, medium and high
contrast, respectively.

To sum it all up briefly, choose your printing
paper and develop each negative to fit this paper.
In the long run this method will give the best re-
sults, besides making it unnecessary to stock up
with five or six different grades of paper. With
roll film cameras, more often than not all the ex-
posures will fall into one class. And finally, the
ability to judge contrast in subjects and negatives
comes only with experience. If you make a slip,
don't feel badly. Those with years of experience
make their mistakes, too.

Please mention The International Photographer when corresponding with advertisers.

Twelve

T 1 1

INTERNATIONAL PHOTOGRAP

HER

February, 1936

|HE Miniature and the 8x10: Under this
heading could be written an article far ex-
ceeding the limits of this department, listing
the pros and cons as voiced by many
camera enthusiasts, and we would probably end up
by getting nowhere. However, a talk given by Dr.
Agha, art director of the Conde Nast publications,
to the Miniature Camera Club of New York City
recently, brought out some interesting points.

The miniature camera enlargement and the
8x 10 contact print are difficult to compare, for there
is a difference between an enlargement and a con-
tact print. In the latter there exists that extreme
sharpness. We may even consider it too sharp.
It does not seem natural but rather harsh, which is
especially noticeable in portraits made with the ordi-
nary anastigmat lens. Such extreme sharpness is
desirable in certain types of commercial work.

The enlargement diffuses the sharp lines, giving
them a softer and more natural appearance, without
undue loss of detail, the latter because of the pre-
cision lenses of the miniature camera. It is there-
fore a mistake for miniature camera photographers
to make comparisons of their enlargements with
contact prints. The miniature camera is unsur-
passed for many types of photographic work, and
its owner should take advantage of its possibilities,
producing photographs that are out of question with
larger cameras.

Quality in Enlargements: In his address to the
Miniature Club of New York City, Dr. Agha also
stressed a point which has been constantly written
about in this department — enlargement quality.
Many of the miniature camera prints submitted to
him were not only obviously enlargements, but also
of poor quality. They had a grey flat appearance.
The shadows were not really black, and the high-
lights not white. We will not delve into this topic
but will refer the reader to past issues of INTER-
NATIONAL PHOTOGRAPHER. Hints on how to ob-
tain quality enlargements have been continuously
mentioned in this department.

Dust: This is the season of greatest enlarging
activity, and dust on the negatives will be the cause
of some miniature camera photographers losing their
good humor. So many materials have been sug-
gested for removing dust effectively that it would be
difficult to mention any specific item to be used for

The Miniature and the 8x10

Miniature Camera Photography

Interesting Method of Reducing Negatives

this purpose. We may say that any soft material
can be suitable for this purpose.

In many instances the difficulty will be found to
be the desire of the photographer to turn out a large
quantity of prints in a single evening. Attention is
not given to the individual negatives, with the re-
sult that there will be many dust spots in the en-
largements. If each negative is closely inspected
before prints are made, and every dust speck re-
moved, cleaner enlargements that require little or
no spotting will be produced. Undoubtedly, this will
mean that fewer enlargements will be made in a
single evening, but it is best to have a few good
enlargements than a quantity of them that will have
so many specks and spots as to entirely discourage
the photographer.

Still Another: We have heard of another sug-
gestion in reference to obtaining better results in
fine grain developing. One amateur "primes" his
developer by placing about a foot of fresh film in
it, and allowing it to remain there for 24 hours. The
film is exposed to light first. The "rawness" is taken
out of the developer, and this amateur claims that
it also produces finer grain.

Simplified Sepia Toning: We have just received
a notice from George Murphy, Inc., in which a one-
solution sepia toner is mentioned. All that is re-
quired is to immerse the prints in a dilute solution
of this product, known as Septon, and a permanent
sepia tone is obtained. The solution serves equally
as well for bromide papers and chloride papers.
This will greatly simplify matters for the photog-
rapher, and will bring sepia toning within the realm
of individuals whose available space and time does
not permit them to mix their own solutions. Further
information can be obtained by writing to George
Murphy, Inc., 57 East 9th St., New York City.

Diffusion to Minimize Grain: Every now and
then a negative having a relatively large grain does
pop up. One method of minimizing grain is to slip
a diffusion disk or filter over the enlarger lens. This
does the trick in many cases .

Mounting Prints: At times that problem of what
to do with the ever-increasing number of prints at
hand has the photographer perplexed. Many ama-
teurs prefer the usual method of mounting the prints
in an album. However, when one makes 5x7 and
larger prints the ordinary album does not seem to
be the right expedient for this purpose. One method
of keeping the prints neatly, and also enhancing
them, is to mount the prints. Uniform size boards
can be selected. It is difficult to recommend a par-
ticular type of board to use for this purpose. Any
art dealer will have quite a few different types for
the photographer to select from. A relatively simple
and inexpensive material for this purpose is known
as "eggshell board."

The prints can just be simply mounted on the
boards, or if the photographer wishes to be more
elaborate, he can draw borders around the prints
after they have been mounted. Then again, the

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirteen

boards can be cut out in the center, and the prints
placed in the cut-out portion, the mount acting as
a frame. In this case it will be necessary to have
additional material as backing.

There is one step in which the amateur usually
fails, and that is pasting the photographs to the
mounts. The proper material to use for this purpose
is rubber cement. This is used by applying a gener-
ous layer both to the portion of the mount upon
which the print is to be pasted, and to the back of
the print. The cement is allowed to dry, the print
then placed correctly on the mount. A sheet of white
paper is placed over the print, and by rubbing with
the hand the latter is secured to the mount. For
better results the mounted prints should be placed
under pressure for a short time.

The rubber cement can be applied freely, for
after the print has been mounted the surplus cement
is easily removed with an ordinary eraser, without
leaving any stains.

An Interesting Method of Reducing Negatives:

In the December, 1935, issue of the English maga-
zine Photography, a method of reducing negatives
is prescribed which not only does not increase the
grain size, but is actually claimed to produce a
finer grain. The method is to treat the dense nega-
tive with the sepia toning bleach (10 grains of potas-
sium ferricyanide and 10 grains of potassium bro-
mide to each ounce of water.)

The negative is partially bleached in the above
solution, rinsed and immersed in hypo. The bleach-
ing should not be carried too far, but the process can
be repeated time and again.

The reason it is claimed to actually create a finer

BY
AUGUSTUS
WOLFMAN

grain in the negative is the fact that the process has
the effect of reducing away the top layers of silver
first, in which apparently the larger grains exist.
In addition contrast is not increased. Quite the re-
verse this method of reduction tends to reduce con-
trast. Its effect on the reduction of grain makes this
process extremely interesting to the miniature
camera photographer.

Orange Filters in Enlarging: At times amateurs
are heard to complain about the inefficiency of the
filters they employ on their enlargers. The claim
is, that despite the fact that the filter is placed be-
tween the light coming from the enlarger lens and
the paper, the latter becomes fogged. It is usually
found in such cases that the sensitive paper is ex-
posed to the filtered light for as long as 10 to 15

(Turn to Next Page)

To
The Akers Camera Company

Your little Akers Camera has proved itself perfect for
all kinds of aerial work. Being small, it lends itself
excellently to stream-lining on set mounts anywhere on
a plane. Your pilot pin movement permits shooting back-
ground key negatives of absolute steadiness.

Very truly yours,

RAY FERNSTROM.

(Aerial and background cinemaphotographer on Universal'!
"Storm Over the Andes.")

Akers Camera Company

7414 Santa Monica Boulevard • Hollywood

Please mention The International Photographer when corresponding with advertisers.

Fourteen

The INTERNATIONAL PHOTOGRAPHER

February, 1936

minutes. The filters used with enlargers are in-
tended to enable focusing directly on the paper, and
allow the latter to be correctly placed, which should
only take a minute or two. Allowing the paper to
remain exposed to the filtered light for an unusually
long period may result in the paper becoming
fogged.

Color: One phase of photography which is des-
tined to take great strides this year is color photog-

raphy. Interest in this type of work is increasing
rapidly. The making of color transparencies has
been greatly simplified by the introduction of Dufay-
color film, and we can look forward to having pro-
cesses introduced which will enable the amateur
either to simply make actual color prints, or have
them produced at a reasonable price by photo-
graphic laboratories or manufacturers. The photog-
rapher should interest himself in color for it is the
coming thing.

Miniature Camera in the Studios

By Kenneth Alexander

|T has been interesting to note the growth
in popularity of the miniature camera
around the studios, especially as employed
. by the still men. At first a greatly despised
tool among all of us, still men and laboratory men
combined, condemned from the start, and now so
strongly entrenched as a valuable asset to "what
the up-to-date still men must have" as part of his
equipment.

It is important to keep in mind that there is no
such thing as a universal camera, one which is the
best for every purpose. Some people like blondes,
some brunettes, and the same is true in modern
photography today.

It is an absolute fact that there is a vast new
field opened up for our experimentation with the
advent of a precision instrument such as Leica and
Contax cameras.

On this matter of cameras of different types, I
have worked at both ends of the scale, from the
size 11x14 down to two-frame miniature sizes. I
obtained the finest technical quality on the 11x14
size film and used it successfully on three of our
major productions. Balancing this, however, incurred
a loss of spontaneity and animation, due to the ab-
sence of quick action in the operation of such a size
camera. This again proves my point regarding a
universal camera.

The miniature camera is a sort of stimulant to
the still man, tends to shake him out of conven-
tionality, makes him see things that go on about
us all in our daily lives and then get them down
on paper.

Now that the miniature camera is with us I find
myself more observing with an eye trained at all
times on possible photographic material.

Photography in general has evolved greatly in
the past few years. First we strove to imitate the
great painters of portraiture and landscape — and the
results were pretty bad.

Then a few of the more alert minds began to
see things of interest photographically going on all
around them and that was what brought about the
small instrument development to its present state
of perfection.

I have thrown out of the window certain ideas
of technical ptrfection and, to my mind, it is neces-
sary to do so at the start, in this sort of photography.

As I size up the situation of modern technique
and what it attempts and is intended to do, it is
this: It is a visual record of life in this year 1936,
as we find it, and the worker with the most alert,
active, observant, broad-minded point of view is in
a position to obtain the best results. And, in the
final analysis, that is what it all amounts to.

As the result of technical training, skillful still
photographers should have no trouble with the
miniature camera. We should be easily able to
eliminate all the "applesauce" which now surrounds
the choice of developers, enlargers, film and what
not. Remember, there are many good automobiles
on the market, but consider the amount of useless
argument and wasted conversation that goes on be-
tween one human being and another on this sub-
ject. The same thing applies to miniature photog-
raphy.

There are numerous simple rules, familiar to all
of us:

(1) Scrupulous care and cleanliness in all steps
of the work.

(2) A good enlarger, preferably of the condenser
type, which aids in obtaining extreme brilliancy.

(3) Avoid too much worry about fine grain de-
veloper. Get a good formula and keep it at the
correct temperature.

(4) Remember that a tripod is still a most valu-
able photographic instrument.

(5) Keep photographic quality in mind, but don't
make an issue of it. Let your subject matter and
how you handle it more than make up for certain
unavoidable set-backs of the miniature technique.

(6) Work for the play of large masses of shadow
against light, and big, broad composition of subject
matter, avoiding detailed composition entirely.

(7) Remember that there is a lot going on in the
world and, if you are on to your job as a miniatur-
ist in photography, you can register very interesting
pictures.

(8) Get set on a certain technique, suitable to
yourself, master it completely and then forget all
about it.

I would not go back to the old days, of the 8x10
camera only, for anything; in other words photog-
raphy has enlarged its vision — and it's the miniature
camera that has done it.

CINEGLOW

ELEMENT

Recording

Lamp

I.V£

• Longer Life
h
W • More Exposure

• Uniform Quality
Used The World Over

Write for prices and literature.

Blue Seal Sound Devices, Inc.

723 Seventh Ave. New York, N. Y.

Please mention The International Photographer when corresponding with advertisers.

February, 1936 The INTERNATIONAL PHOTOGRAPHER Fifteen

EASTMAN

Stiver X

PANCHROMATIC
NEGATIVE

Has No Equal —
— No Superior!

J. E. BRULATOUR, INC

DISTRIBUTORS

Sixteen The INTERNATIONAL PHOTOGRAPHER

WHAT IT TAKES TO MAKE A GOOD SPLICE

February, 1936

ET'S consider that
indispensible ad-
junct, that con-
connecting link,
of cinematography — the
good old reliable Film
Splice. For, all too soon,
"there'll come a day" as
Joe Penner puts it, when
splicing film becomes a
necessity whether you
are an advanced ama-
teur or mere beginner in
movie - making. Film
splices are used more
often for repairing dam-
aged film or for purposes
of editing, it happens, than in any other phase of
cinematography. And since this is the case, it be-
hooves everyone handling film to be adept at mak-
ing a good, clean and neat splice.

Unfortunately, it must be admitted, in the field of
amateur cinematography there is a deal of variance
in splice making. All sorts of splices, good — bad —
and indifferent, are encountered. In the majority of
cases, however, the poor splice is most often the
result of the maker's lack of experience; and very
often, his inability to use properly the splicing equip-
ment at hand. At this juncture it may be aptly re-
marked that splicing film is not at all difficult, but
it is an operation that requires skill. Only by suf-
ficient practice, as in everything else which must
be mastered, may the movie-maker acquire the
necessary technique. That old saying, "Practice
Makes Perfect," is probably truer of splicing skill
than in most any other movie-making endeavor.

Stated simply, splicing is that part of cinema-
tography whereby two films are joined together by
cutting and cleaning the overlap of one to match
the frame of the other, applying film cement, then
pressing both ends together.

Splicing is not, as many persons suppose, the
result of any "gluing" together of two film ends.
Actually, it is a chemical action in which the film
cement acts as a solvent of the slow-burning acetate
of cellulose Safety Film base. More correctly, there-
fore, the two film ends are welded together — the ce-
ment chemically softening the two surfaces which,
when pressure is applied to them and the cement
has thoroughly dried — forms a homogeneous and
continuous strip of film. The removal of emulsion
image from the overlapping portion of one film end
is required, it must be remembered, because film
cement has no action on film emulsion. To effect
the welding process of a splice, the cement must
be applied direct to the clear base of the film. Of
lesser importance for removing the emulsion, it may
also be pointed out, the overlap should be perfectly
transparent to accommodate the other film end visual
image which is spliced over it. This in order not
to obstruct the clear passage of light from the pro-
jector, and to preserve the full frame visual image
where the splice occurs. Even if it were possible
to splice film without removing a bit of the emul-
sion on one end, there would still be an overlap
in the visual image which, while only causing a
momentary dark flash on the screen, nevertheless
would prove unpleasant and annoying.

A film splice may be either of two kinds; the
straight or the diagonal. There is much to be said

AMATEUR MOTTO

HAMTLTC

for both types and at the same time, as is so often
the case in making comparisons, each also has its
drawbacks.

The straight splice is universally used in pro-
fessional films and therefore it was natural enough
that the same idea was carried over into the sub-
standard film field. Straight splices necessarily in-
clude emulsion removal from around the film per-
forations (two perforations in 16 mm.; one in 8 mm.)
and this calls for greater care in scraping than on
the diagonal splices. However, the straight splice
does not extend very far into the frame. In fact,
the smaller aperture of the projector cuts down
somewhat the area covered by the camera and at
the same time serves to reduce the width of the
straight splice to a minimum.

On the other hand, the diagonal splice advocates
uphold the claim that being longer, the diagonal
is stronger; also, that the splice runs through the
projector gate more smoothly than the straight; and
lastly, there is no danger of destroying film per-
forations in removing emulsion, preparatory to splic-
ing, as the splice does not fall at the point of these
perforation holes. Nevertheless, in actual projection
the diagonal because of its greater length, which
hits the screen diagonally, is very likely to leave
the impression of a momentary flicker.

The choice in type of splices therefore resolves
upon the individual amateur. Personally, we have
used both types of splices, for a good many years,
each with equal success. It is our experience that
proper care in making a splice is of far greater im-
portance than the type used.

It seems fitting at this point to take up the funda-
mentals of good splice-making and to enumerate
and consider them:

First — A good splicer. By this is meant a splic-
ing machine that is practically automatic and one
that minimizes actual handling of film by the splice
maker. Amateur films being the narrow gauge they

Film Ti

m Itiavel

Film Travel

Lamp

Projector Gate

Splice Overlaps

Incchhcct Lap

Ficf.t.

Cohkect Lap

are, it is manifestly impossible to do a neat splicing
job with makeshift apparatus. Cheap splicers will
only afford indifferent results, besides unduly tiring
one out in attempting to patch film. In this connec-
tion, we recall a personal experience which hap-
pened several years ago. The projectionist of a

(Turn to Page 18)

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeen

[CTURE SECTION

[EDITOR

FILM CLIPS

Blank Separation Frames in Titles: Leaving a
short section of blank film — only a few frames — be-
tween each individual title, as they are being pho-
tographed, will prove a great aid later when the
titles are being cut into a reel of movies. Thus, in
splicing, the spot where one title ends and the next
one begins is more easily located by the appear-
ance of the blank frames. The need for this splic-
ing "signal" is particularly necessary when han-
dling 8 mm. film, due to the minute frames of this
narrow-gauge stock. To incorporate blank frames
between titles, proceed as follows: After having pho-
tographed a single title, turn off the title lights. Then
press the camera operating button for a single frame
or two, exposure. Repeat this process after photo-
graphing each title, until your entire roll of film is
completed. If your titles are of the direct positive
type, the blank separation frames will be white;
or if reversal film has been used, they will be black.

Experimenting With Positive Film: No film is
cheaper than positive stock and for the amateur,
who likes to experiment, it can provide a great deal
of entertainment at small expense. Positive film is
quite contrasty, however, and has a slower speed
than regular cine film. Even so, interior scenes of
medium close-up size may be recorded on positive
with the aid of some Photoflood bulbs. Short lengths
of positive film can be developed in still-picture de-
veloping trays, using regular snapshot film develop-
ing solutions. And your own camera, provided it
has a removable lens, can be pressed into service
as a printer. With the lens detached, the camera
is loaded with the develop film strip in contact with
another strip of fresh positive. Hold the lens aper-
ture about six inches from a 40-watt bulb, with the
camera operating at normal speed. Develop this
second strip of positive, and you'll have a real
home-made print.

"Mammy": Regular reversal film will not work
this trick. But by using positive film as in the fore-
going paragraph, or regular negative-positive sys-
tem film, you can outdo Al Jolson in his famous
"Mammy" song make-up. Shoot a close-up, about
a six-foot length of 16 mm., with a result that you
have two films; a negative strip and a positive strip,
each of like footage and identical action. Now for
some editing and cutting. Begin the close-up with
about two feet (80 frames) of the positive strip; then
cut in a length of negative, switching at the identi-
cal frame of the negative which your positive ends
with. That is, the positive strip will be cut at frame
80, and the negative strip will be spliced to it be-
ginning with negative frame 81. (To keep relative
positions of the subject, the positive print will have
to be spliced emulsion face down — negative strip
with emulsion face up on the splicer.) Alternate
your cutting and lengths of both positive and nega-
tive strips, keeping splice changeovers accurately
corresponding to frame measurements. If the work
is done carefully, you'll get a good laugh when the
completed close-up is screened.

Timing Slow Motion: Don't start your camera for

(Turn to Page 18)

QUESTIONS AND ANSWERS

1. Can duplicates be made of Kodachrome
natural color films?

No, not in natural color. However, if your roll
of Kodachrome contains some valuable subject,
scenes which are impossible to retake, ordinary
duplicates may be obtained from the original Koda-
chrome roll; these duplicates will of course be on
plain black and white film.

2. What is the purpose of Fades, in most ama-
teur films?

Fades are most useful in these types of films to
impart smoothness to the pictures on the home
screen. They are generally used as follows: To
denote lapse of time; change of subject; and change
of location.

3. In photographing my own direct titles, I notice
a difference in density of the background. In every
case I was using the same lens stop with my spring-
driven camera.

No doubt the change in density, which you have
noticed, was caused by your camera spring-motor.
Some cameras have a tendency to slow down, as
the spring unwinds; thus this causes a slight change
in exposure. While this slight slowing down does
not normally affect your regular pictures, it becomes
quite apparent in the case of photographing titles.
It is good practice to wind the camera fully before
each and every title; this will remedy your trouble.
Of course, if after doing this you still encounter
trouble, have your camera checked over at your
dealer's.

4. What lens stop shall I use on my title board?
I am using positive film, making directs.

It is impossible to give you an exact lens aper-
ture setting, due to the many different types of boards
and conditions of lighting. Therefore, the only safe
way to ascertain the proper exposure for your board
is by tests, as follows: Expose about 10 feet of posi-
tive film in the test. Starting at F/16, expose sev-
eral frames; then set your lens at F/ 1 1 and expose
several more frames. Continue this procedure,
changing your lens aperture for each exposure, until
you have used the largest aperture of the lens. In-
struct the film laboratory to develop the film nor-
mal time. From the finished film you can easily
select the exposure which has given the best re-
sults. Henceforth, any future titles you make should
yield similar results.

5. Are fades possible when making direct posi-
tive titles?

Not with much success. Gradually increasing the
opening of your lens, while the camera is in opera-
tion, will simulate a fade-out; and gradually de-
creasing the lens aperture will produce a fade-in.
For various reasons, however, direct positive fades
are not recommended.

6. Why does a projector have a two- or three-
blade shutter while a camera has but one blade?

Only a single blade is absolutely necessary
either on a projector or on a camera to cover the
movement of the film from frame to frame. How-
ever, a single blade causes a noticeable flicker, of
no consequence in the case of a camera but very
objectionable in a projector. Experience has proved
that intercepting the screen images more often than
once per frame, materially reduces flicker and the
(Turn to Page 20)

Please mention The International Photographer when corresponding with advertisers.

Eighteen

The INTERNATIONAL PHOTOGRAPHER

February, 1936

WHAT IT TAKES TO MAKE A GOOD SPLICE

(Continued from Page 16)

first-run theatre, which was exhibiting some con-
tinuous narrow gauge films in the theatre lobby,
had occasion to splice the 16 mm. film. We found
him in a state of great agitation — his cement re-
fused to hold and he could not get the 16 mm. film
ends to register properly. Experienced as was our
friend in making patches, even without the aid
of a splicer on large 35 mm. professional film, he
was grateful indeed when we came to his assistance
with our 16 mm. splicing machine. Remember, then,
a really good splicer will properly hold film with-
out undue handling by the maker; will cut the film
ends accurately; will apply correct pressure on the
splice to insure elimination of any air bubbles; and
will provide a neat splice which does not disclose
an overlap of the frame or, worse yet, will not show
a white transparent line on the screen at the splicing
point.

Second — Adequate removal of emulsion from the
overlap which is to receive the film cement. Re-
moving emulsion may be accomplished by the wet
or by the dry method. The first named is the quick-
est, if not absolutely necessary, and is especially
recommended for old, brittle film. For film emul-
sion, when slightly moistened, is removed very
easily by the film scraper. However, moist emul-
sion is quite tender and open to damage until it is
dry again. And further, in spite of precautions, some
moisture remains which, when the cement is ap-
plied, destroys the efficiency of the splice, as water
and film cement do not mix. The dry method for
most films is preferable although it does require
greater care in the making. Emulsion scraping
should be done carefully to avoid ruining perforation
holes. Again, no trace of the emulsion must be
left and the film base must not be scratched into,
as this would only weaken the splice. Sometimes
it is advisable to roughen the film base surface
slightly with a typewriter eraser to insure a good
splice.

Third — Film cement that is in proper condition.
Cement is a very active solvent and prolonged ex-
posure to air quickly thickens the solution, which
will not effect a good weld. In some cases cement
may be too thin which also adversely affects splic-
ing. Nevertheless, a poor splice is more often caused
by using "stale" cement. To avoid prolonged ex-
posure of film cement to air, a special bottle, as
shown in Figure 1, has been found very useful. This
is a small-mouthed perfume bottle, fitted with a
cork into which has been fastened a quill and brush.
The bottle, positioned in a hole drilled in the splic-
ing board, is of convenient dimensions for handling
and it is possible to secure just the right amount
of cement on the brush. Only a small portion of
cement is transferred from the supply bottle, thus
insuring a fresh mixture each time a splicing job
is undertaken; and the perfume bottle prevents un-
due evaporation of the solution, because of its very
small mouth.

Fourth — Cementing the splice. When the point
of applying cement to the film is reached, both good
judgment in the amount of solution and swiftness
of application are essential. Too much film cement
applied to the base will considerably weaken it;
when dry the splice will become brittle and is quite
likely to buckle in the projector. Only apply enough
to cover the entire cementing surface with a thin
(Turn to Page 20)

FILM CLIPS

(Continued from Page 17)

slow motion scenes until the action of the shot is
under way, or wasted film will be the result. If
possible, rehearse the scene for timing, by counting
it off in seconds. For example, if the scene normally
takes 20 seconds and your rate of 16 mm. exposures
is 72 frames per second, you will be shooting 1440
frames or 36 feet of film! This shot would last 60
seconds on the screen! This is abnormally long,
will prove uninteresting in most cases, so only pho-
tograph the significant portion of action. Always
bear in mind, a slow motion shot "eats up" film
rapidly; and becomes boring on the screen if over-
done.

Title Test Trailer: Laboratories prefer to make
tests before proceeding to develop a roll of title
film. When making your titles, it is advisable there-
fore to allow for a test by including extra footage
on the last title; two or three feet will do. Before
the lab man transfers your film from reel to develop-
ing rack, he can first tear off this trailer strip for
test purposes. Foresight on your part will prevent
your last title being missing after processing; and
equally as important, the final title will not be
finger-marked, rack scratched or punctured by the
developing rack pins.

Spooling Positive Film: Since positive film ordi-
narily comes coiled on a core for laboratory use, it
is necessary to exercise certain care when you de-
sire to spool the film onto a daylight loading reel
for camera use. Your film rewinder and a five-
watt red bulb, the latter easily procurable at any ten-
cent store, are all you need. The room where you
do this work must be totally dark, except for the
red bulb which will not fog the positive. When the
film has been threaded on the camera reel, already
in place on the film rewinder, hold the core care-
fully as you begin to turn the rewinder. Avoid hav-
ing your fingers in contact with the positive. An-
other word of caution: do not rewind too fast. Posi-
tive, as it uncoils from its core, is subject to static
electricity. Quite often you can hear the crackling
and see the static, therefore wind the film very
slowly — you don't want it fogged before you have
a chance to use it in your camera.

Film Splicer: Do you number yourself among
those movie makers who, having bought a camera
and a projector, believe their outfit is complete?
This is not unlike starting an automobile trip with
no spare tire, as you'll soon find urgent need for
a good, automatic splicer in your movie making
activity. A splicer is one accessory that is indis-
pensable in cine work. Its cost is small indeed com-
pared to the yeoman service it will render. And
while you're at it. buy a good splicer; one which
minimizes handling film by your fingers and one
which makes a neat splice.

Winter Filming: When taking your camera from
the warmth of your home for outdoor service on
extremely cold winter days, moisture is likely to
condense on the front lens element. Always check
the lens for this condition before taking your first
pictures.

Please mention The International Photographer when corresponding with advertisers.

February, 1936

T h

INTERNATIONAL PHOTOGRAPHER

Nineteen

THE ARCHAEOLOGY OF A MOVING PICTURE

(Continued from Page 7)

ficiently to attract attention as a possible means of
recording pictorial motion. In 1849 Plateau sug-
gested that it could be employed to obtain a series of
photographic images to be used in his Phenakisto-
scope. Because photographic emulsions at this time
required lengthy exposures — sometimes of an hour's
duration — it was Plateau's intention to photograph
models rather than persons in various poses and by
this method get an outline that would be more accu-
rate than the hand-drawn pictures he had been
using.

Desvignes was the first to achieve a photographic
motion picture. In 1860 he photographed for his
Wheel of Life a series of pictures of a steam engine
in which he showed the flywheel revolving. The
next year Du Mont, in England, patented (British Pat-
ent No. 1457) a method of photographing successive
poses in which a shutter exposed the photographic
plates as they succeeded each other. He suggested
several methods of changing the plates, such as
arranging them as facets on a prismatic drum, or
dropping them from an upper chamber to a lower
one. It was his hope to successfully photograph the
necessary progressive poses in order to portray mo-
tion; but the photographic emulsions of the time were
still too slow.

The most significant of the experiments of this
time were those conducted by Coleman Sellers in the
United States. He attacked the problem as an avo-
cation to make a toy to amuse his children. He pho-
tographed his two children at play in a series of
poses. The difficulties he encountered may be
judged from the fact that the fastest of the photo-
graphic methods of his time was the "wet plate"
method. In this system the photographic emulsion
had to be kept moist during exposure, and to do this
and photograph his children while they held the
necessary poses was no small task. In order to keep
his plates moist a sufficient length of time, he em-
ployed glycerine. After he finished the photographs
each pose was mounted on a paddle and the pad-
dles were mounted by means of hinges to a hub. By
turning the hub each paddle was raised to an eye-
piece, then as the hub progressed in its revolution
the first paddle dropped from view, leaving the next
paddle exposed to view. This device was patented
in the United States, No. 31,357, on February 5, 1861,
as the Kinematoscope. The word "Kinema" used
here for the first time in reference to the motion pic-
ture eventually came to be its international name.

Ducos de Hauron in 1864 filed a patent applica-
tion in France on a device which may be said to be
the first motion picture camera. In this application,
he designated a series of small lenses mounted in a
band in conjunction with an aperture for a shutter.
This band, as well as the sensitized photographic

band, unwound by means of sprockets and perfora-
tions simultaneously from one spool to another. The
viewing was accomplished in the same manner.
This patent was not published until 1900, as No.
61,976.

In the subsequent years many attempts were
made to achieve the motion picture. J. A. Rudge, in
1866, tried to photograph motion as a series of poses,
and four years later he exhibited some pictures in his
"Bio-Phantoscope," which was a magic lantern with
a revolving lamp house. He mounted his poses of
the action which were in the form of a transparency
slides around the lamp house, and in turning it by
means of an intermittent arrangement, each picture
was projected to a screen.11' He also used a shutter
that intercepted the light beam while the picture was
being turned in place. Edwards, in 1867, took out
British Patent No. 849 on a system for taking succes-
sive pictures instantaneously on the same plate,
which was later used by both LePrince and Friese-
Greene with a certain measure of success.

Henry Renno Heyl evolved still another method.
He took posed photographs of a couple doing a
waltz by the wet collodion process, then mounted
the photographs in the form of transparencies around
the periphery of a large disc. The disc was re-
volved intermittently by ratchet and pawl, and a
shutter was arranged to cover each picture during
substitution. Heyl exhibited his "Phasmatrope" at
the Academy of Music in Philadelphia on February
5, 1870, to an audience of about 1600. His motion
picture of eighteen separate poses attracted much
attention. Ottomar Ancheutz in 1889 further im-
proved this type of device, which in principle dates
back to the Phenakistoscope of 183 1.17

In 1870 E. J. Marey, and two years later Edweard
Muybridge, independently commenced their famed
studies of motion, though neither man did much to-
ward recreating the illusion of motion. Both were
concerned with the biologic study of motion; how-
ever, due to the extent of their researches they have
become by tradition connected with motion picture
history. Even though their primary aim was to pho-
tographically record the progressive poses and mus-
cular movements of moving bodies, they later turned
their attention to the problem of showing their pic-
tures consecutively. Muybridge did his photograph-
ing with a battery of cameras side by side, which
resulted in the illusion of his subject standing still
while its limbs moved, as when a person walks on
a continuous belt. Marey in 1882 invented a "Pho-
tographic Pistol" with which he could successfully
photograph images on the same plate through the
same lens as is embodied in the successful cinema
equipment. However, this also was limited, since

(Turn to Page 26)

1 1*

" ■:▼

MAX FACTOR'S

N EW

LIQUID FOUNDATION

A REVELATION IN FACIAL MAKE-UP

Twenty

The INTERNATIONAL PHOTOGRAPHER

February, 1936

QUESTIONS AND ANSWERS

(Continued from Page 17)

eye strain on the audience. Hence the reason for
a two- or three-blade projector shutter.

7. Are duplicates from an original 8 mm. rever-
sal film available?

At the present time, this service is not avail-
able by the film manufacturer. Nevertheless, there
are certain laboratories prepared to do this work.

8. Can 8 mm. reductions be made from 16 mm.
film?

Yes. Certain laboratories specialize in this work.

9. Is 8 mm. positive stock available for title
work?

Yes. This positive is in regulation 16 mm. width,
but has the special 8 mm. perforations. It will fit
the Eastman Cine-Kodak 8 mm. camera models, as
well as the Keystone 8 mm. camera. After develop-
ment, the 8 mm. positive stock must be split in two
in order to run it on an 8 mm. projector. A Film
Splitter is available for this purpose.

10. Does 8 mm. positive stock possess the same
speed as 16 mm. positive?

Yes. There is no difference between the two
films, as far as speed is concerned. For example:
If the F/8 is the correct exposure for a 16 mm. posi-

tive title, the same aperture, F/8, would also be
correct for an 8 mm. positive.

11. In making tests of a home-made title, is it
necessary to screen the results?

It is advisable to do so. While many an amateur
has sharp eyes and may be able to detect a "down
hill trend" in a title by viewing it through a film
viewer machine, it is far better practice to screen
the title on a good size screen. If your title will
pass this test which, after all is the only good one,
you'll know you're making real titles.

12. How much film cement should be applied
to make a satisfactory splice?

Only enough to spread a thin coating on the
scraped portion of film. Too much cement makes
a bad splice and a messy one.

As a service to amateur movie-makers, we ex-
tend a cordial invitation to write in questions which
will be replied to in this department. Address all
such letters to:

Questions and Answers Department

THE INTERNATIONAL PHOTOGRAPHER

1605 North Cahuenga Avenue

Hollywood, California

WHAT IT TAKES TO MAKE A GOOD SPLICE

(Continued from Page 18)

layer of the solution. As quickly as possible bring
the two film ends together, under pressure, and al-
low about ten seconds for the initial set of the ce-
ment. After this, remove pressure and wipe off any
excess cement from both sides of the film.

Fifth — Neatness. This attribute of a good splice
can only be obtained by exercising extreme care
in the whole cycle of operation of splicing, with
particular emphasis on proper scraping, applying
cement carefully, and quick removal of any excess
amount. In the case of sound film, neatness is ex-
tremely essential; for as you know, the sound track
is scanned by exciter lamp and photo-electric cell
in the process of sound reproduction. Any smudge
or buckling splice greatly alters, if only temporarily,
the quality of the sound coming from the screen.

Speaking of sound, there are special precautions
to observe in splicing both types of talking picture
film. All the foregoing that has been mentioned
for splicing silent film applies to sound film and
more!

Sound-on-disc, while being the earlier method for
sound reproduction, is still quite largely employed
in the amateur field of cinematography. We will
even venture the opinion that in the case of 8 mm.
sound-on-disc is admirably suited and we may yet
see it used for the benefit of the users of this minia-
ture movie film. As is well known, sound-on-disc
film is perfectly synchronized to its companion disc,
from first frame to the last frame of the film. Any
damage to this film, even amounting to only three
or four frames, must be replaced by an equal num-
ber of frames of blank film. Unless this is done,
correct synchronization will be lost between film
and disc; from the point of the break the picture
will be ahead of sound and will so continue until
the end of the reel. Insertion of the correct num-
ber of blank frames, while splicing, will overcome
this difficulty, and will only cause a momentary
blank screen when projected. Perhaps you will

recall the earlier Vitaphone professional movies,
with such a patch, when the picture disappeared
for a second or so while the sound continued from
the blank screen speakers.

Happily enough, sound-on-film can't lose syn-
chronism and thus becomes almost as simple to
splice as silent film. The sound recording is spaced
on the sound track next to the pictures, so when
damage occurs both are deleted from the reel. Nev-
ertheless, since with this film we are dealing with
a sound track and a photocell which "observes"
everything, the sound track should be shaded at
the splice to avoid any annoying "plop" from the
sound screen speakers, as the double-thick film
splice runs through the projector sound gate past
the exciter lamp and photo-electric cell. Shading of
a 16 mm. sound splice should be done carefully
and very neatly, and painting it out is best accom-
plished by using lacquer. Thus shading a sound
splice reduces the sound level to an insignificant
intensity, but does not last long enough to be per-
ceptible to the audience.

Although in splicing any type of film, sound or
silent, the position of the overlap of the splice is
seldom observed in amateur movies, it is worthy
of note. No matter how well a film is spliced, there
remains the possibility of the splices opening slight-
ly at the edge. Referring to Figure 2, it will be
noted that during the projection if the open edge
faces, as at A, it may tear apart. But if it faces,
as at B, there is less likelihood of this happening.
In splicing therefore this position of the overlap
should always be observed, bearing in mind like-
wise that reversible and negative-positive system
films face different ways when they are screened.
All original reversible film and reduction prints made
from 35 mm. must have their respective emulsion
face towards the screen. But all contact prints made
from 16 mm. negative and duplicates of original re-

(Tiirn to Page 25)

Please mention The International Photographer when corresponding with advertisers.

February, 1936 The INTERNATIONAL PHOTOGRAPHER Twenty-one

STAR
PERFORMER

SUPER X delivers unparalleled photographic
quality to the screen. That is why it continues
to hold its position as star performer among
negative motion picture films. That is why
it plays a part in most of the feature pictures
released in the world's leading movie-pro-
ducing country. Eastman Kodak Company,
Rochester, N. Y. (J. E. Brulatour, Distributors,
Fort Lee, New York, Chicago, Hollywood.)

EASTMAN SUPER X

PANCHROMATIC NEGATIVE

Tzventy-two

The INTERNATIONAL PHOTOGRAPHER

February, 1936

The Cinematographer's Book of Tables

By Fred Westerberg

APPARENT VELOCITY OF SCREEN IMAGE

THE EFFECT OF MINIATURE SCALE AND CAMERA SPEED

ON THE APPARENT VELOCITY OF A MOVING IMACE

ON THE SCREEN

Camera
Speed

in
Pictures

Per
Second

192

144

96
72

48
36

MINIATURE SCALE

1/2

1/3

1/4

1/6

1/8

1/12

APPARENT VELOCITY OF SCREEN IMACE COMPARED
TO REAL VELOCITY OF OBJECT WHEN PHOTOCRAPHED

1/8

1/6

1/4

1/3

1/2

2/3

1/4

1/3

1/2

2/3

1 1/3

3/8

1/2

3/4

1 1/2

1/2

2/3

1 1/3

2 2/3

3/4

1 1/2

1 1/3

2 2/3

5 1/3

1 1/2

GEAR-BOX CRANKING SPEEDS

Camera

Speed

Pictures

Per
Second

Relative
Camera
Speed

CEAR-BOX RATIO USED

1-3 1-4 1-6

1-8

REQUIRED CRANKING SPEED IN
TURNS PER SECOND

192

144

2 1/4

1 1/2

2 1/4

1 1/2

1 1/2X

1 1/2

Based on Normal Camera Speed ot 24 Pictures per Second.

REAL VELOCITY OF OBJECT

CHECKINC THE REAL VELOCITY OF A MOVING OBJECT
WHETHER ACTUAL SIZE OR BUILT TO MINIATURE SCALE

VELOCITY

DISTANCE TRAVELED

Miles
Per
Hour

Feet

Per

Second

25 Feet 100 Feet 1 Mile

ELAPSED TIME IN SECONDS

2.50

3.667

6.80

27.2

1440

3.00

4.400

5.68

22.8

1200

3.50

5.133

4.87

19.4

1029

4.00

5.867

4.26

17.0

900

4.50

6.60O

3.79

15.2

800

5.00

7.333

3.40

13.6

720

5.50

8.067

3.10

12.4

655

6.00

8.800

2.84

11.4

600

6.50

9.533

2.62

10.4

554

7.00

10.267

2.43

9.7

514

7.50

11.000

2.27

9.0

480

8.00

11.733

2.13

8.5

450

8.50

12.467

2.01

8.0

424

9.00

13.200

1.89

7.6

400

9.50

13.933

1.80

7.2

379

10.00

14.667

1.70

6.8

360

11.00

16.133

1.55

6.2

327

12.00

17.600

1.42

5.7

300

13.00

19.067

1.31

5.2

277

14.00

20.533

1.21

4.9

257

15.00

22.000

1.14

4.5

240

16.00

23.467

1.06

4.3

225

17.00

24.933

1.00

4.0

212

18.00

26.400

.95

3.8

200

19.00

27.867

.90

3.6

190

20.00

29.333

.85

3.4

180

For higher velocities move decimal points to the right in first two columns,
to the left in the other three columns.

TEAGUE

Back Projection

Back - Ground - Projection

Complete Units Bell & Howell Type Registration Projector

Optical Printers

Electric - Interlock Camera Drives

Equipment on Productions
Hollywood and European Studios

COMPLETE UNITS FOR RENTAL

General Service Studios

Stage - Space - E'cts.

TEAGUE PROCESS

HOLLYWOOD

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-three

Ashcraft Automatic Control Company

(A New Line of Arc Equipment Coming Up)

|HE use of arc lamps is daily coming into
more favor for lighting motion picture sets.
After several years of comparative disuse
the inherent merits of this form of light are
again being recognized and, today, we find all
available arcs in use. In the effort to supply this
hard light the only thing the studios could do was to
resurrect the arc lighting equipment which was built
many years ago and which they have already on
hand.

In spite of the excellent mechanical performance
of this old equipment the fact remains that it is not
in any way adapted to modern studio practice. We
may point out that these lamps produce a quality
of light, which, although well adapted for exposing
the old orthochromatic film of silent picture days
that today's picture production demands a quality
of light in an entirely different key, namely: The use
of incandescent light has crystallized photographic
practice in a color key towards the lower end of
the spectrum.

Also, although the efforts of the lighting men to
silence the formerly noisy mechanisms has proven
to be successful in a measure, we feel that these
efforts have been of a makeshift nature which have
been necessary in an effort to bring the old equip-
ment up to date, or at least to make the old equip-
ment conform in some measure to the rather rigid
requirements of sound picture practice.

The answer to this situation would be that arc
equipment be placed at the disposal of the studios
especially designed to meet today's requirements.
The characteristics of this new equipment should be,
first: To project a quality of light correctly color bal-
anced for the exposure of modern superspeed pan-
chromatic film; and second, to conform as closely
as possible to the mechanical practice existing to-
day in lighting departments.

This technique has undergone a vast change
since the old days when noisy, bulky and inefficient
arc equipment was in vogue. Today, due to several
years use of the perfectly silent and light weight
incandescent lamp, a new order of studio practice
brings the expectancy by lighting men that arc
equipment offered for their use must be highly effi-
cient, silent and light in weight also.

Earnest efforts on the part of Ashcraft Automatic
Control Company to reconcile the arc lighting situa-
tion to modern practice has resulted, after many
months of development, in the production of an arc
spotlight built to conform as closely as possible to
the requirements of today's sound picture needs.
The manufacturers of this new lamp have endeav-
ored to produce a lamp so efficient as to surpass
both the former arcs and incandescents in light value
while drawing an extremely small amount of cur-
rent and to reduce the weight of the new lamp to
less than half that of existing equipment.

Considerable success has been attained in the
production of a new quality of light for this lamp,
which shall give a correct color rendition of full

range for panchromatic film. This means that while
the low key lighting of the incandescents has been
retained, the complete range of color into the greens
and blues is covered.

Not the least of the valuable features of this new
lamp is the perfectly silent fully automatic feed
which has been adopted. This permits the lamp to
be burned without attention for retrimming through-
out an entire day's shooting.

The makers of this new line of arc equipment
have uncovered a valuable fact relating to the arc
flame proper. The use of a full automatic feed per-
mits the use of carbons which burn with a small
extremely steady flame of such inherently silent
nature as to preclude the use of chokes or other
silencing equipment for eliminating the arc noise
produced by line current ripple. When one con-
siders the weight of a choke coil (about 100 lbs.)
used on each arc lamp of the present type to reduce
the noise below the audible range, it can be seen
that with the use of this new type of equipment the
weight of all these auxiliary devices can be elim-
inated.

3fie Ashcraft Automatic
Control Co.

ANNOUNCES

the first product of a complete line of arc lighting
equipment for motion picture studio lighting, the

ASHCRAFT "30"

A NEW SILENT ARC SPOTLIGHT designed espe-
cially for lighting SOUND PICTURE sets.

LIGHT IN WEIGHT. A one-piece lamp weighing
only 65 pounds.

LOW IN CURRENT CONSUMPTION. Draws
only 30 amperes.

HIGH IN EFFICIENCY. Illumination value equal
to former designs drawing 80 amperes.

LOW IN CARBON CONSUMPTION. Operates
through full day's shooting without retrimming.

PRODUCES A NEW QUALITY OF LIGHT cor-
rectly color balanced for the exposure of modern
super-speed panchromatic film.

THE
ASHCRAFT AUTOMATIC CONTROL CO.

6729 SANTA MONICA BLVD. CL. 7303

Please mention The International Photographer when corresponding with advertisers.

Twenty-fou)

The INTERNATIONAL PHOTOGRAPHER

February, 1936

Art Work On Photographic Prints

Coloring With Oil Paints

Mr. Le Heart's artistry is

internationally known. In

this art his judgment is

authoritative.

[LACK and white photographic prints of sug-
gestive interest quite often tempt the pho-
tographer to enhance them by additional
art hand work. Many sorts of art expres-
sion are at service for the photographer that may
be applied on the photographic image; of these the
transparent coloring in oil paints is the most popular
as well as the most expressive. Through intelligent
conception of such coloring the black and white
print acquires what might be termed a natural ap-
pearance.

Hand coloring of prints is generally regarded as
an art that is easily learned and widely understood
and accessible to almost any one who might hap-
pen to have a tuft of cotton and a tube of paint. The
art of oil coloring contains its own "tricks of the
trade" which when applied elevate the standard of
such work to the level of equality with other works
of art.

As there is no space to write a complete treatise
on hand coloring of prints, a few important high-
lights of its technique can be shared with the reader.
The kind and the quality of paints that are most suit-
able for this work, the surface of the photographic
papers most beneficial for oil acceptance, the print-
ing of a print in quality for coloring and a few illus-
trations on color effects upon the black and white
print are the highlights of this issue.

Almost any oil prepared paint is good for hand
coloring of prints. The list of tints and shades of
various colors found in tubes of art oil paints is more
than sufficient to satisfy the color artist. While
most of the oil paints are transparent when properly
applied with cotton over the photograph, some of
the paints known as "lake" colors are more so and
they present very little effort of retaining the per-
fect visibility of photographic details from under the
color. The commonly known as "photo oil colors"
are mostly composed of the selections of lake colors
and, therefore, are quite answerable to the purpose
of anyone who desires to do his own hand color-
ing of prints.

The surface of the photographic image or the
grade of paper should be considered in favor of
coloring. The paper must be reasonably soft in order
to accept the color pigment and retain it after the
oil is dry. The original tint of the paper itself hardly
bears any effect upon coloring, although the papers
of buff tint finish are more preferable, due to their
warmness.

Since the principle of oil tinting is the application
of paints in transparency over the image, the photo-
graphic quality of the print must be perfect as pos-
sible if a good job of coloring is anticipated. A weak

By Avenir Le Heart

photographic print will show itself through the color
and the ultimate effect will be a weak coloring. The
same in reverse applies to the excessively printed
image. A good print is a good ground for coloring.

Preparing a print in chemical toning for the pur-
pose of coloring hardly justifies, since the paints in
their variety of tones and shades are a better source
for obtaining the desired color tonation. Skillful ar-
rangement of colors, held to one key of color, will
more than better the effect of preparatory toning.

The ground substance of a black and white pho-
tographic image is the tonation ranging from perfect
white to the utmost black. These degrees of black-
ness are permanent, non-removable and solid and
placing the color over such blackened spaces should
be seriously considered. Forcing a light luminous
color over an area of the photographic blackness is
quite futile and should be substituted by an illusion-
ary approach. It is quite impossible to expect the
appearance of a light green shade of color, the
natural shade of foliage, to register correctly over
a photographically darkened area of the print. To
offset this handicap and in order to create the pleas-
ing semblance of foliage it is necessary to soften
the blackness of the foliage on the print with warm
brown throughout as an under coloring coat and then
to touch the highlights of foliage with warm yellow.
It is known that yellow mixed with black photo-
graphic undertone will give the pleasing appearance
of green.

The lustrous effect of red, especially red flowers,
is quite often lost due to the photographic under-
tone of black. The nearest remedy of bringing the
semblance of fiery red is to tint the red flowers
with water soluble red dye and over it to touch with
deeper shade of red oil paint.

Coloring of a daylight sky which conventionally
appears to be a blue, should hardly ever be tinted
in a shade of pure blue. A slight addition of lemon
yellow mixed into the pure selected blue for the
sky will produce the shade that will be pleasing
and in perfect harmony with the rest of colors on
the picture.

In coloring portrait prints the correct tone of flesh
quite often presents the major difficulty. As the
undertone of photographic white and black of the
flesh differs in every print, so the quality or mix-
ture of flesh tint should differ in coloring. A tube
of flesh tint might serve the purpose in coloring of
any print if the quality of coloring is just a mere
suggestion, otherwise preparation of a suitable mix-
ture of flesh tone is recommended. The color of flesh
is orange which is modified by the addition of either
yellow dark or red, if necessary it is diluted with
either mixing medium or white.

Opaque or solid painting with brushes over the
paper prints is not recommended generally. The
sensitive surface of the paper is too smooth to accept
the brush strokes and they might appear in too great

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-five

a contrast with transparent tinting throughout. On the
other hand certain studies may gain in coloring if
skillfully touched with opaque brush work. On the
views such places that may be touched with the
brush or flowers, foreground bushes, stumps, rocks —
in fact, the items of attraction that are not occupy-
ing any amount of space and are well pronounced
in their outlines. On the portrait studies the details
such as eyes, eyelashes, the upper lip and jewelry,
if there is any, may likewise be effectively touched
in opaque with brushes. The most important con-
sideration in the art of coloring should be given to
the use of colors in harmonious combinations. The
best of workmanship is lost if the colors on the
study are clashing and in violation with the laws
of color harmony. The theory of color harmony is

very simple and can be easily learned by acquaint-
ing oneself with the color harmony spectrum and
its practical applications.

Coloring photographs by hand has been a by-
product or an allied art of photography since its
birth. In the days gone by it has been the privi-
leged art of an artist, now it has grown to the size
of an industry in itself with a great number of peo-
ple occupied in performing it. It is widely known
as a commercial art, although it is taken by a great
many as an enticing pastime or fascinating hobby.
Everyone who performs this work, by its conception,
is entitled to be classified as an artist. The name
of an artist would be justly applicable if everyone
involved in this good work would be conscientious
in giving it its due by elevating its standard of
quality to the higher grade of betterment.

WHAT IT TAKES TO MAKE A GOOD SPLICE

(Continued from Page 20)

versible film have their film base — shiny side — face
the screen. Therefore, to place the overlap cor-
rectly, we shall have to consider the splicer that
is used, and the direction of travel of the film on
the rewinding board on which the splicing is done.
With the majority of splicers, the film is placed
emulsion-side upwards; the left film end is scraped,
and the right film end is cemented over it. Thus,
for proper overlap of a splice, when patching origi-
nal reversible film or reduction prints, work from
right to left. That is, a supply reel of film should
be placed on the right-hand rewind spindle, with
the tops of the pictures pointing to the left-hand re-
winder spindle; this direction of travel must be main-
tained from the beginning to the end of the reel.
On the other hand, however, when splicing con-
tact prints made from 16 mm. negatives or duplicates
of original reversible films, work from left to right

on the splicing board; the tops of these films must
point in the direction of the right rewind spindle.

Cleanliness is very necessary in making good
splices and should be observed at all times to pro-
tect film from finger marks and mars during splic-
ing. As a protection against finger marks, it is
advisable for the amateur to wear gloves — a pair
of cheap white cotton gloves serves nicely. Do
not allow the film splicer to become rusty or allow
film cement to accumulate on the metal parts there-
of. After having finished splicing, clean the splicer
thoroughly. Dried cement is quickly removed from
the metal parts by painting with film cement and
wiping off with a dry cloth.

The knack of good splicing is well worth the ini-
tial practice it takes to acquire. For, in all your
movie-making activities, you'll have frequent use for
that old reliable — the Film Splice.

ArtReeves film tested equipment

Variable Area Recorders
Light Test Machines,
Bloop Punches,
Soundolas,

Amplifiers,
Microphones,
Cables,
Glow Lamps,

Developing Machines
Galvanometers,
Interlock Motors,
Reeves Lights & Stands.

"ArtReeves

Dependable Equipment At Prices Within Reason.

Motion PioTure/^qljipmemTCo. |Td

645 NORTH MARTEL AVE-

CABLE ADDRESS ARTREEVES

HOLLYWOOD, CALIFORNIA, USA

Please mention The International Photographer when corresponding with advertisers.

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

February, 1936

THE ARCHAEOLOGY OF THE MOVING PICTURE

(Continued from Page 19)

he could only photograph twelve pictures on the
plate.ls 10

Now the Living Picture awaited a successful pho-
tographic medium. By a combination of the contri-
butions of many men, the general mechanics for the
portrayal of pictures in motion were achieved. No
one man may be said to have invented the prin-
ciple of the motion picture but each pioneer contri-
buted a detail. Bands to carry pictures were sug-
gested by Stampfer in 1833; photography was used
by Plateau in 1849, who, while blind, magnificently
hoped to create living pictures; Brown in 1869 in-
vented several intermittent devices, one of which
was a star and pin similar to the Geneva or Maltese
Cross intermittent now used so generally. At this
time Brown used a two sector shutter as is used on
projectors today. Janssen in 1874 evolved a photo-
graphic gun camera which used a single lens for
taking a series of pictures on one plate. Even the
word "Kinema" had been in use for a great number
of years.

The successful motion picture awaited the roll-
able celluloid film, which was to be probably the
greatest single contribution of them all. Hannibal
Goodwin conceived the idea which he patented in
1887 as United States Patent No. 610,861, although
the patent was not reduced to commercial applica-
tion. That distinction goes to George Eastman and
his co-worker, Harry Reichenbach. On April 9, 1889.
Harry Reichenbach, with Eastman as assignee, ap-
plied for a U. S. Patent which was granted on Decem-
ber 10 of the same year. That patent gave practical
celluloid photographic film to the world. It may be
said to be the birthday of the celluloid and silver
medium of our theatres, because on that day the
motion picture was made possible. In the mean-
time, LePrince, Friese-Greene and Edison had under-
taken, unknown to each other, the problem of mak-
ing pictures live.

The Successful Cinematic Picture

Who, definitely, perfected the successful motion
picture equipment? If that question is asked an
American his somewhat noncommital reply will be
Thomas Edison, while an Englishman will maintain
that Louis A. A. LePrince or William Friese-Green
invented it. A Frenchman will point to the work of
Louis and August Lumiere, and a German will be-
lieve that Oscar Messter made it possible. The im-
portance of the contributions of these individuals to
the art is a disputed point which need not be con-
sidered here. Let it suffice to summarize each of
their achievements from which the critical student
will deduce that each served to crystallize in their
own country the age-old idea of living pictures.

LePrince was granted a British Patent No. 423 on
November 16, 1888, on a one and multiple lens cam-
era, or "receiver" and projector, or "deliverer." At
this time he was granted an American patent from
which the claims for the single lens camera were
not granted, due to the interference of the earlier
patent of Du Mont. Subsequent to the granting of
these patents he made a camera having sixteen
lenses from the drawings that accompanied the pat-
ent specifications. These lenses were arranged in
two parallel rows of eight. Each of the lenses of the
first series were to consecutively photograph, while
the sensitized paper or film band facing the other
eight was being moved forward in readiness for

their exposure. Pictures taken in this manner from
two viewpoints would not be steady on the screen,
although it would be possible to get stereo effects if
both rows of lenses exposed simultaneously; how-
ever, this was not LePrince's intention.

At an unestablished later date LePrince made a
single lens camera which he evidently used in tak-
ing the pictures exhibited at the Paris Opera House
on March 30, 1890. At this time, according to a
signed statement by Ferdinand Mobisson, secretary
of the National Opera, LePrince had a successful
showing. The work of LePrince is significant and
had he not unaccountably disappeared on Septem-
ber 26, 1890, the course of motion picture history
might have been filled with his name.

William Friese-Greene first started working on the
motion picture problem sometime in 1883. He began
with a series of experiments in recording motion on
glass plates, which were to be shown in the "Bio-
Phantoscope" device made by J. A. Rudge. After
the death of Rudge, Friese-Greene continued his ex-
periments and in 1885 demonstrated some pictures
taken spirally on glass. These were not a success,
so he tried to photograph on paper bands made
transparent with castor oil. On June 21, 1889, he
and Mortimer Evans applied for a patent in England
which was accompanied by conceptional drawings
made by Evans. The date of the construction of
this camera covered in the patent has not been es-
tablished, although it evidently was at a later date
if we may judge from the Scientific American Sup-
plement of April 19, 1890, page 11921, in which is
described the mechanism of his camera and closes
with: "Some years ago he exhibited a little optical
lantern which cast four pictures in succession upon
the screen, and before one was quite removed, the
next was superimposed.

"By an improvement upon that lantern, now in
the course of manufacture, Mr. Greene hopes to be
able to reproduce upon the screen, by means of
photographs taken with his machine 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 the loud speaking phonograph."

Though he worked hard to achieve the motion
picture, his contributions were chiefly of a theoretical
nature and had little importance in actual screen
history.

(Concluded in March)

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPHER

Tiventy-seven

Recent Photographs and Sound Patents

By Robert Fulwider

Registered Patent Attorney
(Wilshire at La Brea, Los Angele>

2,022,665 — Plastic Sound Reproduction System.
W. H. Halstead, White Plains, N. Y.

2,022,768 — Process of Printing Copies from Len-
ticular Film. Gerd Heymer, assignor to Agfa Ansco
Corp.

2,022,902-2,022,903 -- Acoustic and Cinemato-
graphic Apparatus. Household Cabinet for Motion
Picture Projection. A. A. Thomas, assignor to
R. C. A.

2,022,933— Photographic Printing (Lenticular). J.
Eggert and Gerd Heymer, assignors to I. G. Farben-
industrie, Germany.

2,022,934 — Film Editing and Splicing Apparatus.
Arthur R. Guth, New York.

2,022,978 — Objective for Taking, Printing and Pro-
jecting Lenticular Films. Kurt Rantsch, assignor to
Opticolor Co., Glarus, Switzerland.

2,023,065 — Motion Picture Apparatus. F. Conrad
and C. Aalborg, assignors to Westinghouse Electric
& Mfg. Co.

2,023,103— Motion Picture Apparatus. Walter H.
Schulz, assignor to Westinghouse Elec. Mfg. Co.

2,023,348 — Apparatus for Optical Printing. Denes
von Mihaly, Berlin, Germany.

2,034,411— Motion Picture Camera. T. M. DeLa-
Garde, Los Angeles, Cal.

2,023,493 — Driving Mechanism for Motion Picture
Cameras. Leland H. Stanford, U. S. Army, Fort
Shafter, Hawaii.

2,023,581 — Sound Picture Projector. Omer Glunt,
assignor to Bell Telephone Co.

2,023,649 — Device for Recording and Reproducing
Films. William Six, et al., Eeindhoven, Holland.

2,023,770 — Sound Film Equipment. Kurt Riess,
et al., assignors to I. G. Farbenindustrie, Germany.

2,024,080 — Light Source for Recording Sound on
Film and Method of Producing Same. Stewart Whit-
man, assignor to Whitman Sound System, Dover,
Del.

2,024,081— Composite Picture Mat. Frank Wil-
ham, Los Angeles.

2,024,522 — Color Photography. G. B. Harrison,
assignor to Dufaycolor, Ltd., London, England.

2,024,563 — Process for the Reproduction of Sound
Recorded by Means of Photograms. R. Berthon, as-
signor to Kislyn Corp., N. Y.

2,024,608-2,024,609— Sound and Picture System.
E. H. Smythe, assignor to Bell Telephone Labs.

2,024,627— Edge Marked Motion Picture Film. John
Crabtree, assignor to Eastman Kodak Co.

2,024,644 — Process and Solution for Treating Pho-
tographic Images. K. C. D. Hickman, assignor to
Eastman Kodak Co.

2,024,660 — Automatic Film Threading Control.
W. A. Riddel, assignor to Eastman Kodak Co.

2,024,661 — Apparatus for Controlling Photo-
graphic Exposures. Odon Riszdorder, Budapest,
Hungary.

2,024,869— Apparatus for Motion Pictures. N. Ny-
strom, assignor to United Research Corp., Queen
County, N. Y.

2,024,942— Sound Recording System. J. A. Miller,
assignor to United Research Corp., New York, N. Y.

2,025,327 — Method and Apparatus for Producing
Composite Pictures. C. S. Briel, assignor to Cinema
Developing Co., Chicago, 111.

2,025,366 — Portable Sound Film Reproducing Ap-
paratus. Denes von Mihaly, Berlin, Germany.

2,025,374 — Sound Transmitting System. L. G.
Bostwick, assignor to Bell Telephone Co.

2,025,608 — Method and Apparatus for Recording
and Reproducing Mechanical Vibrations. R. L. A.
Nublat, Paris, France.

2,025,658 — Process for the Production of a Col-
ored Sound Film. Bela Gaspar, Berlin, Germany.

2,025,671 — Cinematographic Film in Natural Col-
or. G. A. Raguin, assignor to Societe Lumiere,
Paris, France.

2,025,675 — Light Sensitive Layers. Oskar Sus,
Wiesbaden, Germany.

CAMERA & PROP
RENTALS

Camera Supply Co.

1515 Cahuenga Blvd.
Hollywood, Calif.

Ruddy Ceraus, Manager
GLadstone 2404

Nitc Phone GLadstone 6583
Cable Address — "CAMERAS"

Please mention The International Photographer when corresponding with advertisers.

Twenyt-eight

The INTERNATIONAL PHOTOGRAPHER

February, 1936

CINECAMERAFORNIA

By William Kislingbury

|T MAY be "The Best Movie in Town," one of
the ten best, or rated four stars with an All-
Star cast, "The Gem of the Program," or
even have attained an Academy award, but
when the laboratory has finished summing it up the
result is always — just so much footage.

With a maximum measurement of one thousand
feet in a roll of positive raw stock and a length in
reels of cut negative varying from seven hundred
and fifty to not more than nine hundred and ninety-
five feet the left-over remnants of unexposed film in
release printing would amount to a tremendous loss
if it were not for the ingenuity of laboratory super-
intendents in making use of short ends.

All major industries take pride in the results ob-
tained by staffs of experts dedicated to reclamation
and are justly proud in boasting of any new methods
devised to curtail waste. Comparable on a basis of
economy of operation the motion picture laboratory
has an enviable lead over all other fields of com-
mercial enterprise, for with capable managtment
there is no such thing as waste.

Even "The Face on the Cutting Room Floor,"
which has long been accepted as an adage of Hol-
lywood extravagances, may be trampled upon and
denied a public showing; yet, to the laboratory, this
ill-fated castaway has a reclamation value for a
silver content forming the image and for its support-
ing base of celluloid convertible into lacquer.

Fortunately for the separate sound track, which is
almost devoid of any appreciable amount of silver
when matted down to the track area, the lacquer
by-product is now the more valuable of the two. A
great deal of experimental work has been neces-
sary in finding a suitable method to clean the emul-
sion from the celluloid and make it a commercially
feasible process. Hypo, when ready to discard as
a fixation for pictures, is thoroughly permeated with
silver particles and continues on in fixing up the
profit sheets with a high yield in metal. Even the
special Bakelite spools, the core of a roll of stock,
can be shipped back to the manufacturer for re-
demption.

With silent pictures the using up of short ends
proves quite a simple procedure, for with a suitable
means of fastening or stapling the two ends of film
together the negative can be "pulled back," allow-
ing a fresh start, and then after processing the two
ends, matched and spliced to the exact frame. Syn-
chronization in the composite printing of sound pic-
tures has made this method impractical. Splicing
into full length rolls (in the dark room) has now be-
come the most satisfactory practice in printing up
short ends. With an experienced and careful splicer
the danger of breakage in the developing machine
is negligible, but particularly with a dried out and
brittle stock. It is worth the extra precaution to
reinforce with a few frames of clear leader attached
through the splice and anchored to the celluloid
surface with two Mercer Metal Patches.

For best results in release printing the splicing
should be controlled to insure a registration with
the negative frame line so that when projected it
will not become an annoying factor by flashing

across the screen. A sprocket mounted on the splic-
ing machine and marked off in frames is the best
present method of establishing a starting mark by
which the printer can be threaded "in frame" with
relation to the splices contained in a roll. With the
inked-in key numbers placed each foot along the
edge of positive film by the manufacturers it is also
possible to use the perforation following the last
numeral of the group nearest the point at which a
splice is to be made and slipping this perforation
over a guide pin match the strip of film along a
gauge marked off in frames.

The task of splicing raw stock could be expedited
considerably if the manufacturers would incorporate
in numbering devices an attachment to ink in a
frame line along the perforation margin which would
be discernible before development.

DIRECTOR BUCK JONES

In No. 1 1 of the Buck Jones series for Universal
release, just completed, the popular Wild Western
actor not only played the star part but also directed
the picture. With a six gun in one hand and a
megaphone in the other, the irrepressible Jones put
the picture through in record time. The title is "For
the Service," and the locale is West Texas in the
seventies. Art Marion shot the stills.

In U)prlJ-(A)iJg Use

pr<?Au.*:iz (^O^cnli^br and OOi^nt
Effects in DayTrme'F^ Scenes-
LYif fused. Fv7cus. and many ^m«r effects
Witn any Camera - In any Climare
GcorcjG H. ScHeibo

ORIGINATOR OF EFFECT FILTERS

1927 WEST 78™ ST.

LOS ANGELES. CAL

Please mention The International Photographer when corresponding with advertisers.

February, 1936

T h

INTERNATIONAL PHOTOGRAPH E

Twenty-nine

16 MM. FILMS IN LARGE AUDITORIUMS

Lt. Commander George Noville, second in com-
mand of the recent Byrd expedition to the Antarctic,
took over 64,000 feet of 16 mm. film to record the
activities of the expedition. With a Bell & Howell
1,000-watt 16 mm. auditorium projector, which he
carries with him, he is now, all over the United
States, giving illustrated lectures of his Antarctic
experiences. In 1926 Noville flew with Byrd over the
North Pole and in 1927 accompanied him on the
trans-Atlantic flight to Europe. Noville also partici-
pated in the first navy round-the-world flight and was
first superintendent of the United States transconti-
nental air mail.

Capt. Irving Johnson, just returned from a trip
around the world in his ninety-foot schooner, The
Yankee, is also using the same type 16 mm. projector
to show films in connection with his lecture work.
Captain Johnson has shown his motion pictures to
audiences of more than 3,400 people with fine re-
sults. One of these big audiences was in Eastman
Auditorium, Rochester, N. Y., and he has just re-
ceived an invitation for a repeat engagement.

Capt. John Craig, who has visited 39 different
countries in the last six years, making adventure
motion pictures, is another convert to this sort of 16
mm. projector for lecture work, as is Richard Finnie,
the brilliant Canadian traveler and lecturer. Mr.
Finnie is this season presenting a new illustrated lec-
ture, "Wandering Through French Canada," the mo-
tion pictures for which he took entirely in 16 mm.
Part of the film is in natural color. With the 1,000-
watt 16 mm. projector he attains brilliant color pic-
tures on the screen, and movies in color are a gen-
uine asset for any lecturer who uses illustrative
material. Mr. Finnie could not have taken natural
color movies in 35 mm. except at almost prohibitive
expense.

Other well-known lecturers, including Arthur C.
Pillsbury of "In and Under the South Seas" fame, are
going into 16 mm. movies. Pillsbury, we understand,
will soon announce all his lectures available in 16
mm. He will carry a 1,000-watt projector with him.

The National Geographic Society in Washington
has purchased one of these machines to take care of
lecturers who have 16 mm. films. One of the finest
lectures presented by this organization was illus-
trated with 16 mm. films projected by a Bell & Howell
1,000-watt projector. The lecture was given in Con-
stitution Hall, which seats upwards of 4,000 people.

In a recent issue of Program Magazine, which is
devoted to the lecture field, is an editorial by James
B. Pond, to the effect that the new B. & H. machine
has solved the projection problems of any lecturer
who uses motion pictures.

Besides affording large-sized (up to 20 feet wide),
brilliant pictures, the 1,000-watt 16 mm. projector can
use 1,600-foot reels and thus show a full hour of pic-
tures without change of reels. A trained operator is
not necessary, for all that is needed is to start the
projector going and it will run right along until the
entire 1,600 feet of film are projected.

8 MM.

Extending the scope of the 8 mm. Filmo cameras,
Bell & Howell Company announces as available for
both the straight and double 8 cameras a new 1-inch
F 2.7 Taylor-Hobson Cooke lens in either universal
or focusing mount; also a Taylor-Hobson fast 1-inch
F 1.5 lens in focusing mount. On an 8 mm. camera,
a 1-inch lens compares in magnifying power with a
2-inch lens on a 16 mm. camera.

EASTMAN TEACHING FILMS GOING STRONG

In the story appearing in the January, 1936, issue
of International Photographer covering the activities
of Capt. Herford Tynes Cowling, a statement was
included indicating that Eastman Teaching Films
Program had been discontinued.

A letter just received from Mr. W. H. Maddock,
manager of Eastman Teaching Film Division of the
Eastman Kodak Company, points out that this pro-
gram is still in active operation and that, while pro-
duction was drastically curtailed in 1932, owing to
economic conditions existing at that time, a number
of new films have been added each year and that
the films continue to enjoy a wide sale and active
use in hundreds of school systems throughout the
country.

It is generally known that the Teaching Films pre
pared and sold by the Eastman Kodak Company
have been one of the most important contributions to
the field of visual education and we are therefore
glad to report that they are still alive and going
strong.

FILM SPECIALTIES

Film Specialties, of El Monte, Calif., caters to 8
mm. owners. This firm is supplying a variety of
emulsions in the popular 8 mm., size, including super
sensitive panchromatic, color film, titling film, etc.

In addition, many accessories for the 8 mm.
owner have been developed and are being mar-
keted. Full information may be secured by address-
ing Film Specialties, P. O. Box 111, El Monte, Calif.

Davidge Developing System

Hollywood Roto-Tank Ltd.

Los Angeles, Calif.

5225 Wilshire Blvd.

Please mention The International Photographer when corresponding with advertisers.

Thirty

The INTERNATIONAL PHOTOGRAPHER

February, 1936

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 OR RENT— CAMERAS

FOR SALE— CAMERAS AND EQUIPMENT

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.

REBUILT BELL & HOWELL single system camera. Complete with
lenses, magazines, tripods. Movietone quartz shoe. 12 volt motor, ampli-
fier, dynamic microphone, cables and cases. Motion Picture Camera Sup-
ply, Inc., 723 Seventh Avenue, New York City.

8 MM.

8 mm. COLOR, S. S. Panchromatic, Reversible, and Positive Palomar
Titling Film ; for all 8 mm. cameras, reversible data. Home titling
data, accessories, Processing, Titling, Reducing from 16 mm. to 8 mm.
Dup. 16 mm. and 8 mm. Film Specialties, 111-N, El Monte, California.

CAMERA REPAIRING

ffELL & HOWELL cameras with old type shuttles silenced, $150.
Hollywood Motion Picture Equipment Co., 645 No. Martel Ave.,
Hollywood.

POSITION WANTED

MISCELLANEOUS

THE INTERNATIONAL PROJECTIONIST, a monthly magazine
published in the interests of the projectionist. Interesting, instructive.
Yearly subscription U. S. and possession's. $2; foreign countries, $2.50.
James L. Finn Publishing Corp., 580 Fifth Ave., New York.

MODEL L DE BRIE CAMERA— Full ground glass focusing auto-
matic dissolve, 40 mm, 50 mm, 75 mm, 100 mm lenses mounted. Has
special upright image view-finder, De Brie motor, tripod, six magazines.
Motion Picture Camera Supply, Inc., 723 Seventh Avenue, New York
City. Cable : Cinecamera.

SILENCED BELL & HOWELL with new Fearless Movement 40 mm,
50 mm and 75 mm F.2:7 lenses mounted. Two 1000-ft. magazines, tri-
pod, finder and sunshade. Rebuilt like new. Motion Picture Camera
Supply, Inc.. 723 Seventh Avenue, New York City. Cable : Cinecamera.

SILENCED BELL & HOWELL with check pawl shuttle. 40 mm,
50 mm, and 75 mm F.2 :7 lenses mounted. Two 1000-ft. magazines, tri-
pod, finder and sunshade. Rebuilt like new. Motion Picture Camera
Supply, Inc., 723 Seventh Avenue, New York City. Cable: Cinecamera.

BELL & HOWELL and Eyemo Cameras, Lenses, Magazines, Tripods,
Moviolas, Splicers, all kinds of Sound and Laboratory equipment. East-
man and Dupont spliced negative, tested and guaranteed, 2y2$ per foot,
on daylight loading rolls, $2.75. Inquiries invited. CONTINENTAL
FILMCRAFT, 1611 Cosmo St., Hollywood.

DEBRIE INTERVIEW MODELS $250.00 and $350.00, DeVry 35mm
Cameras $65.00, Projectors $40.00 up, Holmes 35mm Portable Sound
Projector Type 7A $450.00. 35mm Sound Recording Outfit, single or
double system, complete, less batteries $750.00, Akeley Studio Camera
$800.00. CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga
Blvd., Hollywood.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

COMPLETE SOUND TRUCK with extension mixer, microphone, con-
verter. All complete, ready for production. Write Box 208, International
Photographer.

ART REEVES, latest model 1935, double system sound recording in-
stallation, factory guaranteed. Automatic Speed Control Motor, Twin
Fidelity Optical Unit, Bomb microphone, the only genuine, modern,
workable ArtReeves equipment for sale in Hollywood outside factory.
CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga Blvd.,
Hollywood.

WANTED TO BUY

WILL PAY CASH FOR: Bell & Howell, Mitchell, Akeley or De Brie
Cameras, lenses, motors, parts and accessories. Motion Picture Camera
Supply, Inc., 723 Seventh Avenue, New York City.

WANTED — DeBrie Model L Camera; also Akeley Gyro Tripod. Len
H. Roos, 903 Kenwood, Burbank, Calif.

MOTION PICTURE — Still Picture — Laboratory and Cutting Room
Equipment — Lenses — Finders — Tripods. Highest prices paid. CONTI-
NENTAL FILMCRAFT, 1611 Cosmo St., Hollywood, Calif.

COMPLETE COURSE IN FLYING — If interested in aviation, see Roy
Klaffki, 1605 North Cahuenga Ave., Hollywood.

For the Most Authentic
Technical Information
About the Motion Picture
Industry Consult —

International
Photographer

Order Your Copy Now!
$25° A YEAR

IN THE UNITED STATES

Name ..-. -

Addr

City.

.State.

Please mention The International Photographer when corresponding with advertisers.

February, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirtv-one

Applying Wide-Range Principles to

High-Power Lamps

By Elmer Richardson

Mole-Ricluirdson Inc.

The industry's first
wide-range lighting unit
was the Mole-Richardson
"Junior Solarspot," which
was introduced early in
1935. In it, for the first
time, the power of a re-
flecting Sunspot and the
wide range and ideal
beam of a condenser-
spotlight were combined
in a single unit. For the
first time, a motion pic-
ture lighting unit was en-
gineered specifically to
meet the problems of the
camera, without paying
tribute to traditions estab-
lished in searchlighting
and theatrical spotlight-
ing practice. The success
of the "Junior Solarspot"
since its introduction is
almost too well known to
repeat, for it has received an enthusiastic welcome
in every studio in the industry, and in many quar-
ters is supplanting the older "eighteens" as the stan-
dard 2,000-watt unit for all-around service.

The success of this 2,000-watt unit brings with it
a demand for a similar wide-range lamp of higher
power. This demand is now answered by the in-
troduction of the "Senior Solarspot," a 5,000-watt
companion to the "Junior," based on the same op-
tical principles, and bearing the same relation to
the 24-inch Sunspot that its running-mate does to
the "eighteen."

Briefly, the new lamp (which is officially termed
MR Type 214) is a 5,000-watt wide-range spotlight,
using a G-64 C-13 (clear) bi-post Mazda globe. The
optical system consists of a "Morinc" lens 14 inches
in diameter, in combination with a spherical mirror
placed behind the globe to utilize the rearward em-
anations. The lens is made of special, heat-resisting

glass, and due to its large diameter and short focal
length, works at a speed of approximately f:0.7.
This lens, like that of the smaller unit, is the result
of many months of research carried on jointly by
Mole-Richardson engineers and optical experts from
the firm responsible for the 200-inch eye of the new
Palomar Mountain telescope.

In its physical layout, the "Senior Solarspot" re-
sembles its companion, the "Junior." Due to the
optical principles used, it is somewhat smaller than
previous 5-KW units. The housing is an aluminum-
alloy casting, with ample provision for ventilation.
The controls are conveniently grouped at the rear
and right-hand side; the main switch is at the opera-
tor's right hand, with the tilt locking-handle carried
through the casing to a convenient location at the
rear of the barrel, and the flooding crank in its ac-
customed place below. Access to the globe is
through a large door at the back of the lamphouse.

The general performance of the lamp is similar
to that of the "Junior Solarspot." The beam may be
concentrated to a tight spot-beam of 10 degrees or
less, and flooded out to a spread of over 44 degrees.
The intensity of the concentrated beam compares
favorably with that of conventional 5-KW units,
while the overall intensity at the wider spreads is
definitely superior. While in reflector-type spotlights
there is at the wider beam-spreads a variation in
intensity between the edges and the center of the
beam which may be as great as 85 per cent, with
the dark center growing more and more objection-
able as the beam is flooded, in the "Senior Solar-
spot," even at its widest spread (nearly double the
maximum usable flood of a Sunspot), the variation
between center and edges is scarcely visible.

Like its smaller companion, the lamp may be
fitted with an Iris-diaphragm which permits many
new effects, including changing the intensity without
altering the size of the spot, dimming effects with-
out the use of dimmers or alteration of the color of
the light, etc. It is, in fact, a really modern lamp,
engineered to meet the requirements of today's cine-
matography.

Junior

(2000 Watt)

SOLAR SPOTS

The Perfect Photographic Light

MOLE-RICHARDSON, Inc.

941 No. Sycamore Ave., Hollywood, Calif.
Cable "Morine"

SenioR

(5000 Watt)

Please mention The International Photographer when corresponding with advertisers.

Thirty-two

T h

INTERNATIONAL PHOTOGRAPHER

February, 1936

EMACABO

(With sauce for those who like it.)

Robert
Tobey

HOLLYWOOD HONEYMOON

(A novel novel of a thousand and one nights in a

daze)

R. THRITIS

Synopsis of preceding chapters, I guess:

Lili Liverblossom, Periwether Murgle, Willy
Nilly, Nelly Nilly, Bill, and a ghost whose name
we don't yet seem to knoiv, have become pretty
well involved in a lot of toil and trouble. Now
you can fuss with the back issues of the magazine
if you want to, but our job is to keep things mov-
ing, and here we go.

CHAPTER XVI— A Ledged Romance

"You mean to say you're cold, y' poor kid?"
inquired the ghost, still ripping along about sev-
enty.

"You said it," replied Lili. "This wind goes
right through me."

"Your mistake," said the ghost. "It goes right
through me. You're no ghost."

"What is this, a debate?" snapped Lili. "I
said I'm cold, and I mean it. How about turning
around and whisking me back home so I can
get my fur coat."

"I'll have a fur coat for you in no time," said
the ghost. "Just wait right here."

"Giblets!" exclaimed Lili. "Don't leave me
here! I'll drop."

But the ghost had vanished into thin air.
Screaming with terror, Lili began to drop toward
the gleaming city a mile below her. Before she
had dropped a hundred feet there was a rush
of dank air and the ghost was back, clasping
Lili in one arm and with a mink coat draped
over the other.

"I told you I could get anywhere and back in
practically no time," said the ghost, grinning at
her. "Here, put this coat on."

"Cripes, but you scared me," said Lili as she
struggled into the coat, no small feat for one a
mile in the air and going seventy miles an hour.
She began to examine the coat.

"This isn't my coat!" she exclaimed. "It's a
now one It still has the price tags on it."

"I know," smirked the ghost, 'winking at Lili.
"I didn't bother going all the way back to your
apartment. I just dropped into one of the stores
down below and picked up the nearest thing that
came to hand."

Lili meanwhile had looked the coat over pretty
thoroughly, and discovered that it was much
better than hers, which was no mean mink itself.

"You have pretty swell taste, kid," said Lili.
"I could learn to be very fond of you." And she
put her arms, those lily-white arms that had
brought many a movie-goer's heart right up into
his mouth, around the ghost's neck. But her
arms 'went right through him. She'd have re-
membered they would if her dome hadn't been
gold plated. Lili found she was only hugging
herself, which was no particular fun.

"Anyway, I like you," grumbled Lili, cha-
grined, "even if I can't do anything about it.
What's your name, by the way?"

"There you have me," answered the ghost.
"You see Bill made me up in such a hurry he
used -whatever ghost material he had handy, and
I really don't know myself yet. I was sort of
thrown together like a pot pie."

"Then I'll just call you Potty," said Lili, with
her customary ingenuity. "That's a chummy sort
of name."

"Is it?" said the ghost. "I wouldn't know."

They were by now miles from the bustle of the
city; and passing up an inviting looking ledge
high up on a precipice, the ghost set Lili down
to rest, fearing she would become cramped from
the awkward position in 'which she was being
carried. Awkward to explain to her mother, any-
way.

"This is red sandstone," I believe," said the
ghost just to start the conversation, as he prod-
ded at the face of the cliff with an old eyebrow
pencil he found lying on the ledge. But the
conversation got no farther than that, for just then
they heard a rush of air, and turning quickly in
time to see two great flapping buzzard 'wings
silhouetted against the huge silvery moon. The
buzzard was there too.

"Looks as if we were in for it," said the ghost.

"Go away," screamed Lili, as the buzzard hov-
ered within a few feet of them.

"Oh no!" said the big bird. "You can't fool
a buzzard. Something's dead around here."

"It 'was just a couple of jokes I was telling,"
confessed Lili, trying to stave off disaster.

With an audible snort of disbelief, the buzzard
backed off and prepared to attack.

"What'll we do," cried Lili.

"Calm yourself," said Potty. "I have an idea."

(What is Potty's idea, and will he be able to
save Lili from the cruel talons (not an advt.) of
the voracious, ferocious, rapacious, but not very
perspicacious buzzard? In other words, will his
idea prove efficacious? Hoping yon are the same, I
can hardly wait for next month.)

And these nifties got together on a studio sche-
dule listing future productions:

YOU MAY BE NEXT
IF YOU COULD ONLY COOK

MOONLIGHT ON THE RIVER
PANIC ON THE AIR

MAID OF HONOR— UNASSIGNED

KNEECAP REVIEWS

(I have my thumb in my mouth)
"SYLVIA SCARLETT," starring the elusive Kath-
arine Hepburn. First part of this opus is just one
of those things for which you hope everyone is
properly sorry. However, if you can sit through
it, you'll come to the last part, which is just
one of those things.

Cary Grant wears his robes best of all the
cast, and although overacting a bit, is quite con-
vincing and satisfactory as the Cockney who
lives by his nimble wits and has the mind of a
pig because he firmly believes it's a pig's world.
Regret: I suspect the director of giving Cary long
speeches merely to prove that Cary could handle
a Cockney accent. Edmund Gwenn as the -weak-
minded father of Sylvia, is too brown around the
edges. Dennie Moore as a servant with delu-
sions of grandeur came through nobly, although
she would have appeared to better advantage if
properly foiled. The 'whole story got off on the
wrong foot by acting like burlesque, 'with noth-
ing to burlesque. Brian Aherne and Natalie
Paley, who appeared on the scene after some of
the inertia had been overcome, contributed inter-
esting performances.

But to get to the meat of the situation. Hep-
burn, -who was amazing in "Morning Glory" and
gave a performance in "Alice Adams" that was
as real as rain on a roof, turns out a Sylvia
Scarlett that is surely the work of no cinema
artisan. A great deal is due to the aimless wan-
derings of the plot; yet one moment Hepburn is
scaling the heights of perfection, the next she
is floundering in the mire of ineptitude. It is
becoming apparent that K. H. is depending on a
limited number of acting tricks, chief among them
a breathless method of speech delivery that is
beginning to pall. She nevertheless possesses the
spark of genius, and it is to be hoped that the
man 'who directs her next picture ■will forget she
is the Terror of R.K.O. and will adapt her to the
story instead of adapting the story to her.

"WHIPS AW ," starring Myrna Loy and Spencer
Tracy. No ballyhoo, just a program picture, yet I
think it compares favorably (though comparisons
are odious) with "The Thin Man." Plausible and
fast-moving, it keeps you constantly outguessed ;
and you'll fall for the sympathetic renditions by

$2.50

Only, for a Year's Subscription

to the

International Photographer

•

Canada and Foreign

only

$3.00

It's Worth It.

Myrna and Spencer of the lovely "square crook"
and the quick-witted, human detective. Every time
I see Tracy I am more and more convinced of
what a splendid actor he ■ is, and there isn't an
atom of doubt about that smooth Loy. Stay away
only if you positively detest all kinds of gangster
stories. Maybe you'd better go even then — you
might be converted.

Much credit must go to smooth-flowing direction
by Sam Wood. Especial thanks to the production
for showing us Robert Warwick once more. War-
wick was notable in the small part he had. We
should see this grand actor more often.

DIPPY DITTY

I like sce-na ri-os.

* * *

Sce-nar-ri-os are full of plots.

Plots are full of dirt.

I love dirt;

It makes such nice mud pies for sling-ing.

I LIKE sce-na-ri-os!

By R. THRITIS.

HOLLYWOODCUTS, by the Shovel Boys (They
dish the dirt). * * * Lila Lee and Patsy Ruth
Miller have opened a gown shop on Sunset Blvd.
A beautiful place it is too. * * * Walt Disney
added another distinction to his long list when
the French Consul, on behalf of the Republic of
France, awarded Mickey Mouse's papa the cross
of the Legion of Honor. » * » Young George
Breakston received an award, too — this time an
award from the Italian Government for his work
in the Frank Borzage production, "No Greater
Glory." Just as the Italian Consul was about to
be photographed handing George an autographed
picture of Mussolini, all the lights on the stage
went out, and it was an hour before they came
on again. No doubt about an Ethiopian in the
woodpile this time. * * * Mary Pickford is
now a producer, under the United Artists ban-
ner. She turned over the cameras on the first
scene of the picture, herself, personally, by black
magic. She simply waved her tiny hand in
front of a beam of light, a "photo-electric eye"
saw her do it, a switch automatically clicked on,
and away went the cameras grinding out a
close-up of Francis Lederer. * * *

The second season at Santa Anita Park is well
under way. 'The track has been beautified in a
hundred ways and many additions have been made
to the buildings. With these increased facilities
and a lower "take," the resort is packing in the
pony-watchers. * * * Douglas Fairbanks the
Elder (you-all remember ol' Elder Fairbanks!) lost
no time after his return to America in appearing
at the Santa Anita playground. Doug is more
tanned than ever and can stilt turn the old grin
on and off like a faucet. He drew the newsfeet
cameras like a magnet. * * * Madge Evans
was elated over a bet split with Tom Gallery across
the board on "Great Lover" — -because he won,
silly. * * * Eadie Adams started off not doing
so well, but recouped on Azucar. * h Bing

Crosby didn't want to be photographed because his
plaid sport coat was too loud. It might outshout
you, Bing, but it can't outcroon you.
Walter Connolly was ducking newsreels on account
of he's zvorked up a new superstition. At the
Pacific South-vest Tennis Matches he was plwto-
graphed with Kay Stammer. After that he didn't
win another bet on the matches. So now he wont
be photographed if he's doing any betting: The
hosses have been playing up to the spirit of things.
Several long shots have come in. There have been
two dead heats so far this season, whereas all last
year brought out only one. In the San Felipe
Handicap a riderless horse, Ima Count, came in
first, although of course it was disqualified. _ *
Al Jolson got off a merry-go-round of losing just
in time to dash to the radio station and sing "The
Music Goes 'Round and 'Round." * * * In the
crush of cars leaving the track an irate motorist
was honking impatiently at the cars in front of
him. Herbert Mundin leaned out of a nearby car
and yelled, "You must have lost, Mister!"

A SLIP OF THE PEN

An inquiring fan wrote to ask: "What is Mae
West's middle name?"

And the answer that went back was: M

"Mae West's middle is not for publication.

HOW SAD DEPT.
Here lie the blonde ashes of Susan McPart;
She told the screen idol that Love wasn't Art.

All right: all right; all right!

Please mention The International Photographer when corresponding with advertisers.

WE JOUNCE LAMP BULBS ON A

BLOCK OF STEEL

Ordinary handling can be hard
on a lamp bulb. It all depends on what you call
"ordinary handling." And handling on movie lots
is as tough on lamps as any handling they receive.

To be sure that the insides of G-E MAZDA lamps
will stand up, we test them for fragility. For
lamps like the one pictured, this test takes the form
of a jouncing ride on a hammer of steel.

The lamp is first inspected for any breakage or
distortion of filament support. (In frosted bulbs, a
special device enables the inspector to see inside.)
Then the lamp is placed in the test machine shown
above which drops the lamp onto a block of steel.
This delivers a nasty jounce such as a lamp might
receive when a truck carrying lights from one set

to another hits the bump at the bottom of a ramp.
The lamp is lighted and inspected again, especially
for breaks in the stem or exhaust tube . . . breaks
which would permit air to enter and end the life
of the lamp.

We test for fragility, a definite proportion of every
size G-E MAZDA lamp produced, according to the
service expected of the lamp. The lamps are selected at
random, and tested, by employes of an independent
testing organization, Electrical Testing Laboratories.

It is by such means that General Electric assures you
of dependable lamps adapted to your needs. That is
one reason why scores of cinematographers use G-E
MAZDA lamps for every lighting purpose. General
Electric Company, Nela Park, Cleveland, Ohio.

GENERAL i^) ELECTRIC

MAZDA LAMPS

Jn HUmnnum

Fox Movietone announces the passing of James
Seeback, for twenty years head of the photographic
staff of Fox Movietone on the Pacific Coast, death
occurring on January 19 after an illness of three
years.

Deceased was a loyal member of Local 659 and
popular with a host of friends. He was widely trav-
eled, internationally known as a news reel operative
and his passing will be lamented by everyone asso-
ciated with the industry.

Mr. Seeback was 34 years old and left a wife and
son of nine years at the home on Beechwood Drive,
Hollywood. He was a native of New York City.

Local 659 and INTERNATIONAL PHOTOGRA-
PHER extend to the bereaved family assurance of
their sincere condolences.

INTERNATIONAL
HOTOGRAPHER

4H YEAR

HOLLYWOOD

MARCH, 1936

VOL.
No. 2

"Modern Times." written, directed and produced by Charles Chaplin and released through United Artists.
It took live years between "City Lights" and "Modern Times" and that's too long by anybody's chrono-
meter, Charlie. We're expecting at least one a year, henceforth; otherwise it will be too late lor some ol

us. Have a heart!

CENTS
A COPY

PICTURE ARTS AND CRAFTS

ACCOMPLISHMENT

— Another field but
the same organiza-
tion that gave you
faster, Finer grain neg-
ative film when such
a film was needed.

"EO. U.S. PAT. OFF

Du Pont Film Manufacturing Corporation

35 WEST 45th STREET
NEW YORK CITY

PLANT

PARLIN, N. J

SMITH & ALLER LTD.

6656 •• SANTA MONICA BLVD.
HOLLYWOOD, CAL.

I§§

The Spring Thaw in the Mountains

BY FRANK B. BJERRING

Imagine having something like this in your backyard. Our photographer used to steal away up there for a rest between pictures
and, 'while fishing, he took time out to get a feiv pictures like this in his "gude box."

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol.8

HOLLYWOOD, MARCH, 1936

No. 2

Silas Edgar Snyder, Editor-in-Chief

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerbero, Technical Editors

Helen Boyce, Business Manager

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.

CONTENTS

Cover Still by Max Munn Autrey

Frontispiece by Frank B. Bjerring

THE SCENIC ARTIST --------- 3

By Lews W. Physioc

WRITING WITH A CAMERA ------- 4

By Karl Barleben

GLENN KERSHNER— ACTOR, ETC. ------ 5

MOTION PICTURE SOUND RECORDING, Chapter XXIV - 6
By Charles Felstead

PHOTOGRAPHING IN COLOR - - 8

By Earl Theisen

THE DENSOMETER UP-TO-DATE ------ 10

By Delmar A. W hitson

SIMPLIFYING COLOR LIGHTING ------ 12

By William Shall

ARC LAMP DESIGNERS ARE REWARDED 14

By Donald Asliby

THE FLEXIBLE SCREEN ------- 16 & 17

By Fred IV . W estcrberg

CINE SHOTS THROUGH THE COMPOUND MICROSCOPE 18 & 19

By Paul R. Nelson

AMATEUR MOTION PICTURE PHOTOGRAPHY - - 20 & 21
By F. Hamilton Riddel

CLASSIFIED ADVERTISING ------- 30

RECENT PHOTOGRAPH AND SOUND PATENTS - 31

By Robert Futvoider

CINEMACARONI ---------- 32

By Robert Tobey

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeies,
California, under the act of March 3, 1879.

and Canada

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California

GLadstone 3235

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, $2.50 : Canada and Foreign $3.00 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-CTggTT^-

SERVICE ENGRAVING CO

Our Writers for

April, 1936

Robert Tobey continues his de-
lightful patter on Cinemacaroni.

Earl Theisen will submit Part I of
"The Evolution of the Motion Picture
Stcry."

•
Captain Herford Tynes Cowling
will supply an excellent story on
"The National Archives" — new.

Lewis W. Physioc, Technical Edi-
tor, contributes something new and
engaging on a subject not yet to be
znnounced.

Paul R. Harmer will be back with
"Intensity of Light Under Sea;"
scmething for the sub-marine cam-
er:man to think about.

Charles Felstead will continue his
remarkable series of studies on Mo-
tion Picture Sound Recording. This
series is a liberal education on the
subject.

*
E. Hamilton Riddel is rapidly build-
ing up his Amateur Picture Section
in our magazine. He is one of the
cleverest writers on this subject in
the country.

*
Robert Edmond Jones, internation-
ally celebrated artist and specialist
in scenic art, will honor our publica-
tion with an article on a subject of
his own choosing.

*
And there will be others! All Stars!
*
Rollie Totheroh

A camerman who helped the
world's greatest cine artist to be-
come famous.

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Three

THE SCENIC ARTIST

(The Cameraman's New Ally)

By Lewis W. Physioc

Technical Editor of International Photographer

„ HE technique of the modern motion picture is
%1 *'m gradually confining production to the studio.
The complications of the sound department
have made location trips expensive, slow
and inconvenient. Consequently every photographic
trick and production process has been developed and
perfected in order to enable the producers to avail
themselves of the conveniences of the indoor studios.

Many exteriors heretofore done on location are
now artificially reproduced, on elaborate scales, in-
doors. A visit to a modern studio will disclose beau-
tiful gardens, bits of streets, huge ships lying at
anchor, rolling landscapes and the like — remarkable
combinations of actual, built stuff and painted back-
ings and set pieces.

The new system has many advantages as well
as disadvantages. While the natural effects of real
exteriors are sacrificed, the art director is allowed a
wide range in designing many artistic effects of
lighting, composition and atmospheric character not
always found, in nature, to fit the story.

It readily may be seen, then, the combination
represents a perfect co-ordination of the efforts of art
director, cameraman and scenic artist — the camera-
man must arrange his lighting to furnish the effects
designed by the art director, and the scenic artist
must be able to paint in tones and tints that will also
match the photographic tones of the real portions of
the settings, to say nothing about accuracy of draw-
ing and perspective.

It may be of interest to some of the younger stu-
dents to know something about these scenic artists.

Away back in the year 1605 A. D., an ancient
dramatist started something of importance. Instead
of being satisfied with performing upon an empty
stage where placards informed the audience, "This
is a stone wall," "This is a doorway," etc., he played
in front of a painted drop.

Then, in 1777, we are told the first stage setting
was built and painted. Since those ancient times
scene painting has flourished as a highly special-
ized form of art.

It enjoyed what was probably the pinnacle of its
achievements about three decades ago, just prior to
the coming of motion pictures, and was for some
years forced to suffer a loss of prestige due to the
ultra realism of picture settings and the more af-
fected simplicity of stage productions. Gone were
the days when theater patrons loved to sit in the
parquet and enjoy studying those painted drop cur-
tains, and then applaud the setting as that curtain
was slowly raised. Some of us can remember many
of those productions — those great spectacles of the
London Hippodrome; the Germans with their Wag-
nerian operas; the French and Italians with their
fine contributions, and the Americans with such pro-
ductions as "The Bonnie Briarbush," "Ben Hur,"
"Quo Vadis," "The Ninety and Nine" and the many
grand and comic operas.

A feature of the scenic artist is his great versa-
tility— he must be able to paint anything and paint

it well. To be sure, not all are able to execute a
subject to the full satisfaction of the academicians,
but many paint in a style that will challenge the
most critical appraisal. While there is a tendency
among some artists to depreciate the work of the
scenic artist, there have been instances of such com-
manding merit as to receive the applause of all.

The craft boasts of those, among its members,
who have been gold medalists in the most exclusive
salons of the world — members of the Royal Acad-
emy, the National Academy and other institutions,
foreign and American. One Leon Bakst, a French-
man, was even a Nobel Prize winner. As regards
the relations between the cameraman and the scenic
artist, there is a peculiar signficance in the fact that
Daguerre, to whom the photographers owe so much,
was a scenic artist.

Of course, as in all professions, there are spe-
cialists— some excell in decorative effects; others are
more proficient in exteriors (landscapes); and some
are fine figure painters; some specialize in architec-
ture, interiors, perspective and such subjects.

A great critic once said: "The position of the
scenic artist is particularly difficult, inasmuch as
while artistic temperament and a thorough knowl-
edge of art are essential for the practice of his voca-
tion, it is equally essential that he should be thor-
oughly practical and, to a great extent, an engineer."

The medium of the scenic artist is known as
"Distemper," a flat-drying water color set with gela-
tine size. It probably is one of the most difficult of
all mediums of painting, but one of the most beauti-
ful. One of the difficulties is due to the colors drying
out several shades lighter than they appear while
wet. The artist must keep in mind, with every brush
stroke, what the ultimate tones must be. The medium
is subject to a wide range of treatment, such as glaz-
ing with thin, transparent wash or bold, direct im-
pasto, as with oils.

A great authority was asked what he thought of
distemper. He answered: "A splendid material, dis-
temper! For atmosphere, unequalled; for strength,
as powerful as oil; and in half an hour you can do
with it that which with wash or oil would take one or
two days."

In painting for photographic effects, monotone is
more practical than too free a use of color, regard-
less of the selective properties of the panchromatic
film now used. However, simple black and white,
while furnishing perfect photographic values, the
tones are cold and unpleasant. It is more pleasing
to the eye as well as more enjoyable to work, if a
little umber and siena are used to warm the tones,
giving something of the effect of sepia, without de-
stroying the photographic values.

Some scenic artists are so skilled in reading pho-
tographic values that they can enjoy the personal
delight of using color and still preserve the monotone
requirements for photographing. In painting in color
it is well continually to study the work through a

(Turn to Page 22)

Please mention The International Photographer when corresponding with advertisers.

Four

The INTERNATIONAL PHOTOGRAPHER

March, 1936

WRITING WITH A CAMERA

By Karl A. Barleben, Jr., F. R. P. S.

Dean of the Faculty New York Institute of Photography

IRITING with a camera — does that sound
strange to you? Well, it needn't, for it is a
legitimate practice these days. It is well
known that practically all forms of maga-
zine and newspaper writing, with the exception of
fiction, stand a better chance of acceptance if accom-
panied by suitable and appropriate photographs,
than without. Many writers are "getting wise" to
the chances they lose daily by not being equipped
with a suitable camera — and knowledge of its oper-
ation. The up-to-the-minute writer has long ago real-
ized that a small investment in a camera means
additional revenue for him in his work. Indeed,
many feel the camera to be as indispensible as the
typewriter.

The kind of camera to use for illustrating articles
and other forms of writing is of no importance. From
a practical standpoint, however, most writers seem
to favor the small cameras such as those making
negatives of 21/4x31/4 inches and smaller. Greater
freedom and economy are the reasons. It must be
remembered that today the smaller camera is capa-
ble of producing just as good results as the larger
models, sometimes better.

Of utmost importance is knowing the fundamen-
tals of photography and correct method of operation
of the camera. It is well known that the most expen-
sive camera cannot turn out even passable results
in the hands of an inexperienced operator. On the
other hand, the least expensive and simplest box
camera, when used by one well versed in photog-
raphy, can be made to produce outstanding results.
It is, then, mainly a question of application and
skill in handling the camera, regardless of the cost.
For some unaccountable reason, many people are
unwilling to spend a little time delving into the
science of photography. Yet they expect the camera
to produce good results. After all, the camera is but
a tool, just as is the typewriter. Of its own accord,
it is incapable of making pictures; it needs to be
guided and operated.

A person taking up tennis, swimming, golf, horse-
back riding or any other sport realizes that a certain
amount of study and practice is essential before
enjoyment or success can be achieved. So it is with
photography, too, but all too few people realize this
fact. After all, with each new camera comes a
usually complete instruction manual which tells ex-
actly how the camera is operated. With this new
camera in front of him, unloaded, of course, the be-
ginner should read the instruction manual carefully,
and follow the directions on the camera closely.
Then a few moments at manipulating the various
camera parts and studying their mode of operation
and their function will give complete confidence.
Certainly no sport or activity can be so easily or
quickly learned. Rule one, then, to neophytes, is to
study the camera carefully from the very start. This
one rule if heeded will prevent hundreds of disap-
pointments and expenses later.

Rule two comes next, and calls for loading the
film into the camera and exposing it. It is easy to
snap pictures, but something else again if good re-
sults are to be expected. Shoot a roll of film and
charge it to experience. In all probability the roll
will turn out 100 per cent satisfactory if rule one has
been followed. Even if a few mistakes manifest
themselves — what of it? It is a sure bet that these
same mistakes will be carefully avoided in the
future. Therein lies the value of making mistakes on
the first roll.

Along with camera manipulation comes the be-
ginner's horror — faulty exposure. Poor exposures
are responsible for at least 50 per cent of photo-
graphic failures. Yet how simple it is to completely
remove the whole exposure problem by simply buy-
ing a reliable exposure meter! How much? Well,
for two dollars you can get a tiny instrument known
as the Leudi which is entirely satisfactory, or, if you
wish, you can pay twenty-two dollars and a half and
treat yourself to the finest and most accurate type of
meter made — the electric photo cell type. The best
are known as Photoscop and Weston Universal.
Equipped with one of these instruments, you can
banish all fear of faulty exposure.

Focus is another nuisance to most, yet it can
easily be overcome by care. For example, it is desir-
able to become accustomed to judging distances.
This will stand you in good stead in photography.
Then, if the principal object to be photographed is
thirty feet away from the camera, set the lens for
this distance exactly, not twenty-five, and not thirty-
five or forty — but thirty. The more expensive cam-
eras of modern design are equipped with automatic
range finders, built in, which remove all bother in
this regard. Remember that exposure and sharp
focus are the two main roads to successful photog-
raphy, and they should be accorded the considera-
tion of all who aspire to good photography.

Let us assume that complete mastery of the cam-
era has been learned. The owner now knows ex-
actly what's what on his camera, and can produce
technically satisfactory results. There still remains

Please mention The International Photographer when corresponding with advertisers.

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Five

GLENN KERSHNER

FICTION WRITER-
CAMERAMAN— ACTOR,
ETC., ETC.

Glenn R. Kershner, ace cameraman, lecturer,
traveler, musician, recently returned to Hollywood
after a prolonged tour of the South Seas, especially
in the neighborhood of Papeete.

He went to check with the natives upon a book
he had recently written with the South Seas and
Papeete as a background and, while there M-G-M
sent two companies to that locale, one to make back-
grounds for "Mutiny on the Bounty" and the other,

headed by Richard Thorp, to make "The Last of the
Pagans."

Kershner, always an actor at heart, was immedi-
ately grabbed by Thorp to play the part of Captain
Larson, the only white man on the all native cast,
while Sidney Wagner and Clyde De Vinna did the
camera work.

Kershner made a perfect Captain Larson and
also succeeded in getting a month's camera work,
when De Vinna was called away to shoot some ad-
ditional backgrounds for the "Mutiny" picture.

Kershner's son, 18, has been trained for the cam-
era by his dad and is also an efficient assistant,
while Norbert, 12, and Beverly, 9, go in for acting.

Talk about "doubling in brass" in the old minstrel
days, Kershner can write the story, play the music,
act a part, handle the camera, light the set, develop
the film, cut the picture and do a dozen other odd
jobs while illustrating the story.

The camera-author admits that he has several
other books almost ready for the press. He is an
ornament to the cinematographic group of the in-
dustry.

VICTOR DIRECTORY READY FOR YOU

Victor Animatograph Corporation, Davenport,
Iowa, announces the Fifth Revised Edition of the
Victor Directory of 16 mm. Film Sources, and it is a
masterpiece of its class. No devotee of 16 mm.
should lack the service afforded by this little book,
and it isn't so little, either, for between its crimson
covers are 100 pages chuck full of information that
is absolutely necessary to the owners and operators
of 16 mm. silent and sound films. Also it is as cheap
as it is good. Get yours. You'll have to hurry!

THE MOVIES ON TRIAL

Compiled and edited by William J. Perlman and
published by the Macmillan Company, this volume
contains the views and opinions of outstanding per-
sonalities regarding screen entertainments. Among
these are William Allen White, the Most Reverend
John J. Cantwell, Edward G. Robinson, Raymond J.
Cannon, Don Marquis, Seymour Stern, Upton Sin-
clair, Judge Ben B. Lindsey, and other notables.
While there is much variance of opinion, there is
also very decided agreement expressed on certain
points. If interested in the judgment of those quali-
fied to pronounce it, the book will be found very en-
lightening.

an important factor to be conquered — composition.
Too much has been written about composition being
difficult. As a matter of fact, the few simple rules of
composition are ingrained in most of us, and we
either are born with artistic instincts or we're not.
Our instinct usually tells us whether a picture is
good or bad from the standpoint of composition. If
we lack the intuitive artistic sense, we can easily
acquire enough understanding to make good pic-
tures for our purpose. A simple little book entitled
"Composition Simplified," by Hermon Gabriel, cost-
ing only 75 cents, will give the fundamentals at a
glance, and is recommended to all who seek better
and more pleasing photographs.

For those who write, photography is more than a
means to an end. Its usefulness manifests itself at
every turn. There is good reason for practically all
famous authors and writers being photographic ad-
dicts. Fiction writers use their cameras for personal
pleasure and also for the recording of scenes during

OVIOL/A

FILM VIEWING and
REPRODUCING MACHINES

ALL MODELS ON DISPLAY— FOR SALE— FOR RENT
Illustrated Literature On Request

MOTION PICTURE CAMERA SUPPLY, INC.

723 7th AVE., NEW YORK CITY CABLE: "CINECAMERA"

their travels. Taking notes may suffice in some
cases, but supposing you are writing about a Mexi-
can village — couldn't you write more forcefully if
you could refer to actual photographs showing the
natives, their costumes, the houses, the streets, etc.?
Of course. The photograph tells more at a glance
than ten thousand words — and what is more, is abso-
lutely accurate! No wonder wise writers use the
camera.

The vast majority of technical and trade journal
writers use the camera for reproduction purposes, of
course. In fact, to them the camera is more than an
accessory to the typewriter — it is as important as the
typewriter. With it they weave their industrial, sci-
entific or political story with photographs. Around
these pictures the text is usually written; not visa
versa. Here is an ever-increasing field for ambitious
writers who have the knack of finding the material
that sells.

Writing with a camera, then, is not so strange as
it at first appears. It is definite. It is the modern
writer's medium of expression. BUT — without a
basic knowledge of the camera and photography in
general, little if any success will reward him. The
public today is accustomed to the best and will not
tolerate inferior illustrations. It demands the best,
and regardless of how interesting the text is, it comes
back with the usual rejection slip unless the photo-
graphs are skillfully produced.

Please mention The International Photographer when corresponding with advertisers.

Six

The INTERNATIONAL PHOTOGRAPHER

March, 1936

Motion Picture Sound Recording

Chapter XXIV

|N the preceding chapter of this series a num-
ber of additional constructional details and
1 modifications of the three-stage "basic" am-
plifier described in the November, 1935, is-
sue of The International Photographer were given.
These details of design included such considerations
as the input circuit of the amplifier and the asso-
ciated input equipment, parallel plate feed in the
stages of amplification, matching of the push-pull
tubes, and a discussion of the most suitable output
impedance for the amplifier.

Before describing the adaptation of this amplifier
to operation from an a-c. power supply, and the de-
sign of grid and plate filtering circuits to prevent
interaction between the stages of amplification, we
will consider the meter that is used for measuring

ing in this plate circuit is approximately ten milliam-
peres. The meter will just handle a current of this
value at full scale reading, but it is better to use a
shunt across the jack to increase the meter range
to 0-20 milliamperes. When in this jack, the appar-
ent reading of the meter must be multiplied by two
to give the real current reading.

The push-pull type 2A3 tubes in the final stage of
the amplifier draw a total current of eighty milliam-
peres at a plate potential of 300 volts; so a shunt
must be used across this meter jack. This shunt
should be of such value that the meter range is in-
creased to about 0-100 milliamperes; and the read-
ings of the meter when the plug is in this jack should
be multiplied by ten to determine the actual plate
current drawn by these tubes.

8A3

r-r^t

2oo

B+.25oV 24-VAt B+3«»V..

voo

2^VA.C
Fig. 1 — Meter jack circuit for the D-6 model of the "basic" amplifier

the plate current drawn by the tubes in the amplifier
and for checking the grid and plate voltages applied
to the tubes.

The Meter Arrangements

Due to the rather high cost of high-grade meters,
circuit arrangements have been worked out that per-
mit a single meter to be used for all the necessary
measurements in the amplifier. Three-terminal jacks
are connected in the circuit of the basic amplifier as
shown in Figure 1. A milliammeter with a range of
0 to 10 milliamperes is connected by a flexible cord
to a telephone plug that may be inserted in any of
the jacks. The polarity of the jacks and of the plug
must be exactly as shown.

Since the normal plate current of the type 56 tube
in the first stage of amplification is approximately
five milliamperes at a plate voltage of 250 volts, no
shunt is required across this jack, and the meter
reading is as marked on its scale when the plug is
in this jack. As there are two type 56 tubes in the
second stage of amplification, the total current flow-

The three jacks just discussed are marked res-
pectively Jl, J2, and J3 in Figure 1.

Calculation of the Current Shunts

The formula for the calculation of the shunts for
jacks J2 and J3 follows — the circuit arrangement is
shown in Figure 2A —

)-l —

Fig. 2A — Increasing rarge of milliammeter.

n— 1

where R is the required resistance of the
— s shunt in ohms,

R is the internal resistance of the
— m meter — also in ohms, and

n is the scale multiplication factor.

In the case of J2, where we wished to double the

Please mention The International Photographer when corresponding with advertisers.

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Seven

milliammeter range, n, the multiplication factor, is
two. With jack J3, n is ten, since in that plate circuit
we wished to increase the range of the meter ten
times (100/10= 10).

Assuming the 0-10 milliammeter has an internal
resistance of ninety ohms (the resistance of any par-
ticular meter may be learned by writing to the manu-
facturer), and substituting the values just given in
the above formula, we discover that the shunt across
J2 must have a resistance of ninety ohms, and that
the shunt across J3 must have a resistance of ten
ohms.

The resistors used for the shunts must be sturdy
wire-wound units securely soldered to the jacks. An
open circuit in a shunt would cause the entire cur-
rent to flow through the meter, and, particularly in
the case of the shunt across J3, the excessive current
would damage or burn out the meter. Any resistance
rated over one watt carrying capacity will be satis-
factory.

In the case of the shunt across J2, when the meter
is plugged into that jack the current divides equally,
half passing through the shunt resistance and half
through the meter; so the meter reads only half the
current that is flowing and the range of the meter
thus is doubled. When plugged in J3, ninety percent
of the current passes through the shunt resistance
and onyl ten percent of the current flows through the
meter, so the meter indicates only one-tenth of the
current that is actually flowing.

The Voltage Jacks

By using two-terminal jacks and series resist-
ances, or "multipliers," connected across the grid
bias batteries and the plate voltage sources, as
shown by jacks J4, J5, J6, J7, and J8 in Figure 1, the
grid and plate voltages may also be measured with
the one meter. This arrangement is shown in Figure
2B. The formula for the calculation of these multi-

METFr

Fig. 28 — Circuit for using a milliam-
meter as a voltmeter.

plier resistances is-

R =
v

1000 E

where R is the required resistance of the
— v series multiplier,

E is the desired full-scale voltage

reading of the meter, and
I is the normal full-scale current

reading of the meter in

milliamperes.

Since we are considering the use of a 0-10 mil-
liammeter in this paper, I will be ten. Since for jacks
J4 and J5 we wish to measure a lS'A-volt C-bias bat-
tery, a maximum meter range of 0-20 volts will be
desirable here. Substituting in the aobve formula,
we learn that the resistances required with these
jacks should have a value of 2000 ohms each. They
need not have a rating higher than one watt.

Figuring a meter range of 0-80 volts for J6, an
8000-ohm resistor is found necessary for that jack.
It should be rated at two watts or higher. Using a
meter range of 0-300 volts for J7 and 0-400 volts for
J8, the resistance values found to be necessary are,
respectively, 30,000 ohms and 40,000 ohms. These
resistors should be rated to dissipate ten watts.
Carrying Capacity of the Resistors

For those readers who wish to be able to cal-
culate the required wattage rating of the resistors,
the formula is —

CHARLES

FELSTEAD,

Associate

Editor

where W is the wattage rating the resistor
W = PR

must have to carry the cur-
rent without heating,
I is the current in amperes flowing
through the resistance (re-
member, 1000 milliamperes
equal one ampere), and
R is the resistance of the resistor in
ohms.
In the case of the resistor associated with jack
J8, the wattage rating of the resistor determined by
the above formula is four watts. But for a good mar-
gin of safety a resistor having at least twice this rat-
ing should be used. This same formula may be used
for calculating the required wattage carrying capa-
city of the shunt resistors across the plate current
jacks— Jl, J2, and J3.

Other Uses of the Meter

If a double-button carbon microphone is used
with this amplifier, the shunts across the meter jacks
in series with each of the carbon buttons of the
microphone should have a value such that the meter
has a range of about 0-20 or 0-30 milliamperes when
plugged into these jacks to read the button current.
See Figure 3.

A/\STt SHUNT

[— ■ O-lc

Zoo input

UvvwJ

SMUNT

, Rheostat -t

YvWVW

DOUBLL
BOTTOM
CAR8o~

"^'CUOPHOME

SHUNT

ww |H'I>I» —

C '"D' BAT7

0" &AT7E«\

" Yt) O-20C

fnA

TO OftiU CIRCUIT

of first 5& Tone

/*MCROpHON€
T RAMSFoftr-it-fV

Fig. 3 — Meter jack connection for a double-button carbon microphone.

When the filaments of the tubes are operated from
direct current, a suitable resistor and two-terminal
jack may be in series connected across the filament
voltage supply to read the filament applied to the
tubes. Since the meter used operates only on direct
current, this arrangement may not be employed
when alternating current is used for the filament sup-
ply.

With the d-c. filament circuit shown in Figure 4
and described in Chapter XXIII, a resistance should
be employed that will provide the meter with a 0-6
volt range. With the 0-10 milliampere meter, the re-

(Turn to Page 24)

Please mention The International Kiotographer when corresponding with advertisers.

Eight

The INTERNATIONAL PHOTOGRAPHER

March, 1936

Photographing In Color

By Earl Theisen

[The dye imbibition process mentioned in this article is the one used by W. Wallace

Clendenin and Steliin Hansen for the direct color work being done by them for "Dancing

Pirates," the Pioneer Production, these two men having contracted to furnish all the

color still work on that production.]

Honorary Curator Motion Picture and Theatrical Arts, Los Angeles Museum

in^T|OTHING is nearer to the heart of all photo-
i Jib y&fo grcphers than the wish to reproduce pic-
Hk-vO \\ tures in direct colors.

L— iJMl While heretofore the making of direct
color photographs was largely confined to the ad-
vanced professional, due to recent advancements
the amateur can, with a little patience and expense,
make charming color-prints. While working in color
is not as simple as black and white, it is entirely
within the scope of the photographer who desires to
do so.

First in making color prints, negatives must be
made having the required "color-separation"; that
is, negatives must be made which are a record of
the colors of which the image is composed. As is
known, white light is composed of equal amounts of
the primary color lights, orange-red, green, and blue-
violet; any coloration is a combination of these three
in various proportions. The visible colors of all ob-
jects is a combination of the three primaries.

In making color-prints a record, or "color separa-
tion," of each of the three primaries is required to
make the picture in color. This is done by photo-
graphing three separate negatives, one for each of
the primary colors. To get the color-separation, a
filter which permits only the one primary color to
pass while absorbing the others is inserted in the
optical path before each of the negatives.

The negatives so obtained is a photographic rec-
ord of one of the primary colors. Now if transpar-
ent prints were made in color from the negatives
and held up to the light in register, an image show-
ing the colors of the original would be seen.

By the three negatives, which are usually made
on panchromatic film through the Wratten tri-color
filters "A No. 25" (red), "B No. 58" (green), and "47
C-5" (blue-violet), it is possible to reproduce practic-
ally all the shades and colorations of the spectral
range visible to the eye.

While the three negatives make it possible to
more accurately reproduce the original colors, for
the purpose of the amateur, a two-color process is
simpler to work and will attractively reproduce por-
traits and certain still life subjects with a fairly broad
range of colors other than yellow. With the two-
color method only two negatives are made which
contain a record of the red-orange and green-blue
objects.

A number of methods are available for making
the negatives, of which the simpler is, perhaps, the
bi-pack, which consists of two negatives held to-
gether, emulsion to emulsion, with a reddish dye
layer (similar to Congo red), on the face of the front
negative that acts as a filter transmitting only the
orange-reds to the rear negative, which is panchro-

matic and red sensitive. The front negative is sen-
sitive to the green-blue rays and blind to the red,
the red passing through to the rear panchromatic
negative. In this way the front negative makes a
record of the green-blues, while the rear negative
makes the record of the orange-reds. With the ex-
ception of removing the dye-filter interlayer after
developing, preferably before drying, the negatives
are developed as with normal black and white.
Bi-packs may be obtained along with information
from the Defender Photo Supply under the trade
name "Dupac," although the advanced amateur
may successfully make his own.

In photographing with bi-pack film a film pack
adapter which may be altered is recommended. Be-
cause precautions must be taken to keep the two
films in close contact, a thin glass should be placed
in the adapter on the side next to the camera lens,
while a thickness or two of sponge rubber is placed
in the back of the adapter to press the two films
against the glass and into contact. Allowance should
be made in the focussing for the thickness of the
glass by racking back the lens, although care must
be taken that this is not overdone, otherwise much
necessary sharpness will be lost. Ordinary plate
holders may be also altered to accommodate bi-
packs.

At times where the blues predominate, a com-
pensating filter of the K2 or its equivalent may be
found necessary for best separation.

A second method for making separation nega-
tives is that of individually exposing for each of the
primaries. Whereas action may be photographed
with the bi-pack, the separate exposure method is
confined to still life photography or portraits be-
cause of possible movement between exposures.

By this method for exposures with daylight use
Wratten filter No. 28 for the red record and No. 40a
for the green-blue, and with tungsten incandescent
illumination Nos. 28 and 40 are used.

Make an exposure through each filter on pan-
chromatic film with an increase in exposure accord-
ing to the "factor" recommended by the film manu-
facturers for the filter. Develop and finish both nega-
tives together so that uniform contrast and density
is the result.

For the amateur who wishes to avoid the possi-
bility of movement in portraits, but who does not
have available a color camera which takes the sep-
aration negatives simultaneously, the sliding back
will greatly speed up the exposing by eliminating
the necessity of changing the plate or film holders
between each exposure. Even with the sliding back
some difficulty will be encountered getting the "sit-
ter" to remain perfectly still, although it can be done.

Please mention The International Photographer when corresponding with advertisers.

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Nine

The sliding back is loaded with films and placed
on the back of the ordinary camera, the exposures
thus being made more rapidly since the film and
filters are changed simultaneously by sliding the
next film into place. Many professional photogra-
phers use this method in obtaining color negatives.

A number of color cameras including the Butler,
Jos-Pe, Steinheil, and others are designed to make
the negatives with one exposure by optically split-
ting the light beam; these cameras are, however,
very expensive.

After the negatives are made the task remains to
make the reproduction. The simplest method for the
amateur is color transparencies obtained by metal-
lic tones. While the results are a far cry from nat-
ural colors, the pictures obtained have color separa-
tion and can make very charming portraits and re-
produce certain still life subjects. To make this type
of transparency make a direct transparency print
from each of the two bi-pack negatives on lantern
slide plates or on Eastman Positive Film, Defender
Adlux, or other positive mediums, print emulsion to
emulsion, and finish and dry like black and white
with the exception the prints should be less con-
trasty and a shade weaker. After drying, the print
from the rear negative of the bi-pack, which is the
"blue-printer," is toned blue, while the front nega-
tive, which is the "orange-red printer," is toned red-
dish-brown in a uranium tone. The uranium tone
gives a brownish-red that is not the desirable color;
however, it is the nearest that can be obtained with
other than dye tones.

A suitable uranian tone is as follows: 125 cm. water, 1 gram
Uranian Acetate, 10 cm. Glacial Acetic Acid, 1 gram Potassium
Ferricyanide, 1 gram Ammonium Chloride.

After toning wash until the highlights are clear.

Blue tone for transparency or paper prints: 0.2 gram Ferric
Ammonium Alum, 0.2 gram Citric Acid, 5 drops concentrated
Nitric Acid, 0.1 gram Potassium Ferricyanide, 100 cm. water.

Dissolve in order given. The solution should be
a pale yellow color. If during toning it becomes
colorless it is exhausted. Wash transparencies very
thoroughly to remove the yellow discoloration.

While the metallic tones are the easiest to han-
dle, dye mordant tones which give more brilliant
transparencies may be worked; although working
with dyes is costly and not at all advisable for the
beginner because of many variables.

The "ferricyanide mordant" is often recommend-
ed and will give comparatively good dye images;
however, the "iodide mordant" is by far the most
certain for the amateur, although the resulting dye
colors are not of the best.

An iodide formula is: In 5 cm. of water disolve 3.6 gram of
Potassium Iodide, and when dissolved add 1.5 gram of flake
Iodine. When this is completely dissolved to form a dark red-
dish brown solution add water to 125 cm. total volume. The film
is bleached completely to a straw yellow color and washed thor-
oughly. The "blue-printer" (the print from the rear negative of
the bi-pack) is then toned in the following Blue Dye Solution:
2.3 cm. 1% solution Victoria Blue, 125 cm. water.

For the print from the front negative, or "red-
printer," the following red solution may be used

35mm. Eastman Super X

Panchromatic Negative

Short Ends

Price 2V2C per Foot
KINEMA KRAFTS KOMPANY

6510 Selma Ave. Hollywood, Calif. GLadstone 0276

straight, or by mixing various proportions accord-
ing to the requirements of the color subject.

Red Dye Solution: 6 gram Poncean Red (basic), 125 cm. water.

Yellow Dye Solution: 7 gram Auramine 0, 125 cm. water.

Orange Dye Solution: 5 gram Acridine Orange, 125 cm. water.

The film remains in the dye solution until completely saturated,
and then after a short rinse cleared in the following: 45 cm.
Glacial Acetic Acid, 50 cm. Denatured Alcohol, 125 cm. water.

After this a thorough washing and finally the silver iodide may
be partly removed and the dyes fixed by long treatment in:
15 gram Hypo, 10 gram Sodium Acetate, 10 gram Tannin, 150
cm. water.

"Ferricyanide Mordant" for dye toning: Bleach both the posi-
tives completely in: 5 gram Potassium Ferricyanide, 1 gram
Ammonium Bichromate, 14 cm. Glacial Acetic Acid, 125 cm. water.

They are then washed a few minutes in running water and
cleaned until the yellow discoloring has disappeared in 5 gram
Sodium Bisulphite, 100 cm. water. Then follow with a thorough
washing.

Blue Dye Solution: 2 gram Methylene Blue, 2 cm. Glacial
Acetic Acid, 200 cm. water.

Orange-Red Dye: 2 gram Chrysoidine, 2 cm. Glacial Acetic
Acid, 200 cm. water.

These dye solutions may be mixed to produce
intermediate tones. The films are immersed for about
five minutes, after which they are washed until the
highlights are clear. If the dye does not wash out
readily add a little acetic acid to the wash-water.

If three color transparencies are desired, it is
necessary to make the positive prints from three
color separation negatives on film rather than plates.
Use the Blue Dye already mentioned in conjunction
with the following:

Red Dye Solution: 2 gram Rhodamine B, 2 cm. Glacial Acetic

Acid, 200 cm. water.

Yellow Dye Solution for three color separation: 2 gram Thio-
flavine T, 2 cm. Glacial Acetic Acid, 200 cm. water. After the
transparencies are dry, bind them together in register between
glass with tape.

Interesting pictures which may be viewed direct-
ly like the black and white photographs may be ob-
tained by making a blue metallic toned image on
paper (best blue images are obtained on a gas
light paper) from the "blue-printer" separation nega-
tive, and then from the "red-printer" make a red dye
transparency as already described, using the for-
mulae mentioned. When the two are bound to-
gether, some interesting effects in color are obtained.
This method is similar to the Ives' Polychrome pro-
cess, information on which may be obtained directly
from Mr. F. E. Ives, 1753 North 15th Street, Phila-
delphia, Pa.

The advanced worker will prefer to work with
a carbro or dye imbibition process because of the
better results or because pictures on paper may be
obtained. Both processes are difficult.

If the photographer wants to tackle a dye pro-
cess, a knowledge of dye chemistry and much pa-
tience is required to learn the manipulation of the
dyes. Months and often years are required before
skill is gained.

There are, for example, many, many dyes hav-
ing the same name but made by different manufac-
turers which are not the same chemical structure
and consequently act entirely different under al-
most the identical manipulation. Acidity and hard-
ness of water which differs in various localities is
very important, temperature and slight impurities
in the chemicals all affect the dyes which makes
information of less value unless the worker has a
knowledge of the chemistry involved. It remains
for the patient worker to approach the matter not
expecting the best results at first and find a set of
dyes that "track" for his particular type of separa-
tion negatives and which can be more or less de-

(Turn to Page 26)

Please mention The International Photographer when corresponding with advertisers.

Ten

The INTERNATIONAL PHOTOGRAPHER

March, 1936

The Densometer Up To Date

A Machine for Determining the Printing Values of
Motion Picture Negatives

[HOSE engaged in photography, especially
the cinematographic department, can hard-
ly escape the thought that tremendous in-
terests are dependent, to a great degree,
upon mere guess-work or judgment in manipulating
the various instruments and phases of the process.
The cameraman nervously adjusts the dia-
phragms of his lenses, being guided only by his
experience and judgment. He is intimidated by
many variables that influence the ultimate product —
exterior light conditions, the problems attendent upon

end of a long run of development there is no mis-
taking the change.

The quality of negatives at the end of such a
long run must necessarily be inferior to those de-
veloped in the ideal solution, regardless of attempts
to maintain a balance between contrast and density
by boosters, modifying the time, and the like.

All these difficulties are likewise encountered in
the production of the positive and suggest the com-
plications of the printing process; and it may be seen
that so many variables must produce a series of

Fig. 1

Fig. 2

Fig. 3

arranging the artifcial lights, etc. He knows that his
exposures are to be developed by a machine that
rulthlessly ignores any account of variations or er-
rors in exposures. He is fearful of the tremendous
expense that "retakes" entail.

This sense of uncertainty extends to the process-
ing of the flms. There is a degree of accuracy em-
bodied in the developing machine and the time and
temperature system of development; and the plotting
of the gamma, from hour to hour, is a highly scien-
tific means of showing the conditions of the solu-
tions. But there still remains the problem of the
control of those solutions — it is one thing to point out
the depreciations but it is quite another thing trying
to keep the characteristic constant. The gamma
checks merely offer a good suggestion in applying
the current expedient of dilution or adding the so-
called "boosters." Such a method, however, can do
no more than maintain a fairly satisfactory printing
density after the developing solutions begin to break
down. Quality depends upon the degree to which
the character of those solutions can be preserved.
This is a very difficult matter, due to the complicated
chemical reaction that takes place during the de-
veloping process. From the time the first foot of
film enters the developing bath this reaction begins
to take place and increases with every foot of film —
for every grain of silver reduced there is a propor-
tionate decomposition in the solution. It is scarcely
noticeable in the first few hundred feet, but at the

negatives as greatly varying in densities.

As the cameraman has had to rely on his judg-
ment and experience in obtaining his exposures so
must the laboratory expert arrive at his printing ex-
posures. To be sure, he has been given a valuable
aid in the so-called Cynex strips, but even after this
graduated test is given him, the choice of the proper
gradation depends upon the sharpness of his eyes,
his taste for quality and judgment of densities.

Here, too, there are many variables. There is as
wide a range of choice as there are differences in
eyes of the many operators, their tastes, their de-
grees of judgment, etc.

Then, again, the test strips are the first to be de-
veloped, and while the prints that follow them match
the selections fairly well, those at the end of a long
run of development frequently vary both as to den-
sity and contrast.

It likewise requires considerable time to expose,
develop, dry and read the tests, during which time
the actual printing is delayed.

The selecting, too, is very trying. The operator
must stand, for hours, gazing on to a brightly illumi-
nated ground-glass over which the strips are laid;
and it is reasonable to suppose that the pupillary
contraction, as the result of the light shining into the
eyes, must influence the selections during a long
session. This is proved by the fact that no two
operators can give the identical readings of the same
set of tests, and further, no one operator can give

Please mention The International Photographer when corresponding with advertisers.

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Eleven

his same readings after a lapse of any great length
of time.*

Such discrepancies have shown that the ultimate,
visual correction by screening is necessary to insure
satisfactory results.

Such a process must necessarily be expensive
as evidenced in the difference between the price of
processing the dailies and the release prints. In
th case of the release prints, the waste in time and
material is represented in the master print which is
subjected to the same uncertain process as the
dailies. After the master has been satisfactorily
tested and corrected, the readings furnish a record,
or matrix, from which any number of copies may
be printed with very little loss. But with the dailies,
only one print being made from each negative scene,
errors are expensive, and the greater price is im-
posed to pay for such errors.

In exposing for the negative, the cameraman is
guided by a slogan that has very nearly become a
law — "Expose for the shadows and let the highlights
take care of themselves." In exposing for the posi-
tive, the order must be reversed. In both instances,
there is the suggestion that good photography is rep-
resented in finding the happy balance between these
two extremes — highlights and shadows.

Mr. Lloyd A. Jones (Eastman Kodak Research
Laboratories) has very beautifully expressed the
printing problem by recommending exposing to a
degree that will give a "just perceptible" tone in the
highlights. He arbitrarily establishes this tone at a
density of 0.008 in the highest light of the negative.
This is quite satisfactory, but actual laboratory tests
show that such a tone usually varies with the taste
for quality among the different superintendents of
the labs. This, too, is perfectly proper, and does not
in the least affect Mr. Jones' finely expressed solu-
tion to the problem.

It would seem, then, that any device that would
enable the printing expert to determine this exposure,
not only the arbitrary density suggested by Jones,
but any density desired by any individual operator,
would be of value to the industry.

To this end, many experiments have been made.
The selenium cell was the first of the photo-active
agents to be tried, but without much success; nor
has the thermopile proved much more satisfactory.
The photo-electric cell has given more encourage-
ment, but great difficulty has been encountered in
trying to devise an electrical hook-up that will in-
sure simplicity of construction and constancy in the
light source, and a reliable action of the cell.

Those acquainted with the characteristics of the
photo-electric cell, know that the straight line por-
tion of its characteristic curve is rather limited.
When controlled by most of the circuits, it suddenly
and spasmodically kicks off at the shoulder — the

* Substantiated by the findings of Physioc and Whitson over years
of experimentation; and Clifton Tuttle ("Assignment of Printing Ex-
posure by Measurement of Negative Characteristics," Journal of The
Society of Motion Picture Engineers).

J <

1 <

| r VARIABLE AREA RECORDERS'

r PATENT NO. 1985584. OTHERS PENOING
! ALSO

^^ 35 mm to 16 mm ^^
L rj REDUCTION SOUND PRINTER 1

p. |Hi SOUND EQUIPMENT [^
' ^J Cable address CRSCO ^J

* C. R. SKINNER MFG. Co.

290 TURK STREET. PHONE OROWfiV 6909

^ ^ San Francisco. California U. S. A. j

By DELMAR
A. Whitson

point where quasi-ionization takes place — and re-
sponds sluggishly at the toe, crowding the calibra-
tions representing the desired straight line portion.

Most of the experiments have considered the
overall density of the negative, which is in violation
of the Jones provision which we consider correct.

The machine about to be described represents a
satisfactory compromise between actual practice and
exacting theory, and is predicated on Jones' idea of
finding and measuring the point of greatest density,
and calibrating the reading to match the shutter of
the printer that will furnish that "perceptible" tone,
or any tone agreeable to the tests of laboratory
superintendent or meticulous cameraman.

Figure 1 shows a general view of the machine —
THE DENSOMETER. Figure 2 is a close-up of the
upper portion, showing the principal features. Figure
3 is a more detailed view of the working parts. A
(Figures 2 and 3) is the housing for the light sensitive
cell, and its various electrical connections. B is the
light source and its optical system. The cell and
the light represent a single unit floating over an
area equal to the motion picture frame, including
the sound-track. The cell is a new type peculiarly
fitted for this use. The light source is the ordinary
lighting supply stepped down and controlled by a
unique electrical system. The most violent line varia-
tions are compensated and the light is so constant
that the slightest deviation of the indicator is not de-
tected. A feature of the electrical system is that
there are no tubes employed; no storage batteries;
no generator. The only variable in the lighting sys-
tem is the depreciation of the filament of the lamp.
As this becomes apparent, the reduction of light is
compensated by a control that keeps the intensity
up to the standard. The life. of the lamp is extended
by being relieved of the full current except when
making the reading of the negative, at which time
a button is pressed, giving the full illumination,
When the lamp becomes so impaired that it will
not respond to the control, another is inserted in
the socket. To this end, another lamp is always
ready, and the connections are so designed that the
setting of the filament is secured without undue and
tedious adjustment. In Figure 2, the lamp house is
shown in its proper position for reading; in Figure 3,
it has been swung out of position to permit of open-
ing the gate for threading the film. However, in
threading, the film may be simply pushed through,
and the gate opened only occasionally, just to make
sure no dust has accumulated on the runways.

C, Figure 3, is a slide holding a ground-glass
screen of constant transmission value. D is a meter
calibrated in degrees corresponding to the light
changes of the printing machines. E is the aperture
where the negative is measured, showing the sound-
track slit at the upper end. E' is the pilot aperture.

Please mention The International Photographer when corresponding with advertisers.

Twelve

The INTERNATIONAL PHOTOGRAPHER

Simplifying Color Lighting

By William Skall

March, 1936

jS we simplify any photographic problem, we
find ourselves able to think less about the
mechanical routine of the task, and grow
more conscious of the artistic and dramatic
possibilities of our work. Lighting for natural-color
cinematography should not be a problem; any color
process must inevitably require more light than is
usual in monochrome, but aside from this one re-
quirement, the principal difference I see between
the two is that in color you have far greater possi-
bilities.

When assigned to photograph Pioneer Produc-
tions' "Dancing Pirate," I resolved to do everything
possible to simplify the mechanics of the job, so that
the possibilities offered by the Technicolor process
and the story could be more fully realized. After
reading the script which called for a great number
of moonlight effects, it was felt that the mood called
for softly pictorial low-key lightings. This in itself
would build for simplicity; and by using light-colored
sets, the problem would be made still more simple.
So from the outset, it was planned to the use of light,
neutral-toned settings, and in the extensive prelim-
inary tests Color Designer Robert Edmond Jones and
I made, progressively reduced the key of the lighting
for these moonlight scenes until we were using what
is, I believe as low a general level of illumination
yet tried in natural-color camerawork. The results
on the screen have so far been startlingly suc-
cessful. The color generally is more natural — rest-
ful rather than aggressive; and as the lightings
grew more simple, it has been easier to balance the
various angles of light to avoid the colorless high-
lights and other unnatural effects which have some-
times detracted from color scenes. In addition, the
combination of lower keyed lighting and the light-
toned sets has proved a tremendous aid in the prob-
lems of lighting some of the very big stage-built
exteriors used for the dance-numbers.

But it is in the field of effect-lightings, I think, that
the combination of low-key lighting and light sets
pays the biggest dividends. Nearly half of the scenes
call for night-effect lightings, and thanks to the com-
bination of light sets and an improved dye-balance
evolved by the Technicolor laboratory, we have been
able to reduce the light-level of the night-effects to
an incredibly low average.

Now there is more than one way of photograph-
ing night-effects in color. Some of the cameramen
favor the use of more or less exaggerated cross-light-
ings, with a rather general use of blue gelatine to
suggest moonlight. Personally, I haven't been able
to visualize night scenes made this way as being
natural. Real moonlight gives a soft lighting, mostly

from overhead, with soft, luminous and highly pic-
torial shadows. And it isn't aggressively blue.

We have been able to duplicate this effect per-
fectly by simply taking advantage of the natural
color-differences betwen the light-sources we have at
hand. For our day lightings, we use Mole-Richard-
son twin-arc broadsides and overhead "scoops" for
our general illumination; these units are inherently
balanced to give a strongly white beam, closely
comparabley to sunlight. Our spotlighting is done
with the same firm's new "H-I-Arcs" and "Ultra-H-I-
Arcs," and some of the older 36" SunArcs. All of
these are high-intensity arcs, and give a light which
has just enough of a faint bluish tinge so that for
day effects we use light straw-colored gelatin screens
to whiten the beam.

Using these high-intensity units without the gela-
tins— "raw", so to speak — we get a light which, in
low-key effects, precisely duplicates the steely blue-
gray of natural moonlight. So for our night effects,
we light the set with unfiltered "H-I-Arcs" and Sun-
Arcs, striving for the picturesque shadow-effects from
foliage and balconies. The same units, of course,
take care of modelling the players. As a fill-in light,
to keep the shadows luminous, we use a few diffused
"scoops" overhead, and a very few, well-diffused
broadsides on the floor. Since the whiter light from
these units is kept in a low key, and used simply to
fill in the shadows partially, the difference in color
is not noticeable, and is really an advantage. At
times, our shot may call for an occasional trace of a
more obviously bluish light here and there, to ac-
centuate the moonlight illusion. This is done by sim-
ply slipping a blue gelatin onto one or two of the
high-intensity units overhead, so that we get a few
bluish catch-lights outlining the set or players.

Getting our moonlight effects this way simplifies
the matter of getting the warmer tones of lamplight
coming from within houses, or from street lamps.
And again, we have a variety of effects available if
we take advantage of the natural characteristics of
mazda light-sources. Normal incandescent lamps
will give a definitely warm yellow-orange light in
Technicolor. The familiar reflector sunspots give the
most strongly ruddy glow; the more efficient Mole-
Richardson "Solarspots," while still warm-toned,
give a far less ruddy effect. Playing these two fa-
miliar sources against each other and against the
steely blue-gray of our arc-moonlight, we have al-
most every type of colored lighting needed for nor-
mal effects — and all without having recourse to the
as yet barely explored (and therefore undependable)
technique of using colored gelatins.

(Turn to Page 24)

Pending powoe"

MAX FACTOR'S

N E W

LIQUID FOUNDATION

A REVELATION IN FACIAL MAKE-UP

March, 1936 The INTERNATIONAL PHOTOGRAPHER Thirteen

EASTMAN

Super X

PANCHROMATIC
NEGATIVE

Has No Equal —
— No Superior!

J. E. BRULATOUR, INC

DISTRIBUTORS

Fourteen

The INTERNATIONAL PHOTOGRAPHER

March, 1936

Arc Lamp Designers Are Rewarded

By Donald Ash by

Patient work by arc lamp designers has removed
the last obstacle which might prevent the general
adoption of arc lighting equipment especially adapt-
ed to the rigid requirements of modern sound picture
lighting. A glance at the final result of these labors
reveals the fact that modern arc design has been
greatly influenced by prevailing incandescent lamp
construction, in fact, the characteristics of lightness,
quietness and general performance are so identical
that any incandescent may be removed from its po-
sition and a modern arc lamp substituted and no
one on the set will be aware of the change other
than the fact that it is now illuminated by a more
intense light of beautiful photographic quality.

Engineering work of a high order extending over
a period of years and prosecuted with great pa-
tience is summed up in the few words of the above
paragraph, but the results upon the motion picture
industry promise to be of far-reaching benefit. The
introduction of this new light may mark the begin-
ning of a great change in lighting conceptions and
practice.

With the advent of sound, silent lighting was re-
quired. Because there were no silent arcs it became
necessary to adopt incandescent lighting; then with
the entire studio attention focused upon the produc-
tion of sound only, incandescent lighting became the
practice.

Photography became secondary, and the cam-
era man was left to struggle with a lighting medium,
the deficiencies of which have tied his hands even
to the present. Robbed of his greens and blues, he
has unceasingly struggled to secure the magnificent
results of which his panchromatic film stock was
capable had he been permitted the use of a light
source which embraced the color range of sunlight.

So suddenly was sound adopted that arc manu-
facturers could not on the instant produce a mech-
anism silent enough for the new sound pictures.
Also with the adoption of panchromatic film, a new
quality of light for use on the sound stage was re-
quired which differed radically from the light of any
arc available at that period.

With these obstacles to overcome we cannot
wonder that the arc lamp manufacturers folded up
and incandescent lighting, with all its drawbacks,
adopted as an expediency, became entrenched as
standard.

Panchromatic film, with its excellent reproduc-
tion of color rendition, with exterior sunlight expo-
sure, suffered serious handicaps when it went in-
side the sound stage, lighted by a medium which
had been robbed of its greens and blues. There-
fore, we find cameramen in an odd situation of
being required to use a lighting medium over-
abundant in red, yet when he needed hard-light
having arc to use the older forms of existing arc
lighting equipment, which is known to be equip-
ment so over-abundant in blues as to be equally
disastrous to good photography.

It is not surprising then that the realization of
this situation has inspired someone with the desire
to supply the cameramen with a light whose qual-
ity should cover the range of their photographic
color requirements and which should abolish those
limitations existing in the only light equipment to
which they had access.

Needless to say, the successful conclusion of this
effort could only be accomplished by a due regard
for the merits of existing lighting practice combined
with an earnest attempt to introduce improvements
in both the mechanism and light quality, which
should be in perfect keeping with not only the light-
ing man's daily practice, but also the cameraman's
present technique, and yet not neglecting the other
factors of photography, such as scenic color
schemes, make-up ,etc.

The introduction of this new lighting medium
and the benefits to the industry are immediate and
profound. Released from the constant struggle to
balance photography against a refractory medium
of lighting, a cameraman finds a natural color
scheme unfolding. By balancing the color at the
source a natural balance of costume, make-up and
color schemes results.

We may say that for the first time the excellent
results of exterior lighting may be secured for pan-
chromatic film indoors upon the sound stage. Better
photography may now be secured at less trouble
and expense to the photographic department. It is
better that innovations do not come suddenly. The
incandescent lamp has become so permanently en-
trenched in studio practice that it will continue for
some time for general lighting, but by the introduc-
tion of this new quality light at a few strategic points
photographic benefits may be secured without in-
terruption to customary scenic, make-up or photo-
graphic practice.

Thereafter the technique of those responsible for
color schemes of costumes, scene painting and
make-up may be gradually shaped until the time
when the realization of easier and better photogra-
phy shall have been made possible by the more
general use of arc lighting equipment.

Attention . . . Foreign Producers!

DE BRIE AT SACRIFICE

New Type SUPER PARVO DEBRIE

Ultra Silent Camera No Rlimp Necessary

Has built in motor, automatic dissolve, pilot pins and anti-
buckling device. Four 1000-ft. magazines — 40mm, 50mm and
75mm lenses — Debrie friction tripod and new type Debrie
finder. Leather-covered carrying trunk and tripod cover. It's
the latest type equipment . . . like new!

Thoroughly Guaranteed

MOTION PICTURE CAMERA SUPPLY, Inc.

723 Seventh Avenue New York City

Cable: "Cinecamera"

Please mention The International Photographer when corresponding with advertisers.

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Fifteen

A focusing hood for a still camera designed and built by Ceo. N. Ball for Milton Gold; in use at

Warner Brothers.

INTRODUCTION TO THE PHOTOGRAPHIC
POSSIBILITIES OF POLARIZED LIGHT

F. Tuttle and J. W. McFarlane. J. Soc. Mot. Pic.
Eng. 25: 69-78, July, 1935. The introduction of an
efficient plane polarizing sheet material in sizes
large enough to cover lenses and lights has made
simple the use of polarized light in photography. An
Eastman Pola-screen, incorporating this material,
over the lens, allows unusual sky effects, photograph-
ing obliquely through glass and water without re-
flectors, and photographing other surfaces obliquely
to show surface detail. When the subject is illumi-
nated through larger Pola-screens, in addition, com-
plete control of gloss results. Faces so photographed
can appear unnaturally perspiry, or devoid of all
luster, depending upon the camera Pola-screen posi-
tion. Reflections from animation cells can be greatly
reduced, and photographing any small subject that
presents a reflection problem is quite simple. Vari-
ous trick lightings and color effects are also attain-
able.— Kodak Research Laboratories.

BARLEBEN TO N. Y. I. OF P.

Karl A. Barleben, Jr., F. R. P. S., internationally
known as a writer on photographic subjects, an
authority on the miniature camera and an expert in
all lines of photography, has resigned his position
with E. Leitz, Inc., New York City, manufacturers of
the Leica camera, to assume the position of dean of
the New York Institute of Photography, 10 West 33rd
Street, New York City.

The International Photographer congratulates
both Mr. Barleben and the Institute upon the new
connection. It is certain to prove of mutual benefit
and this applies also to the patrons of the Institute.

Mr. Barleben has also but recently undertaken a
broadcast over Station WHN, New York, a 30-minute
program, "Behind the Lens," already a success.

CINECAMERAFORNIA

| William Kislingbury, cameraman, ex-soldier
flyer, film editor, lab man, etc. and a loyal member
of Local 659, I. A. T. S. E. and M. P. M. O., departed
February 12, for Detroit, Michigan, where he has ac-
cepted a position with one of the biggest concerns
in the field of industrial photography. Mr. Kisling-
bury will continue to write "Cinecamerafornia" for
International Photographer and later will write some
interesting articles on industrial photography in pro-
duction.— Editor's Note. I

THE RECRUDESCENCE OF "OTTO"

Mr. and Mrs. Charles P. Boyle arrived in Holly-
wood on St. Valentine's Day from almost a year's

sojourn in Manila, P. I., where Mr. Boyle has been
associated with Mr. Paul Perry, another Hollywood
cameraman located in the Pearl of the Philippines.

The Boyles arrived on a Dutch steamer and they
are settling down in Hollywood where both have
formerly been at home and have a host of friends.
They were married in Manila last fall.

Mr. Boyle, especially, is of international fame
because of his comic feature published for several
years in International Photographer under the title:
"Out of Focus" and under the By Line, "Otto Pho-
cus." Every cameraman on earth knows this feature
and some day Mr. Boyle may consent once more to
parade "Otto's" talents before his many admirers.

A CORRECTION

Kinema Krafts Kompany, through an oversight
in their copy for the advertisement which appeared
in our February issue, neglected to state that the
35 mm Eastman Super X they are offering at 2V2C
per foot is short ends. The correction has been made
in their advertisement in this issue.

SCENARIOS READY TO FILM

Amateur Cinema League, Inc., publishers of
Movie Makers, announces the publication of a new
thirty-two page booklet issued by their Continuity
Department of "Scenarios Ready to Film." In it there
are four stories ready to film. These booklets consti-
tute a service not available elsewhere for such a
price. It is free on request of members of the Ama-
teur Cinema League. This activity of James W.
Moore is a most admirable and useful work.

Please mention The International Photographer when corresponding with advertisers.

Sixteen

The INTERNATIONAL PHOTOGRAPHER

March, 1936

The Flexible Screen-
By FRED WESTERBERC

Technical Editor International Photographer

No. 2 Screen Proportion 3x5. This still by Mr. Elmer Fryer allows I
people in a group, clearer expression and greater effectiveness to the screen

ELM

arger

GORMAN A. CHARLES. SIGNAL CORPS U. S. ARMY

No. 1. 1x2 Screen Proportion. Here is a shot from the facile camera of Sergeant Gorman A. Charles, Signal Corps
of the United States Army. This picture illustrates a type of scene for which the wide screen is particularly appro-
priate.

Who can forget the
tumult over wide
screen pictures that
arose in the late
twenties, waxed fev-
erishly f o r awhile
and then suddenly
died? Now, it is just
barely possible that
with confidence and
optimism returning
to the land, some-
thing may be done
in the near future to
revive this ailing
giant, the wide
screen.

Before such activ-
ity gets under way it
may be well to take
stock and observe

just where we stand. Let us ask ourselves a few
pertinent questions. What, for instance, do we
hope to achieve by using the wide screen? What
errors have been made that we can rectify? What
methods are indicated for attaining wide screen
pictures? Are any of these methods feasible?

The motives behind the development of the
wide screen in the past can only be surmised, but
the apparent reason was quite evidently to exploit
the box office value of the big screen for its own
sake. Whole productions were cast on the screen
in this heroic mold, but the response was not as
great as anticipated. The effect of mere size was
like listening to a fusillade of brasses in a Wag-
ner opera, very stirring for awhile but hardly to
be endured for any length of time without sooth-
ing interludes of quiet harmony by the strings and
wood-winds.

The logical conclusion to be drawn is simply
this, that a motion picture production to be effect-
ively presented in all its moods should not be all

wide screen. In fact it
would be better if it
were not all shown on
the normal screen
either. The ideal screen,
in other words, would
be flexible in order to
make use of the most
suitable screen propor-
tion at any one point in
the story.

The bulk of the scenes
perhaps would be serv-
ed best by the normal
screen. The problem in
most cases is one of
height rather than
width. In order to read
facial expressions the
heads must be as large
as possible without cut-
ting off vital ac-
tion near the
bottom of the
picture. That is
the reason why
tables a nd
desks are so of-
ten raised and
put on blocks
for the close
shots.

On the other
hand, as the
distance from
the subject is
increased, t h e
point is usually
reached where
the problem be-

ER FRYER

heads of

comes one
obtaining

of
as

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeen

Are We Coming to It?

much width as possible
as far as the set is con-
cerned without dwarf-
ing the actors. A typical
example of this kind of
a scene is one in which
two people at opposite
ends of a table must be
included in the picture
at the same time. Such
a scene to my mind
would be greatly im-
proved by the use of
about a 3x5 screen pro-
portion, which would
permit the camera to
be moved in closer than
would otherwise be pos-
sible.

Then we come to the
spectacular episodes
that cry out for
the wide 1x2
screen propor-
t i o n. Imagine
great displays
of pageantry,
battle scenes,
revues, in fact
any stirring ac-
tion on a large
scale presented
in full orches-
tration on such
a screen!

Can there be
any doubt that
the wide screen
has a destiny to
fulfill?

But now

No.
of light,
without

ALEXANDER KAHLE

No. 4. 1x2 Screen Proportion. A wonderful photographic shot by Alexander Kahle. It tells its own story
and the human figures but add to it a touch of life. Only the wide screen could do justice to a scene of
such scope and magnitude as this one.

comes the rub. How
are we going to ac-
complish this desired
advancement in
screen technology?

There are two prin-
cipal avenues of ap-
proach to this prob-
lem. One is to work
out a method utiliz-
ing the present stand-
ard 35mm. film, the
other is by adopting
a new and wider
standard film.

One way to obtain
wide screen pictures
by using 35 mm. film
would be to adopt a
projection aperture

.VID RAGAN

5. 3x5 Screen Proportion. David Ragan is the artist who painted this with his brush
By using a medium wide screen proportion one is able to get the door into the picture
having to move the camera so far away from the action.

No. 6. 3x4 Screen Proport
caught this bit of action. The
for an intimate scene of this k

DONALD MACKLNZIE

ion (Present Standard). Donald MacKenzie
regular screen proportion is probably ideal
nd.

.400x.825 of an inch
(Fig. 1) and use a projection lens having two-thirds
the focal length of the normal projection lens.
The normal height of the screen would thus be
maintained and 50 per cent added to the width.
The screen magnification would be increased by
50 per cent and the brightness of the picture re-
duced about 55 per cent.

Due to the changes required in projection, all
sequences intended for wide screen use would
have to be segregated in separate reels. In pho-
tographing these sequences it would be necessary
to compose the pictures so that they could also
be projected in the ordinary manner, since all the-
atres might not care to undertake wide screen pre-
sentations under these adverse conditions.

The answer to this method of obtaining wide
screen pictures is obvious. A headache for all con-
cerned.

Another method of utilizing 35 mm. film would
be to abandon the present standard aperture and

(Turn to Page 28)

Riphteen

T h

INTERNATIONAL PHOTOGRAPHER

March, 1936

AMATEUR MOTION PICTURE SECTION

HAMILTON RIDDEL, EDITOR

Cine Shots Through the Compound Microscope

By Paul R. Nelson

(Editor's Note: Although Mr. Nelson is primarily concerned
with scientific aspects of the microscope, the account of his initial
experiments in Microcinematography contains much that is in-
teresting and helpful to amateur movie makers.)

^jgURING the dull winter months, when shoot-
ing out of doors is not desirable, Microcine-
matography is one form of photographic
venture which is not only an education by
itself, but is intensely fascinating as well to every
lover of nature. The writer, in relating his experi-
ence with microscopic movies, does so in the hope
of dispelling any fearful apprehension which may
be entertained by amateur movie makers regarding
the idea of making a film through the compound
microscope. For the diversion afforded by micro-
cinematography is unlimited and bears investiga-
tion by those movie makers who complain, "There's
nothing left to film."

The illustrations, shown on this page, were taken
from a motion picture negative, filmed under the
most simple circumstances. The equipment was
stripped of all refinements and apparent complica-
tions, leaving only essentials to work with. The
microphoto apparatus was the last word in sim-
plicity.

Cameramen who make a specialty of filming
wild animals usually select for their set-up some
spot near a water hole, termed a donga, from which
to obtain pictures. The writer concluded that, in the
making of his "animal" film, he had something in
common with them. He too used a "water hole" to
secure his subjects, in this case the family fish bowl.
A drop of water from this source contained an abun-
dance of specimens suitable for microcinematog-
raphy. Incidentally, it should be remarked in pass-
ing that stagnant water taken from a puddle in a
meadow will also reveal additional species not to
be found in a fish aquarium. For an amoeba (a
shapeless, irregular cell) can usually be found in
these types of water. Tap water from city mains
does not, as a rule, contain much material for a pic-
ture. Therefore, if one has not already adopted a
fish bowl hobby in his home, he may place some
aquarium plants in a dish of gravel and water, and
leave them there for a few days, by which time
some form of life should be available. This is called
preparing a culture.

Attention must now be given to the arrangement
of cine camera and compound microscope. There
are different microscopes on the market, as there are
different cameras, but all operate on the same gen-
eral principle. The microscope objectives are the
tiny lenses on the turret nose of the instrument, and
the eye-piece is the ocular lens from which observa-
tion is made possible. For microcinematographic
purposes, the ocular lens is usually put aside. And
the camera lens is also removed from the camera,
as the only lens used in making the film was one of
the small objective lenses of the microscope.

In order to obtain a satisfactory image of a cul-

ture, capable of filling a motion picture screen, it
will be appreciated that an exceptionally close set-
up is necessary to couple microscope and camera
together. Obviously, a light-proof connection tube
between the two instruments is required and was
supplied. This connecting tube was attached to the
eye-piece lens mounting of the microscope; the other
end being recessed in the vacant camera lens
mount. By this coupling of the two instruments, the
image-forming light is projected vertically from the
microscope to the film in the camera's aperture. The
cine camera and the microscope are thus so closely
related that the microscope becomes, in effect, an
extension or continuation of the camera itself. More-
over, the depth of the camera lens' recess permitted
sufficient perpendicular action of the connecting
tube to correctly focus the film.

A succeeding problem was one of proper illumi-
nation to light the field of action within the specimen
slide. Several types of light sources were tried, but
care must be taken to provide a "cool" light, or
rapid evaporation of the specimen water will result.
Readers may be surprised to learn that the greater
part of the writer's microphoto film was photo-
graphed by the light of an ordinary 50-watt frosted
bulb, placed directly beneath the specimen slide.
The bulb being about two inches away from the
under part of the slide, there was ample ventilation,
and there was no apparent tendency to "cook" the
specimen being filmed.

A very important factor in successful microcine-
matography is critical focus. Extreme care is neces-
sary to insure absolute sharpness of image. Remem-
ber, the plane of action is very narrow; the actual
depth of focus varying only about the thickness of a
blotter. The slightest over- or under-adjustment will
raise your flat field of focus above or below the de-
sired plane of activity. Usually, microscopes have
a dual control for focusing. One control brings the
subject into focus instantly, but not critically. The
other control obtains the final necessary delicate
adjustment. In this connection it is advisable to
place a thin piece of cover glass, commonly used by
students of biology, on top of the drop of water
which rests on the specimen slide; the cover glass
being held in place on the carriage by means of
spring clips. This cover glass will restrict the up
and down movements of the specimen, and tends to
keep them within the narrow depth of focus.

Amateur cinematographers may encounter some
inconvenience in clearly seeing the culture while
centering and focusing it on the film, depending of
course upon the type of camera being used. If you
possess a camera with a prism focusing aperture,
there is no more difficulty than occasioned by pro-
fessional 35 mm. cameras. Observation of all pro-

Please mention The International Photographer when corresponding with advertisers.

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Nineteen

tozoan life in the culture is obtained by placing an
eye on the focusing aperture of the camera as the
dual focusing control of the microscope is manipu-
lated.

Specific exposure data cannot be given, as such
data will vary, depending upon the type of micro-
scope lens, subject and film being used. Of the
three microscope objectives on the turret of the writ-
er's instrument, only two were used. Tests proved
that with the first low power lens it was possible to
shoot 16 frames per second and get ample exposure
with the 50-watt bulb light source. The next higher
power lens did not permit such exposure because of
its slower quality. However, on "still" subjects,
such as the cluster of egg-like material shown in the
illustration, it was discovered that one frame per
second gave correct exposure. Panchromatic film
was used. Fine grain and normal speed film stock
should be used in microcinematography. And ex-
posure tests are the most satisfactory means to

ture of the camera enabled one to see, there on the
film, exactly what had been seen many times before
through the microscope alone. Along with the old
familiar creatures came others of great diversity in
size and shape. It was an immediate problem to
pick out those that would give some idea of what
could really be accomplished in making a picture.
Some protozoan life will challenge the utmost pa-
tience of a photographer, due to circumstances
which arise in the use of light, magnification and
moderate heat. On the other hand, there are crea-
tures easily victimized by the motion picture camera.
The first subject of the film was a long, worm-
like creature; held "on location" by the assistance
of a piece of cotton fiber. It demanded its divine
right of freedom, whipping and squirming about like
fury. But it made a good picture. The exciting part
of making this shot was the chance taken on the
questionable grip of the cotton fiber, trusting the
creature would stay "put."

ascertain correct exposure data for your own par-
ticular microphoto set-up.

It will pay the movie maker well to spend a little
time in using the microscope alone. Examine differ-
ent sources of water (stagnant) through the instru-
ment, and thus familiarize yourself with the crea-
tures you are about to film. Simple conjecture will
disclose the writer's thoughts, during this prelimi-
nary examination through the microscope, as he
peered into the strange acquatic world. Every cell
movement was translated into cinematic visions,
projected on an imaginary screen. Such are the
ones that drive the cinematographer to work. The
film was about to become a reality! Accordingly,
the equipment was put together, as explained, and
operations begun.

The first specimen, or drop of water, placed under
the cinemicrophoto apparatus yielded immediate re-
sults. Merely placing an eye at the focusing aper-

Another specimen was placed under the micro-
scope, revealing the common Rotifer — so named be-
cause of the rotary action of the cilia, or hairs, cir-
cumscribing the gullet at the head of the creature.
These fellows are symbols of industry, and are full
of animation for the camera. However, their actions
did not bespeak distress; they seemed quite indiffer-
ent to the mechanical giants over their heads. Their
locomotion can be compared to the small green
measuring worm, often seen on the leaves of green
plants during summer. One end of the Rotifer is
heaved ahead and the rest of the body follows.
Critical examination made the discovery that the
animal traveled in reverse; the double-pointed tail
hooked to something ahead and pulled the rest of
the body up to it. Next the Rotifers became like
crude telescopes, as the animal stretched out to full
length. The cilia at the gullet moved rapidly back

(Turn to Page 31)

Please mention The International Photographer when corresponding with advertisers.

Twenty

The INTERNATIONAL PHOTOGRAPHE

March, 1936

RIGHT OFF THE REEL

Negative Storage: When a roll of 16 mm. nega-
tive has been processed, and by editing has been
conformed to match a completed positive print, it
should be safely filed away for future reference. It
is not necessary, nor advisable, to spool negative
film. Simply rewind it on a split-reel (see December,
1935, issue, page 26), remove and tape end of the
coiled film. Wrap the negative in tissue paper and
store it in a film can. The can should be securely
sealed by adhesive tape and the subject of the neg-
ative inscribed thereon.

A Magician's Trick: Stop motion, or delayed
action in photographing, is from the cinematogra-
pher's bag of tricks which on the screen will appear
to emulate the intriguing feats of a magician. Sim-
ple to accomplish, stop motion can be obtained with
any amateur movie camera, as no special attach-
ment— or gadget — is necessary. For example, sup-
pose we are photographing a friend in a medium
shot as he makes several magical "passes" before
the camera. At a predetermined time, after record-
ing several such "passes," command the subject to
"freeze" — that is, stop his entire motion and remain
so posed, at the same time cutting off the camera.
An assistant can then place in the subject's hands a
hat, a watch or what have you. Then the camera is
again started and action proceeds. This operation
is repeated several times, with variations. On the
screen, the results are very amusing — if they were
originally timed correctly — as the entire scene be-
comes continuous action and your subject a regular
magician. One word of caution: When taking stop
motion, it is imperative that the camera rest on a
tripod, or some other stationary support, to complete
the satisfactory illusion of magic.

Adhesive Tape: One of the most often used ac-
cessories of home movie work is the w. k. but lowly
adhesive tape. The half-inch variety will be found
most useful. There seems no end to the uses for
tape; to identify reels and cans, as a temporary
editing splice, securing coiled film ends, and to tag
scenes for editing and titling purposes. Keep a good
supply of tape on hand. You're bound to use it
often.

Screens: Don't ruin the results of good movie
making by projecting your pictures on any wall or
bedsheet that's handy. By so doing, the beauty of
a good movie is at once lost, and the results very
disappointing. A motion picture is purely a matter
of reflection; the moving images projected on the
screen are reflected back by it to your eyes. Thus
it becomes evident that a good, clear reflecting sur-
face is essential to maintain and to promote all the
beauty and deliver a non-distorted image of your

By F. Hamilton Riddel

pictures. Select a good screen with the same care
and thought as you did your camera and projector.

Care of Filters: Careless handling of lens filters
is a habit to overcome. Each individual filter should
have its own case. Once cleaned, avoid getting the
filter dirty or finger-marked in handling. Clean fil-
ters no more often than is necessary, and once
cleaned, strive to keep them so. Excessive cleaning
is hard on the filter glass, as in the case of camera
lenses, and so is prolonged exposure to the hot rays
of the sun. A good filter deserves good care.

Use for Tinted Stock: Besides its regular use, to
impart a "color mood" to a scene, tinted film is quite
useful as a "signal" to cut into the beginning and
the end of a reel of movie film. About a foot of
green tinted film at the beginning of a reel and a
foot of red at the end will do. In selecting a reel for
projection, and by noticing which color appears at
the start of the film, it is at once apparent whether
the subject is ready for screening. As in driving a
car, green denotes "go." While if red appears, then
"stop" and rewind.

Instruction Manuals: It seems no more than hu-
man that the average movie maker so often com-
pletely ignores the instruction manuals furnished
with new movie outfits and accessories. That the
same can be of inestimable value, both to a begin-
ner or seasoned veteran, goes without saying. Yet
it is common practice among movie makers to fum-
ble around with new equipment, very often missing
the fine points of a particular make of apparatus.
Bear in mind that the instruction manual was written
and compiled by the manufacturer, whose product
you are about to use for the first time, and that for
this reason the manual is authoritative. It is exceed-
ingly well worth your time to study carefully your
instruction manual and, through proper use, receive
a full measure of satisfactory service from the equip-
ment. Also, always keep in mind your cine dealer,
who is glad indeed to render you advisory service.
If there are any questions you have in mind after
reading the equipment manual, don't hesitate to call
on him.

Stock Titles: For the movie maker desiring pro-
fessional appearance for his film titles at a minimum
of expense, there are available many "stock" titles.
A few examples of this kind of title are: The Family
Album; Our City; Vacation Memories; Spring Time;
Home Newsreel; End of Part One; The End, etc.
Usually these "stock" titles have fitting backgrounds
and are also available on tinted film if desired.
While these titles are of a general nature, they will
add immeasurably to your movies. Moreover, many
movie makers, who for various reasons delay titling
a film, find the "stock" title to be valuable, though
temporary, until such time when they get around to
incorporating personal titles in a film subject.

Travel Library Films: This being an age of speed,
it is not always possible, in taking a motion picture
camera along on a trip, to secure all the scenes of
prominent places which we should really like to
record. Often, too, a matter of insufficient light be-
comes a problem which, coupled with a rigid travel-
ing schedule, precludes all movie making. In many
cases, disappointment in completing a travel se-

Please mention The International Photographer when corresponding with advertisers.

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

quence may be avoided by buying library film of
the subject missed. These library films are readily
cut into your own personal travel record, and round
out your entire subject nicely.

"Filmo Topics": Containing material that is of
timely interest to amateur cinematographers, "Filmo
Topics" is an attractive publication of the Bell <S
Howell Company. Special articles in the current
issue of "Filmo Topics" include: "Shoot Them In-
doors, Too" — containing some specific data on inte-

rior movies, both for 16 mm. and for 8 mm. Filmopan
film; an interesting discussion of Kodachrome 16
mm. natural color filming; "The Evolution of a Movie
Party" — describing an annual event in the home of
a movie maker in planning and presenting a film
party; together with photographs of new Bell & How-
ell amateur movie equipment. A copy of "Filmo
Topics" will be sent, gratis, to any user of motion
picture equipment by addressing the Bell & Howell
Co., 1801 Larchmont Avenue, Chicago, 111.

QUESTIONS and ANSWERS

By F. Hamilton Riddel

How many Photoflood lamps, for making inte-
rior movies, can be safely used on one circuit?

Do not use more than five lamps on a single cir-
cuit, or you may encounter fuse trouble.

2. Are there any other precautions to observe in
using Photoflood lamps?

When using Photoflood lamps in ordinary home
fixtures, bridge lamps with parchment or cloth
shades, etc., make certain the bulbs do not come in
contact with the shades. It is even advisable to
keep an eye on Photoflood lamps so placed, as they
burn at high temperatures, and if left lighted for a
considerable length of time, scorched shades will
result. Except for artistic lighting effects, back-light-
ing, etc., it is far better to light your scene with Photo-
floods in metal photographic reflectors. The effi-
ciency of the Photofloods is enhanced three-fold and
there is no possible danger of damage to the regular
room lamps.

3. Can still picture enlargements be made from
single frames of a movie film?

Yes, whether you are using the reversal or the
negative-positive film system. However, the method
for securing stills differs with each system, the nega-
tive-positive offering the most direct. In the latter
case, merely project the 16 mm. negative frame onto
a sheet of enlargement paper, develop the latter,
and your print is completed. Reversal frames re-
quire projection onto a piece of cut film negative,
development, then subsequent printing from the
processed cut film negative to obtain a still-print.

4. Is it necessary to use expensive fast negative
film, reversal or negative-positive systems, in black
and white cartoon work or direct title work?

No. Ordinary positive film stock will serve the
purpose nicely. As a matter of fact, due to its con-
trasty characteristics, positive film used as a nega-
tive will prove superior for this type of work.

5. Can regular 16 mm. film be used in 8 mm.
cameras? I note it is the same width as 8 mm. cam-
era film.

No. Before processing 8 mm. is identical in size
to regular 16 mm., as you state, but the number of
perforation holes per frame is increased. There are
three perforation holes, instead of two, on each side
of 8 mm. film frames. Thus regular 16 mm. per-
forated film cannot be accommodated in 8 mm.
cameras.

6. In a pinch can 8 mm. perforated positive film
be used in making 16 mm. titles? I use both outfits,
8 mm. and 16 mm.

Yes, though for convenience sake it is not advis-
able; inasmuch as your titles may not frame them-
selves automatically in the projector. Moreover,
extreme care would have to be exercised in splicing
8 mm. perforated film together with regular 16 mm.,
so that improper register of frame lines may be
avoided.

7. Is increased speed of the super-fast camera
film its only recommendation?

Absolutely not, although speed is the most gen-
erally talked about feature of fast films. Of equal
importance, unfortunately not emphasized often
enough, is color correction. That is, the ability of
the fast films to render faithfully, in black and white
tone gradations, the subject as the human eye sees
it. Other types of film, the non-Panchromatic, are
not sensitive to all the colors of the spectrum, though
they are none the less valuable for use in certain
types of motion picture work.

8. Do the darker modulations on a sound film
track render the loudest sound volume in projection?

No, just the opposite is true. Light modulations
on the sound track afford loud volume, while the
dark ones produce reduced volume of sound.

Do Not Buy

r ii til You Have Seen

OUR NEW

VARIABLE AREA

RECORDING SYSTEM

Features Found Only in Expensive
Equipment

• Variable Area

• Rotary Film Drum

• Constant Film Motion Dampener

• Synchronous Motors

• Dynamic or Ribbon Microphone

• Portable or Studio Types

Introductory Offer for Limited Time
$1975.00, Net— F.O.B. New York

Sound Film Enterprises, Inc.

723 SEVENTH AVE. NEW YORK, N. Y.

Cable Address: SOUNDFILM

Please mention The International Photographer when corresponding with advertisers.

'Twenty-two

The INTERNATIONAL PHOTOGRAPHER

March, 1936

THE SCENIC ARTIST

(Continued from Page 3)

filter that more nearly represents the value of the
light used by the cameraman. Exteriors, set out of
doors, require varied treatment, according as they
are photographed in the warm, direct sunlight or the
cool light reflected from the north on to the sets in
the shade. By viewing the subject through the filter,
the artist can easily judge whether the delicate reds
will be too much bleached out by the selective effect
of the panchromatic film. The same test will help in
determining the strength and purity of the blues and
greens.

In order to balance these extreme effects, which
are the result of the color sensitivity of the film to
some of the primary tints, a neutral tint composed of
umber and white may be dipped into, occasionally,
and those positive tones may be modified so as to
bring them into good photographic values without
destroying the delight of responding to that sense of
color inherent in all artists.

However, there is one advantage in the monotone
medium that cannot be overlooked. Some of the
studio jobs are extensive propositions, and must be
done hurriedly, requiring many artists, working to-
gether. Consequently, if painted in color, the work
most likely would show too great a variety of color
schemes and as many different temperaments. It is
not always possible to assign one man to an indi-
vidual job.

The most successful method provides for a series
of tones, mixed from specific formulae. These tones
not only harmonize the efforts of all engaged on the
job, but furnish a standard of reference, comparison
and practice, in general; and enable the art director
and chief scenic artist to direct the progress of the
work in a very accurate manner.

As an illustration of the possibilities of the com-
bination of the arts of the cameraman, art director
and scenic artist, we may cite a recent picture called
"The Music Went Round and Round," made by
Columbia Studios and directed by Victor Schert-
singer. One of the numbers involved a very inter-
esting problem.

A peculiar transformation was required — a group
of dancers performed before a set painted in colors
of complementary values. Under the ordinary light-
ing, the background represented a composite design
and the dancers were the usual types of pretty girls.
At the proper cue a startling change was seen to
take place. The girls turned to blondes, apparently
wearing different costumes, and the background as-
sumed an entirely different design. Then another
change took place — the blondes changed to black-
haired colored damsels with a characteristic change
in the design of the background and costumes.

This effect was achieved by the cameraman, at
the proper cue, by sliding a red filter across the lens,
creating the blondes; another position of the filter,
and there were the colored girls, created by the blue
section of the filter.

To understand the effect of the filters on colors of
the background, try the simple experiment of placing
a red and blue stamp, side by side, upon a piece of
white paper. Viewed through a red filter, the red
stamp becomes invisible, and the blue stamp ap-
pears black; viewed through the blue filter, the blue
stamp disappears and the red stamp becomes black.
This would indicate that a mixture of the two colors,
commonly called purple, would be visible through
either filter, and the degree of visibility, through the

respective lenses, would depend upon the propor-
tion of either color in the mixture, and the delicacy
or intensity of the tones of the mixed tint.

In laying out the design, the tints of those portions
that overlapped were mixed so as to form a com-
posite picture under the ordinary lighting. In this
case there was a mixture of the warm incandescent
and the cold arcs to more nearly simulate natural
light and aid the properties of the pan film. But the
tints were calculated, also, to be obliterated or inten-
sified when their respective filters were interposed.
Thus, when the red filter was interposed, the reds
were neutralized in proportion to their delicacy or
intensity, rendering the design worked in the blues,
and vice versa; with the same effect on the faces and
costumes of the girls. The makeup of the girls was
similarly selected.

It was a complicated problem, and Mr. Robert
Wright, head of the scenic department, deserves
great praise for the manner in which he directed the
process. Each tint was carefully calculated as to
the amount of each color it contained, and photo-
graphic tests were made to verify their actinic qual-
ities. Each tint was carefully identified, and during
the painting the background was continually studied
through the filters and corrections made here and
there where any errors in absorption or transmission
occurred.

A specially designed filter was used — a 49 C.
transmission on one end, a clear space> in the middle
and 29 F. on the other end.

Fifteen artists were continually at work on the
picture.

To realize the growing importance of the work of
the scenic artist, one needs but visit these depart-
ments in the various studios — especially the new
outfit recently opened at the Warner Brothers-First
National.

Mr. William McConnell, head of the department,
gives us some interesting details.

The painting loft comprises a floorspace 40x112
feet; two frames 30x60 feet, two 30x50 feet. They are
raised and lowered by Westinghouse automatic elec-
tric control — single switches move each frame, indi-
vidually; another switch moves the two frames in
unison, so that a great drop may be stretched over
the two frames. The control is so accurate that there
is not the slightest deviation in the movement of
either frame, thereby avoiding a single wrinkle
across the face of the drop.

There is a special department for the painting of

Please mention The International Photographer when corresponding with advertisers.

March, 1936

T h

INTERNATIONAL PHOTOGRAPHER

Twnty-three

WINTER MADE TO ORDER

After reviewing the snow sequences used in
many pictures, the technical department of Califor-
nia Consumers Corp. conceived the idea of creating
a large refrigerated stage where pictures of an icy
or cold climatic condition could be realistically du-
plicated under the exact controlled temperatures of
specific locales.

In furtherance of this idea the corporation con-
verted one of the largest refrigerated buildings in
the state into a modern refrigerated sound stage.

Where formerly prohibitive costs and lack of fa-
cilities made advisable the exclusion of snow or ice
scenes an actual necessity, together with lack of
realism except under the most favorable seasonal
conditions, the corporation today is capable of cre-
ating on this refrigerated stage, at a fraction of usual
cost, any snow or ice scene using real ice and snow.

Unusual features of this stage include a portable
snow slinger which takes blocks of ice and pulver-
izes them into the consistency of fine snow, and
blows the snow on the set where it is wanted in any
amount needed.

This same machine is not confined to the stage,
but may be used any place where electric power is
available. It can literally make enough snow in one
day to overflow nearly any stage in Hollywood.

Other features of this stage include the supplying

smaller pieces, such as panels, decorations, por-
traits, etc.

Mr. McConnell further cites a single picture, "The
Petrified Forest," to illustrate the extent of the scenic
artist's work. From twelve to fifteen artists were con-
tinually at work; 26,000 square feet of canvas was
used, and over four barrels of paint.

In one sequence there was a purely scenic effect
worthy of mention. A tremendous panoramic sky
drop was painted as a transparency, to permit of the
transition from day to evening. When lighted from
the front with normal illumination, it appeared as it
should, during the beauty and glory of the day. As
the day waned, the front lights were dimmed and
those at the back began to show through the trans-
parency, similating the evening glow along the hori-
zon and bringing out the silhouettes of masses of
trees, hills and such features of the night landscape.

The other major companies are rapidly building
up their departments under the able supervision of
such other artists as George Gibson, M-G-M; Charles
B. Baker, Fox-Twentieth Century; Otto Kiekle, Uni-
versal.

It is needless to say, the scenic artists look with
interest toward the development of color pictures.

of real icicles (hanging from roofs, trees, etc.,) that can
be broken off and eaten. These can be furnished,
as well as the snow, in a variety of colors if wanted.

The formation of a skating rink using real ice is
only a matter of a few hours and any of the snow
or ice set can be maintained in their original condi-
tion indefintely within the refrigerated stage.

Another item of possible interest is the carving of
crystal ice into beautiful artistic designs that are of
exceptional beauty when various forms of lighting
are used, giving them the appearance of crystal
carvings.

This stage now makes possible the shooting of
actual snow or ice scenes, irrespective of the time
of year or temperature. They create their own weath-
er to correspond with that of any section of the coun-
try where all or a portion of the year has a cold or
frozen climate.

It is most desirable in scenes of cold climate to
have the breath of animals and people visible in the
form of vapor while surrounded with banks of snow,
in front of buildings covered with snow, or while
occupied in skating, skiing, sleighing or walking
through snow. This is easily possible under the
controlled temperature, making it as simple a matter
in a set on the hottest day of summer, as on the cold-
est day of winter.

This stage is located in downtown Los Angeles
at Seventh and Mesquite Street.

Davidge Developing System

Hollywood Roto-Tank Ltd.

5225 Wilshire Blvd.

Los Angeles, Calif.

Please mention The International Photographer when corresponding with advertisers.

Twenty-four

The INTERNATIONAL PHOTOGRAPHER

March, 1936

MOTION PICTURE SOUND RECORDING

(Continued from Page 7)

sistor used should have a resistance of 600 ohms;
and its wattage rating would not need to be over one
watt. When the filament rheostat is adjusted to the
correct value, five volts will be applied to the por-
tion of the circuit across which the meter is con-

2A5

h^(0pM

6o»

6V.AT

A\ET£R JACK

Fig. 4 — Meter jack circuit for d c filament supply.

nected. This will cause the meter to give a reading of
eight milliamperes, which corresponds to five volts
(5/6th of ten milliamperes).

Extending the Range of a Voltmeter

To complete this series of formulas on meter con-
version and range extension, it will be desirable to
give the formula for the extension of the range of a
voltmeter, even though such an operation is not nec-
essary in the design of this amplifier. The external
resistance required to extend the range of the volt-
meter is connected as a multiplier in series with the
meter as shown in Figure 2B. The formula to use for
the calculation of the required resistor is given by —
R = R (n— 1)
x m

where R is the required resistance of the
— x multiplier in ohms,

R is the internal resistance of the
— m voltmeter in ohms (which

may be learned by writ-
ing to the manufacturer of
the meter), and
n is the scale multiplification fac-
tor.
If the range of a 0-100 volt voltmeter is to be ex-
tended to 0-1000 volts, n will have a value of 1000/
100, or 10, and (n— 1) will be equal to 9. If a 5-volt
voltmeter is to have a range of 100 volts, (n — 1) will
have a range of 100 volts, (n — 1) will have a value of

19; and if the meter has an internal resistance of
2000 ohms, Rx, the multiplier resistance, should have
a value of 38,000 ohms.

In all the cases that have been stated, it is vitally
important that the resisitors have exactly, or very
nearly, the required resistance, as otherwise the
readings of the meter would be incorrect. And
likewise it is important that the resistors be of
high enough quality so that they will not vary appre-
ciably in value with time and with changes in atmo-
spheric conditions. If any sort of accuracy is de-
sired with this meter, it is advisable to buy the high-
est grade resistors obtainable.

An even better meter for this purpose than the
0-10 milliampere meter described here, but a more
expensive one, is a 0-1 milliampere. Greater accur-
acy in reading voltages may be secured with this
meter since it places less load on the voltage source
under test. The internal resistance of most high-
grade meters of this range is about 27 ohms. The
formulas given previously apply equally well to this
meter, remembering, when using the formula, to con-
vert it to a voltmeter that the full-scale reading of
this meter in amperes is 0.001 ampere.

Plate Meter Serves As Overload Indicator

When the milliammeter is connected in theplate
circuit of any of the tubes (Jl, J2, or J3), it serves not
only as an indicator of the plate current taken by the
tube but as a check for tube overloads. There should
be no movement of the meter pointer from the posi-
tion indicating normal plate current when the micro-
phone is spoken into if the tube is functioning prop-
erly (as a true Class A amplifier); but if the tube is
being overloaded by too great a grid voltage swing,
the meter pointer will move erratically when speech
current is fed to the tube.

In cases where the meter pointer varies during
the operation of the amplifier, it is most likely to be
due to incorrect voltages being applied to the tubes,
particularly the bias voltage in the grid circuits. If
the voltages are found to be up to normal value, the
trouble usually can be corrected by reducing the
speech current applied to the input of the amplifier.
This may be accomplished by varying the volume
control potentiometer in the grid circuit of the first
amplifier tube.

It was impossible to complete the discussion of
this basic amplifier and its related circuits in this
chapter, but the next installment will describe an im-
proved amplifier circuit designed to operate entirely
from an alternating current source. Plate and grid
filtering circuits will be discussed; and the design of
a high-power amplifier to be coupled to the output
of this basic amplifier will be described.

SIMPLIFYING COLOR LIGHTING

(Continued from Page 12)

The range of effects is really surprising. For ex-
ample, one of our tests showed a waist-length figure
of a man in a flat Mexican hat standing in the moon-
light. Under the hat, his face was in a deep but
luminous shadow, while a strong beam of moonlight
lit up the lower side of half his face. Two diffused
M-R Side arcs took care of the front-lighting, filling in
the shadow just perceptibly; a single High Intensity
arc spot on the lamprail overhead provided the key
high-light. You could hardly have lit the scene more
simply in black-and-white, though of course mono-
chrome would permit smaller units.

It should naturally be understood that what we
have been doing in this picture is by no means the
idea of any one individual, but the result of combin-
ing the thought and experience of many experts in
the fields of color-design, art direction, illuminating
engineering, and color-printing. Our lighting tech-
nique has evolved in the natural progression of the
many cameramen who have photographed Techni-
color during the past sixteen years. Since the 3-color
process has been in use, Technicolor's control sys-
tem has kept scientific record of every technical de-
(Concluded on Page 31)

Please mention The International Photographer when corresponding with advertisers.

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Tiventy-five

George E. Browne, President, I. A. T. S. E. and

M. P. M. O.

George E .
Browne, president
of the I.A.T.S.E.
and M.P.M.O., ar-
rived in H o 11 y-
wood recently for
a sojourn of sev-
eral weeks in Cal-
ifornia.

Mr. Browne is
greatly in the pub-
lic eye just at pres-
ent, due to his
startling coup
which brought
about peace
among the war-
ring elements in
the I.A.T.S.E. and
M.P.M.O., in cer-
tain theatres of the
Middle West and
in the major studios of Hollywood.

Since Mr. Browne took things in hand the labor
horizon has entirely cleared in Hollywood and he
will depart from here having won the respect of
of every man with whom he came in contact.

He merits in every way what was said of him
after his election to the presidency of the I.A.T.S.E.
of the United States and Canada:

"Too much cannot be said in praise of the new
president. He is a thorough Union man and a mas-
ter of the principles of Unionism. He particularly
understands the problems of the great organization
of which he has the honor to be the head and those
who know him will say that he not only understands
the problems, but that he has the courage, ability
and wisdom to solve them.

"He is firm; he is absolutely trustworthy. He is
loyal to the body over which he presides and de-
mands loyalty in return. President Browne, though
a man of vision and firm in his judgments, is never-
theless a diplomat and his reputation for fair dealing
has done much to bring him the great popularity he
enjoys.

"Moreover, the new executive is a man of action
and ideas and he does not wait for anybody to take
the initiative. In brief, he goes and he gets."

All of this and more was justified by his recent
coup and THE INTERNATIONAL PHOTOGRAPHER
is glad to add its plaudits to those of the thousands
who have known and appreciated Mr. Browne all
his life.

ROYALTY IN

Peverel Marley, director of photography on Pick-
ford-Lasky's "One Rainy Afternoon," says he is the
last of the Peverels. That may not mean much to the
average person; but it is sure to interest him who
knows his Sir Walter Scott — particularly the story
"Peveril of the Peak."

The opening sentence reads: "William, the Con-
queror of England, was or supposed himself to be,
the father of a certain William Peveril, who attended
him to the battle of Hastings, and there distinguished
himself."

If the novelist is correct that makes Cameraman
Marley a descendant of "the Conqueror" — a blue-
blood of the first rank. And quite a distinction for
Pickford-Lasky to have a man of such antecedents
on the producing staff of its initial production.

"I never paid much attention to the old family-
tree," said Peverel Marley on the set at United Art-

HOLLYWOOD

ists, the other day, "until I saw a copy of Scott's his-
torical novel, a while back. I bought it because of
the similarity of the spelling of the name of the hero
and my first name. It came to me through my mother.

"After reading the story, I made some inquiries
and found that the family had credentials linking us
up to the historic Peverils of England. The spelling
of the name was changed years ago, the 'i' becom-
ing 'e' in the last syllable."

Peverel Marley belongs to cinematography's
royalty in Hollywood, being right up at the top,
among the ace cameramen. He is fascinated by the
pictorial possibilities of "Peveril of the Peak," and
says he hopes some day to have a hand in bringing
the story of his illustrious forebear to the screen. "For
the last of the Peverils that wouldn't be such a bad
gesture," Marley remarked. "Maybe I can talk Pick-
ford-Lasky into it."

ArtReeves film tested equipment

Variable Area Recorders
Light Test Machines,
Bloop Punches,
Soundolas,

Amplifiers,
Microphones,
Cables,
Glow Lamps,

Developing Machines
Galvanometers,
Interlock Motors,
Reeves Lights & Stands.

ArtReeves

Dependable Equipment At Prices Within Reason.

]--[o]ryvvood

Motion pioTuRE/^ouiPMEriTCo. |Td.

645 NORTH MARTEL AVE-

CABLE ADDRESS ARTREEVES

HOLLYWOOD, CALIFORNIA. U'SA

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

March, 1936

PHOTOGRAPHING IN COLORS

(Continued from Page 9)

pended on under the particular circumstances which
the photographer works.

The procedure for the dye imbibition consists of
"transferring" the primary color images in a manner
that is not unlike the system employed in making
color pictures by the printing process in which a
cut is coated with ink and pressed in contact with
paper. An imbibition matrix, which corresponds to
the printer's cut in the printing process, must be
first made from each of the separation negatives
and then superimposed over each other on a final
support which is subsequently dyed and "laid-on"
a sheet of gelatine coated paper. This is done for
each of the primary colors, if a three color process
is used or green-blue and orange-red for two colors.

For making the matrix the best results are being
obtained with the "wash-off" relief film made by the
Eastman Kodak Company which is made specially
for the purpose and may be obtained directly along
with directions from their Service Department. The
company also sells a set of three color dyes which
give good color renderings, although some workers
have found difficulty in getting the dyes to work.

The "acid" dyes obtained from Bachmeyer and
Company, New York, such as Azo Rubine for the
red and Patent Blue for the blue-green, have been
found satisfactory. If difficulty is found working the
Azo Rubine alone Metanil Yellow may be added.
It is well to remember that the red dyes will bleed
if the solution is not acid enough or not transfer at
all if too acid.

If three color separation negatives are used Acid

The

SENIOR
Solarspot

The Perfect Photographic Light

For Black 'and 'White or
Color

MOLE-RICHARDSON, Inc,

941 No. Sycamore Ave., Hollywood, Calif.
Cable "Morinc"

Fuchsine for the magenta or red printer, Patent Blue
for the cyan or green-blue, and Tartrazine for the
yellow, may be tried.

The matrices are made as positives on the
"wash-off" stock, dried, and then dyed. After dye-
ing they are washed back to the density desired or
required for the contrast in the separation negatives,
and then again dried before transferring. In trans-
ferring, the red, then the yellow, then the blue ma-
trix is laid in register one after the other on a sheet
of smooth surface gelatine coated stock that has
been previously fixed. Five minutes should be re-
quired for each transfer. A solution of slightly aci-
dulated water is flowed between matrix and final
support, which facilitates the transfer.

The registration is accomplished by clipping the
final support and the matrix together with a sheet
of celluloid inserted between so the two do not con-
tact until registration is complete. The matrix is
lifted after the registration is complete, the celluloid
removed and the transfer solution poured on, after
which the matrix and support are squeezed together.
Five minutes under five pounds pressure should be
required for transfer. By lifting one corner of the
matrix, the progress of the transfer may be observed.

For the photographer who wishes to work with
the Trichrome Carbro and Autotype processes, the
Belcolor, Dufaycolor, Dyebro, Duxochrome, Koda-
chrome home-movie, Pinatype, or other commercial-
ly available processes, information and printed cir-
culars, may be obtained from George Murphy, Inc.,
57 East Ninth Street, N. Y.

All of these processes have been worked success-
fully.

Color photography is fascinating, and it is a
question of a short time before it will be more wide-
ly adopted; however, there is nothing simple about
it and a photographer can not expect to get good
color working the kitchen sink or just with a casual
interest in the subject. It takes patience and study,
and it is advisable for the beginner to start with a
simple process and learn, thereby avoiding dis-
couragement.

BIBLIOGRAPHY AND COLOR REFERENCES

WALL, E. J., "The History of Three-Color Photography," pub.
American Photographic Publishing Co., Boston, 1925, in which
may be found a very good survey of all the color processes.

"A Glossary of Color Photography," Journal of the oSciety of
Motion Picture Engineers, May, 1935, Vol. XXIV, Number 5,
Page 432.

Cassell's Cyclopaedia of Photography, Pub. Cassell and Com-
pany, London.

Reg, O., "Byepaths of Color Photography," Lund and Humphreys,
Inc., London, reprint by E. P. Dutton and Co., New York.

"The Photography of Colored Objects," Pub. Eastman Kodak
Company, in which may be found information relative to the
principles of filters and the making of the negatives.

"Tinting and Toning cf Eastman Positive Motion Picture Film,"
Eastman Kodak Company, has information about metallic
tones.

Johnson, G. L., "Photography in Colors," pub. George Routledge
& Sons, Ltd., 1914.

Dufaycolor Inc., 30 Rockefeller Plaza, N. Y., supplies a booklet
regai ding this color process.

Von Huebl, "The Theory of Three Color Photography," Penrose
& Co., London.

Koenig and Jacobsohn, "Die Praxis der Farbenphotographie,"
Union Deutsche Verlagsgessellschaft, Berlin.

Chancellor, Philip M., "Still Photography in Natural Colors,"
American Cinematographer, October, 1935, page 422.

"Polychrome Process of Color Photography," Frederic E. Ives,
1753 North Fifteenth Street, Philadelphia, Pa., in which may
be found concise directions and explanations of the poly-
chrome process.

(Turn to Page 29)

Please mention The International Photographer when corresponding with advertisers.

March, 1936 The INTERNATIONAL PHOTOGRAPHER Twenty-seven

WELL-NAMED

SUPER X ... as unusual as it sounds, and
well-named too. For it passes superlatively
excellent photographic quality on to the
screen. Producers, exhibitors, the public . . .
everyone benefits. No wonder that camera-
men choose Super X Film for the majority
of the big feature pictures. Eastman Kodak
Company, Rochester, N. Y. (J. E. Brulatour,
Inc., Distributors, Fort Lee, New York,
Chicago, Hollywood.)

EASTMAN SUPER X

PANCHROMATIC NEGATIVE

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

March, 1936

THE DENSOMETER UP TO DATE

(Continued from Payr 11)

It may be noted that E contains an opaque mat
punctured with a tiny hole. E' contains an amber
screen similarly perforated, and illuminated from be-
low. It is just five frames removed from the one
to be measured — not so far as to permit any per-
ceptible change in the position of the section to be
chosen (visually) and that to be measured. F is a
knob which controls the scanning of the entire
frame by freely moving in any horizontal direction.
G is a counter for checking each scene. This per-
mits of catching any errors in assembling the rolls —
the failure to record one scene on the time card will
throw the entire roll out of printing order and neces-
sitate a reprint. The counter also aids the account-
ing department. H is a swivel lock-joint to allow
for shifting the light source when timing the sound-
track.

The upright panel at the back merely supports
the various toggle switches and the meters for
checking the voltage and amperage. Also may be
seen the receptacle for the spare lamp, lying on the
machine.

The Operation: In setting the machine to the
standard, as suggested by Mr. Jones (or to the taste
of the lab superintendent) a standard negative,
known to print on a particular exposure, is inserted
in the machine, one frame properly adjusted in the
pilot aperture. The densest highlight portion may
be in the center or near edge — anywhere. The lit-
tle knob will permit of moving the tiny aperture in
the opaque mat, seen at E, directly over this dense
spot, and a check of the meter will show when the
exact spot is covered. In scanning the frame it will
be seen that the photo-cell and energizing lamp as-
sembly move in unison with the visual aperture.
When the densest spot is found, the needle indicator
is shifted, by turning a control knob at I, until it
rests on the number known to be correct for that
particular negative. The next move is to remove
the negative and shove in the ground-glass standard
and take a reading of the needle with the tiny aper-
ture in the center of the frame. Then, a record is
made of the number upon which the needle rests.
This number is now the standard for future opera-
tions. This standard may be shifted to suit any
change in policy or quality agreeable to patron or
superintendent, or to meet any slight variation in
speed or quality of the different stock emulsions, or
the various manufacturers. It likewise furnishes an
accurate standard by which to check all departments
of the processing. The lower part of the housing
(Figure 1) contains the current balancing unit.

As the photo-electric cell camera exposure meter
has removed the timing hazard for practically all
of the leading cameramen, the photo-electric cell
equipped "Densometer" may be considered an ex-
tension of this service to the laboratory man, to
shorten his print timing operations, eliminate the
many re-runs in the projection room for corrections,
and effecting economy in his department.

THE FLEXIBLE SCREEN

(Continued from Page 17)

THE ARCHAEOLOGY OF THE MOTION PICTURE

This most interesting and learned article by Earl Theisen
will be concluded in the April issue of International Photographer.
It is carried over from February in order to give place for Part I
of Mr. Theisen's article, "Photographing in Color," which begins
in this issue. "The Archaeology of the Motion Picture" was
specially written for the Encyclopedia International Institute of
Educational Cinematography, League of Nations.

adopt about a .431x.868 of an inch wide screen cam-
era aperture as a basis. The medium wide and nor-
mal picture proportions could be obtained by matting
in the sides (Fig. 2).

The focal length of projection lenses would have
to be reduced by one-third. The screen magnifica-
tion would be 50 per cent greater than at the present
time. No changes would be necessary, however,
in order to show the various screen proportions, as
the height of the frame would always be the same.
The screen magnification would therefore be con-
stant, as would the picture brightness.

This method seems to be quite feasible in all
respects except that of photographic quality which
would inevitably suffer due to the high screen mag-
nification required. However, as a last desperate
effort to retain 35 mm. film, it is at least worth a trial
in spite of the agonized cries which are likely to
arise from the cinematographers.

We come now to the question of actually widen-
ing the film. Here of course is the happy hunting
ground for cinematographers and technicians who
see a chance to achieve their hearts' desire as far
as the technical quality of their output is concerned.

We realize now that 70 mm. and other gargan-
tuan film sizes which were tried out in the boom
days were unnecessarily large and costly to utilize
and represented far too great a departure from the
existing standard film to warrant the adoption of
any one of them as a new standard film. For what
we seek is after all a new standard film and not just
a special film for wide screen pictures.

It seems to me, therefore, that a more conserva-

To The Cameraman

A brand new photographic quality
of light for all modern high speed pho-
tographic emulsions, —

SUPER X
SUPER PAN

SUPERIOR PAN
CRAYBACK

Blends perfectly with Incandescent Light, yet
supplies the missing greens and blues.

Ask the cameramen at Universal and Charles
Chaplin Studios what they think of the new Ash-
craft 30 Arc Spotlight.

THE ASHCRAFT AUTOMATIC
CONTROL CO.

6729 Santa Monica Blvd. Gladstone 7303

Night phone— CLadstone 1844

Please mention The International Photographer when corresponding with advertisers.

March, 1936

The INTERNATIONAL PHOTOGRAPHER Twenty-nine

1.378" - —2.000'

Fig. 1

tive approach is indicated. As a tentative proposal
I would suggest a film about 2 inches wide, or just
enough to attain a 1x2 picture proportion (plus allow-
ance for projection angle) and still retain a height of
four sprockets (Fig. 3).

The magnification required in projecting such a
film would be about 15 per cent less than is needed
to project existing pictures, which should be ample
insurance that photographic quality would be main-
tained and even improved.

Since the height of both normal and wide screen
frames would be the same, no changes would be
required in order to project either one. The change
from one proportion to another could be made at
any time on the same reel of film. The same lens
would project all scenes, therefore the magnification
and the picture brightness would also remain con-
stant.

We cannot, of course, ignore the difficulties in-
volved in making a fundamental change in the film
size. The fact that all cameras and projectors would
have to be replaced or rebuilt to accommodate the
increased width between the sprocket rows is one
great hurdle that is barring the way. Such a change,
world wide in scope, could not be accomplished
suddenly. There would have to be a transition pe-
riod during which both the old and the new film
would be used. Projectors would have to be built
that could project either film. This requirement
should not be hard to meet, however, if the new film
retains the essential features of the old, i. e., the
same sprockets, the same sound track and the same
speed through the projector. Another requirement
of the transition period would be to furnish 35 mm.
prints to theatres not yet equipped to show the new
film.

Yes, the problem is difficult, but will it not have
to be faced eventually? The inherent possibilities
of the wide screen are too great and the eventual
need of an efficient broad gauge film is so inexor-
able that neither can be dismissed with a shrug.
The prospect is not too remote that some particular
group will take the initiative as usual if Hollywood
fails to exercise the cooperative leadership which is
expected of it in a case of this kind.

Fig. 2 Fig. 3

PHOTOGRAPHING IN COLORS

(Continued from Page 26)

"A New Principle in Colour Reproduction," by M. Robach, British
Journal of Photography, October 7, 1932, No. 312, Vol. XXVI,
in which may be found much valuable information about dye
mordanting.

Mimeographed material may be obtained from the Service De-
partment of Eastman Kodak Company on the manipulation
of their "Wash-Off" relief film.

Briefs and other printed material on various processes available
from George Murphy, Inc., 57 East Ninth Street, N. Y.

Matthews, Glenn, "Processes of Photography in Natural Colors,"
Journal of Society of Motion Picture Engineers, Vol. XVI, No.
2, February, 1931. Page 188.

CAMERA b PROP
RENTALS

Camera Supply Co.

1515 Cahuenga Blvd.
Hollywood, Calif.

Ruddy Ceraus, Manager
CLadstone 2404

Nite Phone CLadstone 6583
Cable Address — "CAMERAS"

Please mention The International Photographer when corresponding with advertisers.

Thirty

The INTERNATIONAL PHOTOGRAPHER

March, 1936

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 OR RENT— CAMERAS

FOR SALE— CAMERAS AND EQUIPMENT

REBUILT BELL & HOWELL single system camera. Complete with
lenses, magazines, tripods, Movietone quartz shoe, 12 volt motor, ampli-
fier, dynamic microphone, cables and cases. Motion Picture Camera Sup-
ply, Inc., 723 Seventh Avenue, New York City.

WANTED TO BUY

DEBRIE INTERVIEW MODELS $250.00 and $350.00, DeVry 35mm
Cameras $65.00, Projectors $40.00 up. Holmes 35mm Portable Sound
Projector Type 7A $450.00. 35mm Sound Recording Outfit, single or
double svstem, complete, less batteries $750.00, Akeley Studio Camera
$800.00. CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga
Blvd., Hollywood.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

LIKE NEW BELL & HOWELL 5-wav Sound Printers and Sound
Moviolas. Reasonable price. HOLLYWOOD CAMERA EXCHANGE,
1600 Cahuenga Blvd.. Hollywood, Calif.

COMPLETE SOUND TRUCK with extension mixer, microphone, con-
verter. All complete, ready for production. Write Box 208, International
Photographer.

ART REEVES, latest model 1935, double system sound recording in-
stallation, factory guaranteed, Automatic Speed Control Motor, Twin
Fidelity Optical Unit, Bomb microphone, the only genuine, modern,
workable ArtReeves equipment for sale in Hollywood outside factory.
CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga Blvd.,
Hollywood.

HARDENED AND GROUND recording curved gates with adjustable
mechanical slit, $20.00 each. J. Burgi Contner, 723 Seventh Avenue.
New York City.

CAMERA REPAIRING

BELL & HOWELL cameras with old type shuttles silenced, $150.
Hollywood Motion Picture Equipment Co., 645 No. Martel Ave.,
Hollywood.

POSITION WANTED

8 MM. AND 16 MM.

16 mm. TITLING FILM, Reversible Negative, S. S. Panchromatic.
N. H. 9. S. Pan. with or without Processing, Reversible Data with
Film. "Movie Making Made Easy," 50c. "How To Make Money With
a Movie Outfit," 15c. Film Specialties. Box 111-N. El Monte, California.

8 mm. COLOR, S. S. Panchromatic, Reversible, and Positive Palomar
Titling Film ; for al! 8 mm. cameras, reversible data. Home titling
data, accessories, Processing, Titling, Reducing from 16 mm. to 8 mm.
Dup. 16 mm. and 8 mm. "Movie Making Made Easy," 50c. "How
To Make Monev With a Movie Outfit." 15c. Film Specialties, 111-N.
El Monte, California.

WILL PAY CASH FOR: Bell & Howell, Mitchell, Akeley or De Brie
Cameras, lenses, motors, parts and accessories. Motion Picture Camera
Supply, Inc., 723 Seventh Avenue, New York City.

MISCELLANEOUS

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 L. Finn Publishing Corp., 580 Fifth Ave., New York.

COMPLETE COURSE IN FLYING— Tf interested in aviation, see Roy
Klafifki, 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
Karl Theiscn, care of International Photographer, 1605 Cahuenga Ave.,

1 1 oily wood.

For the Most Authentic
Technical Information

About the Motion Picture
Industry Consult —

International
Photographer

Order Your Copy Now!
$25° A YEAR

IN THE UNITED STATES

Name.

Addi

City.

.State.

ItJTER^

In Wtfrld-OOide Use

*Tffecls in Daytime ~F*7*j Scenvs-

ftif fused. F*7*7us.and many *7m«r«ff«cts

With any Camera *" In any Ulimare

Gcorqe H. Scheibo

ORIGINATOR OF EFFECT FILTERS
1927 WEST 78th ST. LOS ANGELES, CAL.

Please mention The International Photographer when corresponding with advertisers.

March, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

RECENT PHOTOGRAPH AND SOUND PATENTS

By Robert Fulwider

2,025,731 — Photographic Apparatus. Ludwig M.
Dieterich, assignor to The Dieterich Corp., New York,
N. Y.

2,025,862 — Illuminating Device. Gerd Heymer, as-
signor to Agfa Ansco.

2,026,134— Portable Talking Motion Picture Appa-
ratus. R. P. May and H. C. Holden, assignors to
R. C. A.

2,026,232 — Sound on Film Recording or Reproduc-
ing Apparatus. Hermann Joachim, Dresden, Ger-
many.

2,026,376 — Apparatus for Copying Goffered Film.
S. B. Colgate, assignor to Keller-Dorian Colorfilm
Corp., N. Y.

2,026,478 — Lighting Device for Projection Ma-
chines. Franz Lisintzki, Budapest, Hungary.

2,026,660 — Film Advancing Mechanism for Motion
Picture Apparatus. A. W. Tondreau, assignor to
Warner Bros. Pictures.

2,026,675 — Method and Apparatus for Controlling
Photographic Exposures. W. A. Edwards, Santa
Barbara.

2,026,960 — Motion Picture Camera and Projector.

L. E. T. Branch, assignor to Eastman Kodak Co.

2,026,964— Film for Color Photography. John G.
Capstaff, assignor to Eastman Kodak Co.

2,026,984 — Film Magazine. D. F. Lyman, assignor
to Eastman Kodak Co.

2,027,007— Feelable Footage Indicator for Motion
Picture Apparatus. Otto Wittel, assignor to Eastman
Kodak Co.

2,027,028 — Apparatus for Making Composite Talk-
ing Motion Pictures. W. L. Douden, assignor to
R. C. A.

2,027,191 — Combination Projector and Sound Re-
producer. W. J. Morrissey, Brooklyn, N. Y.

2,027,207— Sound Picture Apparatus. E. H.
Smythe, assignor to Bell Telephone Laboratory, New
York.

2,027,369 — Photographic Apparatus. Fernand A.
Bourges, New York City.

2,027,411— Lens Mount. Lloyd E. Whittaker, as-
signor to Technicolor.

2,027,520— Shutter Mechanism for Motion Picture
Projectors. Israel Biebel, Minneapolis, Minn.

SIMPLIFYING COLOR LIGHTING

(Continued from Page 24)

tail which gave us invaluable information with
which to work. Pioneer's Color Designer, Robert Ed-
mond Jones, and Technicolor's Color Control staff,
were responsible not only for the light sets, but for
determining exactly the right shade to give the ef-
fects we needed.

Still another fortunate link in obtaining the pres-
ent results was the construction of the new Mole-
Richardson Type 90 and Type 170 High-Intensity
H-I-Arc spots. These new units have helped the color
cameraman tremendously in obtaining more pleas-

ing and more effective lighting. They allow a pre-
cision in lighting which could not be obtained with
earlier equipment.

Add to this a company which, like Pioneer, per-
mits time to get satisfactory light-effects, together
with an Art Director who contributes good costum-
ing and set coloring, and a constantly improved color
process, and the result is bound to show on the
screen as an improvement — but it is a combination
of efforts on the part of many people and depart-
ments.

CINE SHOTS THROUGH THE COMPOUND MICROSCOPE

(Continued from Page 19)

and forth, while the whole animal swung its body
from side to side, pivoted at the tail, in a perfect arc.
This gyration is a method of foraging for the crea-
ture, as their action sets up currents in the surround-
ing water and attracts food particles. When forag-
ing ceases to be good, operations are set up else-
where. Readers who have not yet watched this
protozoan "actor" have a real treat in store.

One's attention was next held by the perambu-
lating Paramoecium. These fellows are straight and
swift in their travel, and their stream-lined bodies
make them appear as up-to-date as tomorrow's
motor car. If any obstruction hinders their path,
they will rotate on their body axis and make a bee-
line elsewhere. These animals also have small
cilia which aid them in swimming about the water.
If one can show these minute details, such as the
structure of the creature, your film will be all the
more interesting.

While studying a certain specimen, it was the
writer's good fortune to witness actual cases of cell
division. Some cells are bi-sexual. On one occa-
sion a peculiar bell-shaped creature became divided
within the short period of forty minutes. This is a

rare sight, which fortunately was recorded by the
camera. As this process of division takes time to
effect, the movie maker should only expose a few
frames at one time; use "stop motion," in other
words. A quick full pressure on the camera operat-
ing button, instantly released, exposes but a single
picture. Proper timing of individual exposures pro-
duces a film which, during projection, will re-create
in two minutes such action as actually took an hour
or more in reality.

No doubt to the processing laboratory the micro-
film was no more than a succession of meaningless
specks and spots. But in projection, the screen
turned into a living pool of water with the creatures
doing their stuff beyond fondest expectations. The
result was well worth the trouble.

Microcinematography still remains a virgin field
for the movie maker with an experimental turn of
mind. There are numerous accessories for micro-
scope and camera, if one contemplates a great deal
of microcinematographic work, which further sim-
plifies filming micro-movies. It is with best wishes
for success that the writer heartily recommends the
making of movies under the microscope.

Please mention The International Photographer when corresponding with advertisers.

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

March, 193

GINEMAGABONI

(With sauce for those who like it.)

HOLLYWOOD HONEYMOON

(A novel navel of a thousand and one nights
in a daze.)

By
R. THRITIS

Cast of characters and synopsis of preceding
installments, for those who mumble and mutter:

Perriwether Murgle, press-agent for that lovely,
luscious lulu,

Lili Liverblossom, screen star superb, has been
carried off across the desert to the lair of a great
Bald Eagle named

Willy Nilly. Willy and his wife,

Nelly Nilly, are holding Petri captive. Lili en-
lists the aid of

Bill, <i ghost writer, who writes her up a ghost
whom Lili dubs

Potty. After a little difficulty. Lxli coaxes Potty
to guide her in her search for Perri. They start
off across the desert, and while resting on a
rocky ledge, are set upon by a big buzzard, who
ought to know better. Now jump on your push-
bike and peddle.

CHAPTER XVII
On the Rocks

"What'll we do now," cried Lili.

"Calm yourself," said Potty. "I have an idea.

"What do you hold it in with?" asked Lili,
merely curious, and not meaning to be nasty.

Potty merely jumped and clicked his heels.
He was watching the buzzard, who in turn was
watching Lili, licking his ugly beak, and prepar-
ing to dash at his prey.

"Here's looking at you," said the buzzard
nastily, as he started toward poor Lili cowering
on the ledge. ,

Potty could scarcely be discerned as he stood
beside Lili. He drew in a deep breath, and im-
mediately began to glow with a weird phos-
phorescent light.

"Who-o-o-o-o-o!" came a horrible, deathly moan
from Potty, and a dank clammy chilliness filled
the air. The buzzard stopped in his charge.

"Well, look who's here!" cried the buzzard,
and with a terrible screch he drove straight at
the ghost, behind whom the rocky ledge was
now scarcely visible. Just as he reached Potty,
the phosphorescent glow died out as quickly as
it had come. The buzzard flew straight for
Potty's head, struck him— and went right on
through! With a shriek and a crash he smacked
into the solid rock behind Potty before he could
even slow up, and he fell limp to the floor of

the ledge. ... , i v v~j

The ghost winked at Lili, jumped and clicked

his heels. , , ,, ,

"Guess we took care of that smarty-pants, he
said, as he picked Lili up and set out again
across the desert, none the worse for wear.

Meanwhile Perri was having his troubles. Nelly
Nilly's two children had ben persuaded, alter
some coaxing, to take a walk, and had gone out
the back way, smirking at each other as they

WWhen they had left, Nelly Nilly looked up at
Perri, a strange light in her eyes --that is, in
the one he could see, anyway. Mr. Murgle,
she cooed at him, "You're such a strong silent
man. But you can't fool me— I know you Holly-
wood fellows. ..." .

She was interrupted by an insistent, steadily
mounting shrill whistle, like that of a large bullet
on a business trip. They barely had time to look
up when around the corner whizzed Potty the
ghost, with Lili under his arm. He came to a
whistling stop and set Lili down on the edge of
the eagle's lair. Perri fell over with surprise
(backwards, fortunately). Nelly wasn t surprised
a bit But she was mad enough to chew nails.

While Nelly was out loking for some nails,
Lili stretched her slim white arms out to Pern.
"Darling!" she cried. "Aren't you glad to see

"Sure kid," said Perri, walking into the out-
stretched arms, and not wasting his own either
But to himself he was saying, Shucks, now 1 11
never know whether I was about to be proposi-
tioned by an eagle or whether Nelly just wanted
to know if I could get her a job in pictures

Then Perri for the first time took a good look
at Potty, who was standing quietly by.

"Who's your somewhat transparent traveling
companion?" he asked Lili. Just then Nelly came
back in with the two children.

"This is Potty, everybody,' said Lili, doing trie
right thing, more or less. "I was sure he could
find the way here," she added to Pern, and I
knew I would always have a way to handle
him Wasn't I smart?" It took Perri a minute or
two to trace out her line of reasoning. Then he
flashed her a quick look and hastily said, Sure,
kid." , , , __

Just at tho-t moment there was a yelo trom
Mrs Nilly. "Here comes Willy." she cried, and
he's loaded with something." And all looked out
to where Willy could be seen in the distance,
staggering homeward through the sky.

{Well, wlioe do we go from here, What will
Willy Nilly have to say, if he can talk? Will Nelly
Nilly cause trouble? And how will Lili and Perri
get away? Send a stamped addressed envelope and
I'll send you the answers, plus a lot more ques-
tions just as amazing. They'll all be published
next month.)

Carole Lombard went through a bad month
■with her men-folk. George Raft walked out of
Carole's current picture, "It Had to Happen,"
because he claimed Carole's pet lens squirter,
Teddy Tetzlaff, gave Carole all the breaks in
photographing her pictures. Fred MacMurray,
who scored such a success previously as her
team-mate in "Hands Across the Table," was put
into the cast in place of Raft. Then MacMurray
walked out, demanding a raise. But all is now
quiet on the Potomac; MacMurray has his raise,
and is back in the picture.

Anyway Carole should worry. She still has
that schoolgirl complexion. And Bob Riskin.

From the current theatre marquees :

MURDER ON A HONEYMOON

MAN'S ^BEST FRIEND

HERE COMES THE BAND
and TWO SINNERS

ANYTHING GOES

with

BING CROSBY and ETHEL MERMAN

SHE COULDN'T TAKE IT
Surprise Night

Tsk, tsk!

KNEECAP REVIEWS
(Somebody stepped on my thumb)

"MODERN TIMES," a production of, by, to,
from ,and with Charles Spencer Chaplin. With
its customary pathetic figure beset by antagon-
istic forces, this time a man harnessed and be-
wildered by the complexity and mechanization
of these parlous times, Charlie's latest brain-child
is nothing if not interesting. Film is an amazing
compromise between pantomime and sound. Al-
though a few sequences have recorded natural
voices, production in general follows the old sil-
ent form. After so long an absence from this
type of treatment, the effect is almost that of an
entirely new technique. Picture could be much
improved by judicious pruning. Opening se-
quence where Chaplin endlessly performs one
single operation on a series of articles on a
conveyor-belt, is repetitious to a point where
laugh value is lost. Same applies to several
other sequences. Funniest sequence in the pic-
ture: Chaplin made the goat in trying out a new
automatic employee-feeding device — machine runs
amuck and practically takes stitches in the audi-
ence. Maybe you'll prefr seguence in which
poor Charlie picks up a red danger-flag and gets
involved in a Communist uprising — to the tune of
ten days in jail!

Chaplin credited with original composition of
the excellent musical accompaniment as well as
production, direction, and writinq of the story.
Is said to have composed the entire melody, bit
by bit, on his violin. Two other fellows wrote
the arrangement for orchestral accompaniment.

Pic is debut of Paulette Goddard, and she's
going to do all riqht from now on. Appears
amazingly young, but is not photographed to
best advantage. Less flexibility to Chaplin's face
than in previous films. Depends more on ges-
tures. There was little brilliance to the print I
saw, so it is hard to comment on photography
by Rollie Totheroh and Ira Morqan.

Chaolin has been going ■with Goddard ever
since he first discovered her. They've been rum-
ored separated a dozen times lately. Few are
even sure they were married. Certain it is that
Paulette adores Charlie. In "Modern Times,"
Chaplin departs radically from his stock ending
wherein a lone figure -walks forlornly toward the
settinq sun. In the new picture, Charlie and
Paulette walk together, heads high, down a twi-
light road. Perhaps Charlie means to signify he
has at last found real happiness.

"SHOW THEM NO MERCY." They don't
don't neither, no snh. Above-average gangster
story with all the trimmings: murder, kidnapping,
chases, torture, and on-spot puttings. Unless your
heart's weak, you'll love it. Not much in the way
of really new story angles, but some clever touches
here and there. Cinemallurina Pochette Hudson
badly mistreated photographically, but did all right
personally. Cesar Romero outstanding ■ credit him
with an excellent characterization. Bruce Cabot
produced the nastiest heel ever portrayed. You
positively arit your teeth with ecstasy at the end
where little Roehellc . . . ah, but that's too good
a secret to give away.

"THREE LIVE GHOSTS,
why triple it?

Dead, all right; but

"RIFF RAFF." Directed by J. Walter Ruben
Anything with Jean Harlow in it is automaticallv
okay. That's a premise. Spencer Tracy play's
opposite Harlow. Tracy is tops as usual, though
you do wish he could have been a fisherman
who washed a little oftener. Plenty of unreal
spots in the story, such as the one where Har-
low, in prison, gives up her baby. But it's good
entertainment, and keeps moving every minute.

Joseph Calleia good, but a little too musicom-
edy as the oily cannery boss. Una Merkel, in
an insufficient role as Harlow's sister, was grand.
We must not forget Mickey Rooney. Photography
by Ray June, in spite of drab settings, was out-
standing.

"THE BRIDE COMES HOME." Latest effort of
the glamorous Claudette Colbert; added efforts
by Robert Young and the mushrooming Fred Mac-
Murray. Although sprightly frippery, hardly
worthy of the possibilities of the three clever
youngsters around whom the story revolves.
Difficulty lies in pushing the middle finger down
and making the reasons come out here. Thre's
just as much plot as there was in "It Happened
One Night," in whose footsteps "The Bride Comes
Home" evidently hopes to follow. There are high
spots in the film, but too many let-downs occur.
Too little made of the piquant beauty of Colbert,
a couple of apples hanging on her cheeks all
through the picture. MacMurray looked as if he
needed a shave most of the time. William Collier,
Sr. was false as Colbert's father.

With all this, pic is still good entertainment.
High point is the most hilarious marriage cere-
mony you'll see in a "coon's age.'" Leaves you
weak and trembling. Film is worth seeing for
this sequence alone.

"MAGNIFICENT OBSESSION." Etching in cel-
luloid the evanescent spiritual quality of Lloyd
C. Douglas's novel is seemingly impossible. Yet •
director John Stahl creditably performs the task
of transferring this etherial idea to the screen.
The many poignant scenes especially are hand-
led with a deft, masterful touch.

When I read the cast I couldn't conceive of .
Irene Dunne as the unfortunate wife of philan-
thropic Dr. Hudson, or of Robert Taylor as the ;
young philanderer who later takes up the torch
of the famous surgeon. But casting was inspired .
— each contributed an admirable performance.
Robert Taylor is a newcomer that doesn't act like
one. I'm glad I'm no girl — I couldn't sleep
nights — gawd, but he's handsome! And maybe
I'll have to fight my way out, but I think Miss
Dunne gave the most realistic, withal the least
gruesome, portrayal of a blind person I have j
ever witnessed.

If the film seems to start slowly, relax; it
makes up for lost time. Arthur Treacher certainly
does not harm as a very funny valet. Betty
Furness and Ralph Morgan earn their salt. A
tear falls for Charles Butterworth; one expects
so much of him, perhaps. The whistling-among-
the-sewer-pipes scene is the only thing worthy
of Charlie.

Bring all the handkerchiefs you got for Christ-

HOLLYWOOD, by The Shovel Boys. (They
dish the dirt.) * * * Arthur Treacher having a fine
time one day at the races at Santa Anita. He was
doing his betting from the bar — and most of Ins
bets were across the board. It was his first day
off in months. His chief worry these days is that
he competes with Edward Everett Horton and
Charlie Ruggles for lauqh honors in the 1
Dairies pic, "Hearts Divided." * * * Marian Marsh
had her appendix kidnapped recently at the Good
Samaritan Hospital, and is now recovering nicely
at home, thank you. * * * Fay Wray recently re-
turned from England (Fay practically commutes
t'esc days) and jumped riqht into Columbia s
"Roaming Lady" with Ralph Bellamy. * * * inci-
dentally, Ralph left lor New York on February
25th, to start a series of personal appearances.

* * * Vince Barnett handing out tips at the races.
People betting on his advice. They fornot he is a
professional ribber. Hii horse did NOT come in.

* * * Hard luck for Eleanor Powell. She tapped
the stream of fame and fortune, and then collapsed.
She is recovering from a nervous breakdown in a
Xiw York hospital. * * * And now Vcloz and
Yolanda, famous dance team, are running a con-
test to discover new dance teams. And then the
dancing craze will fizzle out, leaving these couples
high and dry. * * * Bctte Davis was seen m Public
several times recently with a peach of a black eye.
Her husband didn't 'give it to her- one of the em-
ployees at Warner Bros. Studio was responsible—
a make-up man. in fact. Bctte was wearing it for
her current picture, "Golden Arrow:" -</"„'"»
Treacher plays in that too, the busy fellow.

iR. ART REEVES.

645 NORTH KARTEL AVENUE,

LOS ANVrLFS. CALIFORNIA.

EXCLUSIVE <

LQBOISflTOFSy
WOftKv fop. • • •

CupfMie Cuppun

'■-./

/'■■>

in [HoDefsn Time5

UJ€ Qft6 PfSOUDTObefl

pqm or this ficuievemenT

OUh COIlGRQTULQTIOnSTO

r\OLU6 TOTH€fSOH

ono Iftfl moftGQn

FOPs TH6IIS PHOTOGhfiPHy

CONSOLIDATED FILM INDUSTRIES, Inc.

HOTOGRAPHER

li YEAR

HOLLYWOOD

APRIL 1936

VOL. 8
No. 3

3ENTS
\ COPY

CHARLES RHODES

"THE OLD MAESTRO HAS GOOD CAUSE TO SMILE"

Hal Mohr, Ace Cinematographer and Director of Photography at Warner Brothers, is congratulated by

his wife, the famous Evelyn Venable, on winning the Academy Award for Cinematography. Mr. Mohr

has long been a bright light as a motion picture cameraman and among his many honors is that of

President of Local 659. I. A. T. S. E. 4 M. P. M. O.

IOTION PICTURE ARTS AND CRAFTS

An event eagerly awaited for five
years— the World Premiere of Charlie
Chaplin in "MODERN TIMES"— turns
Broadway into a struggling mob of
thousands eager to be the first to
acclaim the world's greatest comic.

In every portion of the globe the name
of Chaplin means box-office magic,
for his actions speak every language.

Du Pont Film Manufacturing Corporation

35 WEST 45™ STREET
NEW YORK CITY

PLANT • • • PARUN, N. J.

SMITH & ALLER LTD.

6656 -SANTA MONICA BLVD.

HOLLYWOOD, CAL.

Open Wide that Golden Gate!

An infra-red taken from Pylon S-l showing the great fender wall surrounding the San

Francisco tower and the footbridge walks with the completed storm system underneath.

Through the deck level of the tower may be seen the footbridges reaching out to the

Marin tower, 4200 feet away.

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol.8

HOLLYWOOD, APRIL, 1936

No. 3

Publisher's Agent, Herbert Aller

Silas Edgar Snyder, Editor-in-Chirf

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerberg, Technical Editors

Helen Boyce, Business Manager

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.

CONTENTS

Cover Still by Charles Rhodes

Frontispiece by our newsreelers at San Francisco

WANDERING WITH THE LEICA 3

By Hansena Frederickson
BROADCAST STUDIO PHOTOGRAPHY 4 & 5

By Karl A. Barleben, Jr., F.R.P.S.
THE NATIONAL ARCHIVES 6

By Jo/in G. Bradley
EASTMAN NEW CINE-KODAK CAMERA— 16mm. ... 8

(Contributed)
INTENSITY OF SUNLIGHT UNDER SEA 9

By Paul R. Harmer
LENS APERTURES VERSUS PRINTER POINTS - 10

By Peter Parnell
AVALANCHE OF COLOR ON THE WAY ----- 11

(Contributed)
PHOTOGRAPH AND SOUND PATENTS ----- 12

By Robert Fulvjider
MOTION PICTURE RELIEF FUND 14

By the Executive Vice-President
M-R TO MANUFACTURE IN ENGLAND ----- 15

By Wm. Stull
THE EVOLUTION OF THE MOTION PICTURE STORY - 16 & 17

By Earl Theisen
AMATEUR MOTION PICTURE SECTION - - - 18 & 19

By F. Hamilton Riddell

"Tinting Home Movies"

Right Off the Reel

Questions and Answers
ARCHAEOLOGY OF THE MOTION PICTURE - 25

By Earl Theisen
PRODUCTION USE TESTED— THE "ULTRA H. I. ARC" - 26

By Elmer C. Richardson
A STILL FROM "DANCING PIRATES" ----- 27

By William Thomas
A VOICE FROM NIPPON— AN INTERVIEW - 28

By Harry A. Mimura
"HEAR! FOREIGN TECHNICIANS!" 29

By Philip Tannura

CLASSIFIED 30

CURRENT PRODUCTIONS IN COLOR ----- 31

By Silvio del Sarto
CINEMACARONI - 32

By Robert Tobey

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles,
California, under the act of March 3, 1879.

and Canada

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California

GLadstone 3235

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 — LTnited States, $2.50; Canada and Foreign $3.00 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

^s^to eo-^TggjJ^

tyijgglgg^D si SERVICE ENGRAVING CO

Our Menu for

May, 1936

Earl Theisen will conclude Part II
of "The Evolution of the Motion Pic-
ture Story."

Frederick Westerberg will contrib-
ute four more tables to "The Cine-
matographer's Book of Tables."

Paul R. Harmer will continue his
series — Intensity of Light Under the
Sea.

Lewis W. Physioc begins his article
on "Censorship," the best on the sub-
ject ever written.

Charles Felstead contributes Chap-
ter XXV on Motion Picture Sound
Recording.

Karl A. Barleben, Jr., F.R.P.S. will
contribute two yarns in his own in-
imitable style and on his pet subject
"Miniature Photography."

Delmar A. Whitson promises an
authoritative article for May on his
favorite subject, "Polarized Light."

April, 1936

The INTERNATIONAL PHOTOGRAPHER

Three

Wandering With the Leica

By Hansena Frederickson

Our Lady Globe Trotter in the Orient

IF ONE has ever
traveled with a
snap-shot cam-
era and switch-
ed to a Leica or any
camera which is com-
pletely adequate, he will
understand why I have
pushed the button on my
Leica 1,000 times since I
left Los Angeles two
months ago. It is a relief
to be able to catch the
moods and moments that
with the ordinary camera
are impossible. One
group of negatives that I
shot was an attempted
series of sunrise shots
over Diamond Head, in
Honolulu, morning
clouds on the Pali, and
the sun-shot mist making
the ship's entrance into
' the harbor unreal and fairy-like. This series was an
effort to catch a certain atmosphere, and when the
I negatives were developed among the blankets of
my berth on board ship the results were all that I
had hoped for. I had attempted this same sort of
thing on a previous trip, and a foggy day in London
would have been the subtitle for most of the shots.

Right Angle View Finder

When it comes to crowded, festive streets in

: Japan on one of their frequent national holidays, the

right angle view finder is invaluable. The Buddhist

priests object to having their photos taken and will

create a disturbance if they catch you at it. Some of

them are unbelievably picturesque and can easily

be taken home in your camera if the angle view

' finder is used. When I first started using mine, I

I wondered if they wouldn't catch on to the trick, but

I they were too busy watching the foreigner and her

clothes to wonder about where her camera was

| pointing, until it was trained directly upon them.

The Japs Know Their Cameras

It is easier to use the camera in Japan than in
China. Every other Japanese gentleman owns a
camera of some kind, and the people there are more
or less used to the instrument. The Japanese them-
selves are great travelers within their own country

\ and make pilgrimages to all the shrines. The differ-
ence between the foreign and the Japanese tourist is
that the latter is not interested in taking pictures of
the people and their life. It is the foreigner who
shoots the queer, narrow, colorful side streets, the
funny wooden stilt-shoes, the vari-colored kimono

' and the living conditions on the flat barges. This
marks him for attention and he feels before he has

been in the country long that he should get a gold
cage and crawl into it, so as to be the more easily
stared at.

The Japanese Sigh for Color

In Japan the photographer sighs for the perfection
of color film. The costumes, the autumn leaves peek-
ing through the snow, the dull lacquer-red shrines,
and the gay flag-hung streets cry aloud for color
film. In China this isn't felt as much, because the
color here is all blue, until one gets out into the coun-
try. The streets of Shanghai itself are a blur of
blues. When the various objects are segregated
they become the sheath-like dress of the Chinese in
all shades of blue and black. The black is either
rusty, purple-black or a gray-black. The one obvious
note of color becomes very dramatic and romantic.
It is the turbaned traffic cops. They are the Sikhs
imported from India. These swarthy, heavy-featured
men with their thick, dark beards wear gay and art-
fully wound turbans in the most subtle shades of
yellow-green, odd purples, canary yellow, blue-
green, salmon pink, and turquoise. When these col-
ors are set off by the handsome dark features of the
East Indian, they lend a fantastic note to the city's
traffic.

The Sightshooters

The use of the camera is gradually becoming the
rule rather than the exception and a bond is felt be-
tween all "sightshooters" as it is among sightseers.
On the ship coming across the Pacific there were
several miniature cameraists aboard, some home
movie camera users and many snapshooters. The
Leica enthusiasts were all interested in doing their
own developing on board in order to be sure that
the results that they were getting were the best pos-
sible. We asked for the use of the dark room on
board and bothered the dark room steward at all
times of day. He finally had to shut us out in order
to get some of his own work done, so we resorted to
the old standby, crawling under blankets to do our
work. We all got expert at this sport and loaded
cameras, filled developing tanks and checked up on
maimed cameras in this manner.

Small Cameras Busy

Each minicam user had a different light meter
and we had many a conference ending in an argu-
ment as to what reading was correct. In the end we
all read our own and each achieved the result that
he wanted. We would all take the same general
shot, such as sunset rays over the bow, a group in
the swimming pool, huge waves on a stormy sea,
and each picture would be entirely different as each
photographer saw a different mood in the shot. We
of the small cameras took many more shots than did
the other photographers and, as a result, we have
had to send prints of some of our prize shots to pas-
sengers scattered in all parts of the world. One day
a group of four started choosing pictures from my

(Turn to Page 24)

Font

T h

INTERNATIONAL PHOTOGRAPHER

April, 1936

Broadcast Studio Photography

By Karl A. Barlebex, Jr., F.R.P.S.

Dean of Neiv York Institute of Photography

|HE average radio broadcast studio is closed
to photographers, particularly amateurs,
yet there are sufficient programs and con-
tests going on all the time during which
cameramen are permitted to use their cameras that
a few words on the subject may be useful. It has
been my good fortune to have been permitted to
various broadcasts with my camera, and also to
broadcast from various stations, hence I feel fairly
well qualified to write on the subject.

The one thing that is liable to attract most can-
did camera photographers is the unusual facial ex-
pressions to be caught during a broadcast. As
people speak they often produce startling expres-
sions— quite unknown to themselves. Do I know!
This is, on the other hand, a point to be carefully
watched for. By means of it, otherwise good shots
can be ruined, particularly if the subject is wanted
at his or her best.

As for technique — the first thing is naturally to
secure permission to photograph. Do not under any
circumstances try to force the issue or sneak a
camera into the studio if permission has been re-
fused. This is one of those cute tricks that does
no one any good. It merely bars photographers in
general all the more defnitely from the studio in
the future. Some programs arrange special events
for amateur photographers.

For instance, last year the Eno Company,
through its advertising agency, L. W. Ayre & Son,
arranged a "candid camera night" to be held dur-
ing one of the popular Eno Crime Clues series. One
hundred and fifty passes were issued and placed
only in the hands of deserving cameraists. The
studio in which this program originates in Radio
City, New York City, was especially lighted for the
occasion by a dozen or more high-powered Mazda
lamps in suitable reflectors. These were furnished
by the station. Two rehearsals of the program were
called, prior to its going on the air, and as they
were run through, the cameramen present were
privileged to snap pictures to their heart's content.
During the actual broadcast, however, no one was
permitted within the field of action, but those who
wished, were invited to remain and see the air
presentation.

Needless to say, a gang of cameramen, bent on
making suitable pictures to submit for competition
for the $100.00 first prize offered for the best pic-
ture made at the event by the Eno Company, is
not especially careful — nor quiet. Secretly I felt
sorry for the actors who had to work through those
two rehearsals with lenses aimed at them, shutters
clicking like machine guns, and here and there an
overly-ambitious cameraman worming his way on
the floor for "angle shots." However, all went well,
and surprisingly good pictures were submitted to the

contest. Adolf Fassbender, F.R.P.S., famed pictorial-
ist, was present to give some words of advice to the
cameramen, although his presence was more in a
visitor's, rather than an overseer's, capacity. He
served, incidentally, as one of the judges on the
jury which selected the prize-winning prints.

This event was perhaps the first of its kind to be
staged by a leading radio station (WJZ of the Na-
tional Broadcasting Company's Blue Network). It
was a success, needless to say. But things were
rosy, for everything was prepared for the camera-
men. During the average broadcast one does not
find such ideal conditions. Rudolf H. Hoffmann, spe-
cialist in stage and radio star candid shooting ex-
plained— or rather complained — to me that in studios
where he is called to work, he has to actually bribe
the electricians to give him enough light to work
with. In fact he has to come to the point of toting
around his own lighting units because of his in-
ability to get the proper co-operation from the
"juicers" at the studios. Now and then he bumps
into the temperamental tantrums of radio stars — they
won't face this way, the lights hurt their eyes, they
don't like the angle from which he photographs
them, and so on. Yes, my friends, it is not exactly
a life of ease which Rudy Hoffmann leads, in spite
of its glamorous aspects from the outside.

So granting that you have gained permission and
entrance, your troubles are not by a long shot over.
See to it that lights are available, at least enough
to enable you to get a decent exposure. In the
end you may have to wind up by bringing along
your own pair of Photoflood lamps and reflectors.

The camera best suited to radio studio photog-
raphy is of course one that is easily and quickly
handled and equipped with a speed lens and film.
For this reason, miniature cameras are usually re-
garded as ideal outfits for the work. Their small
size, quickness in operation, and ability to be fitted
with fast lenses make them practical. As tripods
are quite out of the question, shutter speeds of not
more than 1 /5th of a second (if you can hold it that
long) are indicated. To make sure, use a shutter
speed of 1 /25th second. The camera must be hand-
held.

Because the click of the shutter is audible over
the microphone, and it is extremely disturbing to be
darting about during an actual broadcast, most
radio pictures are made as posed shots or during
reeharsals. Once when Ivan Dmitri, number one
candid camera shooter, gave a short talk over sta-
tion WNEW in New York City, I shot some negatives
of him before the microphone. I hardly got to first
base that time, for I. found not enough light to
make the feeblest impression on the film. Luckily
I was armed with a speed-gun and a few Photo-
flash lamps. These did the trick. I got Dmitri in

Upper left — Edward Reese, who is Spencer Dean the man-hunter of the Eno Crime Clues broadcasts, which go over the Blue Network I NBC I every Tues-
day evening, doing his sleuthing in front of the microphone during a broadcast in Radio City, New York City. Dialogue between two actors during an Eno
Crime Clues broadcast at station W|Z. Production man at desk in foreground. Upper center — Principals in the Eno Crime Clues broadcasts during an
actual broadcast at station W)Z located in Radio City, New York City. The sound effects department — whistles, trains, fire engines, automobiles, music
— all comes from these effect records. Upper right — The production man tin foreground with ear-phones* pauses while the announcer introduces the Eno
Crime Clues program. Station WJZ (Blue Network I, Radio City, New York City. A group of amatuer candid cameramen during a rehearsal of an Eno
Crime Clues broadcast in the studios of W|Z. These amateurs were competing for a fifty dollar prize offered by the Eno Company, sponsors of the broadcast

series. — Photographs by Karl A. Barleben, )r.

front of a microphone and blazed away — during the
rehearsal. But it just goes to show how uncertain
the whole business is.

About a year later Dmitri came back at me, but
fortunately with better equipment. It was during one
of the broadcasts of the Behind the Lens program
of which I am technical director, over station WHN.
Dmitri was my guest speaker for that particular pro-
gram, and as it is a rule to have several Photoflood
lamps in reflectors in studio C — from which we
broadcast — he had no difficulty in catching me in
action. Our program, incidentally, is one of the
very few during which it is permissible to make
pictures during the actual broadcast. The picture
of me at the microphone was made during the actual
airing of the show — and I was in the midst of "do-
ing my stuff." No fake to this — it is a genuine can-
did shot.

The clicking of cameras, however, is something
of an annoyance, I can assure you, for I have to
stand it every Saturday evening during the WHN
Behind the Lens program. The bright lights do not
help to make matters easier in reading the script,
either. However, as it is a photographic program,
passes are issued to members of the Behind the
Lens Club and they are entitled to bring their
cameras and shoot during the airing of the shew.
Funny how people will turn their nose up at shoot-
ing during a rehearsal if they can snap you during
a broadcast. My friends who are interested enough
to listen to the program tell me that the camera-

clicks come through the microphone fairly distinctly.
But then, it's a lot of fun and if the folks like it,
we let them have it.

The trick to make pictures realistic is to always
include a microphone in the shot. Regardless of
whether it is dead or not, it always definitely stamps
the picture as having been made in a studio. It
explains a lot, that little mike. Another trick is to
use angle shots. It seems to lift the picture out of
the general run of pictures. Hoffman and Dmitri,
I notice, rarely take a straight on view. Always
they get on the floor, or at least on their knees,
or again high above, on a chair or other elevated
structure, if there is one handy. This makes swell
action in an otherwise more or less lifeless picture.

The control room fascinates many cameraists.
They attempt to carve through the plate glass and
catch the control man, but usually they are met with
defeat. That glass simply won't behave, for it re-
flects all images and lights in the studio. Then, too,
the control room is usually in darkness. It's a dif-
ficult job at best. I've tried to catch my own pro-
duction man, Gene Stafford, at the WHN controls
during rehearsal, but have failed miserably. About
the only way of shooting into the control room is
to illuminate it fully and then shoot through the
glass, taking care to avoid all reflections — some job.

Announcers are almost always attractive men
with beautiful voices. My announcer at WHN, with
his tiny mustache, is a perfect shot for any camera.
But Gene Marshall is a bit camera-shy and it is
not so easy to catch him at the microphone. How-
ever, Stafford and Marshall have, since working on
the Behind the Lens program with me, become
camera-conscious. Both want cameras now, and
have learned of the delights such an instrument
can give them. The WHN staff cameraman, Gene
Lester — yes, I know there are too many Gene's in
my program but what can I do about it? — turns out
some really grand stuff with his baby cameras. He
usually sees to it that our studio is properly lighted —
and he shoots grand stuff himself.

All in all, radio photography is exciting and
fruitful of excellent pictures — if you go about it in
the right way. If you happen to have the oppor-
tunity of getting some studio pictures, by all means
make the most of it. The results will be unusual
and different from the ordinary run of pictures.

Six

T h

INTERNATIONAL PHOTOGRAPHER

April, 1936

THE NATIONAL ARCHIVES

(From the First Annual Report of the Archivist of the United States,

John G. Bradley, Chief of Division of Motion Pictures and Sound

Recordings.)

Division of Motion Pictures and Sound
Recordings — This division is set up under Section 7
of the National Archives Act, which authorizes the
National Archives to accept, store, and preserve
motion picture films and sound recordings pertain-
ing to and illustrative of historical activities of the
United States, and to maintain a projecting room for
showing such films and reproducing such sound
recordings for historical purposes and study.

Although the motion picture industry has reached
enormous size, it is still in its infancy from the view-
point of experience in the solution of the many prob-
lems relating to the preservation, storage, and safety
of motion picture films. The division will conduct
scientific researches into methods of reproduction
and processing; into the storage and preservation of
motion picture films with special reference to the
elimination of fire risks and other hazards. It will
classify, arrange, and catalogue its collection of
films and sound recordings, make duplicate copies
of each original film for purposes of preservation
and for projecting, reconditioning films in order to
remove harmful chemical impurities, maintain a
projecting room for showing such films and for re-
producing such sound recordings, co-operate with
government and other research agencies in scientific
research, and furnish reference and information ser-
vice to the other professional divisions of The Na-
tional Archives and to searchers. . . .

Storage and Preservation of Motion Pictures
Films — The most pressing problems connected
with the acceptance of motion picture films by The
National Archives, and those to which greatest at-
tention was given, concern the storage and preser-
vation of films and the protection of The National
Archives Building and its contents from possible
fire hazards that might result from the storage of
motion picture films in it. In his efforts to find satis-
factory solutions to these problems, the Chief of the
Division and his staff have spared no pains or trou-
ble. Many conferences were held with the chief
producers and distributors of motion pictures in this
country as well as with private chemists and engi-
neers, the Society of Motion Picture Engineers, the
Office of the Fire Marshal of the District of Columbia,
the motion picture experts of the Departments of
War, Interior, and Commerce, and of the United
States Bureau of Standards. The results are dis-
cussed in the report of the Chief of the Division,
p. 53. . . .

Division of Motion Pictures and Sound Recordings
(From the report of the Chief, Mr. Bradley.)
This Division was organized with the appoint-
ment of its Chief, John G. Bradley, January 19,
1935.

It is the function of this Division to carry into
effect the provisions of Section 7 of The National
Archives Act, which is as follows:

"The National Archives may also accept, store,
and preserve motion picture films and sound record-
ings pertaining to and illustrative of historical activi-
ties of the United States, and in connection there-
with maintain a projecting room for showing such
films and reproducing such sound recordings for
historical purposes and study."

For these purposes The National Archives Build-
ing contains eight concrete vaults for the storage of
films and a projecting room for showing them.

The motion picture industry is still in its infancy
and its experience sheds but little light on the prob-
lems of durability and preservation of films. There
is very little published literature on the subject. The
Division of Motion Pictures and Sound Recordings,
therefore, is to a considerable extent, pioneering in
a new field. The problems with which the Division
has been chiefly concerned are: (1) Accessions, (2)
Preservation, and (3) Service.

Accessions

Either by direct authority, or by inference from
The National Archives Act, accessions of motion
picture records and sound recordings may be made
through four channels: (a) Direct transfer from other
Government agencies; (b) gifts from non-federal in-
stitutions; (c) purchase under contract; and (d) record-
ing.

Transfer — A preliminary survey was made by
mail to ascertain what motion picture records and
in what quantities, were to be found in the various
departments, agencies, and independent establish-
ments of the Government. Although this was by
no means an accurate study, it revealed some five
million feet of motion pictures and many thousands
of phonographic records. The films included the
World War films of which there are nearly a million
feet, pictures of tribal life among American Indians,
studies in sanitation, agricultural extension pictures
and others.

The disc recordings included studies in primitive
languages, folk music, etc.

Gifts — In a lesser degree the non-federal field has
been surveyed for source material that might come
to The National Archives as gifts. The offers have
been generous and include far more than can be
accepted. The problem has become, therefore, one
of selective discrimination. It will be well, however,
to consider some of these accessions seriously —

OVIOLA

L— X=^FILM VIEWING and
REPRODUCING MACHINES

ALL MODELS ON DISPLAY— FOR SALE— FOR RENT
Illustrated Literature On Request

MOTION PICTURE CAMERA SUPPLY, INC.

723 7th AVE., NEW YORK CITY CABLE: "CINECAMERA"

April, 1936

The INTERNATIONAL PHOTOGRAPHER

Seven

such pictures as show the early history of our coun-
try in the making; pictures of explorations, such as
the Byrd Polar Expeditions; pictures of Indian and
Filipino tribal life; pictures of the inauguration of
Presidents; news reels of historical value, etc.

Purchase and Recording — A study has also been
made of possible subjects that would justify record-
ing at public expense either through purchase under
contract or by actual recording. There are many
current and future events of historical importance
which will probably not be recorded unless The
National Archives makes provisions for doing so.

Preservation

In the matter of storage and preservation some
very definite steps have been taken toward per-
petuating film records over a long period of time.
The Chief of the Division personally visited a great
many cities, institutions, and individuals, seeking
help — Hollywood, Motion Picture Producers and Dis-
tributors of America, Inc., Eastman Kodak, Academy
of Motion Picture Arts and Science, DuPont, Radio
Corporation of America, Electrical Research Prod-
ucts, Inc., and others. The question was constantly
asked: "How can motion picture films be preserved
for one hundred years?" The answer (in substance)
was generally: "We are interested only in producing
and selling pictures"; or "We are interested in the
manufacture and sale of film and are not, there-
fore, primarily concerned in preserving such prop-
erty for any great length of time."

However, valuable help and information was re-
ceived from each visit and by placing this infor-
mation together storage specifications were worked
out and submitted in a memorandum of May 13th.
In brief, these specifications included insulated fire-
proof cabinets within the concrete vaults of the
main motion picture storage vault system. In these
cabinets each one thousand feet of film is to be
isolated in a separate compartment, vented to a
stack flue which leads to the exterior of the building.
Each compartment is to have a gravity trap door
that will permit quick and easy egress of combus-
tion flames or gases to the exterior and prevent
ingress of these same gases to the film compart-
ments. The flues leading to the exterior are to be
provided with proper insulation to prevent heat con-
duction and a return of outside air; so that, in brief,
the preservation plans comprise, in addition to edit-
ing and conditioning, the following controls:

(a) Temperature control

(b) Humidity control

(d) Heat conduction control

(e) Air connection control

The Chief of the Division has been made a mem-
ber of the National Research Council's Advisory
Committee to the Bureau of Standards, further to
study preservation of motion picture film, and also

35mm. Eastman Super X

Panchromatic Negative

Short Ends

Price 2V2C per Foot
KINEMA KRAFTS KOMPANY

6510 Selma Ave. Hollywood, Calif. GLadstone 0276

chairman of the Film Preservation Committee of the
Society of Motion Picture Engineers which will fur-
nish additional and valuable help in the study of
this problem.

Service

In approaching the problem of servicing, the only
completed work is that of writing specifications for
storage and for motion picture and sound recording
equipment. In this, help was given by various
federal agencies interested in motion pictures and
by several non-federal institutions. These specifi-
cations were submitted May 13 and June 26, re-
spectively.

As a consequence of his travels and studies, the
Chief of the Division made some valuable contacts
which should prove of inestimable value in the future
development of this Division. He was also called
upon from time to time to counsel with various
federal and non-federal institutions with similar func-
tions in working out their problems. Among these
may be mentioned the Division of Motion Pictures,
Department of Interior, on problems of storage; the
American Society of Photogrammetry, also on stor-
age problems; the Smithsonian Institution, on sound
recording; the Rockefeller Laboratory of Archaeol-
ogy, on recording.

The work of the Division may become mate-
rially handicapped unless preservation of motion
picture films is interpreted to mean preservation of
motion picture records. The present language of
Section 7 of The National Archives Act limits the
work largely to that of curating. Preservation of a
motion picture film has a definite limitation but if
the concept were enlarged to include preservation
of motion picture records by all necessary means,
including duplication, The National Archives could
look forward to a more successful effort in preserv-
ing this material as permanent archives of the Gov-
ernment.

"BROKEN EARTH"

A little gem if there ever was one is this one-
reeler recently produced by three cameramen and
given its first showing to newspaper men at Bell &
Howell Auditorium, Thursday, March 24.

This delightful and technically perfect picture has
to do with a negro spiritual, entitled "Broken Earth"
and written by Clarence Muse and Roman Freulich,
the latter still photographer at Universal Studios.
Mr. Freulich also directed the picture.

His associates in production were King Gray and
Jerome Ash, with Michael Walsh acting as assistant.

The picture was "shot on two Sundays and a
shoe string," as Mr. Freulich described it, but they
had good luck and it looks like a winner.

Appropriate music was furnished by the Los An-
geles Ethiopian Choir of forty-five voices, directed by
Frieta Shaw.

Mr. Muse, collaborator, is a negro actor of great
talent, and "Broken Earth" is a mild glorification of
the spiritually minded negro. He is author of the
successful song, "Sleepy Time Down South" and
was cast in "Hearts in Dixie," "Porgy" and other pic-
tures and plays.

BORN

In Hollywood, March 27, 1936, to Mr. and Mrs.
Ray Fernstrom, an eight and one-half pound boy.
Mr. Fernstrom is an internationally noted newsreel
cameraman.

The New 16 MM. Magazine
Cine-Kodak Camera

IASTMAN Kodak Company has produced a
new 16 mm. Cine-Kodak loading with a
magazine and having other features further
simplifying the taking of motion pictures by
the amateur and at the same time providing him
with increased versatility of operation.

In addition to the use of a magazine, thereby
eliminating the operation of threading the film, the
new camera has three speeds, interchangeable
lenses, a device that prevents accidental exposure
while the camera is not in use, an automatic shut-
off for the spring motor, and an ingenious device
described as a "pulse" for timing the length of
scenes.

Appropriately named "Magazine Cine-Kodak," it
can be loaded in three seconds, merely by opening
the hinged cover of the camera, as if it were a
book, slipping the magazine inside and closing the
cover, without having to adjust a single thing in-
side the camera or on the magazine. Sliding a fin-
ger tab on the top of the camera releases the cover
for opening and locks it when closed. A further
slide of the tab sets the mechanism for operation.
Until this is done, the mechanism remains locked
and there can be no accidental exposure.

Another eminent advantage is the ability to ex-
change partly used film for another type without
having to run the entire footage to do so. Thus,
to switch from Panchromatic to Super Sensitive
"Pan" for indoor pictures or to Kodachrome for color
"movies," it is only necessary to remove the partly
used magazine and replace it with a magazine
loaded with the film desired. A magazine can be
removed without the necessity of wasting a single
frame of film because of a protecting slide which
is moved over the film aperture of the magazine by
the same operation that unlocks the cover of the
camera. One may have any number of partly used
magazines which may be returned to the camera to
complete the exposure. The magazine protects the
film. A footage meter on each magazine shows how
much film has been used, whether in or out of the
camera. The dial may be plainly seen through a
shatter-proof window in the camera cover.

The Magazine Cine-Kodak also gives the ama-
teur increased versatility in speeds. There are three
of them — normal, half speed and slow motion — con-
trolled by a lever located beneath the built-in ex-
posure guide on the front of the camera and
marked "8," "16" and "64."

The new and intriguing device called a "pulse"
is located in the side of the camera — a tiny button
over which the finger is placed and which "beats"
every half foot, or 20 frames, while the film is be-
ing run. This is of great convenience in timing the
length of a scene.

For the Magazine Cine-Kodak are supplied the
same accessory lenses available for Cine-Kodak K
and Cine-Kodak Special — the 2-inch f.3.5 and the 3-,
4V2-, and 6-inch f .4.5 telephoto. There is an in-
expensive adapter which fits them to the camera by
a simplified method. To make a change to any
one of the four, the standard f.1.9 lens is removed
merely by pressing a button, and turning the lens.
The adapter fits as easily in its place. Then the

(CONTRIBUTED)

other lens is fitted on by sliding a lug on the lens
into a slot in the adapter; the rotating collar is given
a turn or two, and the lens is set in positive, taking
position.

In focusing, guess work and squinting are taken
out by the full-vision eye-level finder system, which
competentlly serves all lenses. The front view find-
er has two elements. Together they show the field
of the standard f.1.9 lens. By sliding the rear ele-
ment backwards along a track it "clicks" into a
notch identified by an arrow as the position for
use with the 2-inch lens. Another move backward
and it further narrows the field as it slides to the
position for the 3-inch lens. Again in the same way
for the 4V2- and 6-inch telephotos.

Two other features of this camera are the se-
cured winding crank, which swings back into a
notch in the case when not in use, and an auto-
matic shut-off for the spring motor, which insures
against over-exposure when the motor is in need of
winding.

OUR NAVAL MILITIA

On the night of February 21, at the Clark Hotel,
in Los Angeles, the California Naval Militia had its
annual dinner, which was attended by sixty-two
officers. Commodore George Hurst and Commander
L. F. Brown presided.

Commodore Hurst assured the officers that steps
were now being taken to federalize the California
Naval Militia as soon as the enlisted personnel
reaches the required number.

Many rates are now open to young men who are
qualified to follow the navy life, either as a hobby
or as a profession. Every branch of naval service
is included in the organization.

THE INTERNATIONAL PHOTOGRAPHER is es-
pecially interested in the California Naval Militia,
because it was in the offices of this publication at
1605 Cahuenga Avenue, Hollywood, as far back as
1932, that the organization of a naval unit for the
protection of the local coast line was discussed and
planned. Many officers and men who are now
active in the present set-up were recruited in these
offices.

Naval Militia, we wish you good luck and suc-
cess: "We salute you, sailors."

W Variable area recorders'

^T PATENT NO. 1985584. OTHERS PENDING
§ ALSO

^^ 35 mm to 16 mm ^^
^ C REDUCTI0N SOUND PRINTER 1

M O SOUND EQUIPMENT [^
^J Cable address CRSCO \J

O C.R. SKINNER MFG. Co.

' . 290 TURK STREET. PHONE OROWflV 6909

£ t ^ San Francisco. California U. S. A. j

Intensity of Sunlight
Under Sea

By Pail R. Harmer

&MM | ANY interesting articles have been written
E ?\yA M regarding the intensity of light under sea,
I P^f3! but very little of this data has been used
V*^™*-^ by undersea photographers with any de-
gree of certainty.

Several factors are responsible for this condi-
tion and, when this series of articles which I am
writing for THE INTERNATIONAL PHOTOGRAPHER
is concluded, I hope to have been of assistance
to the photographer.

Professor Burt Richardson made many tests dur-
ing the past five years off the coast of Southern
California, and, while gazing upward with a light
sensitive cell he found that one-quarter of sunlight
is absorbed in the first inch of water; that one-half
of the light fails to reach ten feet; that nine-tenths
of the light fails to reach fifty feet and only a trace

Observed by Beebe with Cinophot

Depth
Feet

Horizontal Light
Candles Per $q. ft

10.4

100

3.37

200

0.41

250

0.21

300

0.15

.350

0.12

500

0.02

800

0.02

Fifiure

of light reaches two hundred feet, green predomi-
nating to this depth.

One-half of all blue light is absorbed in the first

FOR IMMEDIATE SALE!

DE BRIE AT SACRIFICE

New Type SUPER PARVO DEBRIE

Ultra Silent Camera No Blimp Necessary

Thoroughly Guaranteed
MOTION PICTURE CAMERA SUPPLY, Inc.

723 Seventh Avenue New York City

Cable: "Cinecamera''

Bermuda
Fig. 1

ten feet; one-half of all blue-green light is absorbed
in the first thirty feet; one-half of the more pene-
trating green light is absorbed at thirty-five feet; one-
half of all red light is absorbed by the first few
inches.

Professor Beebe describes his descent into the
sea as follows: "It was midday, with bright sunlight
on the surface. At fifty feet the water was a brilliant
bluish-green; at one hundred feet there was the effect
of slight twilight and chilling blue. This blue be-
came weaker as I descended to greater depths. At
five hundred feet a strange illumination was en-
countered and at fourteen hundred feet a strange
transparent blue."

CINOPflOT, HORIZONTAL LI6HT

As far as Professor Beebe's eyes could see there
was no change in light values from five hundred
to eight hundred feet and he was able to read large
print at eight hundred feet.

The spectroscope which he used to measure the
kinds of light gave a slightly different record.

Fig. 1 illustrates how the light green (almost a
blue-green) persists to further depths than any other
visible light. This illustrates a diminishing wedge
of light.

Fig. 2 is a table showing the comparative light
values at different depths.

Fig. 3 is a graphical explanation of the same ob-
servations. These observations were made by a
Cinephot Exposure Meter and the readings trans-
lated to candles per square foot in the laboratory
with a comparison light. Fig. 3 shows more plain-
ly how the intensity of light varies from a straight
line or a regular curve. The irregularity of these
light values is not fully accounted for, but it is prob-
ably due to animal, vegetable or mineral matter in
suspension.

Ten

The INTERNATIONAL PHOTOGRAPHER

April, 1936

Lens Apertures Versus Printer Points

By Peter Parnell

[N the course of a good many years develop-
ing negative film and contacting camera-
« men, the writer has often been faced with
the query from many of them just what the
exact reaction is in printer points when a lens is
stopped down or opened a full doubled stop.

Unfortunately, in a good many cases where
actual tests never have been made it has resolved
itself into more of a series of individual interpre-
tations quite at variance with one another rather
than a basic guide dependent on corroborating
tests, repeated from time to time in the laboratories
due to the changing conditions therein.

Paralleling this condition too, are the printer
variations and quality changes resulting from the
use of the longer (telephoto) focal length lenses
shot from the same set-up at the same exposure with
the resulting expressions of wonder from the camera-
man as to the often adverse result.

It occured to the writer that a few analytical
tests (repeated by others if desired under the con-
ditions prevailing in different laboratories) would
be helpful, consequently a few tests were made in
one with the results checked as closely as varia-
tions of the human eye permitted. An exterior loca-
tion with consistent sunlight was chosen.

Though the exposure meter is still a disputed in-
strument it was used as a check on the light varia-
tions, which proved nil however, as the tests were
made in a short time and any slight change that
might have registered was negligible.

Inasmuch as solution gammas and densities vary
in different laboratories results from these tests
would not coincide exactly with those of another
laboratory, though the essentials remain constant,
and tests are advised for differing conditions of de-
velopment.

The first tests were made with lenses ranging in
order from the 25 mm. to the telephoto of 150 mm.,
from the same set-up all shot at F: 12. Here two
interesting things were ascertained: The practical
aspects of the optical theory — "that light possesses
a certain intensity at the diaphragm aperture and
diminishes in proportion to the square of the dis-
tance between the lens and the sensitive plate";
and the reason the wondering cameraman exclaims
at the difference between the exposure and quality
obtained with the two-inch lens and that obtained
by the second cameraman with a four or six-inch
lens from the same set-up both using the same lens
stop.

Theoretically, the F number represents the F
value only when the lens to plate distance cor-
responds to the maker's focal length and aperture
speed as applied to objects at a distance (infinity),
and the moment the so-called bellows distance is
increased the actual F value changes, so that in
theory if a lens with an F:8 aperture were racked
out to make a life-size copy its extension would be
doubled with a corresponding increase of exposure,
as the aperture would then become F: 16.

For practical purposes one need not draw the

line so fine as variations are permissible and cap-
able of being rectified in development, but the few
findings still remain interesting.

Below is a scale of aperture exposures and print-
ing lights:

Lens
150 mm.
100 mm.

75 mm.

50 mm.

25 mm.

Aperture
F:12
F:12
F:12

F:12
F:12

Printing
Light
9
11
12
13
15

It was found that the exposure at F:12 was in
too low a key for the longer focal lengths, while
the 25 and 50 mm. lenses were at an intermediate
place on the printing scale; the 25 mm. lens print-
ing on light 15 and the 50 mm. on light 13. Here
already is a difference of two printer points with the
50 mm. negative requiring (for a finished print) slight-
ly more development to match the contrast of the
shorter lens.

While the 75 mm. lens dropped one point to
12 (taking the 50 mm. as standard) a more pro-
nounced dropping off in brilliancy was marked
which would have necessitated prolonged develop-
ment to bring it to the density and contrast level of
the 50 mm. lens.

The 100 mm. lens fell another point lower with
a decided increase of flatness and at the low aper-
ture of F:12 with the 150 mm. lens, plus the in-
creased separation between lens and film we get
a negative printing on light 9 as compared to 13
(50 mm.) but with such lack of exposure and con-
trast that forced development would add little but
chemical veil.

These tests reveal that the 25 and 50 mm. lenses
though shading the under exposed side, with little
more than normal development make a negative
that prints in the desired portion of the printer scale,
possessing good brilliancy and density and quite
acceptable from all standpoints.

The 75 mm. lens produces a flatter negative
which, while its density can be increased gains very
little in added contrast, remaining virtually what it
(Turn to Page 20)

ICTER^

In Utarld-(/0id* Us*

uce rOv^nli^br anA (\)Kjbt
:1s in Daytime ~Fvy Scenes-
Diffused F*7cus.ar7*l many vmer ef F«crs
Wiib any Camera - In any Ulimatre
Gcorcje H. Sckeibe

ORIGINATOR OF EFFECT FILTERS
1927 WEST 78th ST. LOS ANGELES. CAL.

FhouywoodI

STUDIOS
USE THEM
IN EVERY

kPRODUCTIONi

April, 1936

The INTERNATIONAL PHOTOGRAPHER

Eleven

Avalanche of Color On the Way

(Contributed)

Hollywood acclaimed "The Trail of the Lonesome
Pine" as the first successful color picture that has
ever been made, but experts who have been shown
reels of the new Pioneer production, "Dancing Pi-
rates," say that the use of color in this picture is
even more revolutionary.

Back of the success of these color pictures lies
the work of Max Factor, veteran Hollywood make-
up artist, who was allowed, for the first time, free
rein in the make-up applied to the actors.

"No color picture can surmount improper make-
up," a well-known cameraman admitted, and added
that half the faults of color photography to date have
been unrealistic make-up effects!

Mr. A. B. Shore, in charge of the make-up depart-
ment at Factor's, recently said: "The new make-up
we have developed for color pictures is revolution-
ary. The range of colors employed has multiplied
ten-fold in an attempt to reproduce faithfully colors
matching the skin tones of the subject.

"First of all, the new make-up is of skin-stain con-
sistency. It is so thin that the effect is somewhat like
a thin coating of tan, permitting the natural flesh
tones to show through.

"Naturally, highlights and shadows cannot be
employed and less latitude is given for what is
known as correction make-up. Imperfections of fea-
tures or skin can be disguised no more successfully
than with street make-up the average woman wears.

"Rouge we applied to the lips of actresses in re-
cent color pictures, for instance, is five times as light
as rouge worn by women for street wear. We
advised Steffi Duna, appearing in 'Dancing Pirates,'
to bite her lips before each close-up to make the
blood come to the surface and give them a more
natural appearance!"

Recently Factor discovered a secret shade of hair
which will photograph chalk-white, and this was

used for the white wigs in "Dancing Pirates." For-
merly the color camera photographed white wigs in
unbecoming shades of blue and it had been thought
impossible to make pure white hair photograph
white. Experiments were tried with 300 different
shades before the "secret" shade was discovered.

Another innovation color demanded was individ-
ual make-ups for all players, from the humblest extra
to the most important star. Make-up men working
on "The Trail of the Lonesome Pine" spent as much
time and effort over the make-ups for each extra as
for that of Sylvia Sydney, the star.

"We wanted to avoid a fault of former color pic-
tures," Mr. Shore said, "in "which atmosphere play-
ers, in the background, looked badly made up.
Variations of the human complexion must be care-
fully studied to retain individuality of type."

The importance of this new make-up is proved
by the number of color pictures now being produced
in Hollywood. "Trail of the Lonesome Pine," "Danc-
ing Pirates" and "Changing of the Guards" are three
of the newest. In addition, Samuel Goldwyn plans
to make two features in color. Douglas Fairbanks,
Sr., will film "Marco Polo" in color. Warner Brothers
plans three shorts and two full length features. Wal-
ter Wanger has four color pictures in preparation.
RKO will do a series of western pictures in color.
And Pioneer intends to produce two more full length
color pictures after "Dancing Pirates."

If these pictures bring about the revolution in
Hollywood which is confidently expected by techni-
cal experts, who say that after viewing several color
pictures, black and white photography will seem
dull and boring to audiences, Max Factor will have
contributed as much as he did with the introduction
of panchromatic film, when his new panchromatic
make-up was adopted as a standard by almost
every film studio in the world.

ArtReeves''

ArtReeves film tested equipment

Variable Area Recorders
Light Test Machines,
Bloop Punches,
Soundolas,

Amplifiers,
Microphones,
Cables,
Glow Lamps,

Developing Machines
Galvanometers,
Interlock Motors,
Reeves Lights & Stands.

Dependable Equipment At Prices Within Reason.

j-TplrVvvood

Motion PioTure/EqjjipmenT(o. |Td.

645 NORTH MARTEL AVE

CABLE ADDRESS ARTREEVES

HOLLYWOOD, CALIFORNIA, US A

Twelve

The INTERNATIONAL PHOTOGRAPHER

April, 1936

Recent Photograph and Sound Patents

By Robert Fulwider

Attorney at Laiv

2,029,300 — Method and Apparatus for Producing Stereoscopic
Effects. Newton Arfsten, New York.

2,029,306— Motion Picture and Sound Cabinet. W. R. Bull,
Pelham Manor, N. Y.

2,029,418— Reflex Shutter. Max Friedland, New York.

2,029,500— Composite Pictures. Willis H. O'Brien, assignor to
R. C. A.

2,029,614 — Apparatus for Taking or Projecting Lenticular Film.
F. Fischer, F. Strecher and H. Neugebauer, assignors to Siemens &
Halske, Berlin, Germany.

2,029,703 — Cinematograph Apparatus. B. E. Lubcshez, Har-
row, England.

2,029,736 — Motion Picture Camera. Kurt Morsbach, Berlin, Ger-
many.

2,030,098 — Sound Picture Record. T. W. Case, assignor to Case
Research Laboratory, Auburn, N. Y.

2,030,163 — Color Photography. T. T. Baker, assignor to Dufay-
color, Ltd.. London, England.

2,030,300 — Composite Photography. Fred Jackman, assignor to
Warner Bros. Pictures, Inc., New York.

2,030,428 — Sound Recording System. M. Chambers, assignor
to Western Electric Co., New York.

2,030,446 — Apparatus for use in Color Photography.

2,030,447 — Multicolor Screen for use with Lenticulated Films.
Edgar Gretener, assignor to Opticolor Co., Glarus, Switzerland.

2,030,465 — Receptacle for Motion Picture Film. Joseph T. Nist,
Canton, Ohio.

2,030,489 — Projector. Russell E. Wilson, Cleveland, Ohio.

2,030,760 — Method and Means for Recording Sound. C. L.
Oswald and W. D. Fester, assignors to Kinatome Patents Corp,
New York.

2,030,795 — Color Cinematography. V. Hudeley and L. Lograve,
Paris, France.

2,030,812 — Projection System. R. F. Dirkes and R. Steeneck,
assignors to Western Union Co., New York.

2,030,903 — Photographic Film for Color Photography. Hans

von Traunhofer, assignor to Omnichrome Corp., New York.

2,030,904— (Same.)

2,030,973 — Method and Apparatus lor Recording and Repro-
ducing Sound. Merle Duston, Detroit, Mich.

2,031,032 — Means for Mixing the Color Element Images in Mul-
ticolor Screen Photographic Printing and Projecting. Walter Chap-
man, assignor to Dufaycolor, Ltd., London, England.

2,031,079 — Device for Rewinding Film. H. J. Streyekmons, as-
signor to Automotion Pictures, New York.

2,031,608— Talking Motion Picture Apparatus. J. R. Kiel, as-
signor to Auditone Co., Chicago.

2,031,635 — Film Reel. Herman de Vry, Chicago.

2,031,756 — Film Feeding Mechanism for Sound Films. Ewald
Boecking, assignor to International Projector Corp., New York.

2,031,794 — Motion Picture Sound Recording and Reproducing
Apparatus. Paul Safranski and King Ross, New York.

2,031,809 — Camera Mounting. A. G. Zimmerman, assignor to
R. C. A.

2,031,813 — Phonophotographic Apparatus. C. N. Batsel and
E. W. Kellogg, assignors to R. C. A.

2,031,817 — Film Driving Apparatus. A. G. Bradford, assignor
to General Electric Co.

2,031,832— Portable Talking Motion Picture Apparatus. H. C.
Holden, assignor to R. C. A.

2,031,835 — Recording and Reproducing of Electrical Impulses.

2,031,836 — Sound and Picture Camera. E. W. Kellogg, assig-
nor to R. C. A.

2,031,865 — System and Apparatus for Recording and Repro-
ducing Sound. A. A. Thomas, assignor to R. C. A.

2,032,116 — Motion Picture Apparatus. F. Conrad et al., assig-
nors to Westinghouse Electric Co.

2,032,184— Sound Gate. Frank Schiffli, assignor to R. C. A.

2.032,200 — Method and System for Reproducing Sound from
Films. Oscar Chournard, assignor to R. C. A.

2,032,213— Photographic Film Magazine. Albert S. Howell, as-
signor to Bell & Howell Co., Chicago.

2,032,336 — Motion Picture Film Reel. T. O. Strauss, assignor to
Casteel Research Laboratories, New York.

TO THE SOUTH SEAS WITH
PILLSBURY

Two new single-reel 16 mm.
sound films of the South Seas, pho-
tographed and narrated by Arthur
C. Pillsbury, well known naturalist
and lecturer, are announced by
the Bell & Howell Filmsound Li-
brary.

"Life in the South Seas" takes
us to the Samoan Islands, shows
in detail the life of these happy-go-
lucky wards of Uncle Sam, and
presents marvelous time-lapse
photography of the development
of the cocoanut plant and the uses
to which it is put. The building of
the South Sea Islands by two
widely differing methods, coral
and volcano, is graphically por-
trayed.

"Life Under the South Seas," the
second film, shows undersea div-
ing with water-tight motion picture
equipment and the photographic
results — utterly fascinating time-
lapse pictures of starfish, anem-
ones, barnacles, hydroids, jelly-
fish, sea pens, sea urchins, and
many kinds of fish. Mr. Pillsbury's
own voice accompanies these pic-
tures as it has at thousands of pop-
ular science lectures throughout
the country.

Everything for
CAMERAMEN

and

m i mos

Right here in our Display Rooms!

New and Used Cameras. Accessories, Lighting Equipment,
immediately available. Phone, write or wire.

Everything is thoroughly guaranteed

Eastern Representatives
MITCHELL CAMERA CORPORATION

HARRISON FILTERS — FEARLESS PRODUCTS
MOVIOLA FILM EDITING EQUIPMENT

We now have a modern, completely equipped repair and service department —
specializing on Mitchell, Bell & Howell, Akeley and De Brie Cameras.

FRANK C. ZUCKER

I. BURCI CONTNER

MOTION PICTURE CAMERA
M PIMA. Inc.

723 Seventh Ave. New York City

Telephone BRvant 9-7755

Cable Adrlres

.incrainrra

April, 1936 T he INTE R N A T I O X A L PHOTOGRAPHER Thirteen

EASTMAN
FILMS

BRULATOUR
SERVICE

Fourteen

The INTERNATIONAL PHOTOGRAPHER

April, 1936

Motion Picture Relief Fund of

America, Inc.

Interesting Facts for Cameramen

In January, 1933, the Motion Picture Relief Fund
fed 2,500 hungry people by supplying grocery orders
amounting to $4,000.

Saved 75 families from being evicted from their
homes by paying $1,000 in rents.

Paid 200 public utility bills amounting to $900.

Provided medical care in hospitals, sanitariums,
drugs, doctors' calls, etc., for 300 patients at a cost
of approximately $3,000.

In addition to this financial aid, we also rendered
special service to practically every one of the 800
cases on our books representing about 3,000 people,
such as securing studio interviews, making contacts,
helping clients to get positions, etc.

All charitable organizations are subject to ad-
verse criticism. Investigation has proven that 99 per
cent of this criticism is biased, prejudiced and un-
founded. In most cases it is used as a convenient
alibi or excuse for not donating to a worthy cause.

May we ask that you give this Fund — WHICH IS
YOUR FUND— a break to this extent. When you
hear adverse criticism of our activities, before re-
peating it or accepting it at face value, will you give
the Fund an opportunity to defend itself by asking
us for the facts?

Among the unfortunate people we are caring for
in the motion picture industry, we have the names of
carpenters, electricians, housemaids, nurses, moth-
ers' helpers, seamstresses, etc., whom we can recom-
mend if at any time you are in need of such help.

The Motion Picture Relief Fund is a private fam-
ily welfare agency conducted along private lines to
alleviate distress among unfortunate members of the
industry.

It has been rumored that applicants for aid who
were former contributors to the Fund have been de-
nied assistance. This is positively erroneous. There
never has been a contributor, even one who has
been found ineligible for aid, whose donation, at
least, has not been returned. No hungry person has
ever been turned away without help in some shape
or form.

We have been obliged to drop cases only be-

cause of our limited funds, but before doing so, the
individual or family had been carried along over a
period of time in an endeavor to assist applicants to
get on their feet.

Each case is considered on its individual merits
and we are disbursing our income according to our
best judgment in helping the most urgent and worthy
cases. Our activities are limited only to the extent
of the amount of money you contribute.

During the calendar year 1932, you generously
gave the Fund $155,000 and relief was dispensed to
the extent of $190,000, or $35,000 more than you
gave. The demands continue to be heavy, and the
amount of suffering we can alleviate depends en-
tirely on you.

We believe we have an efficiently operated or-
ganization and that our overhead is as low, if not
lower, than any similar organization in the city.
Funds are being disbursed now according to the fol-
lowing policy:

1. To care for illness-
health.

-preservation of life and

2. To lend financial aid for food, shelter and
clothing to those persons whose work in pic-
tures has been such as to definitely entitle
them to such aid and who are now, through
no fault of their own, unemployed. Such aid
to be distributed:

(a) To married couples with small children.

(b) To a woman with dependents.

(d) To single men and single women.

3. To lend such aid in unusual and extraordi-
nary cases as may be deemed advisable
when voted upon by the Executive Committee.

If any case of distress of people in the industry
come to your attention, before criticizing us, please
notify us. We will contact the individual or family
and report back to you, keeping you posted on our
actions throughout the case.

Disbursements $1,124,224.20
Dec. 31, 1925-Jan. 1. 1935

MAX FACTOR'S

N EW

LIQUID FOUNDATION

A REVELATION IN FACIAL MAKE-UP

William Skall and
His Camera Crew
— a Living Mural
Lighted by the
Magic Lamps of
MR.

MR LAMPS TO BE BUILT IN BRITISH PLANT

British-built Mole-Richardson lamps will soon be
available to cameramen in the British studios. The
Hollywood office of Mole-Richardson, Inc., announces
that an affiliated company is being formed in Eng-
land to manufacture and service Solarspots, H-IArcs,
and other M-R products, which have come into in-
creasing demand overseas with the recent expan-
sion of British production. British producers have
scheduled over a score of features in Technicolor
for production during the coming season, and Mole-
Richardson Side Arcs, H-I-Arcs, etc., have been pro-

nounced a necessity for Technicolor photography.
The incandescent Solarspot lamps are also declared
to be creating as much interest abroad as in Holly-
wood, where they have been called "the perfect
photographic light."

Peter Mole, president of Mole-Richardson, is now
in London, completing the final details of organiz-
ing the English affiliate. With him is Robert Linder-
man, who lately resigned from the General Electric
Company's Hollywood staff to accept the post of
Managing Director of the new British enterprise.

ARCS

ENGINEERED FOR

TODAY'S PICTURES

M-R Type 170-150 Amperes
M-R Type 90-120 Amperes

150- Amp. H. I. Arc.

MOLE-RICHARDSON, Inc.

941 No. Sycamore Ave. Hollywood, California

Cables: "Morinc"

Sixteen

T h

INTERNATIONAL PHOTOGRAPHER

April, 1936

The Evolution of the Motion
Picture Story

By Earl Theisen

Honorary Curator Motion Picture and Theatrical Arts, Los Angeles Museum

PART I.

HE motion picture began as a newsreel.
During the early nineties Edison's film sto-
ries for his Kinetoscope "Peep-Show" were
topical portrayals and performances of
noted persons, who had been persuaded to pose
for "living pictures." Louis LePrince, William
Friese-Greene, and the other experimenters of their
time hoped to create a moving picture that they
might re-enact or report news events. As far re-
moved as 1878 we find Wordsworth Donisthorpe
concerned with the idea. In a letter to the editor of
"Nature," which was published in the January 24
issue of that year as "Talking Photographs," he
wrote:

"By combining the photograph with the Kinesi-
graph I will undertake not only to produce talking
pictures of Mr. Gladstone, which, with motionless
lips and unchanged expression, shall positively re-
cite 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."

That letter expressed the ultimata hope of those
who throughout the years made the motion picture
a possibility. It was their philosophic dream to bring
the image of the great to the masses and to record
historic events, that they might be preserved for pos-
terity. It was not until well after 1900 that the dra-
matic narrative possibilities of the cinema were de-
veloped.

Sensational Exploration of Movement

The exploitation of the motion picture began in
the Edison "Peep-Show Parlors." The first of these
parlors was opened by the Holland Brothers on April
14, 1894, at 1155 Broadway, New York. Here the
first movie patrons paid an admission at the door
that privileged them to pass down a row of ten or
so Kinetoscopes in which they saw the motion pic-
tures by peering through an eye-piece into a trunk-
like cabinet. Because it was necessary to "peep"
through an aperture to see the new novelty of pic-
tures that moved, the Kinetoscope acquired the pop-
ular pseudonym of "Peep-Show." And what a show
it was! At the door was a frock-coated "ballyhoo
barker" who declaimed the wonders of the new Edi-
son achievement, while inside the fortunate ones
who had managed to jockey themselves with the
crowd into the place would be eagerly "peeping" at
the "living pitchers" — the Edison marvel.

The films were forty or perhaps fifty foot subjects
showing such noted persons as Eugene Sandow, the
Strong Man; Carmencita, the Dancer; Mae Lucas,
the Gaiety Girl from the famous George Edwards'

Girl Show; Annie Oakley, from Buffalo Bill's Wild
West Show; Dr. Colton, who invented gas for den-
tistry, was shown taking out a tooth; and Madame
Bertholdi, the contortionist. Also there were bits
showing Mexican knife throwers, boxing cats, Texas
cowboys throwing lariats, trained dogs and fencing
bouts. All these and other items of popular interest
were duly recorded to satisfy the demand of the
curious who wanted to see the pictures of objects in
motion.

Projector Dramatic Device

Within a year there were several experimenters
who devised projectors to remove the pictures from
the peep boxes and throw them on a screen in life
size. The most important of these were Louis and
August Lumiere, who had perfected a small, light-
weight combination camera and projector. With it
they could go to the subject, while other cameras of
this period were ponderous, and had to be anchored
to a studio floor. Other experimenters contemporary
with the Lumieres were primarily scientists, and as
such they were concerned with the technical aspects
of making pictures move. Fortunately for the inter-
ests of the better cinema, the Lumieres had an inter-
est equally important — that was the improvement of
what the picture had o say. As a result, their pic-
tures excelled and gave the public something be-
sides just the novelty of pictures in motion. Subse-
quent to the first public demonstration on March 22,
1895, of the Lumiere Cinematographe, topical pic-
tures from all points were brought to the screen.
Wherever there occurred an historic event, there
could be found a Cinematographe. The popular ap-
proval accorded them served as a vanguard to lead
other film producers afield for their pictures.

Starting with 1896, the films reported every major
event. At the William McKinley inaugural parade
the cameras of E. H. Amet, Biograph, Edison and
Lumiere could be seen vying with each other for
points of vantage, and after the fashion of news-
reelers that has existed ever since, they tried, as a
newsreeler would say, "to score a beat" by getting
to the screen first with the best picture. Biograph,
as a result of its President McKinley picture, enjoyed
an extended run at Hammerstein's Olympia Music
Hall in New York, dating from October 12, 1896,
which, by the way, was the premiere showing of
Biograph pictures.

Now comes a transition in motion picture history.
The narrative aspects of the McKinley and other pic-
pictures of 1896-97 catered to the popular demand
that the films say something. They were no longer
considered scientific curiosities and the public was
no longer willing to pay to see nothing more than
pictorial movement which from the first the scientists

April, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeci

had overdone in their eagerness to emphasize their
achievement of pictures in motion.

Queen Victoria, Pope Leo. Boer War

Though many years were to pass before narra-
tive plot was used in a screen picture, from this point
on the film makers aspired to definite themes and to
dramatic forms. The Biograph pictures of this time
of Queen Victoria's Jubilee taken in London; the
Boer War, taken in Africa; and those of Pope Leo
XIII, taken in the Holy See, had incorporated in
them a substantial screen value. To facilitate nar-
ration, Edison increased the length of his pictures to
seventy-five or one hundred feet. The Vitagraph,
too, who had started in 1896, showing an Edison
Peep-Show, were now making a few comedy films.

The films had by now allied themselves very
profitably with the prize-fight fans, who in their en-
thusiasm for this form of sport furnished much need-
ed capital which served in the interests of extending
the motion picture as an industry. This financial
impetus helped establish it and it furnished funds
for greater efforts at a time when it was, as a literary
or theatrical medium, still a foundling. Its profits
and spectacularisms at this time brought to it many
individuals who promoted the films. The reputation
it then acquired has lasted long, although the influ-
ences which gave it that reputation have passed into
history. That is the story of many arts that have
majored in public service, and is a situation that
oddly enough is difficult to outgrow.

The first motion picture prize fight was a bout
between Michael Leonard and Jack Cushing, which
was staged for the motion pictures in July, 1894, at
the Edison studio. It came at a time when action
was the chief asset and the main interest in a
"movie." In that, and in the popularity of the par-
ticipants, this fight, which was shown in the Peep-
Shows, brought to the motion picture many fights in
the following years. The fight was arranged by
Otway and Gray Latham, and Samuel Tilden, Jr.

To record it, Edison, in collaboration with Enoch
Rector, constructed a special camera which would
photograph 150 feet of film. This fight was immedi-
ately followed by a more pretentious undertaking
between James Corbett, then the heavyweight cham-
pion, and Pete Courtney. Until 1912, practically
every fistic event was duly recorded. On July 31,
1912, the Sims Bill, which made interstate traffic in
films unlawful, was passed by the United States
Congress. The prize fight picture played no impor-
tant part in the history of the European industry.

II.
NARRATIVE PICTURES

It is difficult to ascertain just when the first nar-
rative motion picture was made.

There were story films as early as 1895. An
example of this is the "L'Arroseur Arrose" or "The
Sprinkler Sprinkled," made by the Lumieres, which
showed the naughty boy kinking the garden hose,
and the climax came when the gardener looked into
the end of the hose. Edison made comics of a sim-
ilar nature, as "In a Chinese Laundry."

Among the more elaborate pictures of this time
was "The Oberammergau Passion Play," made in
New York by Rich G. Hollaman, president of the
Eden Musee, and Albert G. Eaves. It was completed
in January, 1898, in a length of 2,100 feet, and was
sold to individuals who road-showed it through the
United States. This was by far the most pretentious
picture yet made, and for the first time much favor-
able attention was directed toward the motion pic-
ture as a dramatic medium. Several versions of

"The Passion Play," made by others, followed it on
the screen. Another picture, "The Life of an Ameri-
can Fireman," is generally credited with being the
first of the story-telling films. In it was incorporated
a definite plot, and for the first time such dramatic
devices as parallel action and cut-backs were used.
And for the first time the hero — the fireman with gal-
loping horses and smoke-spouting fire wagon — ar-
rived just in time.

With the making of the "Great Train Robbery,"
in the fall of 1903, motion picture history really be-
gan. Its 740 feet of film carried to the farthest cor-
ners of the world a story that had a particular appeal
to the movie patrons of that time. It was considered
the "ne plus ultra" and as such was used as a pat-
tern by the picture producers during the nickelodeon
period of pictures. Its simple plot, of the short story
type, almost totally lacked characterization, but in-
stead relied upon action for its appeal. There was
the gun fire, mad movement, horses, and the hero
element that was then thought to be the desired
ingredient for the super-production. For the most
part, this action type of plot was used until the
motion picture industry availed itself of a star, or
celebrity system, in 1910-12. "The Great Train
Robbery" was remarkably like the present-day
Westerns.

The story was written, directed and photographed
by Edwin S. Porter, who, in 1912 was associated with
Adolph Zukor and Daniel Frohman in the formation
of Famous Players. In the cast were Frank Hana-
way, a stunt rider in the United States Cavalry;
George Barnes, a performer at Huber's Wax Mu-
seum in New York. (Barnes is the one who caps the
climax by pointing a menacing gun, William S. Hart
fashion, into the eye of the audience, and in that
way the picture ends.) Max Aronson, later to be-
come known as "Broncho Billy" Anderson, was in
the cast, as well as Marie Murray, the "Phoebe
Snow Girl" of the Lackawanna Railroad publicity
campaigns.

The popularity of "The Great Train Robbery" is

(Turn to Page 22)

GOLDEN GATE NEWSREELERS HIT THE DECK

Left to right: Jack McHenry, Universal; Joe Ruck-
er, Paramount; Eric Mayell, Fox Movietone; George

Lyng, Hearst Metrotone; Frank Vail, Pathe; Nigger,
the dog and Paul Heise, Fox Soundman, seated.

Clad in all regulation marine safety devices the
news-hounds sail forth on a treasure hunt story.
Came a narrow escape from a watery grave, when
the good ship, "Albertine," ran afoul of a reef.
After waiting hours and hoisting distress signals to
lure some help — it was discovered that the tide had
gone out and all hands were able to walk ashore —
minus the life belts.

Eighteen

The INTERNATIONAL PHOTOGRAPHER

April, 1936

AMATEUR MOTION PICTURE SECTIOJH

— -r-^— — HAMILTON RIDDEL, EDITOR

Tinting Home Movies

— Hoiv Nev) Beauty Can B< Added to the Black and White Films —

F. HAMILTON

RIDDEL

ONG recognized by professionals as a pleas-
ing asset of the motion picture screen, tinted

film is likewise worthy of attention by ama-
teur movie makers. And once having wit-
nessed the satisfying results obtained by a tinted
print on the home screen, movie makers are made
all too aware of one fact: In many instances, ordi-
nary black and white films leave something to be
desired. However, new beauty can be added, even
now, to one's plain black and white subjects —
thanks to color-tinting. Nor is this coloring of film,
by tinting, "too technical" or "complicated."

While it is not the purpose of the present article
to encompass an exhaustive discussion of tinting
methods, it does seek, rather, to point out the pos-
sibilities of tinted home movies. Procedure in tint-
ing films, of course, will be dictated by the personal
tastes of individual movie makers. And a reason-
able mixture of imagination and care will yield
worthwhile results.

Tinted film is the type which gives the screen
a single, over-all color or tint. For example, movies
in pink, or green, or amber shades. The base of
tinted film stock is colored, not the photographic
image itself.

Before the birth of the talkies, tinted film was
extremely popular on the professional movie screen.
For it built up certain "moods" and greater real-
ism, in dramatic pictures; and added untold beauty
to the screen travel short subjects. With the advent
of sound-on-film, however, due to the exigencies of
sound reproduction, this means of coloring film was
dropped. "Cold," black and white shadows ruled
the screen for some time. But tinted film eventually
returned, more delicately tinted, to be sure, but none
the less welcome. So it is that tinted film has con-
tinued with all its pleasing effects.

Various tints may be used in coloring personal
movies, the following list being merely suggestive:

Amber — Air scenes; landscapes; for general sub-
jects, both interiors and exteriors.

Blue — Night scenes; moonlight and snow.

Green — Water scenes; forest and woods; fields
and gardens; and in some cases for "gruesome" ef-
fects.

Lavender — Late evening; early morning; and
hunting scenes.

Pink — Scenes of babies; children; general sub-

jects; fireside interiors; sunsets; burning buildings
or explosions.

Red — Fire scenes; explosions; special effects.

Yellow — Brilliant sunshine scenes; at the beach
or on the desert.

In making a decision of what tints to use, it
is advisable to bear in mind that the lighter hues
will give greater screen illumination. Darker tints,
such as red, should be used sparingly. Selection
of tints will therefore depend to some extent upon
the power _of your projector lamp.

One should next decide whether an entire roll of
film is to have color imparted to it, or only certain
sequences. Generally speaking, for the sake of
variety (that quality which should be striven for) it
is preferable to tint each distinct sequence differenly.
Single subject reels, on the other hand, are more
readily adapted to a single tint; such as light amber
or pink. In more remote cases, only individual
scenes might contain color.

Color Wheel

Wheel P.attieter;4 J/«

Color Holes - I /f "

Tinting may be accomplished with any size or
type of amateur motion picture film, although the
method will vary according to the type of film being
tinted.

Familiar reversal film stock, being a single-film
process (camera and projector film being one and
the same) will require its base being dyed, after
regular processing, in order to impart the desired
color tint. Film laboratories can do this work, or
if desired it may be done at home. In the latter
case, simple tinting preparations are available to-
gether with instructions for use.

Users of negative-positive, which is a two-film
process, have somewhat the advantage over single-

(Turn to Page 23)

April, 1936

The INTERNATIONAL PHOTOGRAPHER

Nineteen

Right Off the Reel Questions and Answers

By F. Hamilton Riddel

PRING Cleaning: About this time of year,
with spring in the air and summer not far
off, your camera is due for a cleaning. The
next six months will mean a busy period
of movie making, so take time off now and check
over your camera. This will include cleaning lenses,
oiling, checking proper speed, checking the take-up
reel belt, and cleaning the camera's aperture plate.

Natural Curl: When splicing frosted leaders onto
a reel of film, take advantage of the natural curl
of the film base. Make a splice so that each sec-
tion fits this natural curl of the other. Such splices
will be stronger and will last longer.

Dull Base: The section of film which fits over
the scraped lap of a splice is the base (shiny) side.
A splice will be stronger if you will "dull" this shiny
side with a common typewriter eraser. By so do-
ing, the "dulling" process is accomplished in a neat
manner.

Identifying Reels and Cans: To label 400-foot
reels and cans, for identification purposes, secure
some half-inch adhesive tape. This tape adheres
quickly and conveniently to the polished surface of
the reels and cans. By placing a small strip of
tape on a typewriter roller, the reel number and sub-
ject may be easily typed onto the tape. Make two
such labels — one for the reel itself, the other for the
can. Be sure to affix the label for the can on the
side of the can, for then it is easily seen when sev-
eral cans are stacked together. Using adhesive tape
as a label has a distinct advantage for, should it
ever become necessary to re-classify reels and cans,
the tape can be very conveniently removed.

Scenes Lengths: Most scenes of a personal mo-
tion picture film should not last longer than ten sec-
onds on the screen, or about four feet of 16 mm.
film. This is a good rule to remember when photo-
graping. Many scenes are improved if they are re-
duced to five or eight seconds. Have a good sense
of what is interesting and you'll never project a
picture that is jerky, because of scant footage; nor
a boring one, due to excess film footage.

Getting Ready for Summer: It doesn't seem too
soon to mention summer and color. Those less for-
tunate amateur cinematographers who do not have
the opportunity of enjoying fair southern climes the
year 'round perhaps appreciate better that summer
and color are synonymous. With this thought in
mind and if you have not yet made an initial trial
of the natural color 16 mm. films — Dufaycolor and
Kodachrome — the spring months offer a forerunner
of summer's colorful subjects. So load up your
camera with a roll of color film and sally forth.
Make this first roll a test — both of the film and of
your own ability to choose good color subjects. Fol-
low the film manufacturer's exposure instructions
and keep notes on your individual exposures and
lighting conditions. Thus, when the color film has
been processed, study carefully the results on the

(Turn to Page 24)

In the International Photographer for February,
1936, a mistake was made in the answer to Question
No. 7. The correct answer is that the Eastman Kodak
Company has been making duplicates of 8 mm. film
for more than a year.

1. What is meant by the various terms, anti-
halation or grayback. in speaking of such films?

Each film manufacturer has its own particular
term for such films. A special coating on the back
of the film base minimizes the danger of halation
(reflections) when photographing, thus rendering a
more pleasing image.

2. What is meant by "grain" in a cinefilm?
In any film the picture image is composed of

small clumps of silver which are embedded in the
gelatine emulsion, coated on the film base. These
small clumps of silver are the "grain."

3. What is the difference in the amount of per-
ceptible "grain" in fast film and slow film emul-
sions?

Speed film emulsions are necessarily somewhat
more "grainy" than slower film stocks. However,
the problem of "large grain, fast film versus small
grain, slow film" has been well met by modern film
manufacture. In addition to improved film manu-
facture, proper processing in special "fine-grain"
developers has minimized the effect of any per-
ceptible grain in the fast films.

4. May a camera be hand-held when using a
telephoto lens?

Conservatively speaking, a camera with a two-
inch lens may be held in the hands. Experience
has demonstrated, however, that far better results
are obtained in telephoto work when a tripod is
used. A somewhat faster camera speed also helps.
And of course, with longer focal length telephoto
lenses, a tripod is an absolute requirement for suc-
cessful long distance shots.

5. Occasionally one of my rolls of film turns
out a complete loss. The frames are a blurred
streak (a sort of multiple image) and are unsteady,
etc. What is the cause?

No doubt the condition of such rolls is the re-
sult of losing the proper film loops in the camera.
As is well known, there is a combination film move-
ment in a movie camera, continuous and intermit-
tent, and the film loops bridge the gap between the
two. When these loops are lost the film moves con-
tinuously past the lens aperture, thus ruining your
pictures. Lost film loops are either the result of
hurried and careless threading; or less frequently by
a partially exposed film which having become "set"
by lapse of time, loses loops when filming is re-
sumed. Usually, when loops are lost, the camera
mechanism will jam or labor, and thus warns you
that something is wrong. Unfortunately, this is not
always true of all cameras and an entire roll may
be spoiled. Very careful threading of the camera
is the best insurance against lost loop trouble.

6. Does tinted positive film cost more than plain
black and white?

(Turn to Page 24)

Twenty

The INTERNATIONAL PHOTOGRAPHER

April, 1936

LENS APERTURES VERSUS PRINTER POINTS

(Continued from Page 10)

was. The drop to the 100 and 150 mm. lenses with-
out a corresponding increase in exposure or added
lighting contrast to the scene gives flat under-
exposed negatives incapable of being improved with
forced development. Here, considering the low work-
ing key of F:12 the remedy for the 75 and 100 mms.
would be a three-quarter stop increase in exposure
while the 150 mm. at F:63 would give it the de-
sired density allowing latitude in developing either
side of normal, producing a negative with satisfac-
tory gradations and brilliancy, printing in the upper
register of the printer.

A further point to be considered in the use of
long focal length lenses is the removal by proper
filters of the luminous haze that affects the sensitive
film adversely when not so corrected.

This haze, a resultant of fine moisture particles
in the atmosphere, produces a scattering effect in
the violet and ultra-violet regions causing a diffusion
of the light which upon reaching the more sensitive
film (in comparison with the vision) causes a spread-
ing ground-glass effect, making a flat over-accentu-
ated condition quite different from the actual scene
as the vision perceived it. Filters not too sharp cut-
ting should be employed here giving normal cor-
rection, as deep sharp cutting filters tend to over
correctedness, again giving an effect not normal.

Correct lens shades should be given considera-
tion also, due to the narrow angle of the telephoto
and the greater scattering of light within the camera
causing slight fog that further increases the flat-
ness.

In another series of tests with a slightly lower
light intensity the same result with certain modi-
fications was brought out with the 25 mm., 50 mm.
and 100 mm. lenses shot with the doubled stops
from F:18 to F:2.3.

F:9 was found to be here the desirable exposure
for normal daylight (exteriors) under the laboratory
processing conditions at hand. This gave latitude
either way in development, enabling control over the
density-contrast of the scene which if too high, could
be lowered with decreased development, still giving
a positive within the desired range yet retaining
normal brilliancy and gradation.

A further definite result was obtained: The ap-
proximate ratio in printer points between the vari-
ous lens stops which for all practical purposes was
fairly consistent. This showed, as in the previous
test, the gradual reduction in density and brilliancy
of the longer lens though this was not as extreme
where the exposure was near normal, as when de-
cidedly under.

As the results for the different lenses retained
the same ratio toward themselves and each other,
only the scale of the 50 mm. is here given. The
printing scale is that ranging from point 1 to 22,
it still being the predominating scale in use.

The readings above 22 are given and accurate
enough for a guide, but are almost useless except
as a criterion for the kind of exposure not to get,
as a negative printing that high except in excep-
tional cases of lighting or flatness is far from de-
sirable, the fine half-tones and modeling of the
lights being opaqued to the extreme, thus undoing
all the cameraman strove for.

Lens
50 mm.
50 mm.
50 mm.
50 mm.
50 mm.
50 mm.
50 mm.

Aperture
F:18
F:12
F:9
F:6.3
F:4.5
F.-3.2
F:2.3

Printing
Light

10
15
20
25
32
38

It will be observed that between the lowest two
apertures where the under-exposure is pronounced
the variation is only three printer points and too low
on the scale. At F:9 it prints on light 15, has fine
quality and capable of being "juggled" either way
to its benefit if necessary and is a good basic ex-
posure for normal exterior sunlight.

Then with the various increases and doubling of
the apertures it prints on 20, 25, 32 and 38 showing
that F:6.3 is at the extreme top of the scale except
where hazy flat conditions have prevailed; that
F:4.5 is outside the printing range and the two
higher stops valueless, save when lights are bad
and heavy filters employed.

As stated before, the inherent flatness still per-
sists in the longer lenses, though there is a faint
dropping off at the higher printing points that could
be beneficial (due to the flatness of the lens and
haze) counteracting the great build in density.

The ratios of printer points to lens apertures re-
main fairly constant, however, with about a three
point difference at F: 12, jumping five points for the
F:9, 6.3 and 4.5, then increasing to six to eight points
as the scale is exceeded and over-exposure carried
beyond the extreme.

While these readings are not absolute, depend-
ing on differing processing conditions (both negative
and positive) and slight variations in vision between
various individuals, they do contribute somewhat
as an aid in correcting and guiding where the
camerman is in doubt.

They do establish that where exposure is lean
with the 25 and 50 mm. lenses, the longer focal
lengths will be below the minimum at the- same ex-
posure, therefore an exposure increase. varying from
a half a stop to one and a half is essential to pro-
duce a good negative.

That where exposure is more normal this varia-
tion decreases slightly, yet persistent enough to de-
mand attention and correction.

(Turn to Page 22)

April, 1936 The INTERNATIONAL PHOTOGRAPHER Twenty-one

QUALITY

PRODUCERS of many special-purpose
pictures must have Eastman Super X Pan-
chromatic Negative because of its unusual
characteristics. And the bulk of the in-
dustry's big feature hits regularly benefit
by its unmatched photographic quality.
Eastman Kodak Company, Rochester, N. Y.
(J. E. Brulatour, Inc., Distributors, Fort
Lee, New York, Chicago, Hollywood.)

EASTMAN SUPER X

PANCHROMATIC NEGATIVE

Twenty-two

The INTERNATIONAL PHOTOGRAPHER

April, 1936

LENS APERTURES VERSUS PRINTER POINTS

(Continued from Page 20)

That the telephoto lens demands careful filter
correction and proper shading in the way of a lens
hood, to overcome the flatness due to the greater
glass separation, magnification and atmospheric
haze that is so pronounced with greater distances.

They give a guide if carefully tabulated as to the
relative differences in printer points of the various
lens apertures in relation to themselves and in rela-
tion to the scale on the printing machine.

Finally, they show the limits to which under-
exposure can be carried and still be "forced" in
development to obtain a passable negative; and
the limits of over-exposure consistent with good
negative quality and printing density. And they do
assure the elimination of both extremes, thus setting
a minimum and maximum range conducive to the
benefit of both the cameraman and the laboratory.

EVOLUTION OF THE MOTION PICTURE STORY

(Continued from Page 17)

attested to by the fact that it has never entirely left
the screen since is first night at Hammerstein's. It
did not arrive in Australia until 1910, and a few
years ago it was synchronized to a sound track.
Statisticians may some day conjecture the number
in billions of persons who saw that picture.

Ill
NICKELODEON PICTURES

The motion pictures of the period of 1900 to 1910
may be divided into three general classes. There
were the topical pictures that later evolved to the
newsreel; the action pictures that relied upon a fast-
moving plot; and the melodrama with a broad at-
tempt at characterization.

The melodrama had its inception largely with
the French pictures, particularly those of Pathe. They
first became popular about 1905, at which time they
spread to other countries. For many years the
French pictures of this type were unsurpassed in
quality; that is, judging by the accepted standards
of the day.

In the "melerdramer," as they were known, the
players were required to exaggerate their gestures,
and to overact in an attempt to convey the story,
because the explanatory title had not yet come into
use. For purposes of emphasis and dramatization,
various stock postures were used by the players to
signify ideas. For instance, indifference was ex-
pressed by two or three large shoulder shrugs; in-
dignity and disdain were implied by one of those
drawn-up poses, with one arm akimbo, while look-
ing down the nose; rage was expressed by holding
the arms aloft while pumping them up and down,
or by pulling the hair. Villainy was conveyed by
leaning forward and elaborately looking about with
rolling eyes.

The heroine always covered her face and tear-
fully heaved her shoulders after the villainous in-
sult. The hero usually reproved the villain by shak-
ing his finger at him. The badge of the villain was
a long moustache, while the hero could be told by
his handsome features and faultless coiffure. Some
heroes affected nicely curled eyelashes.

The melodramas were slow moving and impor-
tance was placed in characterization. The action
picture, in contrast, stressed movement, and in it the
player was not permitted a moment of idleness.
Usually there was a chase. It started, perhaps, by
the bad boy stealing an apple from a vendor who
immediately tried to catch him. In a block there
would be a dozen persons in pursuit. At other times
the villain would be pursued by the sheriff and an
inordinately large posse. Very often during the film-
ing of one of these pictures the director could be
heard shrieking, "Faster — keep moving."

In both classes the story was brief and con-
densed. In the majority of pictures the narration

and continuity were so poorly arranged that affluent
theaters found it necessary to have a "spieler" who
stood by the side of the screen and improved on the
pictures with apropos comments and explanations.
The photography was, at times, of such poor quality
that it was impossible to decide what the picture
was supposed to represent.

At first the motion pictures were shown in vacant
stores which were equipped with folding chairs. In
the provincial districts the films were carried by
itinerant showmen and were exhibited in carnival
tents between the acts. The tents were made of
black canvas, in order to darken them sufficiently
for showing the pictures. They were about twenty
by forty feet in size, and as many as one hundred
folding chairs were crowded into this space. Very
often they were so crowded the film from the projec-
tors unwound in the spectators' laps. Since that was
before the projectors had take-up arrangements for

Do Not Buy Until

You Have Seen Our New

MAXIMA FULL-RANGE
VARIABLE AREA

RECORDING SYSTEMS

Portable or Studio Types Available

Features Found Only in Expensive
Equipment

• Variable Area

• Rotary Film Drum

• Constant Film Motion Dampener

• Synchronous Motors

• Dynamic or Ribbon Microphone

• Deluxe Two-Channel Amplifiers

Introductory Offer for Limited Time
$1975.00, Net— F.O.B. New York

Sound Film Enterprises, Inc.

723 SEVENTH AVE. NEW YORK, N. Y.

Cable Address: SOUNDFILM

April, 1936

T h

INTERNATIONAL PHOTOGRAPHER

Twenty-three

the film, it unwound from the projector into baskets.

The poorer showmen had a "center-pole tent,"
that is, one that had a pole in the center for support-
ing the tent. The affluent ones proudly used the
newer type tent, the "split-pole." In this tent the
projector could be set in the center with no interfer-
ence from a pole. The projectors sat on shoulder-
high platforms until about 1906, when specially de-
signed showhouses made their appearance. Outside
the tent entrance, as was practiced at the "peep-
show parlors," a "barker" proclaimed and exhorted
the passers-by to see the "living pictures." Also,
they resorted to attracting attention by the use of
phonographs. These phonographs had large horns
six feet long and three feet wide. Their cylindrical
records, three or four inches in diameter, could be
heard a block away. In some of the larger cities the
films were booked on circuits as part of a vaudeville
program.

Between the pictures, particularly those shown in
the vacant stores, or provincial town "opera-house,"
a series of slides of the song hits of the day were
projected, accompanied by a rather worn piano
down front. The numbers, such as "Love Me and the
World Is Mine," and the more sentimental songs
were popular. During this intermission a vendor
noisily sold candy up and down the aisle.
END OF PART ONE.

TINTING THE HOME MOVIES

(Continued from Page 18)

film reversible stock. For, in this case, tinted posi-
tive stock is available for making prints from the
negative. This tinted positive stock is offered in

Davidge Developing System

Hollywood Roto-Tank Ltd.

5225 Wilshire Blvd. Los Angeles, Calif.

various colors, with the tints inherent in the base.
Thus an even, delicate tint is easily obtained by
using tinted positive when making prints. Tinted
positive is developed in the same manner as plain
black and white, no additional processing steps be-
ing necessary.

For those movie makers who, whether they use
reversal or negative-positive film systems, do not
care to delve into the respective methods for tint-
ing their particular stock, one of the simplest alter-
native tinting devices is the color wheel.

The color wheel is quickly attached to any home
projector. Any film — already tinted or black and
white — of any size, may be used with the color
wheel. It also has an extra advantage not obtain-
able by any other method of tinting film. At the
will of the projectionist, movies may be shown on
the screen either in plain black and white, or in
tints.

The drawing accompanying this article shows a
simple and inexpensive home-made color wheel, di-
mensioned to fit the average home projector. The
device consists of two circular pieces of heavy card-
board, with four color holes (apertures) cut into
them. A selection of colored gelatines — in this case
amber, pink and green — are "sandwiched" between
the two pieces of cardboard, the latter being glued
together. One aperture is purposely left blank; this,
for projecting plain black and white, or Dufaycolor
and Kodachrome natural color, flms. After the two
pieces of cardboard are glued together, the neat-
ness of the job is enhanced by application of linen
mending tape to the circumference of the color wheel.
The color wheel is then pivoted on a small metal
bracket, the latter being attached to the front of the
projector. The color wheel must be mounted so
that the four color apertures will revolve, in tur-
ret fashion, in front of the projection lens.

With a little practice in manipulating the color
wheel, scenes may be variously tinted to suit the
personal taste of the operator. Should a cue be
necessary, a small pin-hole may be punched into
several concluding frames of a sequence. Two or
three frames so punctured are sufficient. The pin-
hole should be made at the upper right-hand corner
of the frames. This signal ,or cue, in use, is identical
to the "change-over" in the professional field. While
the pin-holes appear only momentarily on the screen,
such a cue gives the home-movie operator warn-
ing— and time — to change the color wheel's aper-
ture to any other desired tint selection.

Color-tinting films is another phase of amateur
movie making that will enhance your movies, and
which will win praise from your home-movie audi-
ences. It is well worth a trial.

COLOR STUFF

With the advent of color we are beset with many
"firsts," if you know what that means. For instance
Edward T. Estabrook shot the first feature color pic-
ture with sound.

When the rush for color came in 1928-29 he was
head of the camera department for Technicolor and
held the big job for several years. He was first to
train a class in color cinematography.

During the past year Mr. Estabrook has been em-
ployed at Universal. "The Red Skin," "Song of the
West" and "Fifty Million Frenchmen" were some of
his color pictures.

'Twenty-four

The INTERNATIONAL PHOTOGRAPHER

April, 1936

RIGHT OFF THE REEL

(Continued from Page 19)

screen. Through this experience, you will be bet-
ter prepared to shoot scenes in full natural lifelike
color when summer rolls around, and get results
that will bring everlasting satisfaction.

"Cine-Kodak News": Devoted to the interests of
amateur motion pictures, "Cine-Kodak News" is an
attractive periodical published bi-monthly by the
Eastman Kodak Company. Each issue of the "Cine-
Kodak News" contains concise hints and many illus-
trations that are of interest to all 8 mm. and 16 mm.
filmers; together with current announcements of new
Eastman amateur cinematographic equipment.
Movie-makers may obtain a copy of the "Cine-
Kodak News" by addressing the Eastman Kodak
Company at Rochester, N. Y.

WANDERING WITH THE LEICA

(Continued from Page 3)

negatives and the result was that we all spent three
hours tying different colored threads through the per-
forations indicating the number of prints desired. I
should have liked to have been in the darkroom
when the Japanese printer was trying to decide
whether a piece of thread was pink or gray, under
the red light.

Developing and Printing

The developing and printing done in the Orient is
excellent, if it is done in an accredited place. I took
my work to the Leitz dealers and the results were
good and inexpensive. It is very costly to buy sup-
plies in the Orient, though, and enough film should
be taken along for the entire trip. In China the firms
do not carry long rolls, and only single loads are
available.

Custom Officers Courteous

Upon entering Japan there was a little difficulty
with the customs, but they were very courteous and
merely inspected my exposed film rolls. In China
there was no trouble on entering and the camera
can be used everywhere. The Japanese rules on
photography are easily ascertained and, if one will
be careful to ask when in doubt, trouble can be
avoided. Even if one does make a mistake and is
taken into custody, as a friend of mine was, he is
given courteous treatment and the experience really
becomes an interesting one.

Great Field for Photographers

There are enough intriguing subjects in the Orient
to warrant careful choosing on the part of the pho-
tographer and the use of all the devices he can
evolve to take pictures unobserved will prove valu-
able. Some of wrinkled old faces, the eager ones
and the beautiful geisha faces can be caught only if
the subject is unaware that the camera is pointed at
him. Therefore my advice to all enthusiasts is to
come well prepared with plenty of his favorite film,
a good meter for use in the smaller streets and inside
shrines and buildings, a right angle view finder, and
his trip to the Orient will remain with him always on
his film record.

International Photographer

$25° A YEAR
In the United States

NEW NATURAL COLOR CAMERA HAILED

By Karl A. Barlebex, Jr., F.R.P.S.

HE MIKUT Color System is here! With
America eager for the latest advances in
color photography, the Mikut outfit is hailed
the outstanding system by authorities.
Already a number of leading newspapers and syn-
dicates have purchased one or more complete Mikut
units, and the time is not far off when you will be
greeted by natural color pictures in your daily news-
papers and favorite magazines. Indeed, already
some papers have started to print special color sec-
tions, the pictures made with the Mikut camera.

The Mikut camera is a one-shot color camera
producing three negatives simultaneously on a sin-
gle plate, each negative measuring 4x4 cm. Its
dimensions are 33/4x4x6 inches; weight, 3 pounds;
lens, fully corrected Mikutar; shutter, latest model
Compur. A built-in range finder assures complete
freedom from out-of-focus pictures.

Of great interest is the projector which is used for
projecting color pictures upon a screen and also for
making direct enlargements. It is easily portable,
uses high-intensity, low-voltage lamps, does not gen-
erate excessive heat, requires no experience, and is
absolutely safe.

The Mikut Color System, employing the camera,
projector, and various accessories, is not only for the
press, but for professional color photographers and
amateurs, too. Many of the leading specialists in
natural color photography for advertisements and
illustrations are now using it. The precision, sim-
plicity and accomplishments of the Mikut make it
the ideal color system for amateur use. Its flexibility
makes it the ideal amateur and all-purpose color
outfit.

Color photography has suddenly forged ahead
by leaps and bounds during the past year, and the
Mikut comes just in the nick of time as the answer to
a complete outfit which will accommodate the vari-
ous variations of color. Methods for color photog-
raphy have come and gone, but somehow we feel
that the Mikut system will remain because it is fun-
damentally sound in principle and operation. When
the press takes up something as enthusiastically as
it has taken up the Mikut outfit, you can rest assured
that it is "the goods." You will see and hear more
about the Mikut as time goes on. In the meantime,
if you are interested in the production of natural
color pictures, either for projection or for prints, or
both, write for descriptive literature. Start the sum-
mer right by using more color pictures.

The sales rights for the United States are handled
by the Photo Marketing Corp., 152 West 42nd Street,
New York City. Amateurs, institutions of learning,
museums and others may direct their inquiries to
this firm. Professional and news photography sales
are accommodated by the Raygram Corporation,
425 Fourth Avenue, New York City.

QUESTIONS AND ANSWERS

(Continued from Page 19)

No. All amateur-size positive, plain or tinted,
is the same price.

NOTE: As a service to amateur movie makers,
we extend a cordial invitation to write in questions
which will be replied to in this department. Address
all such letters to:

Questions and Answers Department,

THE INTERNATIONAL PHOTOGRAPHER,

1605 North Cahuenga Avenue,

Hollywood, California.

'April, 1936

The INTERNATIONAL PHOTOGRAPHER

The Archaeology of the Motion Picture

By Earl Theisen

(Continued from Feb., '36)

Tzventy-fit e

In the meantime Thomas A. Edison had assigned
his co-worker, William Kennedy Laurie-Dickson, to
the problem of the motion picture. During 1887 their
experiments and devices were patterned after the
principle of the early cylinder phonograph. This
line of experiments was proved impractical and was
followed by other methods that utilized, besides the
available photographic mediums, long sensitized
paper bands. The trend of the experiments was
altered when Laurie-Dickson attended a lecture at
the New York Camera Club, at which time he saw
the first of the Eastman Celluloid Film demonstrated.
When Edison saw a sample he told Dickson in his
characteristic manner: "That's it, now work like hell!"

Laurie-Dickson completed a rough copy of the
Kinetoscope which was ready for demonstration on
Edison's return from Paris in 1889. This demonstra-
tion is said to have been held on October 6, 1889.
In the files of the Eastman Kodak Company is the
record of the first order of motion picture film that
was used in this demonstration. It is dated Septem-
ber 2, 1889, and is for the sum of $2.50, to cover the
charges for a roll of Kodak film.20

Edison applied for a U. S. patent on August 24,
1891, which was granted August 31, 1897, as No.
589,168. The device it covered, "The Kinetoscope,"
was first shown commercially April 14, 1894. Though
it was a "Peep-Show" (the pictures were seen by
looking in an eyepiece) it used film of the same
width, sprockets and perforations and embodied
general principle still in use today and which made
possible and crystallized the motion picture vogue
throughout the world. Due to the popularity of the
Living Pictures of Edison, several endeavored to
make devices to project pictures in motion to a screen
as was accomplished with the magic lantern.

Louis and August Lumiere were granted a French
Patent on February 13, 1895, on a projector, and
their first public demonstration was held on March
22 of this same year. The "Cinematographe," as
they called their device, was a camera, printer and
projector combined, and due to its mobility and com-
pactness it could be carried to the subject or event
which as a result made the Cinematographe some-
thing of a popular reporter from the very first, while
the contemporary equipment of others was too bulky
and heavy to be easily moved.

Others to project pictures this same year were
Woodville Latham, who had a press showing in New
York of his Pantopticon on April 26, and Thomas
Armat and C. F. Jenkins in Washington, who col-
laborated to make a projector which was shown in
August, 1895. It had a beater movement which was
not successful. At this time another projector with
a Geneva Star Movement was started and was suc-
cessfully finished independently by Armat, the rights
and patents of it being acquired from Armat by Edi-
son, who manufactured it commercially as the Vita-
scope. The Vitascope was made and sold by Edison,
who at the same time continued making his Kineto-
scope Peep-Shows. In England, Robert Paul and
Birt Acres completed a projector with a Geneva
Movement in the fall of this same year. In Ger-
many, Oscar Messter demonstrated a projector in
1896.

The ancients had struggled with chisel and stone
from which evolved the printer's ink and paper, can-
vas and paint as a means of recreating events. Now

the scientists brought into being a new medium of
expression, the celluloid and silver. They had suc-
cessfully completed their task of animating pictures
and in so doing created an international language.
They took the young motion picture, in the year
1895, to the doorsteps of the artists and left it there
to be taught to speak and to educate it in drama-
turgic art.

REFERENCES AND FOOTNOTES

1"Chinesische Schattenspiele," Wilhelm Grube, Munchen, 1915.

'JLa Grande Encyclopedia, 1902, Vol. 25, pp. 377-378.

3"Parlour Magic — Chinese Shadow Shows," 5th edition, 1861,
W. Kent and Company, London, pp. 56, 58.

4This is evidently a reference to Ptolemy's "Optics," written
about 130 A.D., of which two copies are known to exist, one in
Bibliotheque Nationale, Paris, and the other in the Bodleian Li-
brary, Oxford. In this manuscript is a description of the phe-
nomena of spinning colored wheels.

''Histoire du Cinematographe, G. H. Coissac, pub. Gauthier-
Villars, Paris, 1925.

''Illustrated catalogue of the Will Day Collection at the South
Kensington Museum of the Cinema, W. E. I. Day, London, 1930.

7For further detailed information see "The Magic Lantern
Manual," 2nd edition, W. I. Chadwick, 1886, Scoville Photo Series
No. 19.

s"Puppets, Ancient and Modern," Francis J. Ziegler, Harper's
New Monthly. Vol. 96, 1896, p. 85.

'•'"Explanation of an Optical Deception in the Appearance of
the Spokes of Wheel Seen Through Vertical Apertures,'' P. M.
Roget, Phil. Trans. Royal Society, 115, 1825, pp. 131-140.

K'"Living Pictures," Hopwood and Foster, 2nd edition, Hatton
Press, London, 1915, pp. 5, 8. (This book first published in 1899
contains a good survey of the early pre-screen cinematic devices.)

u"On a Peculiar Class of Optical Deception," Michael Faraday,
J. Royal Institution, 1, (New Series), 1831, p. 205.

12"Lettre sur une Illusion d'Optique," J. A. F. Plateau (Ann.
de Chimie et de Phys.) (2) XLVIII, 1831, p. 281.

13J. Soc. Motion Picture Engineers, vol. XX, No. 3, March, 1933;
p. 249 for a chronological survey of devices by Earl Theisen.

14A list of the more notable devices would include: Plateau's
Anorthoscope, 1836 (dealing with the theory of Faraday's Wheel),
also Plateau's Phantasmascop, 1834; Stampfer s Kaleidorama or
Phantascope, 1835 (similar to Plateau's Phenakistoscope); Wen-
ham's Kinetoscope, 1852 (Edison chose this name for his appara-
tus); besides Plateau, Poppe, Savart and Muller each made a
Stroboscope; Rose's Kalotrope, 1856; Langlois and Angier's Kine-
scope and Photoscope, 1868; Linnett's Kineograph, 1868 (animated
pictures in book form); Laing's Motorgraph, 1865, besides Beale
in 1866, Brown, 1869, and Hughes, 1884, invented Choreutoscopes;
Topler and Radau. Vibroscope, 1867, Variations of the "Wheel of
Life" were made by Clerk-Maxwell, 1869, and Ross, 1871; there
are about fifty others who varied the principle of the Wheel of
Life and then called their devices by another name); Messonier
Zoopraxoscope, 1877, Donisthorpe, Kinesetograph, 1878; Reynaud,
besides the Prazinoscope, 1877, devices the Theatriaxinoscope or
La Toupee-fantoche, in 1889; Marey, assisted by Demeny, Chrono-
graph (which was known in 1893 as Photochronographe, or
Chronomatograph), 1882; and Ottomar Ancheutz, Tachyscope,
1889.

1 A further list of the names of devices prior to the advent of
the screen include (as taken from page 24, "Animated Pictures."
C. F. Jenkins, pub. C. F. Jenkins, Washington, D. C, 1898), Cri-
terioscope, Wondorscope, Cosmoscope, Anarithmoscope, Pano-
ramograph, Katoptukum, Zoeoptotrope, Cinograph, Hypnoscope.
Centograph, X-ograph, Electroscope, Cinagraphoscope. Crabo-
scope, Viletoscope, Cinematoscope, Mutoscope, Animaloscope,
Kineatograph, Rayoscope, Motiscope, Kinotigraph, Venetrope,
Vitrescope, Zinematograph, Vitopticon, Stinnetiscope, Daramiscope,
Lobsterscope, Corminograph, Scenamotograph, Pictorialograph,
Kinegraphoscope, Vileograph, Kinevitograph, Mophotoscope, Move-
mentoscope, Touniatoscope, Vilophotoscope, Waterscope, Vision-
scope, Phonendoscope, Heliographoscope, Pantobiograph, Chrono-
photographoscope, Vileocigraphoscope, Pantomingraph, Ammoti-
scope, Acheograph, Lifeoscope, Sygmographoscope, Cieroscope,
Stereoptigraph, Eragraph, Moto-Photoscope, Thropograph, Mimico-
scope, Musculariscope, Involograph, Shadographoscope, Counter-
fivoscope, Realiphotoscope, Salfseminograph, Getthemoneygraph,
Parlorgraph, Klondikoscope, Scenoscope, Tropograph.

"'This intermittent was a variation of the present Geneva Cross
or "star and pin ' movement.

( Turn to Page 30)

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

April, 1936

Production Use Tested the
"Ultra H. I. Arc"

By Elmer C. Richardson,

(Mole-Richardson, Inc.)

T is not often that
a new piece of
c i n e t e c h n i cal
equipment can
be proven by actual use
on an important produc-
tion before its introduc-
tion to the industry. Yet
the ultimate proof of
equipment is its practical
utilization; a single day's
work on the set can often
reveal flaws which pass
undetected through the
most exhaustive of labo-
ratory tests.

The Mole - Richardson
"Ultra H. I. Arc" spot-
lamp, which makes its
formal bow to the indus-
try this month, is one of
the few devices which
has had the advantage
of being previewed on
actual production. One
of a series of new arc
lighting units designed
and built especially to
meet the requirements of Technicolor's three-color
process, the "Ultra H. I. Arc" emerged from the
laboratory-test stage of its development just as Cine-
matographer William Skall, photographing Pioneer
Productions' "Dancing Pirate," needed a battery of
high-power arc spotlamps to illuminate a sequence
of important dance numbers on an unusually large
set. The new lamps went to work immediately;
and so successful did they prove that instead of
returning to the factory for further testing or modi-
fication, they stayed on with Skall to finish the pic-
ture. The announcement of the new lamps has, in
fact, been withheld until the completion of the pro-
duction proved beyond doubt that no slightest
change was necessary to make them, to arc light-
ing, what the "Solarspot" has been to the incan-
descent field.

The "Ultra H. I. Arc" is a 150 ampere, high in-
tensity rotary carbon arc spotlight. Scarcely half
the size of a conventional 36-inch Sun Arc, the new
lamp, at normal working beam-spreads, consider-
ably exceeds the "36" in power. As it is fitted with
a "Morinc" lens of the same type as the one used
on the "Solarspot," the light is distributed with al-
most perfect uniformity at all beam-spreads from
the tightest spot-beam to a maximum flooded spread
of 48 degrees. A newly designed carbon-feeding
mechanism gives an unequalled steadiness of burn-

ing, and special carbons give a light considerably
whiter than is usual in high-intensity arcs.

The design and performance of the "Morinc" lens
is familiar to every "Solarspot" user. With this type
of optics, it is not only possible to use a faster lens,
of shorter focal length, thereby collecting the light
more efficiently, but to give each individual zone
of the lens the curvature best suited to the work
assigned to it. Thus it is possible to overcome both
the inherent inefficiency of conventional condensing-
lens spotlights, and the optical aberrations which
produce dark centers in the flooded beams of con-
ventional reflecting spotlights. The use of this type
of optical system to collect the light from a high
intensity arc eliminates the objectionable element-
shadows seen in most mirror-arc spotlights, since the
elements supporting the carbons cannot cast their
shadows into the beam.

the carbon-feeding mechanism, two

were sought: Silent operation, and

The use of silent gearing in the

drive has silenced the mechanism

I. Arc" to a point where both labo-

recording engineers, and practical

have proved that the lamp can be

feed operating, within ten feet of

In designing
important ends
steady burning,
carbon-feeding
of the "Ultra H.
ratory tests by
use on the set
used, with the
the microphone.

Steady burning is achieved by careful attention
to detail in the design and operation of the carbon
feed. In a high intensity arc, the major portion of
the light comes from a glowing ball of incandescent
gas which forms in the crater of the positive carbon.
If the positive crater is not symmetrical, this gas-
ball will waver, and the light will be unsteady. Re-
search into this crater-formation showed that regard-
less of the carbons used, or electrical safeguards
employed, if the carbon rotated too slowly, the
crater could not be kept symmetrical. Accordingly,
in the "Ultra H. I. Arc," the carbons are rotated at
a speed considerably higher than has hitherto been
customary. Intermittently feeding a carbon, in ad-
dition to creating noise, will be likely to disturb the
symmetrical maintenance of the positive crater and
the constancy of the gas-ball. In the "Ultra H. I.
Arc," the carbons are ndt only rotated faster, but fed
continuously. As a result, the light-flux does not
vary in excess of plus-or-minus five per cent during
a burning period of twenty minutes.

Since the advent of sound, it has been customary
to provide a means of temporarily stopping the
carbon-feed to quiet an arc when it is used close
to the microphone. This will inevitably disturb the
steadiness of the light; therefore in the "Ultra H. I.
Arc," thanks to efficient electro-mechanical silencing,
the feed does not need to be stopped; it can, how-

A shot from "Danc-
ing Pirates," Pioneer
Pictures. On the
swinging boom is Will
Kline with a Techni-
color camera. Direc-
tor Lloyd Corrigan is
the gentleman with
the pipe and William
Skall is at his side.
Note the lamp rail
with the old MR 36
Cineart lamps and the
new M-R-Ultra H-l-
Arc lamps. The big
lamps diffuse only
about 1/3 the light
of the smaller ones.
Bill Thomas, stills.

ever, be retarded when necessary, without seriously
impairing the constancy of the light for short
periods.

The "Ultra H. I. Arc" is quite similar in appear-
ance to its smaller companion-unit, the 120 ampere

CAMERA & PROP
RENTALS

Camera Supply Co.

1515 Cahuenga Blvd.
Hollywood, Calif.

Ruddy Ceraus, Manager
CLadstone 2404

Nite Phone CLadstone 6583
Cable Address — "CAMERAS"

"H. I. Arc," and only slightly larger. All operating
controls are conveniently grouped at the rear of the
lamp-house, and the auxiliary grid is demountable,
so that the lamp and its grid may be handled sepa-
rately when the lamp is put on a parallel or over-
head lamprail. The elevation of the lamp on its
pedestal, instead of being affected by the usual tele-
scoping tubes and clamp collars, is controlled by
a convenient crank, operating the lift through irre-
versible gears.

In actual production use, the lamp was found
to be all its designers expected. Designed around
a 20-inch lens, it is obviously more compact than
the 36-inch mirror Sun Arcs with which it was
used, and thus it could be used in places where
a larger lamp could not be set up. When high levels
of illumination were needed, a space which would
be crowded with two Sun Arcs proved ample foi
three "Ultra H. I. Arcs," and the sections where
there was not enough room for two of the big re-
flector lamps (though their light was needed) suf-
ficed generously for a Sun Arc and an "Ultra H. I.
Arc." The wider range of useful beam divergences
proved valuable, and the flatter field of the new
unit's beam did much to simplify the problem of
lighting the big, stage-built exterior sets.

The silence and simplicity of the new units won
the favor of both the sound and electrical crews.
Retrimming, focusing adjustments, and the like were
much easier, especially on the crowded spot-rails;
and as one of the recording staff phrased it, "The
Ultras are the only big lamps that we never hear!"

Actual use also proved that at all working beam-
spreads — divergences of 1 8 degrees or over — the new
lamps, for all their compactness, produce a beam
averaging more than 40 per cent greater intensity
than that of the Sun Arc. The elimination of the
central shadows in projected beams obviates the
need for much corrective diffusion, ineviiably in-
creases this margin. In a word, actual production
use has proved that the "Ultra H. I. Arc" makes
lighting natural-color pictures simpler, quicker, and
more precise.

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

April, 1936

A Voice From Nippon

A Rapid Firr Interview with Hurry Mimura

Harry A. Mimura, a member of Local 659, one
of the brightest young Japanese in the motion pic-
ture world, and who is a graduate of the Holly-
wood studios, is here from Tokyo to buy photo-
graphic equipment for the P. C. L., the big production
corporation of Japan.

In a rapid fire interview the other day Mr. Mi-
mura touched upon the following highlights of the
cinema in his native land. Said Mr. Mimura:

Japan sends no pictures to China, but a con-
siderable footage is sent to Manchukuo for the
Japanese who are settled there.

The Japanese purchase most of their motion pic-
ture equipment from the United States. The pro-
ducers have made some flattering tests, but the cost
was so near the same that it was deemed best
for the time being to buy in America.

Next to Japanese and American the English pic-
tures are most popular in Nippon, but of the for-
eign trade America has the world beaten.

Japanese producers believe in television, but
they feel that the time for its advent has not yet
arrived. They, have, however, their ears to the
ground.

Construction of new theatres is active and of
style up-to-the-minute. The Japanese have every-
thing that may be found in the best show houses
in America and England.

The motion picture producers of Japan are not
yet ready to attempt the production of feature pic-
tures of Japanese subjects for the foreign markets.
Only shorts are made now, but the time will come
when the beautiful Japanese folk-lore is done into
pictures — that the whole world will understand.

The Japanese are not particularly intrigued with
American color in pictures. They will tell you that
the color is too "strong" and that it is too expen-
sive, but they are researching in color on their own
account and who knows 'what they will bring forth.

P. C. L. is the largest and most up-to-date labora-
tories in the Orient. It has a machine shop as good
as any in the United States and the only one in
Japan. One interesting item of news is that this
shop has just completed a 16 mm. camera and pro-
jector— the first ever turned out in the Orient.

Mitchell camera has become the favorite of the
major studios of Japan.

Last year the favorite foreign pictures in Japan
were "It Happened One Night," "Informer," "Escape
Me Never."

The leaders among foreign stars in Japan during
the past two or three years were Shirley Temple,
Gary Cooper, Frederic March, Miriam Hopkins,
Charles Laughton, Clark Gable, Joan Crawford and
Claudette Colbert.

The Japanese art as seen and remembered by
the passing generation (as the marvelous pictures on
Japanese fans) has not departed. The old masters
are still there, but the Nipponese are a smart peo-
ple and their artists are not above modernizing their
up-to-date art — and they are certainly making a
success of it.

The length of the feature pictures produced by
the Japanese averages 7000 feet.

An innovation in Tokyo is a theatre devoted to
newsreel entertainment. Its program, in addition to
the newsreel, is composed of travelogues, cartoons,
educational and industrial films, novelties, etc. The
program runs one hour and costs 7 cents in United
States money. It has an up-to-date orchestra and
has scored a great success.

Japanese cameramen, working in the P. C. L. stu-
dios, photograph five feature pictures per year, the
time on each picture being about four weeks. The
rest of their time is taken up in research, study, rest
and travel. Not bad!

At present operating in Japan are ten major
studios and three laboratories — the largest in the
Orient.

Why is it that only Japanese are employed in
the Japanese studios and lots? Answer: So that they
may learn motion picture production. Of course.

The Japanese orchestras use the music of the
United States bands, but they can furnish Japanese
music if necessary.

P. C. L. developed and installed its own sound
system. It was entirely homemade, efficient and
satisfactory.

Up to the present time "Inkies" have been used
and their lighting equipment has been manufactured
by the Japanese themselves. Arc lights, says Mr.
Mimura are on the way.

The four great movie stars of the Japanese screen
are, masculine: D. Okhawachi and George Oka;
feminine: Chieka Takehisa and Sachika Chiba, this
last named marvel soon to tour the United States.

April, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-nine

Hear! Hear! Foreign Technicians!

By Philip Tannura (659)

Yes, once every year, around spring time, the
boys get a yearning for a little travel. Their first
thoughts are London as the papers, of late, have
spoken of the tremendous boom in film production.
It's true, but to a certain extent a closed shop for
a specified number of technicians. In the past year
or two the English companies have been elevating
their own junior technicians to head positions, some
have come out successfully, others are just getting
along. Nevertheless it's cheaper to use a native
son than it is to import a foreigner with heavy ex-
penses attached, unless the import is a technical ex-
pert in his particular line.

Also in the past some expert technicians have
been imported from different countries who arrived
with manufactured achievements, only to be found
out by the producer as a very, very expensive lia-
bility. Some of these men have been assistants
and what nots and not the experts they were cracked
up to be; so the authorities tighten up the entree for
foreign technicians to enter England.

To stop this burglarizing of jobs from good men
an association has been formed under the name of
the Association of Cine-Technicians. Allow me to
quote from their magazine what their policy is to-
wards foreign technicians:

"In response to requests from members, we are
pleased to publish A. C. T.'s views on the employ-
ment of foreign technicians in the British film indus-
try. The following is a summary of statements is-
sued to the press during the past few months.

"The association makes it clear that it is not
opposed to foreign ace technicians working in British
studios in reasonable numbers, provided that:

"(a) Their employment does not deprive equally
expert British technicians of employment.

"(b) Their crews are British.

"(c) The association is given an opportunity of
being consulted when renewals of any such permits
are applied for.

"It is felt that the above stated conditions are
not regularly observed and that the claims of cer-
tain individuals to be ace technicians are not always
fully investigated, or, if they are, the fact that they
are not definitely in the front rank does not neces-
sarily lead to the refusal of permits.

"Further, it is understood that in the issue of per-
mits the entertainment industry is considered as a
whole. We are told, for example, that the employ-
ment of British actors and actresses abroad is an
important factor in determining the issue of permits
to foreign technicians for work in British studios.
The Association feels that this retards both the tech-
nical progress of a British film industry and the per-
sonal advancement of the younger technicians.

"Until all countries withdraw their restrictions on
the employment of foreign labor it is felt that con-
ditions in this country should be no less rigid than
elsewhere. It is extremely difficult for British tech-
nicians to work in Hollywood and even a musician
of the calibre of Jack Hylton is only allowed to work

in America on condition of his band being composed
entirely of Americans. We have stressed the im-
portance of British crews before and in this respect
commend the facts about Jack Hylton to the atten-
tion of the Ministry of Labor.

"Further, we feel that permits should generally
be granted only for a single definite picture, named
on the permit, rather than for a time period.

"The Association of Cine-Technicians is not un-
mindful of the important part played by technicians
of other countries in the development of the British
film industry, but it does feel that, particularly in
view of the considerable number of competent
British technicians, at present without regular em-
ployment, the whole question of the issue of permits
requires careful overhaul."

Americans in London: Lee Garmes is leaving his
wife and a beautiful baby girl — only long enough
to go to New York to do a picture for Hecht &
McArthur — Eddie Cohen holding down the trick de-
partment while Ned Mann and Jack Thomas are

(Turn to Page 31)

Even Your

Eye Couldn't

"Stop" That

Lightning

Jab. Bui **»*

LEIOA PHOTO bY W. ULM

LEICA Slopped It COLD!

Think of a camera that can "stop" the almost invisible thrust of a frisky
cat's paw as clearly as though the cat were a stuffed cat posed for
the picture! That's what Leica does.

Take snapshots by lamplight -moonlight — by the campfire. Take
color snapshots with the marvelous new Dufaycolor Film.

This is the ultimate in photography. Until you've seen pictures
of your own taking that you wouldn't believe possible, you'll never
know the greatest thrill offered to camera lovers.

Get The LEICA MANUAL—
And See What's Waiting For You

You'll find the 500 page Leica Manual worth far more than its price c f
$4.00 as an education in the al-
most incredible new world of photo-
graphy opened to you by Leica. Get
it at your photographic dealer or
bookstore. It's a book you'll be
proud to show your guests.

'eica

Moded G with
f:2 Summar Speed Lens

THE ORIGINAL MINIATURE CANDID CAMERA
PRICES START AT $99. U. S. PAT. NO. I, 960,044

E. LEITZ, INC • DEPT. 140-60 EAST 10th ST., NEW YORK CITY
^rancn Officer in CHICAGO . WASHINGTON - LOS ANGELES • SAN FRANCISCO

Thirty

The INTERNATIONAL PHOTOGRAPHER

April, 1936

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 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 variety of
16 mm. and still cameras and projectors. B & H Cameras with old type
shuttles silenced $150. Bipack magazines and adaptors for color. Every-
thing photographic bought, sold, rented and repaired. Send for our bar-
gain catalogue. Hollywood Camera Exchange, 1600 Cahuenga Blvd.
Phone HO. 3651. Cable, Hocamex.

FOR SALE— CAMERAS AND EQUIPMENT

SILENCED BELL & HOWELL witli new Fearless Movement 40 mm,
50 mm and 75 mm F.2:7 lenses mounted. Two 1000-ft. magazines, tri-
pod, finder and sunshade. Rebuilt like new. Motion Picture Camera
Supply, Inc., 723 Seventh Avenue, New York City. Cable : Cinecamera.

REBUILT BELL & HOWELL single system camera. Lenses, maga-
zines, tripod, Movietone Quartz shoe, 12 volt motor, amplifier, dynamic
microphone, cables and cases complete in every detail. Motion Picture
Camera Supply, Inc., 723 Seventh Avenue, New York City. Cable :
Cinecamera.

COMPLETE DE BRIE MODEL L CAMERA with full frame shift-
ing focusing ground glass, pilot pins, intermitting pressure plate, DeBrie
110 volt motor, one 35 mm, one 50 mm, one 75 mm and one 100 mm
lenses, 6 magazines, one magazine case, and tripod. $700 complete.
Motion Picture Camera Supply, Inc., 723 Seventh Avenue, New York
City. Cable : Cinecamera.

METAL DE BRIE MODEL M with footage counter, speed indicator,
automative dissolving shutter, one 50 mm, one 75 mm, one 120 mm
lenses, six 400 foot magazines, pan-and-tilt tripod. Complete, $500.
Motion Picture Camera Supply, Inc., 723 Seventh Avenue, New York
City. Cable : Cinecamera.

SILENCED BELL & HOWELL with check pawl shuttle. 40 mm,
50 mm and 75 mm F.2:7 lenses mounted. Two 1000-ft. magazines,
tripod, finder and sunshade. Rebuilt like new. Motion Picture Camera
Supply, Inc., 723 Seventh Avenue, New York City. Cable: Cinecamera.

DEBRIE INTERVIEW MODELS $250.00 and $350.00, DeVry 35mm
Cameras $65.00, Projectors $40.00 up. Holmes 35mm Portable Sound
Projector Type 7A $450.00. 35mm Sound Recording Outfit, single or
double system, complete, less batteries $750.00, Akeley Studio Camera
$800.00. CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga
Blvd., Hollywood.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

8 MM. AND 16 MM.

LIKE NEW BELL & HOWELL 5-way Sound Printers and Sound
Moviolas. Reasonable price. HOLLYWOOD CAMERA EXCHANGE,
1600 Cahuenga Blvd., Hollywood, Calif.

FOR SALE— SOUND RECORDERS AND EQUIPMENT— Complete
Double System Sound-on-Film recording installation, late model 1935,
new studio velocity microphone, wide range optical unit, carrying cases,
used only as demonstrator for few weeks ; cannot be told from new ;
laboratory guaranteed, ready to use. Price $1375.00. Also De Brie
Parvo "L" all metal movie camera with all accessories, five lenses, etc.,
with special design motor drive for double system work; new condition,
bargain. Synchronous motors, recording amplifiers, movie lighting equip-
ment, etc. PHONOTONE MOTION PICTURE LABORATORIES.
Washington, Indiana.

ART REEVES, latest model 1935, double system sound recording in-
stallation, factory guaranteed, Automatic Speed Control Motor, Twin
Fidelity Optical Unit, Bomb microphone, the only genuine, modern,
workable Art Reeves equipment for sale in Hollywood outside factory.
CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga Blvd.,
Hollywood.

POSITION WANTED

8 MM. ULTRACHROM, NATURAL COLOR, FINE GRAIN— $3.50.
S. S. Panchromatic, reversible, and Positive Palomar Titling Film, for
all 8 MM. Cameras, reversible data. Home Titling Data, Accessories,
Processing, Titling, reducing from 16 MM. to 8 MM. "Movie Making Made
Easy" — 50c. "Money Saving Tips for the Amateur Movie Maker" — 25c.
"How to Make Money with a Movie Outfit" — 15c. Cine Nizo Camera
Distributors. FILM SPECIALTIES, 111-N. El Monte, California.

16 MM. WITHOUT PROCESSING ONLY — Reversible Negative,
Orthochromatic Reversible, Positive Titling Film. FILM SPECIAL-
TIES, 111-N, El Monte, California.

WANTED TO BUY

WILL PAY CASH FOR: Bell & Howell, Mitchell. Akeley or De Brie
Cameras, lenses, motors, parts and accessories. Motion Picture Camera
Supply, Inc., 723 Seventh Avenue, New York City.

MISCELLANEOUS

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 L. Finn Publishing Corp., 580 Fifth Ave., New York.

COMPLETE COURSE IN FLYING — If interested in aviation, see Roy
Klaffki, 1605 North Cahuenga Ave., Hollywood.

CAMERA REPAIRING

BELL & HOWELL cameras with old type shuttles silenced, $150.
Hollywood Motion Picture Equipment Co., 645 No. Martel Ave.,
Hollywood.

ARCHAEOLOGY OF THE MOTION PICTURE

(Continued from Page 25)

17Illustrated Scientific American, Nov. 16, 1889, Vol. LXI, pp. 1
and 310, article by Anchuetz on the Tachyscope.

18"La Chronophotographie," J. Marey, Gauthier-Villars, Paris,
1899, also illustrated story by Marey in Scientific American, supp.
June 10, 1882, vol. XIII, p. 1.

la"Horse in Motion," E. Muybridge, University of Pennsylvania,
1882.

20"A Brief History of the Kinetograph, the Kinetoscope, and the
Kineto-Phonograph," W. K. L. Dickson, Journal Society Motion Pic-
ture Engineers, vol. XXI, No. 6, December, 1933, p. 1 et seq.; also
"Edison's Invention of the Kineto-Phonograph," A. and W. K. L.
Dickson, Century Magazine, vol. 48, 1894, p. 207.

GENERAL BIBLIOGRAPHY

"La Chronophotographie," by L. Gastine, Gauthier-Villars,
Paris. 1897.

"Picture Ribbons,'' by C. F. Jenkins, published by C. F. Jenkins,
Washington, D. C, 1897.

"La Photographie Animee," by E. Trutat, Gauthier-Villars,
Paris, 1899.

"Living Pictures," by H. V. Hopwood, Optician and Photogra-
phic Trade Review, London, 1899. Contains an excellent review
of the early patent literature. (Revised 1912 and 1915.)

"Die Kinematographie," by K. W. Wolf-Czapek, Union Deutsche
Verlags., Dresden, 1908.

"Motion Picture Work," by D. S. Hulfish. American School of
Correspondence, Chicago, 1913.

"Wissenschaftliche Kinematographie," by F. P. Liesegang, E.
Liesegang, Dusseldorf, 1920.

"A Million and One Nights — The History of the Motion Pic-
ture,'' by T. Ramsaye, 2 vols., Simon and Schuster, New York,
1926.

"Geschichte der Kinematographie," by Wilhelm Dost, W.
Knappe, Halle, 1925.

"A History oi the Movie," by B. B. Hampton, Covici-Friede,
New York, 1931.

April, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

Current Productions in Color

By Silvio del Sarto

Regal Productions, under supervision of George
Hirliman, has completed two more feature pictures
in color, the last of six color 8-reel features produced
by this company since August, 1935.

These also are said to be the first sound color
features ever produced outside of Technicolor and
they were made with Hirlicolor, the patents on which
are owned by Mr. George Hirliman, president of
Regal Productions. These pictures also were the
first all Spanish features ever produced in color and
in two versions — Spanish and English.

Three of these pictures were directed by John
Reinhardt and one by Crane Wilbur. Mr. Reinhardt
for four years was director with Fox and the producer
of all the Fox Spanish features, including the Carlos
Gardel pictures.

The cinematography was under the direction of
Mack Stengler, color expert, who , since August, 1935,
has been under contract to Regal Productions. His
staff was composed of Tom Galligan, operative cam-
eraman; William Margulies, first assistant; Perry
Finnerman, second assistant; John Jenkins, stills.

An interesting fact in connection with the oper-
ations of this successful organization is that two color
features were produced concurrently — Spanish and
English — and always with one camera, Mr. Sten-
gler's Mitchell.

A new portable sound eauipment was used, an
equipment developed by Glen Glenn, light valve re-
cording, one hundred percent noiseless background
and described by Mack Stengler as "marvelous."
That this new Glenn equipment is something that will
be heard a lot about is indicated by the many en-
comiums tossed its way, not only by the Regal Pro-
ductions, but by the other major producers.

Director of Cinematography, Mack Stengler,
stated that before the Hirliman program of color feat-
ures was launched film manufacturers declared that
he couldn't photograph projection background scenes
in color, but four beautiful 8-reel features are there to
prove that Regal was right.

Mr. Stengler also stated that a peculiarity of
Regal photography was a beautiful sharpness hither-

to not seen in color productions, glorious, natural
blue skies and sea; the secret, he said, being fre-
quent visits to the desert and to the grand old Pacific
Ocean.

As to make-up Regal used formulas developed
by Mr. Stengler and Vernon Murdock and applied
by Max Factor experts, productive of flesh tones in
natural skin texture. They had no trouble at all with
make-up.

Night scenes, also, were easy to do, Mr. Stengler
having solved that problem by accident in 1934
while he was shooting a color featurette for National
Pictures, at San Antonio, Texas, the secret being pho-
tography in actual sunlight without any booster
lights.

This process was used to advantage by Regal in
the filming of "Captain Calamity." The scene was
night on a ship's deck — lantern burning, bright sun-
light— sneaking up on the ship in a boat; night shots
in color — a case of "it couldn't be done," but Mr.
Stengler and Hirliman did it for the first time, they
say.

A fine example of the projection background and
miniature in color was used in "The Rest Cure," done
by Mr. Hirliman and Mr. Stengler, under direction of
Ray Smallwood. It was described by Mr. Stengler
as "perfection."

Hirlicolor Process, itself, was perfected by George
Hirliman and shot by John Jenkins, using special
attachments patented by Mr. Hirliman.

Special reflectors were used in Regal photogra-
phy— a new type of metal paint sprayed upon
boards and practically indestructible. These reflect-
ors are the product of the Regal photographic depart-
ment and, according to Mr. Stengler, they are the
best things in the way of reflectors now in use in the
studios.

Regal Productions is between pictures at this writ-
ing, in preparation for two more 8-reel color features,
which soon will be announced.

Roy Klaffki was associated with Regal Produc-
tions in the laboratory.

OBITUARY

John H. Coakley, Vice-President, Local 621
United Scenic Artists, was killed at 4:30 o'clock,
Thursday, March 24, by a fall from a scaffolding at
M-G-M Studios. He left a wife and three children.

Deceased was a nationally known scenic artist and
a highly respected citizen. International Photogra-
pher extends sentiments of heart-felt sympathy to the
bereaved family.

HEAR! HEAR! FOREIGN TECHNICIANS

(Continued from Page 29)

sunburning in Hollywood — Francis Lyon doing like-
wise for Bill Hornbeck, also bound for Hollywood —
Jack Okey doing 'his darndest to finish the building
of the new London film studios so as he can snatch
a bit of California sunshine — Bob Martin just re-
turned from German Olympics — John Boyle work-
ing at A. T. P. until the MOANING HOURS— ditto
straight from the shoulder Jack Kitchen — the her-
mit of Beanconsfield, Arthur Tavares piling up a
record of edited pictures for British Lion — Chas. Van
Enger just starting a rest with Gaumont British —
Glenn McWilliams busy on a G. B. SUPER musical

what? — Otto Ludwig on his way to California —
Miniature Jackman brushing up on his French for
his holidays — Harry Perry with a long chin waiting
for the sunshine — YOURS TRULY packing his bags
for a short rest in Switzerland — that is if the war
holds up for a couple of weeks.
NEW ADDRESS!

3 Oaklands,

Cleveland Road,

W. Ealing, W.13,

England.

The W.13 is very important to the address.

1 hirty-two

The INTERNATIONAL PHOTOGRAPHER

April, 19y

GINEMACABONI

(With sauce for those who like it.)

■'s

I w

Robert
Tobey

HOLLYWOOD HONEYMOON
By
R. THRITIS
Back Issue Department:

Perriwether Murgle, high-powered press-agent for
the beautiful screen star.

Lili Liverblossom. bai been carried "If through a
slight misunderstanding and ovet the desert in the
lair of

Willy Nilly, a large Bald Eagle. Lili, with aid of
a tailor-made ghost known as

Potty, finds Perri just m time to rave him from
goodnessnosewbat at the hands (tsk, tsk) of the
Eagle's wile.

Nelly Nilly. As we again place hand upon throt-
tle, Willy Nilly, who has gont out foi a few gro-
ceries, is returning laden and listing heavily to star-
board.

CHAPTER XVIII
Bringing Home the Sheaves

Yes, sir, there was Willy Nilly, barely able to
fly. As he came closer, our heroes, heroines, and
villains, not to mention an unclassified ghost,
could see that he had a string of fish hanging,
like the tail of a kite, from his beak. Under one
wing, and seriously hampering his navigation,
was snugly tucked a jug.

Willy -was completely tired out by the time he
reached the nest, and he flung (or flang) the fish
and the jug down on the floor of the lair and
sank exhausted. The jug tinkled pleasantly. It
was half full of an amber liquid. So 'was Willy
Nilly.

"I didn't expect you back so soon, Willy," said
Mrs. Nilly. "How did you catch all those fish in
such a hurry?"

"Oh, I just swiped them from a couple of fish-
ermen in a boat," answered Willy smugly. "I
swiped that bottle of moon, too," he added
proudly, pointing at the jug.

"I smell a rat . . ." Perri began.

"That's my wife," interrupted Willy. "I've told
her to bathe oftener."

"I smell a rat," continued Perri firmly. "How
could you find a boat in this desert? There isn't
a lake for miles."

"It was a Dry Lake," retorted the Eagle tartly.

"But there aren't any fish in a Dry Lake,"
argued Perri.

"Don't be ridiculous. These are dried fish!"
sneered Willy, waving one in the air and clout-
ing an eaglet over the snout with it for picking
his talons.

"Stop your nonsense," interrupted Mrs. Nilly,
fixing Willy with an eagle eye — a simple enough
trick for her. "Where's my snake?"

"Why. here it is." said Willy with an innocent
air, picking an object from among the pile of
dried fish and tossing it in front of his wife.
Nelly looked at it, and anger flared up in her
bosom, if 1 may call it a bosom. There before
her was a disjointed wooden toy, an imitation
snake.

"One of the fishermen had a child along. I
swiped this from the kid," said Willy.

"That's a dirty trick to play on me," said Mrs.
Nilly.

"Oh, go lay an egg," snapped Willy.

And to everyone's amazement, Mrs. Nilly
gasped, turned pale, and did. Three eggs, in
fact, one after another.

"That's the trouble with you," fumed Willy.
You can't take any kidding."

"Dear, dear!" said Potty, jumping and clicking
his heels.

Willy looked up at the sound of the strange
voice, and started as he saw the shadowy out-
line of Potty against the dim interior of the nest.
"Heavens," he cried, "am I seeing a ghost?"

"Don't be naive," said Potty shortly. "Of
course you are."

"Now what will I do?" said Mrs. Nilly, a little
hysterical. "Here I have company for dinner
and now I have to sit on these eggs, or they
won't hatch."

It was Lili's turn to speak up. So up she
spoke. "Go get your dinner ready," she said.
"I'll sit on the eggs for you."

"You've hardly the build for it, dearie," said
Nelly, eyeing Lili's slim figure — in some envy, it
must be confessed.

"I can do better at it than I could at cooking
an eerie meal," retorted Lili.

"Okay, toots," said Mrs. Nilly, leaving for the
kitchen, without further ado.

As Lili settled herself on the eggs -with the aid
of her new mink coat, she looked up to see Willy
Nilly staring at her with a fanatical gleam in his
beady eyes. Stretching his claws, he began to
move ominously toward her.

Perri, watching, stiffened.

Potty began to glow eerily in the gathering
dusk. The air was charged with impending dis-
aster.

(Oh. my, what's going to happen to pool Lili now?
Has the Eagle gone mad? Why is he staring at Lili?
And what can Pent and Potty do? YOU'LL find
out!)

KNEECAP REVIEWS
(No space left on my thumbnails)

"A MESSAGE TO GARCIA." Twentieth Cen-
tury-Fox's starring vehicle for Wallace Beery.
Also marks the return to the screen, after some
absence, of Barbara Stanwyck. Rather liberal
adaptation of Elbert Hubbard's perennial essay
plus book by original message-carrier, Lieut. An-
drew Rowan, provides plenty of excitement,
humor, and pathos for one picture. Yet somehow
the -whole thing seems pretty meaningless. Beery
gives meaty, flavorsome portrayal of double-
crossing exiled American coming thiough with
what we fondly believe to be good old funda-
mental American loyalty. Stanwyck, beautifully
photographed, and proven actress, flats the part
of fiery Spanish lass whose heart cries out for
her people. Please, such casting! Ennihoo she
senses the gold beneath John Boles's ten-day
layer of about the unkemptest beard in captivity
and her heart cries out for him, too. Femme
hearts due to be horribly twinged on finding that
their Johnny isn't once given chance to shave.
Boles does well as possible -with rather ordinary
role. Alan Hale a thorough rattler as Dr. Krug.
* * *

ROSE MARIE." A lovely thing with its beauty
of wrung — and of Jeannette MacDonald. Nelson
Eddy an interesting foil for MacDonald in this
scarcely new pun. James Stewart as Rose Marie's
exhibitionist brother, decidedly outstanding in a brief
pan.

hi general, production follows line of previous Mac-
Donald successes full of song and of the very con-
siderable beauty of Mas MacDonald . Musical com-
edy license in abundant e is taken. I always resent
toilet lugged in by the heels, but here it is more ex-
cusable than generally, Indian Dance a la Busby
Berkeley seemed highly destructive of realism, but I
suppose is excusable on grounds of musicomedy.

"NEXT TIME WE LOVE." Title changed from
that of book, "NEXT TIME WE LIVE," because
movie-going public doesn't care if you live or not,
just so they know whether, why, where, and
whom you love. Herein Margaret Sullavan and
James Stewart help you analyze the lives of two
young people who vow to love, honor, and obey
and never interfere with each other's career. In
a series of incidents separated by the years and
well-timed dissolves, m.g.p. is taken through the
life-span of these two sensitive souls -who are so
considerate of each other that they forego their
individual happiness until "NEXT TIME WE
LIVE." Casting plum opposite Sullavan probably
given to newcomer Stewart so Maggie would
have little competish. Jimmy surprises with
plenty. A strange young man, far from general
conception of sleek screen hero, yet peculiarly
compelling of personality. Don't let these re-
marks mislead you into thinking Sullavan gives
a poor performance. Quite the contrary.

"THE TRAIL OF THE LONESOME PINE." with
SOME cast, and superbly directed by Henry Hath-
away. Let's get cast out ol the way, and clear
decks tor action. Every one on list counts. Or else
gets gypped on pay day. Sylvia Sidney, Henry
Fonda, Fred MacMurray, Fred Stone, Nigel Bruce,
Beulah Bondi. Robert Barrat, Spanky McFarland.
Samuel Hinds, and Henry Kleinbach. That's list
on credit title, but real star of pic isn't mentioned
— chief character really is old Mother Nature.
And she gives a beautiful performance with help
of three colors in Technicolor's present process.
Usually suicide to inject straight pictorial shots
into a rapidly moving tale. "TRAIL OF THE
LONESOME PINE" does it — and you love it.
Many shots truly breathtaking.

Critic after critic has called it "first outdoor
Technicolor picture," an error ol the first water.
Outdoor pictures have been made in Technicolor
since "TOLL OF THE SEA" in 1924. But this is
firstie in Technicolor's comparatively new tricolor
process, which went begging until super-cartoon-
ist Walt Disney had the courage to tricolor his
Mickey Mouse. Jock Whitney climbed on the
band wagon and then followed "La Cucaracha"
rnd "Becky Sharp." Cinematographers Howard
"Duke" Greene and Ray Rennahan certainly

know their color. Greene, with Technicolor
practically since its inception, is the man behind
the gorgeous photography in "THE TRAIL." A
production such as this makes the camera a mo
bile paint brush and the cinematographer an art-
ist worthy of standing beside Corot, Landseer
and Rosa Bonheur.

P. S. — The actors are very good. loo. Yon can':
afford to stay away.

TODAY'S LITTLE FABLE

Once upon a Time there was an Actor who
wasn't making very much Money. So he married
an Indian Squaw who was getting a mighty nice
little Stipend from Her Uncle, Sam by name. Bui
the Romance didn't last, and the Actor sued for
Divorce, asking Alimony. He got it. The Indian
Woman kept neglecting to send his Check. The
Actor kept going to Court about it.

Finally the Actor struck it Rich, got a big Con-
tract, and everything was Rosy. One day he
was driving down the Blvd. in his big Car, when
he saw his former Wife walking along the Streel.
He jumped out and greeted her Effusively.

"Hello, Pocahontas," he cried. "Aren't you
Surprised to see me in such a nice Car?"

"No catchum Surprise," said Pocahontas. "Long
time no sue."

TOO SAD DEPT.
Here lies a poor extra, one Gustave Q. Gnome:
He told the director, "It's time I go home!"

HOLLYWOODCUTS, by the Shovel Boys (they
dish the dirt). For years Lew Ayres has wanted
to quit the grease-paint, and direct. He's been
studying to that end, producing 16 mm. pictures
in his spare time as practice. Nat Levine wanted
Lew to star in "THE LEATHERNECKS HAVE
LANDED," for Republic. They couldn't get to-
gether on salary. Finally Ayres consented to do
the picture at Levine's price provided they would
let him direct a picture. It was agreed. With
some misgivings Levine lived up to his promise
by entrusting Lew with the direction of "GLORY
PARADE." Meanwhile Ayres signed a direc-
tional long-termer with Columbia. Now "GLORY
PARADE" turns out to be a fine piece of work—
and is Republic chagrined! * * * Al Jolson is
the latest to be immortalized in the Grauman-
esque manner — in concrete in the forecourt of the
Chinese Theatre. But just to be different, he did
a "MAMMY" and put his knee-prints in the goo!

* * * Clark Gable and Carole Lombard are run-
ning a temperature over each other these days.

* * * The Related Warner Boys are planning to
star Arthur Treacher in a forthcoming production
as a reward for his splendid work in the last few
years. This is a bad move. A whole picture full
of Treacher would be unforgiveable. His is the
role of a foil or background and he shouldn't be
made to step out of it. * * * Bette Davis called
her Academy statuette "Oscar" at the presenta-
tion because that's hubby "Ham" Nelson's mid-
dle name. Sid Skolsky picked it up and made
much of it in his column, and now everyone calls
the little jiggers "Oscar." * * * Virtue is justly
repayed even in the motion picture business.
Anne Shirley, -who in one grand bound landed
among the fine actresses of far less tender years
■with her devastatingly real interpretation of a
stage-struck little country girl in "CHATTERBOX,"
is being rewarded by being made a full-fledged
star. » • •

The story of the Tahoe location trip of the 'Bh><
Their Hearts" company reads like a nightmare. The
company went to Lake Tahoe to stay several weeks
and shoot exterior snow scenes for the picture. * * *
The snow storms were so bad they had to shoot inte-
riors. * * * Then Director Elliot Nugent was
stricken with influenza. * * * The studio sent up
,i relief director — he couldn't gel pail the snow block-
ade. * * * Next Mary Astor. the star, contracted
flu. She finally had to be moved to a Reno hospital,
later being moved to Cedars of Lebanon in Los Ange-
les, where she was attended by Dr. Franklin Thorpe,
her former husband ! * * * Henry Freulich, direc-
tor of photography, slipped and injured his neck.
Just for good measure, he got a case of flu. too.
" * * The second cameraman took over the work,
and then the auxiliary lights went out. Pou
mile* had been cut off. * * * The company was
ordered home, and found they couldn't get out. They
were snowed in. * * * Snow plows were sent. una
everyone left in trucks and buses. A mile or so, ana
the leading truck stalled on a hill. The men had I"
PUSH ii ovet the hill! * * * They all finally .?"'
to the nam. But the ear with everyone's baggage
neve' showed up 1 * * *

9,000 VARIETIES

. . . of f( 'lamps for every lighting purpose

Rack after rack of G-E MAZDA lamps of
different shapes, sizes and uses fill this room.
Yet it stores only a few of the many different
types of lamps which General Electric makes
. . . lamps which offer light to create effects
difficult or impossible with other illuminants.

G-E MAZDA lamps provide light to paint your
scenes exactly as your artistry dictates. You have
at your command a range of intensities and sizes
that extends from "practicals", "lupe" lamps
and "bonbons" to the big 36-inch "sun" spots.

No matter where you need a highlight or a
delicate modelling light ... no matter how
limited your working space is . . . there is a

type of G-E MAZDA lamp that will solve
your problem.

Behind this flexibility, which is supported by
extensive developmental work, there is com-
plete dependability. By rigid inspection,
exhaustive tests and careful manufacture,
General Electric assures you dependable light
to fit your requirements.

Perhaps these facts suggest reasons why scores
of studios use G-E MAZDA lamps for every-
thing from set lighting to process work. Are
you benefitting fully from the versatility of
these lamps? General Electric Company,
Nela Park, Cleveland, Ohio.

GENERAL ff ELECTRIC

MAZDA LAMPS

645 NiJRTH KftBTEL AVENUE.
LjS ANQELES, CAMP3RNIA.

35 MM. FILM

iOU know the important part that fine-grain negative
plays in getting the kind of photography audiences like.
SUPERPAN is the new, impro\ed,/itier-graiti film, which
also offers you supersensitive speed, wider latitude and
unparalleled emulsion quality. Made by Agfa Ansco
Corporation in Binghamton, New York.

C. KING CHARNEY, Incorporated

HOLLYWOOD

6372 Santa Monica Blvd.
Tel. Hollywood 2918-2919

NEW YORK

245 West 5 5th Street

New York City

NTERNATIONAL
HOTOGRAPHER

iH YEAR

HOLLYWOOD

MAY, 1936

VOL.

No. 4

BERT LONGWORTH

"THE CHARGE OF THE LIGHT BRIGADE"

Inspired by Alfred Lord Tennyson's immortal poem. A Warner Bros, production. Left to right: "Limey" Plews, property

CENTS man; Frank Flannigan, chief electrician; Dick William, Maintenance of sound; Al Green, operative cameraman; Frank

— _._., Evans, assistant cameraman; Michael Curtiz, director; Sol Polito, chief cinematographer; Jack Sullivan, assistant director;

A COPY Joseph Bonner, make-up; Olivia de Haviland and Errol Flynn, who play the featured roles. Staff included Mack Julian.

still photographer; Stanley Logan, dialogue director; Frank Fox, script clerk; Eddie Larkin, dance director; Frank Mattison,

unit manager; Bill Harrington, lieutenant electrician; Mary Dery, wardrobe; Ethel Hogan, hairdresser.

MOTION PICTURE ARTS AND CRAFTS

NEGATIVE

DUPONT FILM

MANUFACTURING

CORPORATION

SMITH AND ALLER, LTD.

6656---SANTA MONICA BLVD.

HOLLYWOOD . CAL.

35 WEST 45T.H STREET

NEW YORK CITY
PLANT • PARLIN, N. J.

Another of the Great Southwest's Wonderlands

Elivood Bredell went away up to Red Rock Canyon to get tins wonderful shot for his "good
box." This location is one of the most impressive in the entire Southwest and this particular
shot is especially picturesque and typical of Sierra Madre and Sierra Nevada mountain forms.

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol. 8 HOLLYWOOD, MAY, 1936 No. 4

Publisher's Agent, Herbert Aller

Silas Edgar Snyder, Editor-in-Chief

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerberg, Technical Editors

Helen Boyce, Business Manager

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.

CONTENTS

Cover still by Bert Longworth
Frontispiece photographed by Elwood Bredell

INFRA RED FILM FOR SPECIAL FIELDS IN MOTION

PICTURE PHOTOGRAPHY 3

By Wilson Leahy
THAT OLD DRAGON CENSORSHIP ------ 4

By Lewis W . Physioc
INTENSITY OF SUNLIGHT UNDER THE SEA 8

By Paul R. Harmer— Paper II.
MUSEUM OF MODERN ART FILM LIBRARY 9

By John E. Abbott
INEXPENSIVE MINIATURE CAMERA PHOTOGRAPHY - - 10

By Karl A. Barleben, Jr., F.R.P.S.
THE EVOLUTION OF THE MOTION PICTURE STORY - - 12

By Earl Theisen
RECENT PHOTOGRAPHIC AND SOUND PATENTS - - 14

By Robert Fulicidcr
MORE ABOUT THE NEW TWENTIETH CENTURY-FOX
CAMERA 15

By Billy Boice
A NEWS LETTER FROM SOUTH AMERICA - 16

By John Alton
COLOR MARCHES ON - - 17

By Herbert Aller
AMATEUR MOTION PICTURE SECTION - - - - 18 to 21

By F. Hamilton Riddell

Springtime and a Movie Camera
Right Off the Reel
Cinema Tidings

The New Kodachrome Artificial Light Film
Questions and Answers
NOTES ON PROJECTING DUFAY COLOR FILM - 22

By Film Specialties, El Monte
A CINEMA COLOR PIONEER 26

By H. 0. Stechan
THE CINEMATOGRAPHERS BOOK OF TABLES - 29

By Fred W esterbcrg
COLUMBIA STUDIOS MOVE AHEAD ----- 31

CLASSIFIED - 30

CINEMACARONI - - 32

By Robert Tobey

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles,
California, under the act of March 3, 1879.

and Canada

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California

GLadstone 3235

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, $2.50; Canada and Foreign $3.00 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

^SSgP^ "' SERVICE ENGRAVING CO

SPECIAL COLOR

EDITION FOR

JUNE

Parties and organizations in-
terested in color are hereby ad-
vised that the edition of Inter-
national Photographer for June
will be devoted largely to the
exploitation of color and the
leading color processes are ex-
pected to be represented. If
the reader has something to say
about color he is invited to do
it here and now.

May, 1936

The INTERNATIONAL PHOTOGRAPHER

Three

Infra Red Film For Special Fields in
Motion Picture Photography

By Wilson Leahy

(Agfa Ansco Corporation)

jECHNICAL progress in the motion picture
field, and especially since the introduction
of sound, has been a slow but gradual ad-
vance to the present day excellence. Con-
tributing to this movement, and in most instances
exerting a very powerful acceleration, has been a
changed technic in writing which permits a wider
and more efficient expression of the finer nuances
now necessary to a successful story exposition. No
doubt, had the industry been content to remain artis-
tically quiescent, satisfied that all demands had
been fulfilled by the addition of sound, the solution
of technical problems would have been greatly re-
tarded and in general the presentation of a picture
as we now see it would be far less efficient.

It is interesting to note also the sharper discrimi-
nation on the part of the box office public as the
product gained in cultural accomplishment and
finally emerged as a full-blown vehicle for the major
classics. This, of course, again actuated increased
competitive production and resulted in better pic-
tures necessitating tremendous monetary invest-
ments, and it is here that the full value of technical
progress is appreciated, for time certainly in this
case is the soul and essence of economy.

Among other manufacturers supplying material
to the motion picture industry, the raw film com-
panies have step by step kept pace with the ever-
increasing demands of the consumer. Not only have
they kept pace, but in many instances have led the
way to accomplishments that otherwise would have
been impossible.

The design and production of the new Agfa Infra
Red negative was carried out by the Agfa Ansco
Corporation with the thought in mind of satisfying a
need that would at once be of economic value and
enhance the pictorial beauty of any production.
Subsequent use and experience have proven the
soundness of the idea, and this was demonstrated
by the granting to this company of one of the two
highest annual technical awards by the Academy
of Motion Picture Arts and Sciences for the introduc-
tion to general use of this film type.*

It is now possible by the use of Infra Red nega-
tive to photograph night scenes in the daytime with
more realism and economy than with ordinary pan-
chromatic film. This was recently made evident dur-
ing the production of a major picture when it was
discovered that the script called for a night shot of a
coast guard cutter effecting a rescue at sea. It was
decided to shoot the scene in the daytime. Natu-
rally, this necessitated complete over-correction of
sky and water, but at the same time full retention of
inherent contrast in order that certain action and
characters remain clearly evident. The scene was
successfully made at midday, using Infra Red film
with a 29F Wratten filter, thereby saving the cost of

"Journal of the Society of Motion Picture Engineers, Vol. 25,
No. 3, September, 1935.

Fig. 1

expensive miniatures and lending a realistic atmos-
phere that would not have been obtained any other
way.

Utilization of this film type for night shots, how-
ever is not the only means of securing the available
advantages offered. As is well known, Infra Red
has been used with excellent results in the past to
penetrate atmospheric haze, and this characteristic
is particularly valuable in aerial photography
wherein fine definition and full cloud correction is
desired.

It has also been proven to be of inestimable
value for background plates in process projection
work where, due to the limitations of the process
itself, the finished product generally suffers a loss
of contrast and definition. Infra Red negative has
produced plates which have successfully withstood
the most rigid tests possible both as to grain size
and photographic quality.

The speed of Agfa Infra Red negative is approx-
imately one-half that of Superpan when both types
are exposed without filter and developed to the
same gamma. This film type, however, must be
used with red filters, as it is sensitive to blue light
rays like all silver bromide emulsions. It is not sen-
sitive to green-yellow, which permits the use of rela-
tively light red filters, as it is only necessary that
these filters absorb blue. For this reason, also, the
filter factors are practically the same for all blue-
absorbing and red-transmitting filters which have
approximately the same transmission factors within
the visible range of the red end of the spectrum.
All Wratten filters from monochrome No. 21 up to
29F fulfill this requirement and will be found to have
equivalent exposure factors. Even filters as light as
Wratten No. 12, minus blue, and 15G are suitable
for most cases, although both transmit some ultra-
violet in the wave length range of 300 A.

Tests conducted under conditions comparable to
those encountered in production work reveal that
the lighter the filter used, the less contrast obtained,
and this, of course, permits a wider latitude in the
general use of his type film. Filters such as the
Aero No. 2 and X 1 even further decrease the con-
trast and make possible the photography of close-
ups with straight panchromatic makeup. With the
exception of the last two filters named, the filter fac-
tor for Infra Red in combination with Wratten filters
from No. 21 to No. 29F has been found by practical
test and sensitometric comparison to be of the order
of 10 to 15. At standard motion picture camera
speed a normal exposure of Infra Red, using Wrat-
ten filter No. 25, will be obtained with a lens open-
ing of 5.6. The use of deeper red filters is not recom-
mended, except for special scientific work, as they
unnecessarily prolong the exposure due to their
lower transmission factor without rendering better
picture quality.

(Turn to Page 24)

Four

The INTERNATIONAL PHOTOGRAPHER

May, J936

That Old DRAGON

CENSORSHIP

By Lewis W. Physioc

(The perpetual threat against the motion picture as an institution. One hundred thousand
persons of all sorts estimated to be on the censorship job!)

Every once in a while we hear of the closing of
a show by the authorities, the arrest of a fan dancer
of the cancellation of the release contract of a mo-
tion picture. This seems to suggest that the subject
of censorship is still a live issue.

Furthermore, it will continue to be a real problem
until the educators institute some system of educa-
tion that will destroy the lure of vicious suggestion.
They must rip aside the veil of prohibitive mystery
that invites indulgence. They must establish the
overwhelming value of cleanliness and beauty by a
frank and open expose of the opposing forces of

darkness. The one cannot live without shame in the
presence of the other; but evil influences, when pro-
tected by false prohibitions and hypocritical tradi-
tions, flourish under the peculiar protection furnished
by that alluring mysticism our social customs have
thrown around the guestion of morality.

The moment we erect the sign: "For Men Only,"
we invite not only men of vicious inclinations, but
fire the imagination and arouse the curiosity of the
adolescent of both sexes. If we force wickedness
out in the open by a system of general enlighten-
ment the need of censorship would soon vanish. —
Editor's Note.

N STUDYING great social problems we can
hope for very little help in their solution by
our prognosis of the future; but it is logical
to suppose that historical analogies will fur-
nish us a reliable text upon which to construct an
argument.

History teaches us that many innovations, eco-
nomic and social that were subsequently proven of
great benefit to mankind, were sometimes discour-
aged and often bitterly opposed. Many resented the
advent of the railroads and other great inventions,
and automobiles were considered instruments of
great wickedness, and some conservatives associat-
ed their use almost entirely with clandestine "joy
rides." The idea of a girl riding a bicycle was shock-
ing to the average mind. For generations, varying
fashions of dress and innocent pleasures, such as
cards and dancing, have been attacked as having
a demoralizing effect on the youth of the time. The
best of our novels were the subject of the most un-
reasonable prejudice; some of our greatest works
were as much feared as Nick Carter or Jesse James,
as to their effects on the juvenile mind.

Christianity itself offers the saddest pages of his-
tory as to the varying judgment of mankind of what
is beneficial to the race. To whom but the censors
of the times did Christ speak when He said, "For
John came neither eating nor drinking, and they
say, he hath a devil. The Son of Man came eating
and drinking, and they say, Behold a man glutton-
ous, and a wine-bibber, a friend of publicans and
sinners."

It is not surprising, therefore, that motion pic-
tures should have their opponents, and we find
them condemned by those who know the least about
them.

These good people cry for the purification of mo-
tion pictures and the elevation of its ideals.

Only those who have been intimately connected
with the industry can realize the moral character of
its evolution. Those who know its early history will
tell you that the first pictures shown were almost
entirely devoted to the lowest themes and in many
cases, filthy, obscene subjects, shown only to men,
and boys who dared see them; and for a long time
only the boldest characters ventured to perform in
them.

They have advanced morally, they have been
considerably purified, and some of our recent pro-
ductions suggest they have very nearly reached the
stage where they have been glorified, like the other
great arts.

The great concern of our present moralists is the
fear of evil influence by immoral suggestion in mov-
ing pictures.

History and science both can reassure the most
solicitous; they teach us that in all ages, despite the
anxiety with which these radical changes (social and
civic, and we dare say religious) have been receiv-
ed, the race has progressed steadily.

The dark ages of ignorance, bigotry and super-
stition have been superseded by the great light of
education, by a broadening of perception and inde-
pendence of mind. Man has reached a state of men-
tal development, a degree of intellectual culture in
conceiving and creating, that make it impossible to
estimate where and when his achievements will end.
It is hardly logical to suppose that moral degener-
acy is the natural accompaniment of so great a
progression.

Mental relaxation and entertainment have al-
ways been subjects of great consideration to man-

May, 1936

The INTERNATIONAL PHOTOGRAPHER

Five

kind. As early as 65 B. C, Horace, and 406 B. C,
Sophocles were confronted with the problem of the
manner in which the drama should influence the
ideals of the people; and yet we have survived the
influence that these classical plays may have had
on the history of morality.

In 1710, Joseph Addison wrote an essay entitled
"Petty Censorship," in answer to many complaints
against the dress of the day, and also against the
English stage tragedies. Despite the remoteness of
the date, their problems were so similar to ours, we
are constrained to quote at some length from this
great intellect.

"There is scarce an ornament of either sex, which
has not been inveighed against with some bitterness.
... It is not my intention, however, to reflect upon
red heels or topknots, but rather to enter into the
passions of mankind and to correct those depraved
sentiments that give birth to all those extravagances.
Extinguish vanity in the mind, and you naturally
retrench the little superfluities of garniture and equip-
age. The blossoms will fall of themselves when the
root that nourishes them is destroyed."

And of moral behavior we quote further: "I shall
not make an example of any particular criminal.
If I attack the vicious, I shall only set upon them in
a body; I shall pass over a single foe to charge a
whole army. It is not Lais or Silenus, but the harlot
and the drunkard, whom I shall endeavor to expose;
and shall consider crime as it appears in the species,
and not as it is circumstanced in an individual."

And in answer to some dramatic critics: "The
English writers of tragedy are possessed with a no-
tion that when they represent a virtuous or innocent
person in distress, they ought not to leave him until
they have delivered him out of his troubles, or made
him triumph over his enemies. This error they have
been led into by a ridiculous doctrine in modern
criticism, that they are obliged to an equal distribu-
tion of rewards and punishments.

"I am sure this has no foundation in nature or
reason. We find that good and evil happen alike
to all men — and as the principal design of tragedy
is to raise commiseration and terror in the minds of
the audience, we shall defeat this great end if we
always make innocence and virtue happy and suc-
cessful.

"There is nothing which delights and terrifies so
much as a ghost, especially when he appears in a
bloody shirt. . . . There may be a proper reason
for these several terrors; and when they only come
in as aids and assistances to the poet, they are not
only to be excused, but applauded. Far be it from
me to think of banishing these instruments of sorrow
and terror from the stage; I know a tragedy could
not subsist without them; all I would contend for is
to keep them from being misapplied, dramatic in-
ventions made use of by ignorant poets to supply
the place of tragedy, and by the skillful to improve
it."

So it can be seen that even in Addison's time,
there were those who were willing to condemn great
institutions simply because they could not be ad-
justed to the opinions of the few.

OVIOL/A

FILM VIEWING and
REPRODUCING MACHINES

ALL MODELS ON DISPLAY— FOR SALE— FOR RENT
Illustrated Literature On Request

MOTION PICTURE CAMERA SUPPLY, INC.

723 7th AVE., NEW YORK CITY CABLE: "CINECAMERA"

In defending motion pictures by scientific argu-
ment, it is necessary to keep parallel with history; for
the history of science is the history of man.

The study of the influence of motion pictures on
morality calls upon various branches of science, viz.,
psychology, sociology, pathology, heredity; it carries
us from the theory of categories to the modern study
of instincts; and all these lead in turn to the study
of criminology, in which we analyze those condi-
tions which are the primary reason for all laws,
moral, civic and natural (or divine) by which men
are governed. In the last analysis, the appeal is to
pathology, for underlying all other influences that
determine an individual's classification in society,
his pathological condition is found as the decisive
factor.

The three departments of law alluded to are the
result of man's experience, and are so basically true
that men of all ages, all nations, of widely diversi-
fied religious opinions, civil customs and moral
ideas, agree upon them thoroughly. From the time
when man was emerging from the purely animal
to the conscious state, his daily actions burnished
the current code of regulations. When the first mur-
der was committed, the animal instinct for self pre-
servation dictated to his fellows the principle that the
perpetrator was a menace to their existence; and he
paid the penalty by being removed from among
those whose welfare he had jeopardized. Then pen-
alty for theft was likewise developed, for even a dog
cannot take another dog's bone with impunity.

This process continued until it had such broaden-
ing effect on the awakening intelligence that men
became conscious of the development of moral laws;
which are distinguished from civic laws in that they
govern the individual life, furnishing the standard by
which he judges the rectitude or obliquity of his own
acts and causing him to suffer the penalty of any
transgression in his own soul (or conscience) before
he has been the subject of judgment by his fellows.

This awakening of man to his true nobility is the
inauguration of a long process, at the end of which
he becomes conscious of the Divine laws which bind
the whole of nature in a system of order and beauty;
and this higher state is the stage reached by the
normal man today, who has achieved the Life of
Reason; for it is through the Reason that all great
truths are revealed.

Now the normal mind has learned by experience
that adherence to these laws is not only a source of
profit, but also of pleasure; for it is impossible for
the normal mind to conceive an offense without its
concomitant penalty; and obedience to the moral
code presupposes not only his own personal appro-
bation of his acts but the good opinion of his fellows,
which is a source of profit and pleasure beyond all
measure.

The normal mind cannot conceive a crime with-
out a conception, as equally vivid, of a penalty: It
cannot contemplate or propose to itself immorality
without a salutary sense of the signs of conscience.
Nor can a healthy man surrender himself to degen-
eracy without realizing that the laws of God and
Nature will follow him down through the genera-
tions and blot out his issue from posterity.

These suppositions seem so logical that all laws
— moral, civic and criminal — have been built on
these natural, simple truths. They have been formu-
lated to save unfortunate weaklings from themselves,
and to protect the future of the species.

Criminologists give, among the principal causes
of crime, immorality and degeneracy; passions of
anger and jealousy; ignorance; alcoholism; destitu-

Six

The INTERNATIONAL PHOTOGRAPHER

May, 1936

tion and malnutrition; hereditary taint; physical
shocks, such as blows on the head; undue repres-
sion of the instincts; insanity; and all of these are
associated with pathological subnormality, resulting
in physical weakness which robs the mind of its
power to resist criminal, immoral or degenerate
impulses.

These weaknesses — let us not forget that the
world has not yet recovered from the lamentable
effects of the great war in history — may be due to
malformation of the brain or anemic functioning of
the brain, making it difficult to establish the correct
association of ideas or clouding the impression re-
ceived through the senses. The subnormal mind has
poor machinery to work with in the first place; the
categories of space and number and cause and
effect by which most of us are able to build up an
ordered world, are dimly apprehended and easily
erased; add to this the confusion that many minds
suffer by the suppression of their natural impulses,
with the resulting complexes as the Freudian psy-
chology calls them, and we can see how much the
healthy mind owes to nature and humanity for an
opportunity to live a life of comparative freedom.

To sum up, what we assume in the normal mind
is a balancing of intricate functions and a delicate
adjustment of mental machinery, which is achieved
through average heredity and environment; and
what we are dealing with when we study crime and
degeneracy and their causes, is not a material which
is the same in all people and which reacts suddenly
in good ways or bad according as the immediate
stimulus is good or bad; but we are dealing with
hereditary taint, pathological conditions, long-con-
tinued strain and misdirection and perversion. Given
these causes for criminal impulse, we can never
foretell where the weakened mind will find its in-
citement or suggestion to harmful action, and we can
never so sterilize the environment that it will not
serve to elicit deeds unimaginable to sanity and
normality. It was a great student of human nature
who said: "It is not that which cometh into a man
from without that defileth him, but that which goeth
out from within." And this is the beginning of wis-
dom in the treatment of sin and crime.

The production of motion pictures is entrusted in
many cases to individuals who abuse their preroga-
tive. But the facts supplied to us by science as the
result of earnest research show that there is a re-
sponsibility resting on society greater than can be
discharged by a superficial criticism of motion pic-
tures.

There is divine wisdom in the old Biblical pas-
sage: "The sins of the fathers shall be visited upon
the children unto the third and fourth generations."
And if we study the statistics of the scientists, we
shall discover that there are graver and more deep
seated tendencies to be dealt with those those de-
scribed as the effects of newspapers and motion
pictures.

Among the most vital of the findings of the scien-
tists are those included in eugenics and the study of
heredity. Great emphasis has been placed on en-
vironment; but we are impressed by the fact that
children adopted into the best families have suc-
cumbed to an unfortunate hereditary bent; and on
the other hand, many who have been thrown into
the most dangerous surroundings have survived their
influence untarnished.

We find subject for serious thought in the history
of two New England families. The progeny of Jona-
than Edwards includes sixty physicians, sixty auth-
ors, one hundred ministers, one hundred lawyers,

seventy army officers, two hundred and ninety-five
college graduates, thirteen college presidents (includ-
ing presidents of Yale, Harvard and Amherst). Of
the Jukes stock in a few generations, there are re-
corded three hundred and ten paupers, six hundred
feeble minded and epileptic, more than three hun-
dred immoral women, one hundred and forty crim-
inals, seven murderers, not a single soldier, not one
who had a common school education, and only
twenty who learned a trade, ten of whom acquired
that advantage in prison. This family cost society
$2,500,000.

Professor Chas. B. Davenport of Chicago says:
"Nearly two centuries ago John Preston of London-
derry married Elizabeth Patton of Donegal and took
her to the wilds of Virginia. Their descendants were
governors, senators and members of Congress, presi-
dents of colleges and eminent divines. There were
four governors of old Virginia and many great gen-
erals and gallant officers and sailors."

We cannot deny that degenerate minds are dan-
gerously susceptible to any form of influence by
suggestion, whether through moving pictures or oth-
erwise. The depraved mind finds vicious mental ex-
citement in some of nature's purest passages. We
have known them to search for such stimulus in no
less a source than the pages of the Bible. And shall
we censor this great text-book of human experience,
destroying the force of its truths by deleting its an-
tinomies? Human experience has given us this
mirror of life; it reflects the ugly as well as the beau-
tiful, the vicious as clearly as the virtuous; we can-
not admire or lose the one without disapproving or
despising the other. Over a vivid drama of lust and
hate and moral ruin it has written: Unto the third
and fourth generation. It has not weakened the force
with which the truth is taught by dimming either
aspect of life. We may smash the mirror if we will;
but it has told us the truth. And this reflection of the
truth it has offered not only to the elite but to the
common people, teaching that the average man
must take the responsibility for handling the good
and the bad, and selecting the materials and the
design by which he is to build his life.

The criminal tendency is a maladjustment within
a person or group; it is not the creation of a moment
in a theatre. We cannot deny that the germ cells
are directly affected by motion pictures or by actual
conditions of which the pictures are only the reflec-
tion. Art is a condensation of life; no condensation,
no art. The real problem is to improve the mentality
that is taking in these impressions from life and art.

Of all the miseries of mind and body, the chief
causes are transmitted diseases, especially venereal
diseases. This leads to the consideration of eugenics
and birth-control.

In past ages, and in some countries today, the
great concern of the better classes was their progeny.
In the time of Lycurgus perfect mating was the foun-
dation of the social system; a woman who could
give to the world beautiful children was all but dei-
fied. But in our day and especially in our country,

35 mm. Eastman Super X

Panchromatic Negative

Short Ends

Price 2V2C per Foot
KINEMA KRAFTS KOMPANY

6510 Selma Ave. Hollywood, Calif. GLadstone 0276

May, 1936

The INTERNATIONAL PHOTOGRAPHER

Seven

A lot of humans like their snow
via the photographer's lens.

Along the shores of the Truckee

River, where the movies go to

shoot their winter stuff. By

Frank Bjerring.

according to Callell's sad statistics, the first design
of the intellectuals is how to avoid the responsibility
of children. The birthrate among our best stock,
especially among scientific men, is unfortunately
very low, averaging less than two children per fam-
ily. But the families of the degenerate average six
or seven. Our only hope lies in the law of compen-
sation again; the higher death rate among the lower
type offsets the lower birth rate among the higher
type.

The improvement of the racial stock and the re-
moval of social conditions that repress and misguide
human lives are problems for statesmanship. If
the moving pictures help to call attention to the need,
that is a distinct service.

Now let us consider what motion pictures are
worth to society. Aristotle expressed the Greek con-
clusion that all arts and employments are to be
judged by their value to the state. All elements were
to be democratized, and self-expression was to be
encouraged. Tragedy in particular served the pur-
pose of purifying (katharsis) the minds of the spec-
tators by permitting them to exercise their emotions
of pity and terror and thus be freed of ingrowing and
conflicting impulses.

As a means to recreation and instruction, the pic-
tures are rivaled only by the press. The shortcom-
ings of the press we know; but who has proposed a
censorship of the press? Admitting that every column
offers suggestions for the vicious mind, I hope such
a censorship shall never be attempted, for it cannot
be carried out without throttling the power of a great
institution. The censorship of the press and that of
the motion pictures offer the same practical problem.

Motion pictures minister to that instinct of the
normal man, the love of the dramatic. The normal
mind takes no interest in what are usually meant
when we speak of normal things. We love to laugh
and cry. Now the drama is the history of extra-
ordinary lives and events, the struggle everlasting
between good and evil, and in order to arouse our

anxiety about virtue, we must threaten it with evil.
It is as impossible to write a drama without intro-
ducing some degree of crime as it is to write a ser-
mon without a text. In this the law of compensation
again takes care of things. The bad type of play or
picture must inevitably give way to the better.

We may remember the shock that came to some
of the moralists at the first problem plays; these have
so soon exhausted all the possibilities of sensation
as no longer to excite any unusual interest; simi-
larly, in the problem of dress, men have become so
used to the short skirt that a pair of shapely limbs
no longer has the fascination of mystery. Conceal-
ment is a false protection to morals.

In trying to lay the present so-called crime wave
to the movies, let us not forget that the world has not
yet recovered from the lamentable effects of the
greatest war in history. And war, unlike motion
pictures, can offer no defense for its tale of lost lives,
weakened bodies, shattered reasons, depraved mor-
als, enfeebled wills. The pictures, like life itself
today, undoubtedly have to appeal to an impaired
mental fiber; there is no remedy but to remedy life.

Let us ask, with Aristotle, is the art good for the
state? We believe that it is; recreation is as neces-
sary as food and shelter; the industry has shown its
capacity to improve from within; the whole public,
by its expressed preferences, constitutes the censor-
ship; and it is safe to say that there are no pictures
wilfully designed to show that crime and wickedness
prosper over law and virtue. Is there, in fact, any
doubt that the picture of life presented in the movies
has woven into its texture less justification for wrong-
doing, more emphasis on beauty and right, than life
in the crude has for just those elements in society
whom some would protect with a censorship? It
is this problem of life in the crude which presses for
solution, and we shall not evade the grim necessity
of solving that problem, nor simplify it, by anything
in the nature of an official censorship of the newest,
the most democratic and the most rapidly evolving
of the arts.

Eight

The INTERNATIONAL PHOTOGRAPHER

May, 1936

Intensity of Sunlight Under Sea

By Paul R. Harmer

PAPER No. II.

During the summer of
1933, E. B. Stephenson, of
the Naval Research Lab-
oratory, had the oppor-
tunity to measure the in-
tensity of light at differ-
ent depths in the open
sea of the Pacific Ocean
in widely separated
areas.

The readings were
taken from the conning
tower of a submarine,
which has four or five
eyeports of plate glass,
one inch thick and about
five inches in diameter.

A portable photometer, a General Electric candle-
meter, was placed in a horizontal position two feet
from an eyeport. The intensity of light was measured
in lumens per square foot. The other ports were
closed and the artificial light turned off during meas-
urements. The depths were obtained from the depth
gauge of the submarine, corrections being made for
the eyeport above the keel.

Temperatures were read from an alcohol ther-
mometer mounted outside a forward eyeport. Each
group of readings was taken at irregular intervals
during a period of one to three hours while the sub-
marine was under way on an irregular course, at a
speed of three to six knots.

The light measured was that which was scattered
horizontally so as to come in through an eyeport.
The intensity varied with the course of the submarine
with respect to the position of the sun. The course
was toward or away from the sun, the port and star-
board readings checked within about ten percent.
On other courses the difference occasionally was as

Surface of water,

Lumens

Depth

per

of Sea

in ft.

sq. ft.

Temp.

Fathoms

April 17—

Pinos Bay,

26.5C

79.7F

400

Curve A

Republic

0.080

Panama

.030

71.6

April 19—

Perlas

.100

22.5C

72.5F

Curve B

Islands,

.075

71.6

Panama

.060

22.5

72.5

.075

21.5

70.7

.020

21.5

70.7

.015

21.0

69.8

.012

20.5

68.9

.010

20.3

68.5

June 1 —

Coronado

.100

Curve CI

Islands,
Southern
California

6
12
14
23
24

.090
.080
.075
.040
.036

17.8C

63.5F

300

Curve C2

.030

600

.025

14.0C

57.2F

.022

.018

13.5C

56.3F

July 18—

Lahaina

.100

21 C

69.8F

Curve D

Roads,

.095

69.8

Territory

.075

69.8

of Hawaii

.050

69.8

5.0 5.2 s.4 8.6 88 9.0 9.2
Log. ,oI i n Lumens per sq.ft.

great as fifty percent. To compensate, at least in
part for this effect, two readings each were made
alternately on the port and starboard sides and the
average value taken. Fortunately the sky was gener-
ally clear and bright and the readings were taken
between 10 A. M. and 2 P. M.

The plate glass in the eyeport had a green tint,
but the accuracy of reading the photometer was not
improved by the use of a green filter.

To give a qualitative measure of the under water
visibility, it may be stated that on the forward deck
of a submarine there is a guard rail consisting of a
wire rope supported on stanchions of one inch iron
pipe, spaced five feet apart and painted gray. Near
the Perlas Islands in Panama Bay one could count
two or three stanchions, approximately fifteen feet.

In Lahaina Roads, Hawaii, one could count eight
or nine stanchions, approximately forty-five feet.

Near Boronados Islands, California, one could
count eleven or twelve stanchions, approximately
sixty feet.

(Acknowledgment is made to "Journal of the Optical Society of
America/')

GERHARD F. RADZAT MOVES UP

Gerhard F. Radzat, who, during the past four
years, has held the important office of secretary-
treasurer for the Hollywood Camera Exchange, Ltd.,
1600 North Cahuenga Avenue, has resigned to ac-
cept an administrative position with the Industrial
Supply Co. in downtown Los Angeles.

May, 1936

The INTERNATIONAL PHOTOGRAPHER

Nine

The Museum of Modern Art Film Library

By John E. Abbott

Director of the Museum of Modern Art Film Library
485 Madison Avenue, New York

Abstract from paper read at S.M.P.E. Spring meeting, 1936.

Until last year, no organization existed anywhere
for preserving films of outstanding merit or for ar-
ranging for their continued distribution. That such
an organization would be desirable had been gen-
erally agreed many years ago, yet it hardly lay
within the scope of the film industry itself to bring
it into existence. No man can look forward and
backwards at the same time; and no artist is the
best judge of his own work. The probability was,
therefore, that the films, all of them from the begin-
ning of the industry until now, would lie unseen and
unappreciated in their vaults until in the course of
time they disintegrated completely. However, if
anything were to be done to create a museum of
the film, it seemed obvious that a singularly appro-
priate institution to undertake the work was the Mu-
seum of Modern Art in New York, which, since 1929,
has so energetically concerned itself with all aspects
of contemporary art, from architecture to photog-
raphy. Yet before it could approach this task three
things were needful. One was to ascertain if there
existed a serious interest in the film as a living art
and in its history and development. Another was
money to create and maintain a film library. The
third was the cooperation of the film industry.

The Museum of Modern Art found, by inquiry,
that colleges and museums all over the country
were anxious for material to make possible a serious
study of the film. A scheme for the creation and

operation of a film library which would enable the
motion picture to be studied just as, for example,
mediaeval sculpture or contemporary drama already
are studied, was then drawn up by the Museum.
A grant from the Rockefeller Foundation and certain
gifts of money from private individuals provided
the necessary funds to start work. The Museum of
Modern Art Film Library came into existence in
June, 1935, with John Hay Whitney as President,
John E. Abbott, Vice-president and Edward M. M.
Warburg, Treasurer. John E. Abbott was appointed
Director and Iris Barry, Curator. Later an advisory
Committee was formed with the following members:
Will H. Hays, Chairman, Jules Brulatour, Stanton
Griff is, Dr. Irwin Panofsky, Dr. David H. Stevens
and Irving Thalberg.

The Film Library then became actively engaged
in the following activities:

1. To compile and annotate a card index of all
films of interest or merit of all kinds produced since
1893, both American and foreign.

2. To trace, secure and preserve the important
films, both American and foreign, of each period
since 1893.

3. To edit and assemble these films into pro-
grams for educational and non-commercial exhibi-
tion in New York and throughout the country by
colleges, museums and local organizations.

(Turn to Page 28)

NOTICE ALL THESE FEATURES IN THE

new Photoscop

E2E23E

The Universal Photo-Electric

EXPOSURE METER

for

STILL and MOTION PICTURE Photography

The most modern and improved type of exposure meter on the market today.

A glance at the arrows in the illustration above is self explanatory.

The New Photoscop has a vastly improved and novel control of the reading angle . . . and a

direct "stop" indicator shows any pre-set film speed, exposure time, or "frames per second"'

for movies.

Because it was designed by practical photographers, it meets all the
requirements of those making the usual type of still pictures or movies.

"Vest-pocket" size and shape makes carrying easy. It measures
2%x3x 1-3/16 overall.

Price complete with sturdy Eveready
leather case and neck cord,

$22

.50

Send for booklet I. P., "Facts about the New Photoscop"

WILLOUCHBYS c^Zrt^l HO West 32nd Street, New York

Ten

T h

INTERNATIONAL PHOTOGRAPHER

May, 1936

Inexpensive Miniature Camera
Photography

Karl A. Barleben,

Jr., F.R.P.S.

|H A T miniature camera photography has
swept the country — no, world — by storm,
there is no denying. The public has taken
to the tiny instruments like a duck to water,
and everybody these days is snapping unsuspect-
ing friends and relatives — candid camera work on a
small scale. While the small cameras have made a
decided hit, it is true that many thousands are forced
to stand by and content themselves with watching
other and more fortunate of their fellow beings enjoy
them because of their high cost. The fact that these
watch-like, precision cameras are endowed with the
finest materials, workmanship and lenses, plus the
fact that they are almost all without exception im-
ported from Germany, makes their cost prohibitive
to many who would gladly give their shirts for one.
Unfortunately, dealers will not accept shirts in pay-
ment for miniature cameras, with the result that
there are thousands in this fair land who have an
intense interest, but not enough cash, for a miniature
camera.

Wise merchants and manufacturers have long
weighed the demands for a low-priced, yet suffi-
ciently well-built and appointed, miniature camera
to be produced for the accommodation of those who
cannot see their way clear to invest one or more
hundred dollars for one of the imported precision
instruments. Rumors have been going the rounds
for several years of various firms about to start pro-
duction on an American-made miniature camera.
Until recently these rumors were either groundless
or incorrect.

Late in December the International Research Cor-
poration of Ann Arbor, Mich., exploded a bombshell!
The Argus camera was about to be announced! The
I. R. C, after several years of experimentation, was
ready to put on the market a good miniature camera,
not in the least to be confused with a cheap toy-like
affair, at a price of only $12.50. American-made, too.
Here was food for thought. The agents of the im-
ported cameras were somewhat startled, while the
wise-acres of miniature cameradom winked slyly at
each other. Would the Argus step in and lick the
high-priced imported cameras? Would it soon fade
away after the novelty wore off? Or would it serve
a more practical purpose of permitting new thou-
sands to enjoy miniature camera photography with
the thought that with the increased interest many
would in time switch over to one of the high-grade
and high-priced cameras? The logical and sane
viewpoint would be inclined to uphold the latter
contention.

Mr. Verschoor, general manager of the I. R. C,
likes to feel that the new Argus will find its place in
the miniature camera field. This it unquestionably
will. And what a place it will find for itself! Thou-
sands of enthusiasts are now going to be able to

enjoy a good small camera at a price that they can
easily afford. It is true that the Argus is no Leica or
Contax, but it will, nevertheless, satisfy many thou-
sands of enthusiasts who in all probability would
have no need for the various refinements and flex-
ibilities of the more costly cameras. The Argus,
built of a resinous material with an f:4.5 lens, shutter
with speeds up to 1 /200th second, and ability to
accommodate all standard film rolls such as are
used in the Leica, Contax, Retina, Peggy, etc., includ-
ing natural color film in the form of Lumiere Film-
color and Dufaycolor, stands as a most remarkable
value. As such, its sales are assured. I. R. C. antic-
ipate many thousands of sales on the basis of honest
value.

Not only has America now a standard low-priced
miniature camera, but here is more news — I. R. C.
will introduce various accessories such as an en-
larger, as yet to be announced. For a price the same
as, or close to, the initial cost of the camera, this
enlarger will boast of the money-saving feature of
using the Argus camera itself as part of the enlarg-
ing outfit. In other words, the lamp house unit will
attach to the camera for the making of enlargements,
making it very inexpensive to produce one's own
enlargements with simplified equipment. These
items and accessories will be released from time to
time in the future. There is a rumor that within the
next year or two a more expensive precision camera
will be introduced by I. R. C. So it appears that we
are now about to witness an interesting contest be-
tween miniature camera manufacturers.

From where I sit and view the entire proceedings,
I cannot help but feel that the Argus will fill a long-
felt need. That it will interfere with the sale and use
of the higher-priced jobs I seriously doubt. I like to
feel that the Argus will bring miniature camera pho-
tography and technique into every home, on a sim-
plified scale, of course. Those who buy the Argus
now may in the future create a desire for a more
expensive outfit with its various flexibilities and
attachments. If so, that inexpensive camera will
have done a good turn to its so-called competitors.
If not, nothing is lost anyway, for the person who
cannot afford a high-priced job can't get one any-
way. Naturally the Argus will be bought by many
thousands who cannot and will not buy the expen-
sive imported cameras. In turn, however, they will
be automatically added to the vast army of minia-
ture camera users for the betterment of the entire
industry.

Just watch the minicameras being used this sum-

ARCUS
The new

Candid
Camera.

mer. It is safe to assume that there will be a camera
in every pocket during the coming months, and
whatever gain is obtained in the small camera field
can be blamed on I. R. C. for their vision and cour-
age in placing on the market the new Argus camera.

May, 1936 The INTERNATIONAL PHOTOGRAPHER Eleven

EASTMAN FILMS

BRULATOUR SERVICE

EASTMAN FILMS

BRULATOUR SERVICE

EASTMAN FILMS

BRULATOUR SERVICE

Twelve

T h

INTERNATIONAL PHOTOGRAPHER

May, 1936

Associate
Editor

|S EARLY as 1897, Edison used a short two-
inch title to carry his name and copyright.
This may be said to be the first title, though
it carried no picture name or other informa-
tion, only that it was made and copyrighted by T. A.
Edison. This identification was inserted five feet
from the beginning, in the first and only scene of the
picture. Records do not indicate when pictures were
identified by main titles. "The Great Train Robbery"
was one of the first big pictures that had such a title.

A company was formed in 1902 by the Gunby
Brothers for the purpose of making titles for motion
pictures, which would indicate that titles were used
at that time; however, Albert E. Smith, one of the
founders of Vitagraph, recalls that they were gener-
ally adopted about 1904. This is corroborated by
Wallace Clendenin.

During 1906 and 1907 the sub-title was used. It
was first inserted in the picture to show the passage
of time. Such titles as "One Hour Later," "The Next
Day," and "One Year Passes" could be seen on
the screen. Very soon, because pictures were now
rapidly developing a narrative technique, other con-
notative titles were added to their repertoire. "Love
at First Sight," "Bob Meets Betty," and "The Sacri-
fice" were characeristic examples.

The action around the title, "The Sacrifice," for
example, would be one of those eternal love trian-
gles. The best friend loves the girl; the hero puts
the hand of the girl in the hand of his friend, and
then elaborately sighs, registering disappointment.
He exits with his hands over his eyes, which would
then be followed by a title, "The Sacrifice."

The sub-title gradually improved until about 1910
when the dialogue title made its appearance. As
the title assumed a share of the narrative burden it
became possible to improve the plot and slow the
tempo of the story.

The producers of pictures felt, as did the Empire
Stock Company under the direction of Charles Froh-
man, that curiosity and mystery around the players
would increase their box-office value.

The Imp, an "independent" concern founded by
Carl Laemmle in 1909, was the first to publicize the
name of the players as a business move against the
Motion Picture Patents Company, who had been try-
ing to stop the smaller picture makers. He an-
nounced that his company had acquired the serv-
ices of Florence Lawrence. She had until this time
been known as "The Biograph Girl," and it was no
small accomplishment to take her — the most noted
of the screen players then — away from the powerful
patent trust.

The "Sunday Post-Dispatch" of St. Louis carried

The Evolution of the Motion
Picture Story

Part II.

By Earl Theisen

a featured article on March 20, 1910, announcing
"for the first time that 'The Imp Girl' is really Flor-
ence Lawrence." The article also states that she
made "300 rolls a year, or one for each working
day." That, however, is exaggerated. Florence
Lawrence recalls that she made about three pictures
a week earlier, while at this time she was making
only one.

The "Motion Picture Story" magazine, which was
first published in February, 1911, by J. Stuart Black-
ton, as the "Patents Company" publication, carried
stories about the players. This first issue announced,
besides others, the names of Florence Turner, known
as "The Vitagraph Girl," and Alice Joyce, both Vita-
graph players.

One of the earliest pictures in which Edison gave
credit to a cast was his 700-foot picture, "Interna-
tional Heartbreaker," released on December 11,
1911.

The advertising of players' names greatly im-
proved pictures. It had a distinct dramatic value,
in that the audiences were in a more sympathetic
and receptive mood for the players' work. It facili-
tated characterization. Now for the first time screen
players took pride in their work and it was a great
striae toward the social recognition of the screen.

D. W. Griffith, though pioneering in most of the
other dramatic devices of the screen, did not see the
importance and the appeal of the name of the player
to the audience. Adolph Zukor, in contrast, capital-
ized on the name of the player in 1912 with his idea,
"Famous players in famous plays."

IV.

The Trend Toward the Artistic

The French pictures in general were superior in
narrative technique to the Nickelodeon pictures.

The English, and particularly the Italian pictures,
while suitable in their ethnology, began to improve
rapidly. In 1911 the Milano Film Company in Italy
began exporting multiple reel pictures which very
materially assisted in popularizing the longer pic-
tures. Their version of Dante's "Inferno" in four reels
was followed immediately by "The Fall of Troy"
and "Quo Vadis." They were brought to the United
States by George Kleine. Perhaps their best picture,
which incidentally was the first to command a $2.00
admission, was "Cabiria." That was in 1914.

The Kalem Company was the first American
company to make a five-reel picture. Their picture,
"From the Manger to the Cross," which was made

1 *

■■4 *

1 «
1

■ 1 <

| Variable area recorders'

W~ POTENT NO. 1985584. OTHERS PENOINC
J ALSO

I ^^ 35 mm to 16 mm ^^
L ^1 REDUCTION SOUND PRINTER €jl

E 1 [5 SOUND EQUIPMENT ^
* ^/ Cable address CRSCO ^/

► C. R. SKINNER MFG. Co.

290 TURK STREET. PHONE OROWflY 6909

^ ^ San Francisco. California U. S. A. j

Maw 1936

The INTERNATIONAL PHOTOGRAPHER

Thirteen

in the Holy Land, was released in 1912. (Vitagraph
made a five-reel picture, "The Life of Moses," in
1909, but it was released in single reels as a serial.)

Most of the dramatic devices of the motion pic-
ture were originated and found their first use in the
Biograph pictures, particularly those made by D. W.
Griffith. In his Biograph pictures made during 1908-
10 there are examples of such fundamental devices
as "recurrent theme," "fade in" and "fade out,"
"camera angle," "contrast," "close-up," "lighting ef-
fects," and "montage." Griffith very ably conveyed
the abstractions of the "montage" (effect gained by
the use of short scenes, for example in war scenes,
showing in rapid order the marching of troops, ex-
ploding shells, etc., in order to convey the abstrac-
tion and dramatize a war sequence). This cinematic
device, along with the others in use today, are very
ably explained in Dr. Rudolf Arnheim's "Film."

The picture, "A Corner in Wheat," made by Grif-
fith and released as Biograph No. 3646 on December
13, 1909, in a length of 935 feet, was a good example
of Griffith's work, and in it are examples of the chief
dramatic devices employed today. The picture
opened with a fade-in of a poor farmer and his wife
broadcasting wheat seed. It showed their meager
existence. This cuts to a wealthy buyer who intends
to corner this food commodity. To quote from the
Biograph handbill: "What a contrast is shown in the
office of the Wheat King surrounded by his lieuten-
ants ... He finally buys all the wheat, and is then
shown in a "montage" superimposure effect, majes-
tically standing over the wrecked hopes and for-
tunes of others. He is lauded for his acumen, wined
and dined and regarded as a man among men."
He is then shown in the large wheat storehouses,
proudly showing the steady flow of wheat into his
elevators. He slips and falls into the stream of
wheat and is buried with the movement of the grain.
A close-up shows his hands waving as he disap-
pears. This picture fades back to the farmer and his
wife who are still trudging along throwing the grain
from their seed sack. In this fade the tempo of the
picture changes. In the sequences showing the
Wheat King there had been a faster tempo, which
faded to a slower one of the farmer rhythmically
swinging his arms as he threw the seed.

A study of the elements of this picture and its
contemporaries convinces that Griffith was a master
of the dramaturgic art. It is a far cry from the Bio-
graph picture number 958, made about 1900, "It's
Unlucky to Pass Under a Ladder, a Prevailing Super-
stition Verified," or their house-cleaning "Moving
Picture from Life" (which was the Biograph slogan
then), number 881, entitled "A Moving Picture, and
the Difficulties Encountered About May 1st."

Griffith had his first connection with the motion
picture as a player in cm Edison picture, "The
Eagle's Nest," which was made by Edwin S. Porter

FOR IMMEDIATE SALE!

DE BRIE AT SACRIFICE

New Type SUPER PARVO DEBRIE

Ultra Silent Camera No Blimp Necessary

Thoroughly Guaranteed

MOTION PICTURE CAMERA SUPPLY, Inc.

723 Seventh Avenue New York City

Cable: "Cinecamera"

in 1907. Before that Griffith had been a writer and
stage actor.

Years later his "The Clansman," that later be-
came known as "The Birth of a Nation," due to the
suggestion of Thomas Dixon, who wrote the story,
was the most pretentious motion picture the industry
had yet known. It was first released in twelve reels
on February 15, 1915, at Clune's, in Los Angeles.
This won for the motion picture much recognition as
an art. For the first time it was something more than
an industry.

The perfection and use of mechanical equipment
for creating dramatic effects received impetus about
1915. "Accelerated Motion" and "Trucking shots"
(moving the camera) were used in many of the Essa-
nay pictures of this time. "Slow motion" was con-
sidered a novelty in the Pathe pictures of 1915. This
effect was used to advantage in the dream sequence
of Douglas Fairbanks' "When Clouds Roll By," re-
leased on January 4, 1920.

Artificial lighting and its dramatic effects came
into vogue about 1913-14. Biograph, however, used
lights as a regular thing as far back as 1902, at
which time they moved into their famous "Brown-
stone" at 11 East 14th Street, New York.

Chaotic "superimposure" as a montage effect,
while used earlier by Griffith, came into prominence
only recently. It was used to particular advantage
in Universal's "All Quiet on the Western Front,"
made in 1930. The "split screen," used to show
parallel action, has been in use since 1910. Pathe
originated this effect in their early pictures.

The "glass-matte" was perfected by Walter Hall,
who used it first in Cecil B. De Mille's pictures of
1920. It was patented a year later. It is an opaque
painting, approximately three by four feet in size,
painted on glass with portions left transparent. When
set before the camera, both the painting and players
performing through the transparent portion are com-
bined. It is used to advantage in changing or add-
ing certain features, or beautifying landscapes.

Miniatures are most important in bringing to the
screen sequences that otherwise would not be avail-
able. The dramaturgic force of train wrecks, vol-
canic scenes, airplane mishaps or other scenes
where human life would be endangered, or where
the prohibitive expense of creating sets in full size,
such as in foreign architecture or landscapes, are
only made available through the use of miniatures.

The use of miniatures date back to 1898. In this
year Edward H. Amet made a fifty-foot picture, "The
Sinking of Cervera's Fleet," in which he re-created
this signal battle of the Spanish-American War by
miniature ships and fireworks. In 1906 the Biograph
Company released a picture in which they fabri-
cated the San Francisco disaster. The city was re-
created of pasteboard in miniature on a table top,
and then burned. During this time Melies did some
very creditable miniature motion pictures.

The most perfect miniatures have been made by
Willis O'Brien, who started making them in 1914.
His most recent was "The Lost World," from the A.
Conan Doyle story, and "King Kong," in which the
major portion of the picture was miniature animated
by hand. The more true to life miniature sequences
made for the Fox Films by Ralph Hammeras are,
however, the most convincing on the screen.

While there were earlier trick photographic proc-
esses used for introducing atmospheric background,
the first to become popular was the "Williams Trav-
eling Matte," first used in the Famous Players-Lasky
picture, "Beyond the Rocks," released in May, 1922.
(Turn to Page 27)

Fourteen

The INTERNATIONAL PHOTOGRAPHER

May, 1936

"he New Viscose Brush Announced

By Karl A. Barleben, Jr., F.R.P.S.

|HE Viscose Sponge needs no introduction.
It has, for the past few years, been the main-
stay of thousands of amateur photographers
— and all others who require a soft, absorb-
ent material in their work. This sponge, made of a
cellulose fibre compound, has been so universally
accepted that literally hundreds of uses were found
for it, in spite of the fact that it was primarily de-
signed originally for safely wiping film after wash-
ing. Since its introduction, people have found that
it makes an ideal bath sponge, housewives are
crazy about it in their hundred-and-one jobs about
the home, especially the kitchen. Pipe smokers, for
example, have discovered that a small piece of
Viscose Sponge is simply grand in the tobacco
humidor to keep the tobacco fresh and moist.

As a film and plate wiping medium, however,
the Viscose Sponge has found its greatest use.
Previous to its introduction, amateurs, particularly
amateur miniature camera users, were continually
scratching their tiny films by using various so-called
soft wiping mediums. The introduction of the Vis-
cose Sponge at once put an end to all scratches due
to wiping. It follows that it was hailed as a real
boon to miniature camera photography. I dare say
that there are few amateurs indeed who do not use
this sponge exclusively for the wiping of their films.
I know that since using it, I've never had a single
scratch on my negatives, and you couuldn't pry me
loose from my sponges for anything.

It is good news, therefore, that Willoughby Cam-
era Stores announce a new style Viscose Sponge —
pardon, brush. The new brush is the same old re-
liable Viscose Sponge in new form. A most prac-
tical and convenient wooden handle or grip has
been fastened to one end, making it doubly easy to
use. With this new handle, the sponge can be
manipulated with extreme ease and convenience.
The new brush is particularly useful to bromoil
workers in their technique, eliminating as it does
the mess usually associated with the former plain
sponge. Yes, indeed, the new Willo Viscose Brush
is just the thing for every dark room, regardless of
the type of work done in it.

The Willo Viscose Brush comes in two conveni-
ent sizes: a three-inch size, costing sixty-five cents,
and the larger five-inch size, costing one dollar and
forty cents. It is not my custom to go into a frenzy
over any products in print, but in this case I feel
justified in doing so because the product is really
good, and I want everyone to know about it, for
once tried, it becomes a habit — a habit you will
never do without in the future.

Complete details about the Willo Viscose Brush
may be obtained by writing direct to Willoughby
Camera Stores, Inc., 110 West 32nd Street, New York
City. Incidentally, the introduction of the brush does
not indicate that the sponge will no longer be avail-
able. Both the brush and the sponge type will con-
tinue to be sold.

Recent Photograph and Sound Patents

By Robert Fulwider

A ttorney-at-Law

2,032,393— Film Gate. A. N. Batsel and I. J. Lar-
son, assignors to R.C.A. Corp.

2,032,397— Projection Printer. R. F. Brady, as-
signor to R.C.A.

2,032,398— Film Drive Mechanism. R. F. Brady,
assignor to R.C.A.

2,032,401— Color Photography. A. B. Clark, as-
signor to Technicolor Inc.

2,032,410— Motion Picture. A. N. Goldsmith, as-
signor to R.C.A.

2,032,422 — Mechanism for Producing Intermittent
Motion. I. J. Larson, assignor to R.C.A.

2,032,506 — Sensitizing Photographic Emulsions.
W. Schneider, assignor to Agfa Ansco Corp.

2,032,633 — Diaphragm for Photographic Cameras.
Odon Riszdorfen, Budapest, Hungary.

2,032,676 — Viewing Device. A. Warmisham, as-
signor to Bell & Howell.

2,032,930— Electric Safety Mechanism for Cine-
matographs. V. Gazulla and D. Arguelo, Barcelona,
Spain.

2,033,038— Projector. R. L. Lee, assignor to Mo-
tion Picture Engineering Co., Dayton, Ohio.

2,033,193— Method & Device for Reproducing
Sound Records on Lenticulated Film. Fritz Fischer,
assignor to Siemens & Halske Co., Siemensstadt,
Germany.

2,033,225 — Projector. Carl Bornmann, assignor to
Agfa Ansco Corp.

2,033,277 — Film Driving Mechanism for Sound

Pictures. L. A. Elmer and H. W. MacDougall, as-
signors to Bell Tel. Labs., Inc., N. Y.

2,033,337 — Bifocal Distance Sound Concentrator.
Paul R. Harmer, Los Angeles, Cal.

2,033,476 — Regenerative Sound Recording De-
vice. Bernard Kwartin, Brooklyn, N. Y.

2,033,499— Film Copying Apparatus. Karl Wahl,
assignor to Sifico A. G., Shaffhausen, Switzerland.

2,033,945 — Method and Apparatus for Recording
Sounds on Film. J. F. Lindberg, assignor to Lindberg
Sound Film Co., Chicago, 111.

2,033,957 — Optical Reflection and Sound Repro-
ducing Apparatus. F. G. Salcedo, assignor to Con-
solidated Advertising Corp., L. A., Calif.

2,034,148 — Glow Tube for Use in Recording
Sound. R. B. Morgan, assignor to R.C.A.

2,034,176 — Motion Picture Apparatus. Carmine
Doino, Brooklyn, N. Y.

2,034,220— Light Sensitive Layer and Method of
Producing Colored Pictures. Donald K. Allison, as-
signor to Detracolor Ltd., Los Angeles, Calif.

2,034,193 — Moving Lens Cinematograph Ma-
chine. W. E. John, Johannesburg, Transvaal, South
Africa.

2,034,230— Color Photography. L. M. Dieterich
and D. K. Allison, assignors to Detracolor Ltd., Los
Angeles.

2,034,508 — Process for Obtaining Color Contrasts.
J. H. De Boer and R. J. H. Alink, Netherlands.

More About the New 20th

Century

In November, 1935, INTERNATIONAL PHOTOG-
RAPHER introduced the first successful silent motion
picture camera. The Twentieth Century-Fox Camera
— and now comes one of our contributors who favors
the magazine with additional comments upon its ex-
cellence. Read on:

After lending a more or less sympathetic ear to
the troubles of cameramen with respect to the short-
comings of their equipment, we decided to do a little
technical investigating on our own. The rumors we
heard regarding a certain mysterious piece of equip-
ment that could be operated within two feet of the
microphone; that weighed only 82 pounds and did
not require the services of a small army of men
to move it from place to place about a set, decided
us to start upon a little "snooping." We will ad-
mit that we were somewhat skeptical, as past ex-
perience with these photographic Wonder Boxes
proved many times that they would not stand close
inspection.

Proceeding to the Precision Machine Shop at
Twentieth Century-Fox, we were very pleasantly
greeted by Mr. Grover Laube, Chief Cine Techni-
cian, who, with Charles M. Miller and Robert G.
Stevens of the cine technical department, are the
actual inventors of this remarkable camera.

Mr. Laube invited us over to see the camera in
operation. Well, after looking it over and seeing
it in operation, we decided that what we had
heard not only was true, but fell short of doing
it justice. The camera was entirely new in appear-
ance, as well as in its mechanical and optical prin-

Fox
Camera

Billy Boice

Grover Laube

ciples. It also does all that is claimed for it by its
many admirers among the clan of Hollywood film
foggers. We prophesy that this camera will in time
receive recognition as the answer to the old and
very expensive problem of camera silencing.

The employment of the unwieldly blimp as the
main factor in silencing the camera during the shoot-
ing of sound pictures is, with this new Fox camera,
no longer necessary. The inventors have eliminated
the cause of camera noise rather than concern them-
selves with the effect.

The camera may be operated at all speeds with-
in two feet of the sound microphone with no sound
cover or blimp.

However, the sound proofing is only part of the
final achievement in this camera. Better optical re-

(Turn to Page 29)

New: Argus

CANDID
CAMERA

$12.50

(f:4.5 and
1/200 sec.)

Exciting new photography at a penny a picture!

The new Argus Candid Camera is changing the entire
field of photography.

This amazing Ail-American camera has adapted the
technique of the motion picture camera and applied it
to the most advanced features of the still camera. Us-
ing inexpensive 36 exposure motion picture film, the
Argus camera achieves the same sharpness and clarity,
the same delightful candor as is found on the screen.
The Argus is 5 inches long — weighs 14 ounces. It can
be carried everywhere, used anywhere. Sharp, clear
prints — to virtually any size — are possible, even though
the snapshots were taken under the most adverse light-
ing conditions.
Natural color photography, too, by the use of natural

DEALERS:

The valuable Argus Charter Dealer Franchise is still
available in a few communities. Write us as to whether
we can offer this franchise to you, for your community.

(PAT. PENDING)

color film, without change of lens.
Argus lens are needle-sharp — you can catch split-second
action. The shutter is adjustable from time, bulb and
1/25 of a second to l/200th of a second . . . making
possible successful photographs of practically any sub-
ject.

Unlike costly foreign products, the Argus is a marvel
of simplicity. Anyone can take good pictures with an
Argus — no confusing gadgets. You merely aim the
camera and take your shot !

Argus is new. While many progressive dealers are
prepared now to demonstrate it, if the store in your
locality has not yet received its Argus shipment, send
the coupon for more information.

INTERNATIONAL RESEARCH CORP.
119 B 4th Street, Ann Arbor. Michigan

Please send me full details about the Argus Camera.

Name

Address....

Sixteen

The INTERNATIONAL PHOTOGRAPHER

May, 1936

News Letter From South America

By JOHN ALTON, Formerly of Local 659

Buenos Aires, Argentine Republic, 1936.

Dear Mr. Editor:

OOKS like things are going to pick up at last,
so after having signed a contract and re-
ceived the "on account", I resolved to "pest"
you some more from way down here.

The other day I visited the White family, all run-
ning around in Turkish bath costume, for hot it was.
The humidity here is what kills. The General Electric
Company could use Death Valley as an ad for their
Frigidaire. These poor boys (mean Bob Roberts)
playing the immigrant. It's tough.

Now that it looks like more of the Argentine cli-
mate, would you kindly forward your most highly
appreciated publication that is like water in the des-
ert, for INTERNATIONAL PHOTOGRAPHER is like a
piece of Hollywood and it's mighty good to see fa-
miliar faces and hear names you know.

It might interest your readers to know that motion
picture production is beginning to be a reality in the
Capiol of Argentine. According to the plans for
1936, three studios expect to go full force and the
fourth, the Rio de la Plata, under the technical man-
agement of Tom White, is in preparation and is soon
to knock them for a loop with his Hollywood stuff.
The three major ones are: The Argentine Sono Film
Company ,under the technical direction of ':yours
truly," John J. Alton. According to my contract I am
to supervise all production, but, as I am a born cam-
eraman, I am not going to trust anyone else with the
lighting. It remains a hobby.

At present we are installing a brand new studio
and have to be ready to shoot by the end of Febru-
ary. During the early part of March we start the
first of our 1936 productions and it is to be called
"Amalia," after an historic novel.

The second studio on the line is the Lumiton, who
are to come out with their first picture entitled, "Mu-
chachada de Abordo," a native story. The S. I. D. E.
Studios, under the management of Arturo Mom, a
son of the Pampa, shows signs of becoming a good
producer. One of last season's hits was a picture
called "Monte Criollo," directed by Mom. Their first
1936 production is called "Amor y Amor," with spe-
cial light effects by myself.

The S. I. D. E. Studios, beside producing their own
pictures, also rent studio space to the little "Indies,"
who here and there scrape a few pesos together to
invest in the adventure of the picture game, — ■ for
game it is.

Tom White's first production is to be called "El
Comisario," which translated means "the chief" (of
police).

I do not like to talk about the past, for one knows

it is only repetition, but the year 1935 has brought to
the foreground a young comedian called Sandrini,
who is today the hit of the Spanish world. Among the
directors who show signs of real talent is Arturo
Mom, whom I have mentioned above. The picture
"Monte Criollo" certainly made people think and
proved that pictures can be produced even way
down below the River Rio de la Plata.

Alberto Zavalia, a young director with his pic-
ture entitled "Escala en la Ciudad," and whose pho-
tography won the highest merits in 1935, deplores
the misunderstanding of most of the world about the
Argentine. He proves that Buenos Aires is as mod-
ern a city as London, New York, Paris or Los An-
geles and the Indians are not running around on the
streets and that the only gaucho in B. A. is one work-
ing in pictures.

Mario Soffici, another new director, with his pic-
ture "El Alma de Bandoneon" beat all local box of-
fice records. He is an old stage actor of Spanish
fame, and who, if given the proper opportunity, might
turn out to be a King Vidor of great Hispania.

We also count that the first so-called producer,
Senor Angel Mentasti, president of the Argentina
Sono Film, is the first high calibered motion picture
producer of the Argentine. He looks, and is, the
typical supervisor of Hollywood and would fit the
executive staff of any American major studio. Up
early in the morning, reading stories for his 1936
program, interviewing foreign representatives, super-
vising the building of his modern studio, casting the
picture, then into the projection room, where, with the
interruption of a sandwich and a glass of certified
milk, sits through the afternoon signing mail, holding
a production meeting, making preparations for the
next day — in other words, he is a busy man. And
the results show, too. For only a few years ago did
he start with "one picture a year" program; then two
in 1935, so several in 1936 is quite a stride ahead.
He is a man well educated, with the vision of a phil-
osopher and the strong will of a dictator, a master
of discipline, but still loved by his employees, for
he is human and bound to make good. He has the
stuff that makes big men.

And last, but not least, comes my Fotography,
with a big F which, as proven by the clippings you
must have received by now, has at last brought the
local photographic quality up to standard and even
compared wiht the work of men like Sternberg,
Pabst, Eisenstein, etc. It was the result of three and
a half years of labor, for it was not my good fortune
to have the technical staff Tom White brought along
with him.

Yours truly,

JOHN ALTON.

MAX FACTOR'S

N EW

LIQUID FOUNDATION

A REVELATION IN FACIAL MAKE-UP

May, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeen

COLOR MARCHES ON

By Herbert Aller

[IRST with the creep of a snail, then like a
sweeping hurricane, the transition to color
finds itself entrenched in the motion picture
studios of Hollywood, for on the lips of
every cameraman comes the question: "What do
you think of color?"

"Is it here to stay?"

"Have you seen any pictures in color?"

The conversational barometer or the cross-ques-
tioning of cameramen as to the relative significance
of color became noticeable when the first feature-
length picture in Technicolor, "Becky Sharp," was
released.

Today the matter is one beyond dispute. Techni-
color's achievement in "The Trail of the Lonesome
Pine," magnificently photographed by W. Howard
Greene, ended all doubt about color's desirability.
Cameraman Greene had performed a Herculean
task. Acclaim by the cinemaddicts changed public
opinion from the thought of experimentation to the
acceptance of color as an improved, elaborate and
embellished form of motion pictures — unquestion-
ably a contribution to the arts of modern civilization.

Shooting in Magnacolor — a two-color process —
we find Cameraman Mack Stengler, responsible for
the photographic work on two recent productions
produced under the personal supervision of George
E. Hirliman. This same producer is now preparing
to produce a number of western dramas, starring
George O'Brien, in this color.

In the Far East, sometimes in the modern cities of
the oldest civilization or concealed amongst the wild
animals in the jungles of Asia, may be found Paul
Perry, that renowned cameraman, shooting in Mag-
nacolor for companies in Manila and India.

Cinecolor, another two-color process, finds its
photographic exponent in Jerry Fairbanks, traveling
cameraman. Mr. Fairbanks has given the cinema
audiences hours of delight with his novelty reel,
portraying modern invention ever so much more
effectively exhibited through the medium of color
photography. Cameraman Len Roos is another
shooting in Cinecolor.

From England comes word that the color likely
to be much heard from in the immediate future is

Gasparcolor (Gasparcolor Process by Major Adrien
B. Cline, M. B. E., technical adviser to Gasparcolor,
Ltd., February, 1936, issue, Journal of Association of
Cine-Technicians). Also of interest in England is the
DeBrie Color Process known as Dascolor.

In Hollywood, Technicolor, just now, is foremost
of all color processes. On his way to England to
photograph in Technicolor for the producer, Alexan-
der Korda, is that well-known and popular camera-
man, Ray Rennahan, and with him is to be found
Henry Imus, assistant cameraman. Cameraman
Rennahan should enjoy his stay in England, for his
attachment to Hollywood is quite evident. He writes
from the tropics: "The tropics are fine, but I do love
Hollywood."

Duty bound to perform without flaw, the introduc-
tion of feature length motion picture photoplays was
the arduous undertaking of the cameramen em-
ployed by the Technicolor organization. These cam-
eramen carried with them the inalienable thought
that the audience when leaving the theatre must not
say the story lagged for the sake of color. The rapid
popularity of color has been successful because of
the pioneering efforts of so many able, intelligent
and unflinching cameramen.

William Skall, who has photographed numerous
shorts and recently completed "The Dancing
Pirates," a Pioneer production in Technicolor, is
about to commence another feature length picture
that will be a genuine treat to the cinemaddics.

Cameraman Skall produced some intriguing ef-
fects in "The Dancing Pirates." It is said he stand-
ardized a new form of lighting for Technicolor pic-
tures. Consequently it is easily understood why the
release of this production is awaited eagerly by his
fellow cameramen. In the production of "The Danc-
ing Pirates" Mr. Skall was assisted by Second Cam-
eraman Lee Davis and his two able assistant cam-
eramen, John Hamilton and Paul Hill, of whom the
latter is expected to be seen shortly in the ranks
of the second cameramen. Skall is now engrossed
in photographing "Ramona" for Twentieth Century-
Fox.

Cameraman Howard Green is now engaged in

(Turn to Patje 26)

ArtReeves film tested equipment

Variable Area Recorders
Light Test Machines,
Bloop Punches,
Soundolas,

Amplifiers,
Microphones,
Cables,
Glow Lamps,

Developing Machines
Galvanometers,
Interlock Motors,
Reeves Lights & Stands.

Dependable Equipment At Prices Within Reason.

Motion PioTure/^ouipmemTQ. |Td

645 NORTH MARTEL AVE

CABLE ADDRESS ARTREEVES

HOLLYWOOD, CALIFORNIA.

Eighteen

The INTERNATIONAL PHOTOGRAPHER

May, 1936

AMATEUR MOTION PICTURE SECTION

HAMILTON RIDDEL, EDITOR

SPRINGTIME-AND A
MOVIE CAMERA

{Contributed by
a Fellow Filmer)

SPRINGTIME— that rarest interim of all the
year! Welcome indeed are the days of
balmy weather, when the good old Earth
casts off its drab winter aspect and is re-
dressing itself in colorful array for the summer
months. With the return of the sun, warmly caress-
ing the face of the northern hemisphere, and with
winter snows fast becoming dissipated, the cold
tomb of seasonal circumstance has indeed been split
asunder. The annual resurrection of springtime-
pageantry has begun in Nature.

It's just about this time of year that many movie
makers smile thankfully at the bright Spring sun,
breathe deeply the clear air, and survey the pros-
pects for some good pictures. And, as in every year
since the inception of personal movies, there will
be two rather distinct classes of amateur camera-
men doing this. They both may look alike, as Ike
and Mike, and no doubt they both have similar cine
equipment, yet the result of their springtime filming
will tell quite a different story at the end of the
season.

Our friend Ike, for instance, will note only the
obvious: Improved cinematographic light of spring-
time sunshine. Following his usual custom, Ike will
grab his movie camera and will proceed to burn up
foot after foot on the family kindred, whom he has
hastily herded together in the front yard. Never
heeding for one moment his subject's protestation
of muddy feet and evident dislike of the glaring
sunlight, Ike will keep his camera in constant oper-
ation down to the last foot of film. Ike, 'tis sad to
relate, just knows these swell shots will wow his
friends and neighbors for all time to come!

Mike, on the other hand, without minimizing the
importance of a family film properly produced, has
reckoned with the contents of his movie library. Can
after can of former filming has revealed, none too
kindly, that Mike has committed a common fault in
personal movie-making, cine-monotony. Thus it is
that an earnest survey in springtime will bring new
determination to Mike. For the birth of Spring not
only offers new inspiration, it actually provides bet-
ter opportunities to all movie makers for good pic-
tures.

Some thoughtful preparation, before making a
visual record of Springtime, will go far toward insur-

ing happy results. In a reel of personal movies, bear
in mind that you will be making and recording your
impressions of the Spring season. The continuity, or
individual treatment of the subject, should reflect the
personality of the movie maker in the completed
film. Strive to become cinema-minded. Allow full
play of the imagination in arranging a continuity;
and take every advantage of the features of camera
and equipment in picturizing what has been visual-
ized in one's mind. Thus armed with a continuity
— written or mental — you're ready for filming.

A short drive, perhaps into the country, will sup-
ply ample material for that better roll of springtime
shots. With the car parked conveniently and with
your movie equipment in hand, the warm breath of
Spring will lure the movie maker on and on.

Birds, and such small animals as the squirrel,
will challenge one's cinematic ability and patience;
causing the movie maker to wade through bubbling
streams, or stumble perhaps over fallen logs, and to
chase up and down ravines in obtaining those price-
less, natural shots of them. In your rambles, don't
overlook the lowly turtle sunning himself on a log;
or a robin, posing on a tree branch, whose picture
is easily obtained with the aid of a long-range lens.
Get on your film those lifelike shots of various people
you meet on the way, without their being made
aware that movies are being taken. Don't forget
that beautiful waterfall; or ignore a swift-flowing
stream as it leaps over boulders and rocks. Nor
must you pass by the stately lighthouse on the cliff
by the sea, with fluffy clouds forming a vivid back-
ground.

No matter where you live, the freshness of
Springtime shots of people and animals and flowers;
of canyons and mountains, of forest and country, of
city and parks, of oceans and lakes, rivers and
streams, and of the setting sun — all make beautiful
subjects for the home-movie screen. And any re-
liable movie camera, equipped with a few useful
accessories, will do good work in recording them.

Telephoto lenses, in addition to the standard lens
on your camera, will permit greater latitude and af-
ford better results in filming unusual close-up ef-
fects; the kind that make friends aware of one's
movie making ability. Don't attempt a close-up of
a squirrel, then, with a short focal length lens; the
animal will surely scamper away, frightened by the
approach of the filmer. Use a telephoto! It should
be remembered, moreover, that due to Nature's nat-
ural camouflage which "melts" an animal into a
background, the relative size of the usual home
screen will not reveal an animal as clearly and dis-
tinctly as it appeared at the time of filming. Again,
it is good practice to use a telephoto, and secure the
largest possible image of such an object.

Not only is a tripod of great worth — we'd say ab-
solutely necessary — in making telephoto shots, it

R
I

N
C

T
I

M
E

Springtime is Movie Camera Time. Shots from the Creat Lakes.

also affords solid support for a camera resulting in
steadier, more pleasing, pictures on the screen. A
steady camera is most important in filming birds
and animals, for their lightning-quick movements can-
not be easily detected on a motion picture screen
unless the background is perfectly stationary. Move-
ment of both subject and background, liable with
an unsteadied camera, will prove very disappoint-
ing. Be sure the camera is rock-steady when it's in
action.

It may not be orthodox advice, but the use of
super panchromatic film is to be recommended.
When you find yourself in some deep ravine,
through which the sun does not penetrate, and you

have an animated subiect at bay, such is the time
fast film will assure sufficient exposure. When car-
rying on filming once again in sunlight, super pan-
chromatic will continue to be an able ally. Due to
the speed of this film, the camera lens may be
"stopped" way down, thereby increasing depth to
one's movie scenes and enhancing the beauty of
them.

An assortment of filters for the lenses of the cam-
era will prove their worth. Beautiful cloud effects
filmed through filters will, in most cases, take on
added beauty that has escaped the human eye.

Springtime is movie-camera-time! Let's see what
you can do with it!

RIGHT OFF THE REEL

By F. Hamilton Riddel

IITLING Caution: Several years ago, it was
the experience of the writer to edit and title
a European Travel film, consisting of some
8000 feet of 16mm. The enthusiastic amateur
filmer of these 80- hundred foot rolls of motion pic-
tures had been careful to cover most thoroughly,
from practically every angle, in long, medium and
close-up, every bit of the countries he had visited.
Knowing well the tricks of memory, he'd noted names
and places on each flim box for future reference in
titling. All very well. But, upon his arrival home
and following several screenings, the various 100-
foot rolls became separated from their respective
cartons. The result was utter chaos. Only by exer-
cising a great deal of patience with much work, was
order restored. The moral of this experience is: Mark
all title notations on the leader of individual rolls of
film! And further, don't delay titling your films. It's
the only safe way to supplement your movie-making.
Split Perforation: There are occasions when a
sprocket hole splits out to the edge of a film, due to
excessive brittleness of the stock. In projection this
damaged perforation may catch and tear out com-
pletely, necessitating a splice. If, upon examining
a film, you find a split perforation, merely clip a "V"
at the damaged spot with scissors. The danger of
the film snagging in projection is considerably re-
duced by this simple means of repair.

Rubber Stamp: Failure, on the part of many
movie-makers, to inscribe legibly their name and
address on a film carton has given many a head-
ache to motion picture laboratories. When one con-
siders there are thousands of rolls being processed
daily, and that your name and address on a film

box is the laboratory's only means of identification
of your particular film, it is readily realized how im-
portant such inscription becomes. The prudent ama-
teur will secure, at nominal cost, a rubber stamp
with his name and address on it. And he will make
a habit of stamping his film cartons immediately that
he buys film.

Reflectors: Too small attention is paid by movie-
makers to reflected light and to the value of reflec-
tors. The latter are particularly useful in photograph-
ing exterior, back-lighted scenes. By catching the
sun's rays on a reflector and throwing them back
onto the face of a subject being photographed,
greater luminosity is obtained, rendering a more
pleasing effect to the scene. In interior work, reflec-
tors again prove themselves of service to the ama-
teur cinematographer. Most any bright surface, such
as a silver screen or silver showcard board, two by
two feet in size or more, can be employed as a re-
flector.

Reel Rubber Bands: Every amateur movie-maker
knows how film is returned from processing, held
snugly on a reel by a special rubber band with
handy tab on it. Likewise well known is the procliv-
ity of these special rubber bands to become lost.
And of the ensuing trouble caused by an ordinary
replacement rubber band when it slips out of one's
fingers and down inside the reel flanges. All this
grief (for surely it is all that to anyone who's experi-
enced this misfortune) can easily be avoided. Simply
take an ordinary rubber band and at one end of it
tie a loop knot. Then you'll have as handy a tab
grip as was on the laboratory special.

EASTMAN
KODASCOPE E.

JpJEjMPORTANT news in the amateur movie
world is the announcement by the Eastman
Kodak Company of a new type of Koda-
chrome film for use with artificial light.
Heretofore, in order to obtain satisfactory interior
exposures with regular Kodachrome, the amateur
had to use more light than the average house is
fused to carry, and a blue filter was necessary to
compensate for the redness of artificial light as com-
pared with daylight. With this new type of Koda-
chrome, which is extremely blue sensitive, no such
filter is necessary.

The film is about four times the speed, or two
diaphragm openings faster, than is the regular Koda-
chrome with artificial light and filter.

This new film produces much more satisfactory
color results by artificial light than have been pos-
sible before, and opens up a new field of possibili-
ties to the amateur movie maker.

The new film is fast enough to make pictures of
illuminated street signs at night. Times Square in
New York City, for instance, offers many possibili-
ties for interesting color pictures of this type. Satis-

The New Kodachrome Artificial

Light Film

factory exposures of such subjects can be made at
f.1.9 at the regular camera speed of 16 pictures a
second.

The introduction of this film is of importance not
only to the amateur who makes movies for pleasure,
but to photographers engaged in medical work and
indoor professional work. Heretofore, the medical
photographer working with the aid of artificial light
has had to use the compensating filter to obtain
necessary color correction. The filter factor which
was about "4X," or two diaphragm stops, materially
limited the extensive use of Kodachrome for such
work.

This new film, designated Kodachrome Film,
Type "A," is balanced for the light of the inexpen-
sive and readily available Photoflood lamps but
will also render very excellent results with new
regular tungsten filament lamps. For white flame
carbon arcs the regular daylight Kodachrome film
should be used. Since the new film is extremely
blue sensitive, care must be exercised to exclude
all daylight from the room when artificial light pic-
tures are made.

Type "A" is similar to the regular daylight
Kodachrome in that exposures must be judged fairly
accurately to obtain the best results, and also the
subject contrast must be kept low by the use of
soft, flat lighting. This is because Kodachrome is
very sensitive in registering slight differences in light
and shade, or in shades of color; hence, the con-
trasty lighting commonly used for black and white
pictures is not suitable. So, like the daylight Koda-
chrome film, the best results with Type "A" will be
obtained when the Photoflood lamps are arranged to
give very flat or soft lighting.

An exposure guide for Kodachrome Artificial
Light Film, Type "A," with Eastman Kodaf lectors, ac-
companies the film. Type "A" may be also used in
daylight with an orange filter to compensate for its
blue sensitivity; its speed to daylight with the filter
being about the same as regular Kodachrome with-
out a filter. This filter will be available in the near
future. The price of Type "A" is the same as regu-
lar Kodachrome film.

CINEMA-TIDINGS

Amateur Motion Picture News

Kodascope E. A new, low-priced 16mm projec-
tor, Kodascope E, is announced by the Eastman Ko-
dak Company. Kodascope E is new in style, de-
sign and performance. Standard equipment includes
a 400-watt lamp, giving more than ample illumina-
tion for showing Kodachrome, and a 2-inch f2.5 lens.
If maximum illumination is desired, however, a 2-
inch fl.6 lens and 750- watt lamp equipment can be
had at nominal additional cost.

By a simple, ingenious arrangement, the base of
Kodascope E fits down snugly over the handle on
the top of its carrying case, and eliminates the bother
of setting up or clearing off a table when movies
are to be shown.

The projector uses either A.C. or D.C., 100 to
125 volts. Oil impregnated bearings insure perm-
anent, proper lubrication. Other oiling is reduced
to the minimum and all danger of oil-spotted film
is eliminated.

Other features of Kodascope E are: Simplified
threading; line switch in supply cord, with lamp
switch on projector; motor driven rewind; joint at
top of pedestal base provides tilt of 30 degrees for
projector; and as regularly supplied, Kodascope E
accommodates 400-foot reels.

Film Division Works Overtime. According to
"The Victor 16mm News Reel," demands for the
services and film offerings of Film Division, Victor

May, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

Animatograph Corp., 242 West 55th St., New York
City, have been such that it has been found neces-
sary to increase the Division personnel, and to work
considerable overtime in order to take care of ex-
isting contracts.

The Division specializes in direct-on- 16mm re-
cording. Capable engineers and highly perfected
equipment insure the best quality in both voice and
music. On this service, the Division specializes in
serving laboratories and dealers.

Addition of sound to silent films is another serv-
ice. Sound can be added to old or new silent pic-
tures, whether they be of 16mm or 35mm size. A
staff of editors and highly skilled cutters give a real
professional touch to work of this kind produced by
the Division.

The Division also specializes in making 16mm
sound private by optical reduction printing from
negative or positive 35mm originals.

Film Division offers a large selection of sound
pictures and short subjects for outright sale only.
No rental service is offered. Subjects may, how-
ever, be rented through many libraries which the
Division is serving.

Naturalist Prepares Four New Films. Four brand-
new films by the well-known naturalist, Arthur C.
Pillsbury, are announced for outright sale and ren-
tal by Bell <S Howell Company. The 16mm titles are:

"Life in the South Seas" (1 reel. Sound version
ready; silent, in preparation) — a trip to Hawaii and
Samoa, giving many intimate details of native life.

"Life Under the South Seas" (1 reel. Sound ver-
sion ready; silent, in preparation) — shows chiefly
underwater photography and how it is done. Many
forms of marine life are photographed right in their
natural setting. In this picture we have the first-
known combination of time lapse and underwater
photography.

"Plants Without Soil" (1 reel. Silent version
ready; sound, in production) — a popular presenta-
tion of a radically new scientific method of agri-
culture. Time lapse photography shows plants
growing and blooming.

"Reproduction of Plants and Lower Animals" (1
reel) — a scientific biology film showing, with micro-
scopic detail, the processes of fertilization, conjuga-
tion and cell division, as well as reproduction by
budding.

16mm Medical and Dental Films Catalog. Bell
& Howell has ready for distribution a new edition
of its Medical and Dental Films Catalog. A listing
of 16mm films on such subjects which are available,
from their respective sources, for loan, rental or
purchase. Significant is the appearance of a num-
ber of sound films among the silent films listed in
this catalog.

The new Medical and Dental Films Catalog con-
sisting of 58 mimeographed pages, with cover, will
be sent on request to Films Division, Bell & Howell
Co., 1801 Larchmont Ave., Chicago, when the re-
quest is accompanied by 25 cents in stamps to help
defray the cost of preparation and mailing.

QUESTIONS and ANSWERS

By F. Hamilton Riddel

1. What are the causes of poor splices?

There are several but a few include (1) Failure to
remove all emulsion from the surface of the lap; (2)
Scraping the film lap with an excessively sharp in-
strument, or excessive scraping which makes the
film base too thin; (3) Using film cement which has
become too heavy through prolonged exposure to
air; (4) Using too much cement, thus causing the
splice to buckle; (5) Imperfect registration of sprocket
perforations; and (6) not allowing sufficient time for
the splice to set before removing same from the
splicer.

2. In making my hand-lettered titles, the results
are guite disappointing. There is a distinct lack of
contrast between letter and background. What is the
cause of this?

Your lettering was not heavy enough, although
possibly your exposure was at fault. If you are satis-
fied exposure was correct, look at your title cards.
Letter the wording boldly, with heavy strokes, and
make sure that the ink dries out jet black, with no
gray tones apparent. Always work for extreme con-
trast between lettering and background in title work
in order to secure the best results.

3. What is the usual size of glass filters (special
effect type) as used for amateur cameras?

The professional standard, the 2-inch square, glass
effect filters are most generally employed. This size
is adaptable to amateur filter holder matte boxes.

4. Can a "fade" be made with any amateur
movie camera without using a special device?

Yes, by proper manipulation. A fade-out can be
secured by gradually closing the diaphragm of the
lens, while the camera is in operation. The opposite
effect, the fade-in, is obtained by gradually opening

the diaphragm to the pre-determined lens-setting for
a particular scene. It is advisable in making fades
this way to have the camera on a steady support or
tripod to facilitate the work of the movie maker.

5. Can 16mm film be colored by hand, such as
the early-day travel professional film?

Such a procedure on a film with as small frame
as the amateur standard would be impractical. Tint-
ing and toning the 16mm film is better and far more
satisfactory. For true natural color, Kodachrome or
Dufaycolor film stock is the practical answer for col-
orful subjects.

6. In making silhouette movies of persons, how
should the film be exposed?

Try for the greatest possible contrast. Calculate
your exposure for the white background. Since there
is a lack of color in such subjects, ordinary positive
film used as a negative will suffice, because of its
inherent contrasty nature and will be found particu-
larly satisfactory.

7. In titling a picture, should the titles be worded
in the past or present tense?

Generally speaking, when an audience witnesses
a motion picture screening they "live" with the pic-
ture. Consequently, since titles supplement the ac-
tion being depicted, the present tense is the better
choice for titling.

Note: As a service to amateur movie makers,
we extend a cordial invitation to write in questions
which will be replied to in this department. Address
all such letters to:

Questions and Answers Department,

THE INTERNATIONAL PHOTOGRAPHER,

1605 North Cahuenga Avenue

Hollywood, California

Notes On Projecting Dufay-Color

Film

Advice received
from Film
Specialties of
El Monte, Calif.

Lewis River
and Falls in
Yellowstone Park.
By Henry E.
Polak.

In projecting Dufay-color Film, the natural tend-
ency is to focus so that the small, crossed lines
(reseau) are sharpest on the screen.

However, after this is done, if the operator will
readjust slightly, moving the lens toward the projec-
tor lamp, a point will be found where the lines prac-
tically disappear, but where the picture is clear,
sharp and bright. The improvement is immediately
evident and the results little short of miraculous.

The explanation is simple: On one side of the
film the color reseau is placed, and on the other side
of the film is the picture-bearing emulsion. It is the
latter which should be placed in sharp focus, and
the color effect will then take care of itself without
the lines being noticeable.

The above remarks apply equally well to either
16 m/m or 8 m/m Dufaycolor Film.

Ques. I have recently acquired a new 8 m/m
camera and projector, because I desire to take ad-
vantage of the economies of 8 m/m film. But I
have several highly prized rolls of 16 m/m film
which I of course desire to have available for pro-
jection. Can I have these reduced to 8 m/m?

Ans. Yes, 16 m/m films may be reduced to 8
m/m with no loss of quality. Several firms are doing
this work. In addition 8 m/m films may be en-
larged to 16 m/m, and of course either size may be
duplicated with entire satisfaction.

Ques. I am interested in extremely close-up

work. Cannot afford to spend much money for extra
equipment. What can you suggest?

Ans. We presume you do not refer to the use
of a microscope, but simply want to get as large
pictures of normal objects as possible. Probably
the most satisfactory, as well as economical, is the
use of a small Titling Board. Mount your camera on
the board, exactly as if you were going to photo-
graph titles. Get the objects you wish to photograph
in the space ordinarily occupied by the title. Be
sure that the lighting is sufficient; remember that for
extremely close-up work less light enters the lens,
and opens it up accordingly. If you are working in
bright sunlight probably one stop wider will prove
satisfactory; for example, on an 8 m/m camera with
standard film in bright sunlight the setting would
ordinarily be f.8, but for close-up shots through the
titling lens f5.6 will be better unless the object be-
ing photographed is white or very light colored.

Some of the most interesting pictures we have
seen have been made in this way — bees working in
flowers; spider's webs; and other similar ideas.

Color film produces especially beautiful results
when used in this way.

Ques. I recently took some pictures of a parade,
but unfortunately lost several very important parts
because I was changing film when the floats passed.
Isn't there some way to avoid this grief in future?

Ans. Yes. A practically continuous record of
any such event may be assured by either of two
methods. One is the use of a camera with so-called
"magazine loading." The time consumed in chang-
ing films is reduced to almost nothing flat with one
of these cameras. Another sure way is to borrow
a camera similar to your own and have an assistant
at hand to change films. When one roll is shot,
pick up the other camera and use it, while the as-
sistant changes films in the first camera — and so on.

CLASS SHOTS IN COLOR

By Edwin G. Linden

For years black and white glass shots have been
the means of shooting scenes which otherwise would
have been impossible, and now, with the motion
picture industry leaning stronger than ever towards
color, added beauty and economy can be had by
employing glass shots in color.

A good example of this can be seen in Pioneer's
latest all-color production, "Dancing Pirate."

Such shots are, however, not quite as easy to
make as one would think. They require the utmost
skill upon the part of the cameraman in lighting and
the artist in blending and balancing of colors to
match those used on the set.

The lighting technique for the three-color process
is entirely different from that used on black and
white, as ordinary "inkies" cannot successfully be
used, and carbon arcs have too much flicker when
photographing at an extremely slow speed, so an
entirely new method had to be devised.

Artist Byron Crabbe and the writer, in collabora-
tion with the Technicolor Company, made a series
of tests to determine the correct colors and lighting
to use, and found that many other types of special
effects are not impossible.

Beautiful blue skies with clouds can be painted
into landscapes where there was formerly only a
"bald" sky; scenes shot in daytime can by a simple
process be turned into night shots; sunsets, moon-
light, stars, etc., are possibilities now in color. The
sky is not the limit any more.

W EVERYTHING ^

W PHOTOGRAPHIC W

faP

1 cje %

MW for Professional and Amateur T

^f New and used. Bought, sold *
W rented and repaired. Designers

and manufacturers of the
4 H.C.E. Combination Lens
^ Shade and Filter Holder .

^k tor any size lens. J

^^L Send for bargain catalogue A

^m\ Hollywood Camera A%

' |L Exchange mw

^k 1600 Cahuenga Blvd. AM

' . '-^mv Hollywood mm
■ ^ Tel.: HO-3651 MlC

W m\. Cable: M

V ^k HOCAMEX AM

E^y

.'.-"■'"Us

May, 1936 The INTERNATIONAL PHOTOGRAPHER Twenty-three

WORLD LEADER

ABROAD, as well as in America, its unique
photographic qualities have made Super X
the undisputed leader among motion pic-
ture negative materials. It is king of the
movie-making capitals of the world.
Eastman Kodak Company, Rochester, N. Y.
(J. E. Brulatour, Inc., Distributors, Fort
Lee, New York, Chicago, Hollywood.)

EASTMAN SUPER X

PANCHROMATIC NEGATIVE

Twenty- four

The INTERNATIONAL PHOTOGRAPHER

May, 1936

HOW TO USE YOUR CANDID CAMERA

|UTSTANDING pictures with the miniature
camera! Often the small camera user will
peruse his prints and find few which could
be included in this class. They may be
technically perfect as far as exposure, freedom from
grain, selection of paper, etc., are concerned; but
there is something lacking. The prints do not pic-
ture the subject in a forceful enough manner, to
make them "different." They are just another batch
of photographs.

Reference to various technical volumes or articles
offers no enlightenment in this respect, for they con-
tain information on how to make negatives and
prints technically perfect, but do not disseminate
knowledge on the manner of making the prints ex-
hibit artistry. In this case, we must confer with an
individual who is an artist and is also acquainted

with the technical aspects of miniature camera pho-
tography.

With this in mind, Ivan Dmitri, who is a success-
ful artist as well as a famous miniature camera pho-
tographer, has produced a book entitled "How to
Use Your Candid Camera." This volume tackles
the problem of miniature camera instruction in a
new and different manner. Instead of a mass of
technical data, it contains reproductions of about
70 of Mr. Dmitri's best prints, each exemplifying a
different effect. "How to Use Your Candid Camera"
indeed takes advantage of the old proverb, "A good
picture is worth 10,000 words." This book sells at
$3.50 per copy. A pamphlet describing this new book
can be obtained by writing to E. Leitz, Inc., 60 East
10th Street, New York City.

"ONE RAINY AFTERNOON" SCORES

Pickford-Lasky's initial production, "One Rainy
Afternoon," on which the camera was started grind-
ing uniquely by means of an actinic ray impulse —
as pictured on the front cover of INTERNATIONAL
PHOTOGRAPHER, February 1 936— delighted a ca-
pacity audience at its recent preview in the Chinese
Theatre.

One often hears complaints that Hollywood can-
not turn out cinema entertainment with the lighter
touch that is so much enjoyed in the better Conti-
nental productions. If "One Rainy Afternoon" does
nothing else, it disposed of that objection to the
native output; for it proves that, given the story, the
players and the direction, Hollywood is equal to if
not superior even in the realm of gay lightsomeness.

For their entering wedge as United Artists' pro-
ducers, Miss Pickford and Mr. Lasky seem to have
made a happy selection to win public support. Con-
sonant with their original announcement, they have
brought to the screen a lilting opus "to drive dull
care away." And it is as beautifully chaste as a
dew-gemmed daisy at sunrise.

"One Rainy Afternoon" is as starry as a night
in June for the cast includes such first magnitude
players as Hugh Herbert, Roland Young, Erik
Rhodes, Joseph Cawthorn, Richard Carle, Eily Mal-
yon and many others who conspire to provide a
feast of genteel mirth. Rowland V. Lee again proved
himself a deft director. Superb camera effects were
turned in by Peverel Marley and Merritt Gerstad.

INFRA RED FOR

(Continued f

Fig. 1 is a spectrogram of Infra Red indicating
the color-sensitivity over the full range of the visible
spectrum.

Fig. 2 shows graphs of sensitometric curves ex-
posed on Infra Red film in an Eastman time-scale
sensitometer, developed for different times in a reg-
ular picture negative borax developer. The gamma-

SPECIAL FIELDS

rom Page 3)

The sensitometric curves shown in Fig. 2 were
developed using a green safelight, Agfa No. 103.
Green filters permit the transmission of Infra Red
rays to some degree, but fog an Infra Red sensitive
emulsion during an extended development. This is
evidenced in the fog-density-time curve shown in
Fig. 2, which marks the rapid increase in fog den-

Fig. 3

Fig. 2

time curve and the fog-density-time curve are also
inserted in these graphs.

For comparison of relative contrast, similar sen-
sitometric curves were made on Agfa Superpan and
developed in the same developer, as shown in Fig.
3. It will be noticed in these that the gradation of
Infra Red film is considerably steeper than that of
Superpan. Exposure of Infra Red film through red
filters naturally causes an increase in contrast,
which was found to be approximately 7 per cent,
referring to increase in gamma values.

sity with extended developing time. For normal
developing time, however, it is permissible to use
green lights with the ordinary precautions.*

It is a fine commendation on the industry in gen-
eral to observe the rapid application of this type
film and the experimentation being carried on to
further realize possibilities not yet explored, and
certainly it is typical of a business which has in a
few short years attained international magnitude.

"Journal of the Society of Motion Picture Engineers, Vol. 25, No. 3,
September, 1935.

May, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-five

35 MM. FILM

\^J NEQUALLED fineness of grain . . .wider latitude . . .
supersensitive speed . . . high sensitivity, evenly balanced
...Agfa SUPERPAN has them all! In fact, this new,
improved negative offers you everything you've wanted
in the ideal supersensitive panchromaticjfilm. Made by
Agfa Ansco Corporation in Binghamton, New York.

C. KING CHARNEY, Incorporated

HOLLYWOOD

6372 Santa Monica Blvd.

Tel. Hollywood 2918-2919

NEW YORK

245 West 55th Street

New York City

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

May, 1936

A CINEMA COLOR PIONEER

By H. O. Stechan

JITH the growing interest of British producers
in color cinematography, there is an in-
creasing demand for Hollywood camera-
men experienced in screen color. Harry
Vallejo, a pioneer in the field, is considering offers
to cross the Atlantic for the purpose of helping the
studios "over there" to get started in this newest
film development.

But a chat with Vallejo indicates that it isn't so
new after all, since he has been active in the mak-
ing of color motion pictures since 1911. That year
he started with Kinemacolor, on Sunset Boulevard,
where the old Griffith Studio stood for many years.
There, in association with Bert Longnecker, he had
a laborotory in which he processed many of the
earliest color films exhibited on the screens of the
world, to the wonder and admiration of audiences.

Several years later, Cinematographer Vallejo (he
shot the big Clune production of "Ramona," con-
ceded to be one of the most artistic pictures ever
brought to the screen) joined with William Worth-
ington in forwarding the first experimental work on
the Multicolor process, which showed a marked
advance over the earlier achievements of Kinema-
color. The researching of this period laid the foun-
dation for much that has only lately been brought
into full bearing in chromatic film production.

Again it was Harry Vallejo behind the camera
who made the first big picture in Technicolor, "The
Black Pirate," with Douglas Fairbanks as the star, in
1926. This was the furthest point north in motion
picture color photography and is generally regarded
as marking the beginning of the contemporary era
of color production for the screen. Though he may
not generally be given credit for any material con-
tribution, it was the technical knowledge of color
cinematography which Mr. Vallejo had "dug out of
the blue" in the fifteen years of research and experi-
mentation previously which went a long way to-
ward making "The Black Pirate" the sensation of its
day on the screen and gave reason to hope that the
problems of color photography could be solved.

Some time later, when Howard Hughes took over
the Multicolor process and pumped a lot of money

into the effort to perfect it, Vallejo again became
interested in its possibilities. For demonstration pur-
poses, he made a series of "shorts," which are still
remembered for their pristine beauty. Next, his
knowledge and experience were commandeered by
the Harris Color Procss, which was highly touted at
the time.

During the last two years Vallejo has been work-
ing with Gabriel Moreno's Crosene Corporation of
Los Angeles, which, it is claimed, is proceeding
along revolutionary lines. Until now practically all
of the processes proposed have been "substractive"
— that is, those where the color is in the film.
Crosene uses black-and-white photography and
achieves color by projecting through filters.

While admitting that subtractive color is not
without certain merits and fine points, Vallejo is con-
vinced that the additive method spells the last word
in color for the screen, as it overcomes many of the
main objections found with color pictures made sub-
tractively today, he says. Moreover, he is confi-
dent that before long all-color productions will be
the rule instead of the exception.

"But they will not be the color pictures that we
see on the screen today," says Vallejo. "They will
be naturally shot, as color is seen in every-day life
around us. The trouble now is, it seems to me, that
whenever a producer thinks color, he immediately
engages a so-called color-conscious artist whose
chief concern is to figure out how he can work all
of the hues of the spectrum into the picture.

"That makes for unnaturalness at once and re-
quires a lot of costly lighting and more patience to
get results, which in the end are not satisfying, but
hard on the eyes. Natural colors are easy to look
at and they never jar. The trouble with most color
productions is that they concentrate on gaudiness
and garish combinations, which is all wrong. Bright
reds and deep blues may be seen in nature, but they
do not predominate like the rich purples and the
super-Paris greens of the screen today."

Mr. Vallejo came to Hollywood with the first-
flight of motion picture workers, and is probably
the pioneer camera-colorist of Hollywood..

photographing "The Garden of Allah" for Selznick
International Productions. His work in "The Trail
of the Lonesome Pine" will live forever. It was a
monumental contribution to the advancement of
color photography. Cameraman Greene has, as his
operative cameraman on "The Garden of Allah,"
Lee Davis and Assistant Cameramen Thad Brooks,
Nelson Cordes and Clarence Slifer.

En route to Hawaii we find Second Cameraman
Sidney Zipser and his assistant, Roger Mace.

Traveling around the world, photographing
shorts of the different walks of life, as produced by
Fitzpatrick in Technicolor, we find Second Camera-
man Hoch, assisted by Fred Detmers.

Will Cline, globe-trotting second cameraman, is
soon to realize an enviable position. It is already
known in camera circles that Cameraman Cline is
to be elevated to the rank of a first cameraman to
photograph an epochal undertaking in Technicolor.

Also we find Cameraman Allen Davey preparing

COLOR MARCHES ON

(Continued from Page 17)

for his initial performance as a Technicolor first
cameraman.

Technicolor is employing many cameramen at
the present time. Others are being groomed.

In time we will find many more cameramen in
Hollywood working on color pictures. The inevitable
has apparently occurred; nothing can stop advance-
ment. COLOR MARCHES ON!

ICTER^

In W^rld-Wid* Us«

Effects in Dayrime-F^tj Scenvs-

Diffuse^. Fvrctis.and many ^ro«r effrcls

Witb any Camera " In any Ulimare

GeorcjG H. Sckeibe

ORIGINATOR OF EFFECT FILTERS
1927 WEST 78th ST. LOS ANGELES. CAL.

May, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

THE EVOLUTION OF THE MOTION PICTURE

(Continued from Page 13)

Another process was developed in 1926 by the Dun-
ning Process Company, known as the "Traveling
Transparency."

The "Rear-Projection" process was first developed
by George Teague and was in the Fox Film "Just
Imagine," released in November, 1930.

The value and use of the trick processes may be
judged from an incident relative to the release in
May, 1927, of "Silver Comes Through," the first pic-
ture using the "Dunning Transparency." "Silver,"
who was Fred Thompson's horse, is shown in this
picture jumping off a traveling train. The Board of
Censors of a state in the United States would not per-
mit the showing of the picture on the ground that it
showed unnecessary cruelty to animals. Of course,
they retracted when it was explained the horse had
not really jumped off the train; instead it was an il-
lusion and was the result of a moving picture of the
scenery in the camera being added by technical
means around the body of the horse. In other words,
the scenery had jumped instead of the horse.

In the scenes where the players are delivering
their dialogue in travelling taxis or autos, trains,
boats, or airplanes in the air, the illusion of move-
ment is usually obtained by the players sitting near
a window through which is seen moving scenery.
The "shots" are usually taken in the studio where
they have the advantage of sound equipment for the
recording of the dialogue, and the travelling scenery
is previously photographed motion picture which is
introduced through the window by a "process." This
type of scene which is used to denote time lapse,
movement of the story, or for an opportunity for dia-
logue, has become a necessity since the advent of

sound, when picture-making was largely confined
to the sound stages.

With the advent of sound, dating from the War-
ner Brothers' John Barrymore picture "Don Juan,"
released August 27, 1926, the entire technique of the
photoplay was altered. New restrictions entered,
new devices had to be developed.

The first of the sound pictures were the imper-
sonal creations of musical reviews which had a cer-
tain appeal in their beauty of mass movement and
rhythm; though in most cases they were unsatisfy-
ing.

By 1930 the studios had developed the necessary
technique of bringing the picture in a more intimate
frame. They eliminated awkwardness in the dia-
logue and in the placement of the players. Too,
they had largely acquired the ability of using a dia-
logue that was needed to portray the narrative move-
ment.

They are still revising the concepts of story in-
terpretation and the dramatic devices of the silent
pictures.

Man in his demand of entertainment, or, if you
will, vicarious living and recreation of events, will
always present a changing appetite. His desires in
this regard do not rest on seeing static or familiar
interpretations of themes. For that purpose the cine-
matic producers will take the old dramatic mechan-
isms and themes and build a new interpretation.

Story ideas, like "Camille," the "Life of Christ,"
"Ben Hur," and a great number of others have al-
ready been remade in different versions as many as
five times.

Everything for

CAMERAMEN

and

sumo*

Right here in our Display Rooms!

New and Used Cameras, Accessories, Lighting Equipment,
immediately available. Phone, write or wire.

Everything is thoroughly guaranteed

Eastern Representatives

MITCHELL CAMERA CORPORATION
HARRISON FILTERS — FEARLESS PRODUCTS
MOVIOLA FILM EDITING EQUIPMENT

We n
FRANK C.

723 S

Tel

)w have a modern, completely equipped repair and service departrr
ecializing on Mitchell, Bell & Howell, Akeley and De Brie Camera

ZUCKER ■ j. BURCI

MOTION PICTURE CAMERA
SUPPLY, Inc.

•event h Ave. IVew Yorl

ephone BRyant 9-7755 Cable Address: Cineeam<

ent —
s.

CONTNER

t City

era

WHAT TO SHOOT-
WHERE TO SELL IT

Photo Markets recently have is-
sued a very interesting little
magazine, the slogan of which is
"Make Money With Your Cam-
era." Among other interesting ma-
terial is "The Market for Photo-
graphy," "What to Shoot," "How
and Where to Get It," "How to
Submit Material," "Copyright
Laws," etc. This good little book
may be purchased from dealers
in most of the larger towns, or you
may write direct to Photo Markets,
Barrister Building, Washington,
D. C. The price is 50c a copy.

*****

INTERNATIONAL
PHOTOGRAPHER

$2.50

In the United States

$3.00 in Canada

*****

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

May, 1936

THE MUSEUM OF MODERN FILM LIBRARY

(Continued from Page 9)

Once our objects were made clear, the fullest co-
operation proved forthcoming; vaults were opened
up, films were made available and the conditions
under which we might use them were agreed upon.

Our first preliminary circulating series, "A Short
Survey of the Films in America, 1894-1932," was re-
leased in January, 1936, as a first year course or
survey which would provide the ground-work for a
more voluminous series of films next year. It con-
sists of five complete programs, entitled, respec-
tively:

The Development of Narrative, 1894-1911.

The Rise of the American Film, 1912-1915.

D. W. Griffith — Intolerance.

The German Influence.

The Talkies.

Each single program is composed of about two
and one-half hours of films, available in new prints
on either 16 or 35 mm. non-flam but wholly untam-
pered with and uncut, preceded by a long rolling
title of exposition and each single film in it pre-
ceded also by a brief note of comment and informa-
tion. Music was arranged as an accompaniment for
the silent films and sent out with them. A care-
fully written critical program-note is also sent out
to be distributed to students seeing the films. Stills
have been made from the films themselves where
otherwise lacking. I think there is little question
that anyone who has seen these five programs has
had a good grounding in the history of the art, and
has acquired a totally new respect for and under-
standing of the medium. The reports and comments
we have had from college professors, members of

art faculties and museum directors have been most
encouraging. * * *

4. To compose program notes on each exhibi-
tion, which include a critical appraisal of the films
and aid the student in appreciation of the medium.

5. To assemble a library of books and periodi-
cals on the film, and of other historical and critical
material, including the vast amount of unrecorded
data which is still in the minds of men who de-
veloped the film. If the history of the formative
period is to be preserved, it is necessary to secure
this information at once for otherwise it will be irre-
coverably lost at the death of these men.

6. To assemble and catalogue a collection of
film "Stills."

7. To preserve and circulate the musical scores
which are originally issued with the silent films and
to arrange musical scores (sheet music or phono-
graph records) to be circulated with the silent pro-
grams when needed.

8. To act as a clearing house for information on
all aspects of the film, and to maintain contacts with
all interested groups, both in America and abroad.

9. To make available the sources of technical
information to amateur makers of film.

10. To publish a Bulletin with articles and illus-
trations to make known the Film Library's activities
and to further the appreciation and study of the mo-
tion picture.

We immediately approached the film industry in
this country, first through the M.P.P.D.A. and then,
individually, the executive heads of producing com-
panies.

NEW CAMERA FILM FOUND

A New York special despatch of recent date is re-
printed for what it may be worth. Hollywood cam-
eramen do not grow enthusiastic about it:

A laboratory experiment which went awry has
brought about the development of a new photogra-
phic emulsion for coating films, plates or paper. It
is expected to have far-reaching effects in the photo-
graphic industry and films.

It functions in a directly opposite manner from
emulsions in common use. The new solution, with
the use of ordinary developing materials, prints posi-
tives from positives and negatives from negatives
instantly. Prints are blacker with the least exposure
to light and softer with more exposure, exactly con-
trary to the way ordinary prints behave.
Developed By Four

Dr. Miller Reese Hutchison, who formerly was as-
sociated with Thomas A. Edison and now is a con-
sulting engineer with a record of many inventions,
told of the new emulsion today. It was developed

by four young research chemists, George B. Crouse,
Francis A. Holt, Karl D. Robinson and Jack Jatlow,
who now are giving their full time to perfecting the
emulsion.

The new mixture, the ingredients of which are be-
ing kept secret, looks like thick cream in its raw state.
Spread over film, plates or paper, it is no different
from other solutions. But a roll of film coated with
the solution used in a camera produces positive
black and white pictures when printed instead of a
negative under the present process. A compensating
lens must be used, however, to keep the films from
developing in reverse.

Advantage Cited

In the motion-picture industry, Dr. Hutchison ex-
plained, great savings can be effected. Instead of
making a master negative, cutting and trimming it
and then printing positives as needed, the picture
could be taken directly on a positive film and as
many copies as wanted printed immediately.

THE FIFTEEN ELEMENTS OF PICTURES

The reproduction of motion pictures is the most
complex art. More elements enter into the building
of a picture than into any other industry or art.
There are untold details, but the principal elements
in order of evolution of a picture are:

Financing (overhead, the motive power).
The Story (the foundation of the picture).
Continuity (the plan of action).
Casting (the building material).
Research (verification of the investiture).
Production (art and architectural investiture, stage
sets, props, and costuming).

Locations (exterior scenes).

Lighting (placing the color).

Direction (application of the mechanics and ex-
pression of the drama).

Photography (registering the action, including the
technical placing of sound and color).

Developing and printing (toning the film).

Editing (cutting the picture, placing the subtitles,
fixing the tempo).

Distribution (disseminating the prints — the fin-
ished product).

Publicity and exploitation (telling the public).

Exhibition (showing the public).

May, 1936

T h

INTERNATIONAL PHOTOGRAPHER

Twenty-nine

THE CINEMATOGRAPHER'S BOOK OF TABLES

By Fred Westerberg

EQUIVALENT CAMERA DISTANCES— (1 )

CAMERA DISTANCE REQUIRED WITH VARIOUS

LENSES IN ORDER TO OBTAIN THE SAME

HEIGHT OF FIELD

CTv

i-H

•*

t-»

u-i

r-~

c-1

■fl"

**-

r-.

t-~

o
o

■*

«-H

■>»-

*-t

«*

t^.

i— t

•— •

1— 1

<-o

■f

"*-

■fl-

l/>

( 1

t~~

-1-

l-»

r-~.

<-H

<vf

,_!

r-~

•*

-o

—

-J

».

■vl-

•fl-

O
a:
u.

u.
O

I-

■fl-

■*

r~.

■vJ-

V— (

•— 1

—l

!>.

•/>

-J

•V*-

Z
<
r-

!>.

.— t

(S)

-J-

•O

v-H

r»

■a

■u

■vT

T-l

r»

v-H

T— '

■fl-

r».

•*■

-c

• tu

o.«-!

: a
u.

,-,

^1-

•o

!>.

MORE ABOUT THE NEW FOX CAMERA

(Continued from Page 15)

suits were possible, too, than with the conventional
type of motion picture camera. The manner of
monitoring of the image through the finder is
particularly novel, inasmuch as the image is per-
fectly true in respect to the image that is being pho-
tographed on the film. This is due to the fact that
the optical system is in a position very close to the
photographing lens. There is no viewing system
taking up room or space between the shooting lens
and the lens used on the finder system.

A few of the pictures photographed with this new
Twentieth Century-Fox camera are: "Little Miss No-
body," "Show Them No Mercy," "Prisoner of Shark
Island" and "Poor Little Rich Girl."

Mr. Laube has been associated with the motion
picture business since 1908, and even before was
connected with the picture industry in the building
of stereopticans. During the World War he was an
instructor in photography at Eastman Kodak Com-
pany, in their war-time school for photographic
branches of the industry. Later Mr. Laube was chief
cinematographer for the United States Government
at Scott Field, Illinois. Other important develop-
ments for which he is responsible are: In front of
the lens attachment for motion picture camera and
the remote control follow-focusing device.

See outside back cover for cut of camera.

EQUIVALENT CAMERA DISTANCES— (2)

CAMERA DISTANCE REQUIRED WITH VARIOUS

LENSES IN ORDER TO OBTAIN THE SAME

WIDTH OF FIELD

Tt-

■vt

t*-

■O

c^J

■vl-

■3-

■vi-

•<*-

r^.

■vl-

**■

—1

■*

C7V

-c
c

>-*

■<j-

r~.

,— (

•vj-

CM -H

•vi-

00 Oi

U-v.

r-»

r-^

<->

■V-T

!>•

i— <

■>r

,-H

I-

*-<

»-H

1'J

•*

■*

£2

5
O

T(-

•>i-

■■*

1-1

■3-

<*■

•vl-

—1

•>*•

C7\

1-^

1-
o

1-1

•vl-

■>*•

o
E

— 1

Z
<

■vi-

—

— ■

r-^

■vr

-H

».

■—•

^-*

*-H

~-*

u
o

■a

—

irt

i— <

■v^-

■>*-

C-l

vO
CM

00
CM

-a

<73

^1-

r~.

■vr

v-H

C
o

i— l

•<*-

~-i

— «

^-<

r»

v-H

■vvl-

■«*-

».

■vr

1-^

O
CM

eg
CM

-a

■o"

o al

t-»

l-H

■>*•

Fully Guaranteed

USED 35 MM.
EQUIPMENT

•• •

Mitchell, Bell & Howell, Akeley, DeBrie,
Universal, Pathe Cameras.

Portable Sound Recording Outfits.

B & H Eyemo, 400 ft. Magazine, Motor
driven.

Holmes Projectors, Sound and Silent.

DeVry Suit Case Model Projectors.

We buy, sell and rent anything Photo-
graphic.

•• •

CAMERA SUPPLY CO. LTD.

1515 No. Cahuenga Blvd.

Cable Address:

Hollywood, Calif.
CAMERAS.

Thirty

The INTERNATIONAL PHOTOGRAPHER

May, 1936

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 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 variety of
16 mm. and still cameras and projectors. B & H Cameras with old type
shuttles silenced $150. Bipack magazines and adaptors for color. Every-
thing photographic bought, sold, rented and repaired. Send for our bar-
gain catalogue. Hollywood Camera Exchange, 1600 Cahuenga Blvd.
Phone HO. 3651. Cable, Hocamex.

LARGEST STOCK FIRST CLASS UP-TO-DATE CAMERA
EQUIPMENT IN THE WORLD

Rebuilt silenced and Standard Bell & Howell 170° Cameras — Hi-Speed
gear boxes — Hi-Speed check pawl shuttles, new Fearless shuttle for
Bell & Howell. Complete DeBrie equipments. All metal Model L with
motor, lenses and tripod. Metal Model H with lenses and tripod. Super
Parvo ultra silent studio camera (see display adv. page 27). Two
Single System cameras complete with sound equipment — Mole Richardson
Perambulator with tilt head — Two Bell & Howell rebuilt Splicers as new.
Portable blimp with follow focus for Mitchell Camera. 100 ft. Stineman
Developing outfit. Used Holmes 35 mm. Sound-on-Film Projector com-
plete. Precision, DeBrie and Bell & Howell pan and tilt tripods. Bell
& Howell 1000 ft., 400 ft. magazines. Motors, sunshades, finders, lenses
and all accessories. Write, wire or cable.

MOTION PICTURE CAMERA SUPPLY. INC.
723 SEVENTH AVE., NEW YORK CITY
CABLE: "CINECAMERA"

MITCHELL CAMERA, all built in teatures. Five 400 ft. magazines,
40-50 Astro F2.3 75 mm. F3.5 Carl Zeiss, Pan and tilt tripod, two new
cases — sunshade. $750.00. Irving Browning, 110 West 40th St., New
York City.

DEBRIE CAMERA WITH AKELEY TRIPOD, 4 lenses, 8 magazines,
motor, cases. All like new, $450. Complete single system. Camera,
Tripod, Amplifier, cases, etc., $1000. Also new Moviesound "Camera-
lator" (folding dolly). Weighs 18 lbs. Will carry 4000 lbs. Rock
steady, fits all regular tripods, $100 with case. Moviesound Studios,
Jamaica, Long Island.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

LIKE NEW BELL & HOWELL 5-way Sound Printers and Sound
Moviolas. Reasonable price. HOLLYWOOD CAMERA EXCHANGE,
1600 Cahuenga Blvd., Hollywood, Calif.

ART REEVES, latest model 1935, double system sound recording in-
stallation, factory guaranteed, Automatic Speed Control Motor, Twin
Fidelity Optical Unit, Bomb microphone, the only genuine, modern,
workable ArtReeves equipment for sale in Hollywood outside factory.
CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga Blvd.,
Hollywood.

POSITION WANTED

8 MM. AND 16 MM.

DEVELOPING DUFAYCOLOR FILM

LEICA DUFAYCOLOR and other miniature camera owners who use
the 35mm. film. We are now prepared to develop your Dufaycolor film,
brilliant, beautiful, zippy colors. We guarantee to show more color than
ever before in this color film with less lines. Processing One Dollar
FILM SPECIALTIES, Box HID, El Monte, California.

WANTED TO BUY

WILL PAY CASH FOR: Bell & Howell, Mitchell. Akeley or De Brie
Cameras, lenses, motors, parts and accessories. Motion Picture Camera
Supply, Inc., 723 Seventh Avenue, New York City.

MISCELLANEOUS

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 L. Finn Publishing Corp., 580 Fifth Ave., New York.

COMPLETE COURSE IN FLYING — If interested in aviation, see Roy
KlarTki, 1605 North Cahuenga Ave.. Hollywood.

CAMERA REPAIRING

tJELL & HOWELL cameras with old type shuttles silenced, $150.
Hollywood Motion Picture Equipment Co., 645 No. Martel Ave.,
Hollywood.

PRESENT TRENDS IN THE APPLICATION OF THE

CARBON ARC TO THE MOTION

PICTURE INDUSTRY

By W. C. Kalb

National Carbon Co., Cleveland, Ohio

The present trend in the application of the carbon
arc to the needs of the motion picture industry is to-
ward more extensive use of the high intensity arc.
This is true both in the theatre and in the field of
motion picture production.

The limitations of the low intensity arc, both as
to brilliancy and quality of light, are discussed and
compared with like properties of the high intensity
arc. The needs of the small theatres for increased
volume and improved quality of projection light
having been met by the development of the AC High
Intensity and Suprex type arcs, the demands of the
largest theatres for still greater volume of projection
light are now met by the new Super High Intensity
Arc.

The trends in projection lamp design as related
to light on the screen are briefly discussed.

The discussion of the progress of carbon arc light-
ing in studios covers the new White Flame Carbon
Arc for broadside illumination, the new Sun Arcs and
Rotary Spots designed to prevent interference with
sound productions, and the application of the new
Super High Intensity Arc to background projection.

i i'.!i:iMiiiiiiiilii:n.\ ■.«: r i in si.'R

Tk^LsL^V/ToT^

In Sound Recording

THE NEW PRINCIPLE
MINOR QUARTZ 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 and on the film, which PROVIDES CLEAR-
ANCE and PREVENTS SCRATCHING of the sound track. The width of
the beam of light measures from .0005" to .0008" as it strikes the
moving film.

Send for details and sped

of sound track.

C. C. MISOI

1835 Whitley Avenue Phone: GR. 4781

Hollywood

May, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

COLUMBIA MOVES AHEAD

On the Columbia Studios lot in Hollywood has
just been completed a modernistic new building that
houses the entire camera department of the studio.
It is said to be the finest and most efficient building
specially constructed for studio camera work in
cinematown.

Emil Oster, director in chief of the Columbia
camera department, refers to the new building as
the "gem of the Columbia lot," and states that in
his opinion it is the camera department after which
will be modeled all future studio camera depart-
ments in Hollywood.

"Columbia's new camera department was con-
structed with two ideas in mind," Oster said. "First,

Included in the equipment in the machine shop,
which is under the direction of John A. Durst, recog-
nized as one of the most competent camera engi-
neers in the United States, is a 14-inch Porter-Cable
tool room lathe; a 9-inch Cataract bench lathe; a new
No. 12 Van Norman milling machine and attach-
ments; a high class new type drill press and a spe-
cially constructed Onsrud air grinder.

At present the machine shop is not manufactur-
ing cameras, but is simply keeping the motion pic-
ture and still cameras used by Columbia in per-
fect condition. At a later date, according to Durst,
the machine shop will construct new cameras for the
studio.

Columbia Studio's New Camera Shop. Right: John A. Durst, Head of Machine Shop. Left: Emil Oster, Head of Camera Dept.

the plans called for a centrally located building
readily accessible on the lot, which would incor-
porate all the units of the department under one
roof, thus providing a maximum in effciency.

"Secondly, the plant was constructed with the
thought in mind of providing a really healthful place
for the cameramen to work. We have accomplished
these two things in our new building."

The new department includes the most modern
and complete precision machine shop to be found
in any Hollywood studio — $10,000 alone was spent
on the equipment for the shop, which is capable
of constructing both motion picture and still cameras.

William Sk all. one of the

brilliant young exponents of

color — now a member of the

Technicolor organization.

Another innovation in the building is a complete
test room in which it is possible to develop a test
on a motion picture film. This saves time and effort
since the test can now be made in the camera de-
partment as the roll of film comes in. This room can
also be used to develop still photos.

In addition there is a new loading room four
times larger than the space available formerly, and
an unusually large film stock vault in which is
stocked approximately 1,000,000 feet of film at pres-
ent.

Oster remembered the fact that the employees of
a camera department spend at least half their lives
within their workshop. For this reason he insisted
that the new building be air-conditioned. The tem-
perature is constant at all times in the department.

"I am convinced we get a far greater degree of
efficiency by maintaining an ultra-healthful work-
shop," Oster said. "We even have showers in the
building for the convenience of our men and we
don't object in the least when they take a few min-
utes of time to step under the shower."

Oster added emphatically: "And our shower
room isn't just for the bosses in this department,
either."

With the entire department under one roof, it is
possible to keep in touch with each unit with ease,
according to Oster. This promotes better under-
standing between the various departments and aids
greatly in maintaining the highest possible effi-
ciency.

At present approximately 53 persons are em-
ployed in the Columbia camera department.

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

May, 1936

CINEMACARONI

(With Sauce for Those Who Like It)

By Robert Tobey

HOLLYWOOD HONEYMOON

(A novel novel of a thousand and one nights

in a dace.)

By R. THRITIS

Synopsis of preceding installments:

Everything has happened I could possibly think
of. Read the back issues and see whether yon
could do any belter. If you think Jin stooped, yon
ought to see my uncle. Carry on from there.
CHAPTER XIX— A BURST FOR FREEDOM

As Willy Nilly moved ominously toward her,
Lili sat rooted to the spot. After all, she had to
keep the eggs warm. It was a bit terrifying how-
ever, as the Great Bald Eagle's eyes were par-
ticularly beady in the summer twilight. At least
I have Perri and Potty to look out for me, thought
Lili, in quotes. As if in answer to her thought,
Murgle and the eerily glowing ghost closed in
behind Willy, one on each side. The eagle
stopped a foot away from Lili's face. It was a
tense moment. Lili's figure shook with fear.

"You might stop rattling Nellie's eggs together
like that," said the Eagle pointedly. "And do
you mind if I have that bug on your collar
Or is it something you want to eat yourself?"

"You take it," said Lili generously, studiously
avoiding a glance at the large snagglebug on
her coat.

The bug -was down the eagle's gullet in a trice.

"Thanks," said Willy.

"That's all right," answered Lili rather peev-
ishly. "But I don't see why you had to stare me
right in the eye."

"I'm sorry," apologized the Eagle. "I meant to
be staring at that delicious snagglebug. If you
noticed, I was staring at you with one eye. I'm
a little cross-eyed."

At that moment Nellie poked her head out of
the kitchen. "Come out here," she cried. "You
have to dry-clean these fish!"

"Aw," said Willy, and went.

"Now's our chance," whispered Perri excitedly.

"What chance," asked Lili.

"To escape, you dumb dora."

"Oh, that's right," said Lili. "We do have to
escape. But how can I leave now? I must keep
these eggs warm."

"Don't be silly," said Perri. "What do you care
about a couple of Eagle eggs! Let's get going."

"I can easily see that you've never been a
mother," said Lili haughtily. "It's my duty to
stay here with' the eggs. You boys had better go
and leave me to my fate." Ever the actress, that
Liverblossom.

"Come, come," said Perri impatiently. "Forget
the eggs and let's get out of here."

"I promised," said Lili stubbornly.

It began to look as if another impasse had been
reached. But Perri as usual with his quick wit
thought of a way out.

"I have it," he cried. "I've got an electric
warming-pad in my pocket. We'll just leave that
on the eggs and that'll hatch 'em in no time."
Almost roughly he pulled Lili from the eggs and
adjusted the pad over them.

"You don't happen to have a hot cup of coffee
in your pocket, too, do you?" inquired Lili icily.

"Certainly," answered Perri, and abstractedly
reached into his overcoat and pulled out a cup
of coffee. "I haven't any cream for it, though,"
he added. Meanwhile he was hooking the heat-
ing pad up to a nearby lightning rod, thus an-
swering another question in everybody's mind,
I'm sure.

Finishing his job Perri straightened up.

"Now how do we get down from here?" he
remarked.

(That's the question, all right. And will our
three friends be able to escape unknown to the
Eagle and his mate? Startling events arc to come.
You said it, kid.)

A guy from Singapore, Straits Settlements,
writes in and wants to know the names of the
two native girls who played in "Mutiny on the
Bounty." Tsk, tsk. Whatever would he want of
their names.

Stop that clamoring, fellows. Their names are
Mamo Clarke and Maria Louisa. Their addresses?
Just write in care of M-G-M Studios.

KNEE CAP REVIEWS
(No space left on my thumbnails)
"THE GREAT ZIEGFELD." Glorified version of
the life of that clever showman, picture moves at
a breathtaking pace in a kaleidoscopic montage
of gorgeous girls and superb musical numbers.
At last a musical with a place for every song
and every song in its place. Cannot vouch for
Bill Powell's performance being true to life, but
can for its suavity and polished perfection. Luise
Rainer captivating as the delightful minx, Anna
Held, who divorced Ziegfeld in a temper and

later died of a broken heart. Myrna Loy scores
again, as Billie Burke. In fact there's not a flaw
in the entire cast. Photography by George Fol-
sey, Karl Freund, Ray June, and Oliver Marsh is
something at which to marvel.

"THE PRISONER OF SHARK ISLAND." A stom-
ach full of crullers. But I won't say a thing
against it. Everyone should see it. It's a beau-
tiful plea against capital punishment, against
the taking of human life by "law," no matter
what the circumstances.

Warner Baxter as the tragic Dr. Samuel Mund,
does a presentable job. John Carradine deserves
especial mention for his work as the very heavy
heavy. Bert Glennon in his photography cap-
tured the mood of the picture.

"THESE THREE." Emasculate version of
splendid "The Children's Hour." Original by
Lillian Helhnan. Operation by the Hays Clinic.
Not as good as the play, of course, but pic at
least offers some neat characterizations. Best is
by Bonita Granville, child actress who delineates
a Mary Tilford who'll gnaw at your very vitals.
Amelia Tilford and Lily Mortar as played by Alma
Kruger and Catherine Doncet are sharply drawn.
Miriam Hopkins has little to do. Merle Oberon
and Joel McCrea are innocuously pleasant enough.

Would say William ll'yler extracted all possible
from the devitalized script; and Gregg Toland
photographed with a meticulous camera.

"FOLLOW THE FLEET." A dish of pleasant
porridge featuring Fred (Jack-Be-Nimble) Astaire
and Ginger (Twinkletoes) Rogers. A thousand
compliments are theirs for a song. Film does a
big service in introducing Harriet (Lovely-to-See)
Hilliard, who is a newcomer that's a wow.

"WIFE VERSUS SECRETARY." Interesting treat-
ment of an age-old problem; a problem much
older than secretaries (who are usually 19).
Gable plays part of uprising young executive
who thinks of his beautiful secretary merely as
an office appliance until gossip cuts a path for
him to follow. Best boost for the director is that
he makes you believe this in spite of fact sec is
played by Jean Harlow. Anything in pants
(masculine) that could stay in an office with
J. H. for more than one day without becoming
a jelly-like mass isn't human. Not even if he's
married to Myrna Loy, who ain't nothing easy to
resist, herself. Very pretty performances are
chalked up for Gable, Loy, and Harlow, who are
all exceptionally well modelled in lights by Ray
June.

"DESIRE," among Marlene Dietrich, Gary Coop-
er, and John Halliday. Well directed, well acted,
and well photographed, Cooper is somewhat
over-coy in spot or two, but this detracts little
from his excellent performance. As for Dietrich,
she is at her best in "Desire." Don't fail to note
clever way film eludes the censors and still gets
over a seduction scene. Should be a B. O suc-

"MR. DEEDS GOES TO TOWN." Frank
Capra goes to town for Columbia in a blase of
Gary Cooper. This is a hilarious piece of fun-
making that should bring the customers in from
near and far. With probable slight advance bally-
hoo, this looks like a "sleeper." Tale is of a rube
poet (Gary Cooper) who has a large fortune land
in his lap. Rube goes to town, where the wolves
set upon him. Rube neatly skins the wolves and
ends up with a fur coat, thus greatly upsetting
than all, including Jean Arthur, who is one of the
wolves but repents in time for the fadeout. It
may not be new, but it*s never been done like
this before. With Bob Riskin and Frank Capra
sitting on the original egg by Clarence Budington
Kclland, a scintillating and sparkling film was nat-
urally hatched. Cooper gives a performance that
is as full of understanding as a library on psy-
chology. Space does not allozv more than a word
of praise for the glowing portrayals by George Ban-
croft, Lionel Stander, Douglas I <u mbrille. Raymond
lValburn, and all the others of a superb cast.
Photography by Joseph Walker in keeping witli the
production.

Put this on your list of "musts."

PROGRESS NOTE
Lyons, McCormick, and Lyons, licensed agents,
now number among their clients Mr. and Mrs.
Oliva Dionne, who are listed as contract artists.

Getting things onto a production basis, as it
were. .

HOLLYWOODCUTS, by the Shovel Boys (They
dish, the dirt). * * Irene Dunne is having more
fun than King Edward's horse, planning her new
home in Hohnhy Hills. She used to scuff at the
idea she'd ever be interested in building her own
place. Now she's running around with blue-prints

under her nails. * * * What well-known actor re-
cently declined to show up at a beach party given
for publicity purposes, because he was wearing
sideburns and felt they wouldn't look well in a
bathing suit! * * * There aren't many people in
the country that can boast of having eaten bison.
That really comes under the heading of rare cuts.
But the 250 guests of Ken Maynard last month
are now numbered among the initiates. Ken gave
a buffalo barbecue in order to bring together his
friends and members of the press, to show them
his new ranch and circus wintering grounds in
I' an Nuys. It's pretty good stuff, too. Both the
buffalo and the circus. » * » The Mayfair Club's
social event of last month was a Print Mayfair.
Not thus named because of the pictures in the
papers. All the gals came in print dresses. Sort
of misprints, you might say. The Florentine Room
'teas decorated with hundreds of roses, and the
floor was carpeted with imitation grass — until
everyone tripped over it, and it all had to be
taken up. * * *

Evalyn Knapp and her new husband, Dr.
George A. Snyder, gave one of the earliest fish-
ing parties of the season. * * * Cruising north
in the morning in one of Bob Oefinger's boats,
Evalyn's party encountered a huge stray whale
near shore. I figured him for about a ninety
footer, but I just looked it up to protect myself
and find the largest known whale to have been
eighty-nine feet long, so perhaps I'm wrong. This
bird had hung around when the other robins
flew north, to scrape the barnacles off his keel
on the warm sands of California. * * * Smart
whale. It's no fun scraping barnacles off on an
ice-berg. Try it some time. * * * Evalyn and
Paul Kelly vied with each other for top catch of
sheep's-head. * * * Cute Lillian Emerson was
along with her mother. Lillian spent more time
eating sandwiches than catching fish. * * * Elsa
Buchanan, English importation, was along too.
And so was Elsa's kid sister, who was deter-
mined no one should mistreat the live bait, and
so spent most of the day throwing minnows over-
board and secreting the live crabs where they
couldn't be found. * * *

The formal opening of the West Side Tennis
Club commanded a turnout that looked like the
lineup for a big premiere. But not a microphone
was in sight. * * * Margaret Sullavan was there,
busted wing and all. * * * So was Henry Fonda,
Margaret's ex. * * * Also director "Willy" Wy-
ler, Sullavan's ex No. 2. Quite an ex family
gathering. Should I say this makes her another
Madame X? * * * Errol Flynn and "Jinx" Falken
went down to valiant defeat in a spirited exhibi-
tion match against Edward Burns and Peggy
Stratford. * * * Lili Damita was very much among
the audience, admiring hubby Errol's prowess, of
which he has plenty. * * * James Stewart put
in one of his rare social appearances, spending
most of his time with Betty Furness. * * * Virginia
Bruce there, a beauty in pastel as usual. She
was accompanied by Ralph Jester, in case you
care. * * * Also among those present were Ann
Sothern, Inez Courtney, Eadie Adams, Harriet
Parsons, and little Marcia Mae Jones. More on
the courts than off were Fredric March, one of
filmdom's topnotch players; George Murphy and
the Mrs. Jack Cummings; Elmer Griffin, Presi-
dent of the Club; and his wife, the former Edith
Fitzgerald.

And a gal writes in begging to know if what
she hears is true — that you have to have a pass
to get into Hollywood!

You sure do, sister. And you have to come in
riding on a white elephant and blowing a kazoo.

Oh, Miss Superstar — may I ask you just ONE
thine, — do you REALLY wear the Sqiieezhainn
Girdle day and night?

FEB FEET BALANCI

Lloyd Corrigan. Photographed
by William Stall.

Perfect Color Balance makes the carbon arc the ideal light for full color productions.
This same quality makes it a better, faster light for black and white photography.

NATIONAL MOTION PICTURE STUDIO CARBONS

are designed for the specific needs of motion picture photography. They provide lighting
that is balanced to the color sensitivity of modern, high speed, photographic emulsions.

NATIONAL
PHOTOGRAPHIC

NO NEED FOR SPEED ABSORBING FILTERS
NO DETERIORATION WITH AGE
NO UNTIMELY OUTAGES

P ATDDflMC provide the maximum of COOL photographic light, BALANCED AT

THE SOURCE for the requirements of the camera.

PROVE FOR YOURSELF THE ADVANTAGE OF CARBON ARC LIGHTING

NATIONAL CARBON COMPANY, INC.

Carbon Sales Division, Cleveland, Ohio

Unit of Union Carbide MHN and Carbon Corporation
BRANCH SALES OFFICES : New York - Pittsburgh - Chicago - San Francisco

20th Century-Fox Film Corp. Camera

Camera with top tilted

Camera in position for viewing the image formed by the
photographing lens or for viewing with the microscope

20th CENTURY-FOX FILM CORP.

3354 CASIDO STREET

WEST LOS ANGELES, CALIF.

HOTOGRAPHER

H'H YEAR

HOLLYWOOD

JUNE, 1936

ROBERT W. COBURN

Here we have the two dog stars of "Two in Revolt," "Lightning," posed upon the rock, and "Malamute" below. The
CENTS artisl >s Robert W. Coburn, still man oi Local 659, and the d' rector. Glen Tryon. It is a dog and horse picture, the horse

being "Warrier." trained by Jack Lindell, and the dog trained by Earl Johnson. The producers are R.K.O., the locale near
A COPY Flagstaff, Arizona. Our camera crew personnel includes lack McKenzie, first cameraman and director of photography;

Russell Metty, operative cameraman; Harold Wellman, assistant. John Arlidge and Louise Latimer were featured aside

from the animal stars.

VOL. 8
No. 5

HOTION PICTURE ARTS AND CRAFTS

«^te

THE FILM YOU
HAVE HEARD
SO MUCH ABOUT
AND HAVE BEEN
LOOKING FOR
IN DAYLIGHT
LOAD I N G
MAGAZINES

FOR U5E IN

y&£XUZ,

CAfTlERA

1P0HE

SUPERIOR
^NCHROIMflCk

• I ••

wvm

REG. U.S. PAT. DFF.

PANCHROMATIC
WflllCROPAN

DU PONT FILM MANUFACTURING
CORPORATION

35 WEST 45™ STREET

NEW YORK CITY
PLANT... PARLIN, N. J.

SMITH & ALLER, LTD.

6656... SANTA MONICA BLVD.

HOLLYWOOD, CALIFORNIA

o "• a

J 0)

w • 0)

WD w

u— S

» o a

ho G

3 0)0

M-, C

o w £
c o,t*

O (D^
-5 3

■OS's

a. "?

.2 ?£

Q}£3 O

J.2 u

ft S ^
0.2-c

J3 S-

Zoo

J; u u

T3-2 C
CD C~

c ffl <"

■Sec

D O
P, D-D

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol.8 HOLLYWOOD, JUNE, 1936 No. 5

Publisher's Agent, Herbert Ali.er

Silas Edgar Snyder, Editor-in-Chief

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerberg, Technical Editors

Helen Boyce, Business Manager

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.

CONTENTS

Cover Still by Robert W. Coburn
Insert painted in oil by Lewis W. Physioc

RANDOM THOUGHTS ON NATURAL COLOR

PHOTOGRAPHY ---------- i

By Karl A. Barleben, Jr., F.R.P.S.
CANDID COLOR— THE MIKUT COLOR SYSTEM - - 2

By Herbert C. McKay
ARTHUR MAUDE ON COLOR ------- 3

By George H. Elvin, Secretary Association Cine Technicians
COLOR PHOTOGRAPHY THROUGH THE PAINTER'S EYES - 4

By Lewis W. Physioc
THE GASPARCOLOR PROCESS - 6

By Major Adrian B. Klein, M.B.E.
POIRIERCOLOR ---------- 7

By Maurice Poirier
NOTES ON THE HISTORY OF COLOR IN MOTION PICTURES 8

By Earl Theisen
THE NEW MAX FACTOR TECHNICOLOR MAKE-UP - - 10

By Nancy Smith
A NEW TYPE OF BACKGROUND PROJECTOR - 10

A NEW LUMIERE FILMCOLOR - By W alter M. P. Batts - 11
DUFAYCOLOR BY THE NEGATIVE POSITIVE METHOD
FOR 35mm. PROFESSIONAL USE - By Walter II. Carson - - 12
THE KELLER-DORIAN THREE-COLOR PROCESS - 13

By William E. Celestin
SUNLIGHT UNDER THE SEA 14

By Paul R. Harmer— Paper III.
LIGHTING EQUIPMENT FOR NATURAL COLOR
PHOTOGRAPHY - By Peter Mule ------ 15

AMATEUR MOTION PICTURE SECTION - - 18-21

By F. Hamilton Riddell

Cine-Essentials
EASTMAN ANNOUNCES 8mm. KODACHROME - 20
NEW FILM REWINDING APPARATUS - By Morgan Hill - 22
A FEW MOMENTS WITH CINECOLOR 25

By W. F. Crespinel

CLASSIFIED ADVERTISING - - 30

RECENT PHOTOGRAPH AND SOUND PATENTS - 31

By Robert Fulivider
DUPLICATING KODACHROME ------ 31

By Billy Boyce
CINEMACARONI - By Robert Tobey ----- 32

Entered as second class matter Sept. 30, 1930, at the l'ust Office at Los Angeles,
California, under the act of March 3, 1879.

and Canada

Office of publication, 16U5 North Cahuenga Avenue, Hollywood, California

GLadstone 3235

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, $2.50 ; Canada and Foreign $3.00 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

SERVICE ENGRAVING CO

COLOR

Our color symposium, if it may be
so called, was a success; at least in
the number of color "processes" and
"systems" represented.

If our readers got nothing out of
it except a general understanding of
the making of natural color photo-
graphic print on paper, the magazine
will be repaid for the effort.

Several processes were not avail-
able for exploitation until our July
issue and, if engagements are kept,
these will be worth waiting for. They
are all Hollywood concerns and ready
to go.

The International Photographer is
grateful for co-operation extended,
especially to Mr. Karl Barleben, F.R.
P.S. and his associates in New York
City and to THE JOURNAL OF THE
ASSOCIATION OF CINE-TECHNI-
CIANS, LONDON, ENGLAND; also
to the Defender Chromatone Process
(Photo Supply Company, Inc., Roch-
ester) ; Arthur Maude, England; Lewis
W. Physioc; Major Adrian B. Klein,
M.B.E. ; Dr. Reuben Higgins; Walter
M. P. Batts, of New York; Walter H.
Carson; William E. Celestin; Paul R.
Harmer; Peter Mole; Hamilton Rid-
del; William Stall; Morgan Hill;
W. T. Crespinel; Ross Fisher, Mexico
City; Attorney Robert Fulwider; Rob-
ert Tobey; Projectionists' Journal,
London; Earl Theisen; Arthur Reeves;
Anthony Kornmann; Billy Boyce, and
many others.

June, 1936

The INTERNATIONAL PHOTOGRAPHER

Random Thoughts On Natural
Color Photography

By Karl A. Barleben, Jr., F.R.P.S.

| HERE is no lack of color in photography — on
the contrary, the trouble seems to be too
many complications and too many pro-
cesses capable of producing from mediocre
to really good natural color. It is probable that the
very numerous processes available give most of the
trouble to the novice, for how is he to choose intelli-
gently? Color in photography is not new. Fortunes
have been spent — and made — in the frantic search
for good and practical color processes. And many
more will no doubt in the future be spent — and made.
Not many seem to worry about third dimension,
strangely enough, but color — ah, that is something
everyone goes after in a big way. Possibly the fact
that color is so elusive, and because we are so near,
and yet so far, makes it all the more appealing to us.
In any event, it can safely be said that 1936 has seen
tremendous strides made in color photography.

If only some standards could be worked out, the
whole thing could be simplified, but as it is, each
process has its own methods and procedures, and it
is doubtful if anyone can truthfully say that he knows
all there is to know about color, or even about all
the color processes. A strange fact is that a few of
the first processes to be brought forth are still in
existence and used a great deal, in spite of the fact
that new and seemingly better processes have been
brought to light since. It all looks like a mad
scramble to see which process gets there first — and
the race waxes hotter and hotter as the years go by.
Surely the time must come when some inventive
genius will proclaim the discovery of the certain
something that will place color in the front rank. To
date, certain obstacles crop up to mar the perfect pic-
ture. If the process produces good color, it usually
is impractical or too expensive to produce commer-
cially. If it is satisfactory from the commercial stand-
point, it usually is unsatisfactory from the technical
point of view. However, the "bugs" in color are be-
ing rapidly ironed out as time goes on, and as I said
previously, the time must come when we can really
say "color is here."

Of the processes recognized today as satisfactory
on one or more counts, we can count on the Agfa-
color, Lumiere Autochrome Filmcolor, Defender Du-
Pac, Defender Chromatone, Finlay, Dufaycolor, East-
man Wash-off, Ruthenberg, etc. These, of course, are
for still photography in the main. When it comes to
movies, Technicolor, Bi-Pack, Dufaycolor and Koda-
chrome seem to hold their own. The Lord knows how
many other obscure processes there are, many of
them excellent, for all the public knows. In any
event, there are sufficient processes to keep the ama-
teur busy for many years.

Just which process to adopt is something I
shouldn't care to suggest. Some favor one, others
prefer another. It all amounts to personal preference

and the type of work intended. Aside from the vari-
ous color processes in which the color is inherent in
the film or plate, there are various so-called "one-
shot" cameras coming out which seem to draw a
great deal of attention. The Mikut (which I men-
tioned on its arrival in the United States a short time
ago — see page 24 of the April 1936 issue of THE
INTERNATIONAL PHOTOGRAPHER) is creating tre-
mendous interest because of various novel and prac-
tical features. Then the Defender Photo Supply Com-
pany is, at this writing, completing plans for a "one-
shot" camera to be exploited along with the Chroma-
tone printing process. Many individuals have turned
to the making of their own "one-shot" cameras, and
a few are even making them on special order for
sale. The "one-shot" camera uses ordinary pan-
chromatic film and makes three negatives, each
through a filter, simultaneously. From these three
negatives, color prints are easily made via the
Chromatone and other processes. Color films and
plates, however, still hold their own. The Finlay,
Agfa, Dufaycolor, and Lumiere Autochrome Film-
color (which, incidentally, has been speeded up con-
siderably only recently) are widely used by those
who are content with transparencies.

The novice in color photography must realize at
the start that when taking up color he is best off if
he disregards a few of the conventional black and
white rules. Color is an entirely different medium,
and it follows that its treatment is a bit different.
First of all, scenes must be chosen for color. With a
black and white picture, a scene may be drab and
dreary, as far as color is concerned, and still make
(Turn to Page 26)

Cameraman Jack Alton likes his backgrounds
tall and sharp. Here is one from Slamboul.

Tzvo

The INTERNATIONAL PHOTOGRAPHER

June, 1936

MODERN
COLOR

CANDID COLOR-THE MIKUT COLOR

SYSTEM

MIKUT COLOR
CAMERA

One-shot • Three-color • f4 color
lens • Compur shutter • 3 pounds
• 4^4"x5"x8" • Your ideal color
camera made real.

MIKUT PROJECTOR

Additive color projection from black and white
slides. Full color proofs possible two hours
after exposure at a cost of ten cents. Additive
projection adds the final word to natural color.

ENLARGEMENTS

are made and pre-registered by a special adap-
tation of the Mikut projector. Semi-automatic
pin controlled pre-registry makes possible color
prints with white margins! "Black" copy for
four color work from fully panchromatic image
composed of all three color records.

SEMI-AUTOMATIC REGISTRATION

Pin controlled, just as cartoon work is con-
trolled. The precision Mikut punch with
standard pins in projection easel and assembly
board make possible color registration almost
"with your eyes shut."

A Truly Modern
Color System

Full details sent upon request.

PHOTO MARKETING CORP.

10 West 33rd Street
New York, N. Y.

By Herbert

(Photo Marketing Co

|HE rapid increase in interest
in natural color has made it
imperative that color should
be reduced to the technical
level of black and white. While this
may seem to be a wild dream, the
fact is that great strides have already
been made toward this desirable
goal.

Less than a year ago the color pho-
tographer was forced to make a most
unsatisfactory choice. He had to
make use of mosaic screen plates or
films with their consequent unsatis-
factory reproduction or he had to
limit himself to an unwieldly one-
camera which could only be used in
the studio or under the most favor-
able exterior conditions. The spirit
of modern photography which has
arisen under the influence of the can-
did camera and the speed flash was
an absolutely closed field to him.

Although a factor of not too great
importance in the professional field,
operating expenses were extremely
high. With flash shots using as many
as one hundred and even more bulbs
at a single shot, the cost of an ex-
posure was staggering. All in all,
the restrictions surrounding color
photography have made it impos-
sible for the casual photographer to
indulge in this most fascinating
branch of the art.

These conditions have been over-
come. It is now possible to obtain a
one-shot camera which weighs less
than three pounds, which is capable
of producing 8x10 inch color prints
on paper from negatives made at
speeds as high as 1/50 second. The
restricted size and weight make the
camera perfectly practical for free-
hand use; the standard Compur is
perfectly adapted to flash synchroni-
zation and the lens speed is such that
two medium bulbs at five or six feet
will give good results!

Another phase of color work which
has been radically changed recently
is the production of color proofs. Un-
til recently it has been necessary to
make a composite print to show the
result which will be obtained from
the set of separation negatives. If
done hurriedly, this proof was worse
than nothing at all, and if well made
it demanded the expenditure of time
and money.

At the present time it is possible to
prepare color proofs within the space
of a half hour and at a cost of less
than ten cents each. These proofs are
examined by projection to any de-
sired size up to eight or ten feet
square, thus giving ample opportun-

C. McKay

rp., New York City)

ity for examination and choice by a
group rather than by one individual
at a time.

These radical changes and simpli-
fications of color routine have been
brought about by a recently intro-
duced process known as the Mikut
Color System. The word "system"
is used advisedly because the cam-
era, as such, is incidental to the en-
tire working system.

Briefly the system involves the pro-
duction of a three-color separation
set of negatives, each measuring 45
mm. square and situated side by side
on a 50x150 mm. glass plate. Inter-
registration is fixed, as the images
cannot move relatively to each other.
From this negative a black and white
positive transparency is made. This
positive is exactly similar to the con-
ventional glass lantern slide and
made in the same way. The only
difference between making the Mikut
transparency and an ordinary slide
is that the exposure given the three
separate images is under control so
that the balance of the color records
may be altered.

The transparency is used with a
special triple projector, and by the
application of conventional additive
methods, a superimposed, composite
color image is projected. The optical
method used for combining the three
distinct color records in projection is
closely similar to that used in the
camera for dividing the original
image into three parts for separation
recording.

When the pose has been selected
to reproduce as a paper print, the
projector is converted into an enlarg-
er by substituting a low intensity,
diffused light source and by placing
the projector head upon a special en-
larging bed which enforces parallel-
ism between negative and easel. As
colors are not desirable in the image
for projection printing, the filters are
removed from the lantern for this pur-
pose.

The easel bears a paper holder
which has a metal masking frame
and which is equipped with registra-
tion pins. The negative image is
focussed upon a sheet of plain paper,
supported in this holder. The images
are superimposed and sharply fo-
cussed. The individual lamps of the
projector are then extinguished by
their separate control switches. A
sheet of sensitive paper is punched to
fit the register pins, a special punch
being provided for this purpose. The
paper is placed in the holder and the

(Turn to Page 24)

June, 1936

The INTERNATIONAL PHOTOGRAPHER

Three

Arthur Maude On Color

An interview with George H. Elvin

(Secretary, The Association of Cine-Technicians)
Reprinted from the Projectionists' Journal, London, England.

An outstanding feature of A.C.T.'s recent colour
evening, in which five leading technicians demon-
strated and talked about five of the leading colour
processes, was Mr. Arthur Maude's talk on his ex-
tensive experiences and his advice and opinions on
the technicalities of colour.

Mr. Maude was a colour expert on Technicolor
and received the Reisenfeld Gold Medal, by an over-
whelming vote of American exhibitors, for his colour
picture, "The Vision." In this picture, it has been said
that the ideal and most artistic effects were secured
by making colour a pleasing adjunct rather than the
predominant feature of the film.

In an interview for this Journal, Mr. Maude talked
particularly of the Debrie Colour Process, in relation
to the all important factors of cost and lighting.
Debrie Colour Process

The Debrie Colour Process, financed by Mr. De-
brie, is called Dascolour. Patents were first taken
out in 1931 and have been worked on ever since. It
has taken four years' continuous work to perfect the
print. Mr. Arthur Maude is so enamoured with the
process that, together with his partner, Mr. Arthur
Cross, he has taken out an option for the British Em-
pire and has the first refusal for the United States of
America.

The quality of the process and its low cost are its
main attractions. Speed of printing should make the
process additionally welcome to newsreel com-
panies.

No special camera is needed for the process, as
it is possible to adapt an existing model at a cost of
seventy pounds. The only additions necesary are a
double spool box and a double negative. Debries,
however, made a special camera which will be
available shortly.

As a rule, bi-pack processes take double the time
and to overcome this a double printer has been in-
vented which takes the same processing time as ordi-
nary black and white. The cost is only an additional
five percent. The prints cost only one-fifth of a penny
more than black and white.

In emphasizing that the element of cost is vital,
Mr. Maude pointed out that a three-colour system
costs one-third more. While admitting that there are
moments when a three-colour system may be neces-
sary— for example, the photography of Royal Robes
— as a general rule two colours only are sufficient.
A forest can be photographed in two colours when
it is remembered that the component colours of green
are yellow and blue. Ninety percent of stage work
needs but two colours. Why should film need more?
Lighting

The essence of colour photography is lighting and
entirely different treatment is required from that for

DUPLICATES OF KODACHROME

Silent — or sound can be added.

The only laboratory in the country duplicating Koda-

Write for prices.

STITH— NOBLE CORPORATION, LTD.

645 No. Martel Ave. Hollywood, Calif.

chrome Film.

black and white. Colour must be clearly defined.
An excessive front light is not required and no extra
power than for ordinary black and white photogra-
phy is necessary.

Fringing of colours must, however, be safe-
guarded against. A human being has two eyes with
which to select his vision. A camera has only one
lens and is therefore more restricted than the eye.
In brilliant sunshine, for example, red must be fring-
ing and, in case of a sunset at sea, the sea would
appear red to the camera, although we know it is
not so. We must have a light or lights behind the
object in order to kill this fringing. For this reason
it is vital that the colour expert — the cameraman —
should be with the scenic designer when the sets are
being designed. Natural sources only — doors, win-
dows, etc. — should be used to obviate fringing.

Back lighting can make a stereoscopic effect in
colour with twice the ease of black and white, but
it is essential that the scenery must not be painted
or wall papered in certain colours or lack of colours.
Darkish grey panelling, or any dark shade, will help
obtain a stereoscopic effect. The proper effect is
obtained by turning the front lights as much as pos-
sible off the scenery. Lighting should be reflected
light and not direct light. Any object which it is de-
sired to emphasize should be lighted separately by
spots.

In this new art of colour pictures long shots are
of necessity not quite so bright as foreground shots,
because the light is so much further away. There-
fore, it is essential that in mid and foreground the
light on the colours must be entirely different from
that on the face. There must be two sources of light
for mid shots and the colours will then correspond
in density to the colours in long shot.

Finally, it must be emphasized that it is essential
to forget that we are shooting colour once the colour
scheme has been devised. Every costume worn,
whether for modern or costume play, must be cal-
culated according to the foreground and close-up
shots required.

As far as possible there should be only one sali-
ent point of colour in each foreground shot. Cos-
tumes or clothing of other persons should be chosen
to blend with that one salient point.

PASTE THIS IN YOUR HAT

The Meniscus lens supplied with most inexpen-
sive box cameras is rated about F. 1 1 .

The F 7.9 lens is 2lA times faster than the menis-
cus lens.

The F 6.3 lens is 4 times as fast as the meniscus.

The F 4.5 lens is 2 times as fast as the F 6.3 lens.

The F3.5 lens is 60% faster than the F 4.5 lens.

The F 2 lens is 3 times as fast as the F 3.5 lens.

The 1.5 lens is 6 times as fast as the F 3.5 lens.

The F 1.5 lens is also said to be 60% faster than
the F 1 .9 or practically twice as fast as the F.2 and it
is claimed that an F 1.5 lens with super pan film will
make a snapshot anywhere there is enough light to
comfortably read a newspaper.

Four

The INTERNATIONAL PHOTOGRAPHER

June, 1936

Color Photography Through The
Painters Eyes

By Lewis W. Physioc

Technical Editor International Photographer

| HE writer frequently has been asked to give
his opinions on the important subject of
color photography. Up to the present time
he has refrained — for several reasons. First:
because he believes that opinions are of less benefit
to mankind than axiomatic conclusions. Second; an
expression of opinions entails the use of that old
personal pronoun so generally obnoxious. More
dreadful, still, he trembles at the thought of opposing
the opinions of those who are recognized as authori-
ties. This is admittedly the case, as regards the pres-
ent subject.

Many of my color-minded friends have suspected
me of lacking interest in color photography. This is
true only in the matter of the two-color processes.
This confession does not mean that I lack apprecia-
tion for the efforts of those who have so patiently and
courageously experimented in the application of
color to the motion pictures: and I concede many
striking effects in those experiments. It means,
merely, that one who has enjoyed the delights of the
unlimited range of the painter's palette could not fully
be satisfied with the renderings of a two-color system.

I have been a color-photo enthusiast from the
first introduction of the Autochrome, and other color
plates. I still pour over the pages of the Geographic
Magazine, whose particular appeal is in those color
plates. They have taught me one outstanding fact;
i.e., the success of each subject depends upon the
ability of the artist behind the camera: It is choice of
the subject. Even after the completion of a series,
there is still another choice to determine which
among the group fully satisfies the demands of the
artistic taste for color. One needs but look into the
rack of discards to realize this fact.

This suggests a string of questions, opinions and
stock phrases we so frequently hear regarding color
photography — "pastel shades"; " colors as seen in
nature"; "gaudy colors that tire the eyes"; "art direc-
tors and color theorists running wild," and the like.

Let us study these questions.

It would seem that the very thought of color pho-
tography would encourage the employment of the
trained artist (or color expert); but the general criti-
cism and comments tend to show that color-pictures
appeal to the vast public and not to the minor group
of art enthusiasts. This, in turn, throws the subject
into an all-time controversial field. Many works of
art that have enjoyed a wide popular approval have
been less favored by academicians and art critics;
and, conversely, those works more loudly acclaimed
by the critics have been coldly accepted by the
public.

Then, the question arises — What is art? Is it
something that appeals to the great mass of lay
minds, or that which is approved by the trained artist
or critic, or is it represented only in those rare pro-
ductions that satisfy not only the masses but elicits,
also, the praise of the critic? If this latter clause sug-
gests the answer — we, indeed, set a high mark for
color photography.

We frequently hear the comment: "Color pictures
will never be a success until they can produce those
soft, "pastel shades." This term "pastel shades"
means nothing to the artist. His every color scheme
is the result of some design, some instinctive res-
ponse he cannot define. Every time he takes up his
palette those pigments upon it yield to a variety of
tints that bear no name except in the abstract tongue
of that artistic instinct. Those tints may range from a
series of delicate, high-key hues of soft grays (pas-
tels, if you wish) to bold, rich, positive tones. Has
either any value over the other? They are both the
result of that instinctive direction.

The term "pastel" has been popularized by the
sheer beauty of that particular medium — the velvety
surface and softness of line and texture. Unlike oils
or wash, pastels are not mixed on the palette from the
primaries; they are made in series of hues, ranging
from the full value of the primary to its most delicate
suggestions. The artist conveniently selects the hue
most nearly approaching the dictates of his instinct.
But these hues have been mixed by the trained ex-
pert, and are judiciously tempered with delicate
grays, to relieve the garish effects likely to result
from tints mixed by students that do not fully under-
stand color harmony.

Gaudy Colors That Tire The Eyes

I do not believe there is any pair of eyes that tires
of a pretty color scheme — certainly not mine. On the
contrary, my eyes refuse anything that is not agree-
able in the matter of color. I am looking for color in
everything, at all times.

I readily admit, however, that it is easy to tire of
a succession of effects rendered by the raw primaries
or the two complements unrelieved by secondary
and tertiary tints as furnished in the full spectrum.
Hence my lack of interest in a two-color process.

Colors As Seen In Nature

There are some features of this heading that over-
lap the preceding, as well as the following "Artists
Running Wild."

The producers have been criticised for an un-
natural extravagance in color schemes. This is mere-
ly a prejudicial hangover from the two-color systems
that rendered a preponderance of the two comple-
ments employed — (red and green) or (orange and
blue).

B__ j j

\ Variable area recorders"

P PATENT NO. I9B5S84. OTHERS PENDING
ALSO

^^ 35 mm to 16 mm ^^
fc rj REDUCTION SOUND PRINTER ITJ

1 O SOUND EQUIPMENT [^

' ^J Cable address CRSCO ^J

> C. R. SKINNER MFG. Co.

. 290 TURK STREET. PHONE ORDUW 6909

k k San Francisco. California U. S. A. j

Here is a shot of natives at
Balak, Sumatra, by Lewis W.
Physioc. The strange build-
ings are storehouses for rice.
The natives in the picture
are beating an alarm drum.

In considering this criticism we cannot refrain
from a defense of those who have striven so earnest-
ly in the two-color efforts, particularly Mrs. Natalie
Kalmus who grew up with the color pictures. Mrs.
Kalmus has had considerable experience, and there
is little doubt but that the best results of the Techni-
color two-color process were due to her taste and
training in color harmony plus her knowledge of the
limits of any two-color system. The best proof of this
is their persistent efforts for a three-color process.

The other systems, like Multicolor, and particu-
larly the additive systems, are subject to the same
criticism, but claim the same defense, the limits of
any two-color system.

However, we hope Mrs. Kalmus, and the other
experts, will not be too much influenced by the de-
mands for naturalness — there are many reasons.

I have no fanatical belief that everything in
nature is beautiful. Dame Nature is a lady of many
moods, otherwise she would not be so intriguing.
Art is dependent upon catching her in her most fas-
cinating moods. John Ruskin said something to the
effect that if the artist always painted Nature as he
saw her he would sell few of his pictures. And the
portrait painter and photographer will tell you that
if they rendered their patrons "true to life" they would
enjoy few commissions.

Artists have gone sketching, and wandered for
days without finding a fit subject for reproducing.
Returning, disconsolate, one may come upon one of
those rejected subjects and become startled into en-
thusiasm. The commonplace scene now appears
under different lighting and atmospheric conditions
and is transformed into an inspiring subject.

But even now, the artist feels impelled to alter the
drawing here and there, and modify certain tones;
generally idealizing an already attractive subject.

To be sure, nature is sometimes lavish in her
offerings and there are occasions when the artist
finds it difficult to find anything on his palette to
match the brilliance of the color scheme before him.
Here lies the fascination of still-life subjects, such as
flowers and fruit.

But I have never heard of anyone becoming tired
of looking at flowers, natures "gaudiest" color dis-
play.

This fickleness of nature seems to suggest that if
the producers of color pictures go out to nature and

shoot from morning till night, without the aid and
guidance of the artist, they will meet with many dis-
appointments. And any process that does not permit
of the artist's aid will not be a permanent success —
The true artist seldom "runs wild."

Technicolor (three-color)

When I first beheld one of the "Silly Symphonies"
I was thrilled — my emotions were almost childishly
respondent. I recognized the artist's influence; ex-
cept that instead of merely making an artistic choice
of one of nature's offerings, the subject was created
by the artist. My ideas of color were fully satisfied.
Furthermore, it seemed to prove that the system was
capable of properly reproducing a good color
scheme.

I experienced the same delight in viewing "Becky
Sharpe"; and I refuse to be influenced by the "pastel
patrons," or "true to nature" fanatics. I love pretty
costumes and appropriately designed backgrounds.
I like women dolled up and made up. I love color.

I recognized some technical difficulties such as
matching the closeups and long shots. But such er-
rors are found in the best black and white pictures.
This will be overcome when the technicians grad-
ually realize that every change of light and varia-
tion in exposures means as great a variety of color
values. This error in matching closeups and long
shots seems less noticeable on exteriors for the very
reason that the cameramen cannot haul in old Sol
twenty-five million miles, or so nearer, when making
the closeups.

It must be realized that there are many subjects
that, while not offering much in the way of color, are
beautiful when rendered in black and white: This is
because the features of that subject may be a strik-
ing light effect, a happy distribution of tones and
other elements not particularly represented in the dis-
tribution of color values. Therefore, if I must choose
between dingy reds, dusty greens, neutral grays,
faded blues and other indifferent tones (as too fre-
quently found in nature) and the black and white, I'll
take the latter.

But as there is no question but that the artistic
cameraman can come to nature's aid in the black
and white, we can likewise hope for success in color
photography by permitting the artist or color expert
to contribute his peculiar training.

Six

The INTERNATIONAL PHOTOGRAPHER

June, 1936

The Gasparcolor Process

(Reprinted from the Projectionists' Journal, London, England)

By Major Adrian B. Klein, M.B.E.

{Technical Adviser to Gaspacolor Ltd.)
From the Journal of the Association of Cine-Technicians, London, England

| HE experiments of the last twenty years have
at length resulted in more than one process
which can claim full-scale color reproduc-
tion and which fulfills the practical condi-
tions of price, processing and projection. One of
these processes is already familiar to all of us,
namely, the recently perfected three-color Techni-
color film. Very beautiful work has already been
shewn and a lot more is on the way.

The most recent color process to make its debut
is known as GASPARCOLOR. A great deal is likely
to be heard of Gasparcolor film in the immediate
future. It is therefore important to know what it is
like and how it is made.

To begin at the end — Gasparcolor film is a color
film giving accurate reproduction of all colors and
ready to go into any projector anywhere without any
addition to the projector; and without any departure
from standard black and white practice.

It is hardly necessary to state that in all color
photography one has to analyze the light coming
from the object to be photographed. In other words,
we have to obtain negatives which record limited
wave-length bands in the whole range of visible light
known as the spectrum.

For this purpose we can divide the spectrum into
two regions, or into three. Two records can only give
us a comparatively limited reproduction of the orig-
inal colors. But owing to the nature of color vision it
is possible to reproduce every color from the mixture
of the varying proportions of the three colors. These
three are the so-called primary colors — Red, Green,
Violet. It is essential, therefore, in order to reproduce
all colors as seen by the eye, that three photogra-
phic records should be obtained; the first being taken
through an appropriate red filter, the second through
a green filter, and the third through a blue filter (or
violet ,as it is generally called.) In a three-color cine-
matographic process it is necessary to take all three
pictures simultaneously. This can be accomplished
in several different ways. We can employ a special
camera, in which a prism system is used behind the
lens to divide the beam so that more than one iden-
tical image can be obtained on more than one gate.
It is usual on such cameras to have two gates, one at
right angles to the other. In one gate we expose a
single film and in the other we expose two films, one
behind the other (known as bi-pack). It is possible
with such an arrangement to get a record of the blue
light on the single film, of the green light from the
front film of the bi-pack, and of the green light on the
rear film of the bi-pack. When developed in the
usual way, we have thus obtained three geometric-
ally identical films, but each will represent a record
of the subject in terms of one of the primary colors.
Such a system is used by Technicolor and also by
Gasparcolor for the photography of negatives. Nat-
urally, if the subject is still, as in the case of cartoon
photography or trick work, it is possible to photo-
graph the pictures all on to one film. In this case it

is only necessary to alter the color filters successive-
ly and to take three frames of each shot; one through
red, one through green and one through blue. But
no matter how the three negatives are obtained —
what is important is how they are going to be printed
on the final positive film. Here it is that the proceses
differ from each other fundamentally.

Gasparcolor is the first color film positive mate-
rial upon which the three negatives may be directly
printed each in its own appropriate color. For the
first time, no dyes are used in the processing, no
staining, coloring or toning enters into the treatment
of the film. This sounds like a miracle, and in one
sense it certainly is a miracle. Yet the principle is
simple. Imagine three colored emulsions. That is,
emulsions which contain transparent dyes in suspen-
sion in the gelatine. These emulsions are coated on
the celluloid in layers in the following order. On one
side of the film we have the pink, and beneath the
pink layer a yellow layer. On the other side of the
film is coated a blue layer. Now these emulsions are
so sensitized that we can print them with colored
lights each in turn, independently of the other.

The layers are sensitized in the following man-
ner: The pink layer is sensitive to the blue light only,
but the yellow layer underneath is sensitive to red
light also. The blue layer is blue sensitive only.
By printing the three layers with colored lights it is
possible to print the film three times upon the three
layers independently of each other. The film which
is to print the pink layer is printed with blue light,
but as the yellow layer lying beneath will not admit
the blue rays, nothing from this negative is recorded
on any layer except the uppermost pink layer. Next,
the yellow layer is printed with red light, but as the
uppermost pink layer is not sensitive to red light
nothing is printed upon this layer, whereas the yel-
low layer lying underneath the pink layer is sensi-
tive to red light. It therefore records the red light.
Finally, the blue layer (which is blue sensitive) on
the other side of the film is printed with the third
film, using white or blue light. Obviously only blue
light can get through the blue coating and no blue
light can enter the yellow emulsion lying beneath.
Thus the three layers can be separately printed with-

ILJTER^

In WtfrlJ'UMe Use

prwit-ic^ rOccnlicjbr anA (NJi^nr
£tt*cIs in Daytime ~Fv7cj Scenes-
LYif fused. Fv7cus. and many ^mer effects
With any Uamera ~ In any Ulimal^
Gcorcjo H. ScReibe

ORIGINATOR OF EFFECT FILTERS

1927 WEST 78TH ST.

LOS ANGELES. CAL.

June, 1936

The INTERNATIONAL PHOTOGRAPHER

Seven

out the slightest danger of printing more than one
layer at a time.

The three printings can be done on a single print-
ing machine as fast as normal black and white.

The subsequent development of the film differs
in minor respects from black and white, but normal
processing machinery is employed.

The claims of the Gasparcolor process are:

(1) It is three color film and therefore gives per-
fect reproduction of the whole range of color.

(2) It is photographically produced print and
does not rely upon dyes, color toning or chemical
treatment for the color.

(3) It is accurately resproduceable by standard
normal photographic practice and almost standard
processing equipment, whereas other color processes
require specially equipped processing laboratories.

(4) It is as transparent as black and white film
and requires no more than the usual illumination for
projection. It is virtually a grainless pure color
image.

(5) No addition of any kind is required to the
projector. It can be exhibited anywhere at any time
in any projector.

(6) It does not show scratches more than black
and white film.

(7) Sound track is black on a transparent red
background giving normal results.

Gasparcolor film is double coated and projection-

ists very generally have been of the opinion that it
is difficult to focus double coated color films. This
opinion is based on an accurate observation, but
the cause of the difficulty does not lie in the fact
of the film being double coated. First of all, previous
processes have not had sharp pictures to focus. That
the double coated film cannot be the cause is shown
by the fact that the distance apart of the blue image
and the red-yellow image is, at the most, four and
a half thousandths of an inch. Now, assuming a
projection distance of 100 feet and a four-inch lens
focus, the distance apart of the sharp projected pic-
tures could not be more than one and a half inches.
Therefore, it is absurd to blame the double coating
of the film.

The sound track of Gasparcolor, having a red
background, it may be found advisable to increase
the volume by one or two steps. Naturally it is
impracticable to use non-red-sensitive photo-electric
cells.

The question of the color characteristics of the
illuminant in relation to the projection of a color film
involves too many factors to be discussed in this
brief description; but this aspect is really very im-
portant and it will have to be taken into considera-
tion by both the producer and exhibitor of color films.
A large difference in the color temperature of the
light source can cause a tremendous difference in
the appearance of the colors upon the screen.

POIRIERCOLOR

BY MAURICE POIRIER,

INVENTOR

Color plates of this process are made from one
image in four parts. One part is black and white
and is a complete image in every detail. The other
three parts are each a part of the black and white
image, but in color value they differ and each takes
on one of the primary colors — practically eliminating
the rest of the image.

Negatives exposed into four images of whatever
subject chosen, either still or moving objects. One
image is black and white without color value, and
a good sharp negative, but the other three are in
some respects incomplete; that is to say, for illus-
tration, the negative which is meant to register the
red component will register the whole image, but
only the red part of the subject will be sharp; the
rest of the image or subject, which consists of black
and white and other colors, will be registered with
less degree of sharpness. To continue explanation,
the parts meant to register the blue and yellow com-
ponents are showing the same results as that of the

red; the blue part of the subject is sharp and the rest
of the image is dull. The yellow is the same as the
red and the blue.

Now in making positives on zinc or on to other
materials for the purpose of printing color, or in mak-
ing positives on films for projecting in color, we find
this process somewhat different from most of the
color processes. When positives are made from col-
ored negatives, on zinc, or on film, the part of the
image that is not sharp disappears almost entirely,
eliminating all hand etchings.

Our camera used for color photography is not
complicated. Of course, it must have extremely fast
lenses, but does not require any reflectors of any
kind, nor is the lens covered with any colored filters
at any time. There is nothing in the path of light to
interrupt its speed toward film to be exposed. White
light only strikes films giving even exposures of the
four images, or in reality one image in four parts,
black and white, the red, the yellow and the blue.
It may be difficult to understand how this is done
because there are things that cannot be written and,
if I were to enter the subject, it would require too
much space saying nothing of what has been said
about color photography by others. However,
I am glad to send my contribution and hope it will
be of interest to readers.

My associates in this business are Joseph C.
Lamb, 1057 No. Tujunga Ave., Burbank, California
and Dr. Reuben Higgins, 1442 No. Keystone St., Bur-
bank, California. All information regarding this may
be had by communicating with Dr. Reuben Higgins.

Eight

The INTERNATIONAL PHOTOGRAPHER

June, 1936

Notes On The History Of Color In
Motion Pictures

By Earl Theisen

{Associate Editor

International

Photographer)

*7|[NCE the box-office is becoming color-minded
' and Hollywood is willing to pay for color,
% it is fitting that we pause a moment to look
back on some of the pioneering attempts to
achieve color films and to bring them to their present
perfection.

Throughout the course of motion picture history
the desire of its pioneers has been to broaden the
scope of the camera by adding to it the ability to
record color and to catch the everchanging flow and
tapestry of nature's coloration, thus improving the
screen with a truer and more dramatic picture.

Edison wanted to color his films. As early as
1894 he hand-colored some of his forty-foot films for
the Peep-show.

In the Los Angeles museum I have a specimen
of hand-colored film made by E. H. Amet in 1898.
It is a picture of the flag and was made as a propa-
ganda film during the Spanish-American War. Be-
cause it is the earliest colored film which I could
locate for the Society of Motion Picture Engineers'
Historical Collection, this fragment of film is bound
between glass for preservation. Many hand-colored
films made by Pathe, Gaumont and others, before
1910, are on display in the motion picture gallery.

* * *

A program of Madison Square Garden, dated
December 11, 1909, announces the first showing of
Kinemacolor in the United States. This rare piece
of memorabilia was located in Hawaii by Dr. William
A. Bryan and through the enterprise of Charles Ur-
ban, Kinemacolor, was brought to this country and
may be seen by visitors to the museum.

* * *

Wally Clendenin, the walking movie encyclopedia
recalls that the first Los Angeles showing of Kine-
macolor was the roadshow of the Durbar picture ex-
hibited at the Trinity Auditorium, in 1910. Later it
was shown in regular movie house in Venice.

* * *

Tally's theater, in Los Angeles, became known for
a time as the "Kinemacolor," running nothing but
color subjects. After Tally discontinued the color
films, "Clune's Broadway" exhibited Kinemacolor

for awhile.

* * *

Kinemacolor established a Hollywood studio in
1912 taking over the "Harry Revier lot" which was
located at the junction of Sunset and Hollywood
Boulevards. Later it had a studio at the "Fine Arts
lot," having as director E. J. LeSaint. The leading
ladies were Mabel Van Buren, Linda Arvidson (Then

Mrs. D. W. Griffith), Stella Rogers (Mrs. LeSaint), and
others. Murdock MacQuarrie was character man.

The interior sets were shot in the sunlight without
diffusers in order to get enough light for the slow
lenses and raw-stock of that period.

* * *

The projection speed of Kinemacolor was 32
frames a second, using beater movements which
almost shook the theaters down. The flicker of the
alternating colors and color fringe of this additive
process was disliked by many persons.

The American Kinemacolor went out of business
about the time of the war.

The first commercially successful process in
which the color was applied directly to the film (sub-
tractive process) was the Prizma perfected by Will-
iam VD. Kelley. Using this process J. Stuart Blackton
made a five reel dramatic feature in England en-
titled "The Glorious Adventure," released on April
30, 1922. In the cast among others were Lady Diana
Manners and Victor McLaglen.

* * *

Before this Kelley, who is recognized by color ex-
perts as the foremost pioneer in color motion pic-
tures, established a laboratory at 1586 E. Seventeenth
Street, Brooklyn, New York, in 1913-14 and with the
aid of J. A. Wohl, Max Mayer, Charles Raleigh and
George P. Kelley (later Julius Lichtenstein replaced
Wohl and Mayer) formed a company and experi-
mented on a process known as "Panchromotion," an
additive color, which was incorporated as "Prizma"

in 1916.

* * *

Kelly's first experiments were with a four color
additive system which was first publicly demon-
strated at the Metropolitan Museum in New York in
1917. According to records compiled by Kelley for
me, another showing was given at the Smithsonian
Institution, on April 16, 1917, after which public
showings were given at the Strand Theater in New
York. At this same time experimental demonstrations
were given after the regular shows of a subtractive
process in which the color wheel which until this
time had been used was eliminated. The additive
color filters were dyed on the film.

The first feature length showing of Prizma color,
in which the color filters were applied directly to the
film, in which alternate frames were colored for ad-
ditive projection, was a seven reel film entitled "Our
Navy," released on June 23, 1918 for a two weeks
show at the 44th Street Theatre, New York.

About this time Kelley began experimentation
with the first subtractive motion picture process. In
order to carry out his researches, he entered into a
partnership with Carroll H. Dunning and Wilson
Saulsbury, and a laboratory was opened at 205 West
40th Street, New York City, under the name of "Kes-
dacolor." The first film was a fifty foot subject of the

June, 1936

The INTERNATIONAL PHOTOGRAPHER

Nun

American flag. It was shown simultaneously at the
Roxy and Rialto Theatres, on September 12, 1918.
The film cost the theatre a dollar a foot.

A trial showing of a full length subject, "White

Horse Rapids" was shown in December, 1918.

* * *

The only medal ever issued by the Society of
Motion Picture Engineers was presented to Kelley on
October 13, 1919 "for achievement in color motion

pictures."

* * *

A few of Kelley's achievements and activities
were: Sixty-one patents on color; experimentation
which led to the development of bi-pack began in
1929; developed an imbibition process known as
"Kelley-color" in 1924 and formed Kelley Color Com-
pany with Max Handscheigl in 1926, which sold to
Harris Color in 1928; developed a stereoscopic nov-
elty in 1923; a colored animated cartoon series in
collaboration with Pinto Colvig in 1919; and so forth.
"Bill" Kelley died September 30, 1934.

* * *

While Kinemacolor was a two color additive pro-
cess, Leon Gaumont introduced a three-color process
called the "trichrome" with a public demonstration
at the Gaumont Palace, in 1912. This exhibition was
the result of several years' work and was consid-
ered an innovation because of the three color repro-
duction.

* * *

In 1917 Leon Douglas, of Berkeley, California,
made some tests on an additive color process at the
Lasky Studio. He photographed at 24 frames. A
demonstration reel was shown at Tally's Kinema and
a feature length picture of five reels entitled "Cupid's

Angling," featuring Ruth Roland was made.

* * *

The Eastman laboratories began work on "Koda-
chrome" in 1914. In this process a two coated nega-
tive with a red sensitive emulsion on one side and a
green sensitive emulsion on the opposite side were
exposed and then the negative was reversed and
dye toned. The dye application was made by wind-
ing the film over a rubber coated drum which was
then inflated to prevent the dye solution from carry-
ing over to the opposite side. Both sides were so

treated.

* * *

Eastman introduced the 16mm Kodachrome of
the Mannes and Godowsky process about August,
1934. The 16mm Kodacolor process, an adaptation
of the Keller-Dorian line screen system, was intro-
duced by Eastman in 1928.

The Keller-Dorian process was patented in 1908-

09 and introduced in 1925, although Paramount had
been experimenting with this process for some time
in the East, during March, 1935, Dr. N. M. LaPorte
and Farciot Edouart began researches at the Holly-
wood Paramount Studio.

In this process the color is photographed by a
banded tri-color filter associated with the camera
lens and the film support in embossed with lines. A
similar filter arrangement is used in projection.

* * *

Multicolor, a two color subtractive color process
utilizing bipack for negative making was introduced
in 1929. A somewhat similar system was introduced
as Magnacolor by Consolidated Film Industries a
year later. Harris-color, a single emulsion system
was introduced in 1929. Morgana Color, a 16mm
process, was introduced by Bell and Howell in 1932.
Photocolor using a double coated film and dye im-
ages was introduced in 1930 and Sennetcolor, a some-
what similar process, was introduced a year later.
Vitacolor, a process similar to kinemacolor was in-
troduced in 1930.

Raycol, an English system using quarter size
frames was introduced in 1930. Sirius, among other
processes, was introduced in Germany in 1929. The
negatives were made by a beam splitter.

Carroll and Dodge Dunning made a commercial
subject for Del Monte in 16mm in which the two
color subtractive film also had sound on the same
film. Six prints were supplied the California Pack-
ing Corporation during the winter of 1933-34. Adding
sound to color on 16mm film was considered an in-
novation at this time.

* * *

Technicolor, which has developed the present
three color system and which is responsible more
than any other company or individual for the popular
acceptance of color, was organized in 1915 in Bos-
ton. A group of trained men consisting of D. F. Corn-
stock, H. T. Kalmus, and W. B. Wescott began work
on a subtractive system in 1914. Three years later
in the winter of 1916-17, they demonstrated and pub-
licly showed a additive picture entitled, "The Gulf
Between." This picture while not a great success,
gave the company much added impetus. Shortly
thereafter they undertook to perfect a subtractive
two-color system from which was developed the color
process used in 'Toll of The Sea," released Decem-
ber 3, 1922. Several outstanding pictures were sub-
sequently made in this color including "Black Pirate,"
"Wanderer of the Wasteland" and millions of feet
of musicals and other films prior to the obsequies of
two color processes in 1930.
* * *

The first sound and color flim, according to J. A.
Ball head of the technical research for Technicolor,
was deMille's "King of Kings."

Experimentation on the three color imbibition pro-
cess now in use began in 1925 with J. A. Ball in
charge of developments. The first showing of this
color in a real-life picture was a short sequence in
the M.G.M. film, "Cat and The Fiddle." The first
complete color subject was the single reel film, "La
Cucaracha," released on November 15, 1934, at the
R.K.O.-Hillstreet Theater, Los Angeles, and the first
complete feature length film was "Becky Sharpe."

J. A. Ball may be largely credited with technical
perfection of the three color process.
(Turn to Page 24)

Ten

The INTERNATIONAL PHOTOGRAPHER

June, 1936

A New Type of Background Projector

The Photo is that of George J. Teague and his
dachshund, Mata Hari, on set at General Service
Studio during production of Walter Wanger's, "The
Case Against Mrs. Ames," photographed by Lucien
Andriot. Background is of San Francisco Bay, the
locale of the story being in that city.

Mr. Teague is again installing background pro-
cess equipment in England and in the new film
"Hollywood" of U. S. S. R. While abroad he intends
to have the Carl Zeiss Laboratory construct special
optical equipment to be embodied in a radically
new type of background projector, which will be
placed in production upon his return to Hollywood.

The New Max Factor Technicolor Make-Up

By Nancy Smith

[ROM the cameraman's viewpoint the new
Technicolor make-up recently perfected by
l Max Factor is one of the most important de-
velopments of the year.

Successfully demonstrated in such productions as
"Trail of the Lonesome Pine," "Dancing Pirate," and
"The Garden of Allah," the unique preparation is
the result of years of experimentation on the part of
Max Factor, in cooperation with the Technicolor Cor-
poration.

Over 20,000 feet of film were used in extensive
tests with every type of beauty known to pictures
before the make-up was pronounced ready for use.

Then, in sample form, it was offered to such art-
ists as Katharine Hepburn, Ginger Rogers, Henry
Fonda, Fred MacMurray and William Powell, all of
whom were most pleased with the appearance and
feeling of the new preparation.

Because it is more light-reflecting than the found-
ation make-up now in general use, the Technicolor
preparation requires four times less light and will
save the studios hundreds of dollars in electricity
bills. The comfort to the stars resulting from the less-
ened light and heat is another major benefit of the
new make-up.

Although perfected for use in color pictures, it is
just as successful in black and white photography.
Tests were made with Dupont, Agfa, and Eastman
film, and it registered perfectly with all.

In consistency, it differs from all other make-ups
in being vastly thinner than grease-paint. Conse-
quently it makes for greater naturalness in photogra-
phy, and removes the possibility of a pasty, made-
up appearance.

Foreign countries, following Hollywood in a rush
for color pictures, have swamped the Factor plant
with orders for the Technicolor make-up. Alexander
Korda cabled to Hollywood for 8,000 items — the
largest make-up order ever shipped abroad. Repre-
sentatives of the Korda production unit, visiting in
Hollywood, spent two days at the Factor plant watch-
ing tests of the preparation before ordering it for
"Lawrence of Arabia," now being filmed in Techni-
color.

A Japanese picture actress, Miss Sachiko Chiba,
visited Mr. Factor's laboratories with her personal
cameraman, Harry Mimura. Under an interesting
arrangement current in Japan, Mimura doubles as
Miss Chiba's make-up artist — and they wished to
study both black-and-white and Technicolor make-
ups under the tutelage of the Hollywood veteran.

"All Japan want color pictures," said Mimura.
"We are spending millions of yen in research and
experiment, and hope to have color fully developed
in a short time."

Both Mimura and Miss Chiba were surprised and
delighted with the much more realistic effects it is
possible to obtain with the new make-up — in both
black-and-white, and Technicolor photography.

June, 1936

T h

INTERNATIONAL PHOTOGRAPHER

Eleven

A New Lumiere Filmcolor

By Walter M. P. Batts

R. J. Fitzsimons Corporation , 75 Fifth Avenue, New York City

NEW Lumiere Filmcolor has just been
placed on the American market. This pro-
duct is five times faster than the Filmcolor
previously manufactured and will permit
snapshots of 12 times that which would be given
for a Weston plate speed of 8, or 12 times the ex-
posure for a plate of 17 Scheiner. The same filters
are used that have been recommended in the past,
and the same developing technique is employed.

The emulsion which is used on the Lumiere Film-
color (which is a flat film only) is the same emulsion
that was used on the old Autochrome plate, with the
exception of its increased speed. This emulsion is
entirely free from all mechanical and technical de-
fects, and will give brilliant results. The starch grains
of which the starch grain screen is composed, are
so minute they cannot be seen with the naked eye.
The Filmcolor process of direct color photography
is very simple, and a finished color picture, exactly
true to the original subject, can be obtained in about
15 minutes, after exposure. Special filters are neces-
sary for the various types of illumination. There is
a Daylight filter for daylight use, a Perchlora filter
for white nitrogen bulbs, and a filter known as the
Juniphot for photo flood lamps. Any plate camera
may be used for this work, and the films will fit into
any of the standard cut film sheaths.

For any open landscape in bright sunlight we
suggest an exposure of about 1/1 5th of a second at
F4.5. For an open garden scene, bright sunlight,
about 1/5 of a second at F4.5 would give an accurate
exposure, or the equivalent of this if smaller stops
are used. After exposure the film is developed in
the following developer, diluted one to four, using a
factor of 10, that is, developing for ten times the num-

Fully Guaranteed

USED 35 MM.
EQUIPMENT

•• •

Mitchell, Bell & Howell, Akeley, DeBrie,
Universal, Pathe Cameras.

Portable Sound Recording Outfits.

B & H Eyemo, 400 ft. Magazine, Motor
driven.

Holmes Projectors, Sound and Silent.

DeVry Suit Case Model Projectors.

We buy, sell and rent anything Photo-
graphic.

•• •

CAMERA SUPPLY CO. LTD.

1515 No. Cahuenga Blvd.

Cable Address:

Hollywood, Calif.
CAMERAS.

ber of seconds it takes for the image to appear. An
accurately exposed Filmcolor should be developed
fully in from 2lA to 3 minutes.

First Development

Distilled Water lOOOcc or 35 ozs.

Metoquinone 15 grams or V2 oz.

Soda Sulphite Anyd... 100 grams or 3V2 oz.

Ammonia (22° Baume) 32cc or 9 drams

Pot. Bromide 16 grams or 240 grains

The darkroom lamp should be equipped with the
special Virida papers for this work, and used with a
10 watt bulb. After the film is developed, it is rinsed
thoroughly, and put into the following reversing bath:

Reversing Solution

Water lOOOcc or 35 ozs.

Pot. Bichromate 2 grams or 30 grains

Sulphuric Acid (C.P.) lOcc or 3 drams

After the film is immersed in the above solution,
a white light may be turned on in the darkroom,
and all subsequent operations may be carried on in
this light. After the film is sufficiently reversed,
which generally takes about 2 minutes, it is rinsed,
and re-developed in the first developer, until it is all
blackened over. The film is then washed for several
minutes in running water, and hung up to dry.

The finished film may be mounted between cover
glasses for protection, or carried in transparent en-
velopes. It may be viewed as a transparency in
special shadow boxes called Diascopes, or may be
used as lantern slides for projection, as they project
very satisfactorily.

It is very simple now, with the aid of a special
reproduction filter, to make reproductions of any of
your film color pictures, by contact printing, on to
another Filmcolor.

Filmcolor is used professionally in many branches
of science, by hospitals and surgeons, for recording
stained glass windows, and museum pieces. It is
also widely used by florists and nurseries for pho-
tographing flowers and gardens, and for all other
purposes where absolute accurate color rendition is
essential.

Filmcolor is supplied in all standard sizes, and
can also be supplied in centimeter sizes for foreign
cameras, and in the 45x1 07mm and 6x1 3cm sizes for
stereoscopic cameras. A special booklet describing
this process more fully will be forwarded upon re-
quest.

Walter M. P. Batts, R. J. Fitzsimons Corporation,
75 Fifth Avenue, New York City.

COLOR IN FRANCE

"La Cinematographie Francaise," the fortnightly
paper published at Paris, France, announces PARIS
COLOR FILMS very soon to be shown in Rene Baz-
in's big picture, "La Terre Qui Meurt." So does the
flood of color roll on and on.

Twelve

T h

INTERNATIONAL PHOTOGRAPHER

June, 1936

Dufaycolor by the Negative-Positive Method
For 35mm. Professional Use

By Walter H. Carson

T is the natural sequence that in the develop-
ment of any art or industry the new sup-
„ plants the old in the never-ending attempt
to reach the ideal of which any medium is
capable.

The legitimate stage producers looked with dis-
dain upon the feeble efforts of the earlier motion pic-
ture producers, little knowing that the crude flicker-
ing shadows on the screen of the old time nickel-
odeon were but the first indications of the develop-
ment of an industry that would some day far sur-
pass the legitimate stage as a means of dramatic
entertainment to say nothing of the place that it
would take in industrial, educational, and travel pic-
tures.

For a number of years the legitimate stage was
able to maintain its position in the amusement field
because it had one factor, which up to that time the
motion picture could not supply, namely: Sound.
From the time of the introduction of sound even in
its crudest state it was inevitable that the trend of
theatrical productions would have to be changed to
meet the ever growing popularity and mass appeal
of the talking motion picture.

One of the efforts that has been made by the
legitimate stage to stem this tide of ever growing
popularity is the introduction on the stage of a page-
antry of depth and color which the film had not yet
attained, but the march of progress is not to be de-
nied and if the entertainment value of the "make-
believe" as interpreted by the motion picture can
now attain a comparable step by bringing to the
screen color and depth, which to a great degree are
synonymous, the ascendancy is bound to remain
with the motion picture and sadly as we may view
the passing of the legitimate stage it seems inevitable
that it cannot withstand the inroads of this latest in-
novation.

It is not the intention of this article to decry the
value of hte dramatic efforts of our greatest actors
and actresses whose talents have been confined to
emotional portrayal behind the footlights. Unfor-
tunately, it is the dollar return as represented by the
sale of seats and box office returns as compared to
the dollar spent on the production itself that must in
the last analysis be the determining factor.

Photography, even in the black and white field,
is at best a difficult medium with which to work be-
cause it is dependent upon the delicate balances of
certain chemical equations and constant variations
of light. When to this you add the many mechanical
complications which the introduction of sound has
made necessary to say nothing of the tremendous
expense which has been involved in both studio and
theatre to accommodate that development, it is not
unnatural that the producer is reluctant to accept any
new factor which will without question still further
complicate production difficulties and again add to
the expense. The first question is, assuming that a
satisfactory color is available, how much will it add
to the production costs and will the added expense
be warranted by increased returns in the box office?
We do not believe that this question can yet be an-
swered because of the dearth of satisfactory color

subjects utilizing narrative and dramatic medium of
comparable quality.

It is unfortunate that in most cases the use of
color on large productions has led to an accentua-
tion of the color itself at the expense of the narrative
value of the subject used. In other words, the use
of color has been an end to demonstrate what color
would do rather than a means to enhance the pro-
duction itself. Until this technique has been devel-
oped so that the use of color will serve its intended
purpose we do not believe that we can fairly judge
its comparable value as a factor in a successful pro-
duction or prove its indispensible value as a box
office factor.

One of the reasons why color has not been util-
ized more extensively up to the present time is the
fact that it involved the use of special cameras and
an excessive amount of light for illuminating the set
and very highly specialized laboratory equipment
to produce duplicate prints. DUFAYCOLOR film is
the first photographic medium with which it has been
possible to produce a color result on the screen with
existing camera equipment, only a slight increase in
set illumination, standard laboratory equipment, and
no modification of projection equipment or screen
illumination.

This result has been achieved by the develop-
ment of a film based on the additive principle where-
in the film itself bears a tri-color screen of microscopic
finesness in the three primal colors: red, blue, and
green, which when loaded into the ordinary camera
may be used the same as black and white negative
of standard or panchromatic type and with a slight
increase of exposure either in shutter speed or aper-
ture secure a negative film in complementary colors
which may be developed by ordinary development
and fixation such as is now being done in standard
developing machines. From this negative any de-
sired number of positive prints can be made in either
a projection or contact printer onto DUFAYCOLOR
positive stock which differs from the negative ma-
terial only in the fact that the screen pattern is ap-
plied to the base at a different angle and the emul-
sion so sensitized as to eliminate what is known as
the over-laps in the transmission of the three original
dyes used in the screen of the taking or negative
stock.

By the use of a three color additive system ap-
plied to the film itself in a pattern of sufficient refine-
ment so that it is not obviously visible on the screen
when the film is projected to the size required for
theatre use it is possible to meet all of the theoretical
problems which have made the use of color imprac-
tical in other processes. When to this feature is added
a fidelity of reproduction of the entire spectrum in
colors which are not garishly objectionable so that
the color detracts rather than enhances, we feel sure
that the value of color so used will justify the mod-
erate increase in cost and become such an integral
and necessary part of every screen production that
without it the box office value will be minimized to
the point where no producer will seriously contem-
plate a major production of any sort without the use
of this new medium.

June, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirteen

The Keller-Dorian Three-Color Process

By William E. Celestin

President, Keller-Dorian Color film Co.

|OR the past year, representatives of Para-
$ mount Productions, the Eastman Kodak Com-
pany, and the Keller-Dorian Colorfilm Com-
pany, have been quietly at work in Holly-
wood, completing the final practical tests of a new
and amazingly simple three-color process of natural-
color cinematography. Working at the Paramount
Studio, under actual studio conditions, the process
has demonstrated its complete applicability to mod-
ern production requirements, and established a new
standard of fidelity, simplicity and economy in color
filming.

Although new to studio use, the Keller-Dorian
process is by no means a mushroom growth. It
was invented in France more than a decade and a
half ago, and for the past seven years, a somewhat
crude version of the process has been in general
use in the 16mm. field under the trade-name "Koda-
color" ("Agfacolor" in Europe). Millions of feet of
successful 16mm. color have been made in this pro-
cess by unskilled home-movie makers. Thus the
task of the Paramount and Eastman experts has
been one of refining and adapting a commercially
successful process to the requirements of present-
day studio production. Under the joint guidance of
Dr. John G. Capstaff, Chief of Eastman's Research
Division, Dr. N. M. LaPorte, and Farciot Edouart (the
latter Paramount's representative on the Scientific
Committee of the Academy Research Council), this
work has reached fruition in a three-color Additive
process which permits the use of any standard
black-and-white camera with minor optical modifi-
cations and using but a single film. The processing
is familiar black-and-white technique, and can be
carried out in any plant; no centralized "color lab-
oratory" is required. Experts have pronounced the
screened results more true-to-life than anything yet
seen; and the cost-sheets prove the process the most
economical three-color system yet introduced.

In any three-color process, it is necessary to
secure three color-separation images, one of which
records the red components of the scene, another
the blue, and the third the green. In some processes,
these separations are obtained by using three sep-

arate films; in others, the thre images, either as three
normal-size frames or three frames of i educed di-
mensions, have been made on one film through in-
tricate beam-splitters and prisms. In the Keller-
Dorian process, a unique, yet essentially simple op-
tical system combines these three separations in a
frame which is to all appearances a perfectly normal
single image. The celluloid base of the film is em-
bossed to form a myriad of tiny cylindrical lenses
which extend from one side of the frame to the
other. A special filter consisting of parallel hori-
zontal strips of red, blue and green is placed on the
camera lens. Each of the tiny embossed lens-strips
on the film forms a microscopic image of this filter
on the emulsion; therefore each frame consist of an
infinite number of parallel, microscopic strips, each
of which is photographed through one of the pri-
mary-color filter areas of the lens. The same prin-
ciple is used in projection, with a suitable three-color
filter applied to the projector's lens. Thus in photo-
graphing a red object, for example, the red rays
could pass only through that part of the lens gov-
erned by the red section of the filter, and would be
arrested by the blue and green sectors. This condi-
tion would be passed on to the emulsion through
the lenticulations on the film-base; the red-filtered
strips only would receive exposure. In the devel-
oped negative, only these red strips would be dense;
the adjacent blue and green filtered strips would be
clear. In the print, these latter two strips would be
opaque, while the red-filtered strip would be clear.
When projecting, the light from the lamp would pass
only through the clear, red-filtered section; and the
embossed lens on the film would guide it to the red-
filter section of the projecting-lens, reproducing the
image of that part of the picture with red light. The
coloring is thus produced and reproduced solely by
the familiar factors of filtering and black-and-white
density. Since these are so well understood from
years of monochrome experience, there is no factor
which can cause color-variation in the release-prints.

Any standard camera suitable for serious black-
and-white cinematography can be used as a Keller-
(Turn to Page 28)

ArtReeves

ArtReeves film tested equipment

Variable Area Recorders
Light Test Machines,
Bloop Punches,
Soundolas,

Amplifiers,
Microphones,
Cables,
Glow Lamps,

Developing Machines
Galvanometers,
Interlock Motors,
Reeves Lights & Stands.

Dependable Equipment At Prices Within Reason.

]-(oiry$vood

Motion pioTuRE/^ujiPMEriTQ. |Td.

64-5 NORTH MARTEL AVE-

CABLE ADDRESS ARTREEVES

HOLLYWOOD, CALIFORNIA. US A

Fourteen

The INTERNATIONAL PHOTOGRAPHER

June, 1936

Sunlight Under The Sea

By Paul R. Harmer

PAPER NO. III.

1. Film Magazines.

2. Ball Socket.

3. 5-inch Pipe, 12 ft. long.

4. Negative.

5. 32 mm. Lens.

6. 5-inch Glass Port.

7. Prism. )

8. Viewing
Class.

Periscope Finder.

9. Handle for Tilting Camera.
10. 14-foot Boat.

The film movement is removable
from tube for reloading film. The
tube can be turned or tilted until
lens is within a few inches of the
surface of the water.

RECENTLY I had the pleasure of chatting with
our good friend, Earnest Crockett, one of
Hollywood's finest motion picture camera-
men. He is well known around the studios
and has many pals among the celebrities and tech-
nicians. He is the cameraman who helped develop
the Mack Sennett periscope camera which made
under water moving pictures a real thrill for the mo-
tion picture audiences. For nine consecutive years
Mr. Crockett made a trip each summer with Mr. Sen-
nett, getting choice under water shots of fish, seals,
sharks and other interesting sea life which were used
in the Sennett Productions.

A diagram of the principle of the camera, which
was patented by Mack Sennett Company, is shown.
The only model now in Hollywood is owned by

Metro-Goldwyn-Mayer Studios. It was this camera
that Mr. Crockett used when taking the picture of a
swordfish taking the bait and hook. He describes it
as follows: "The fish swam up to the bait, flipped it
with his bill, then mincingly took it and immediately
let go. He swam up to the bait again and taking it
again, started to swallow it. That's where Mr. Sen-
nett's fisherman interest made him pull in on the
line — and the swordfish was hooked. Another cam-
era mounted on the stern of the trolling boat caught
a good picture of the swordfish leaping and spinning
through the air for nearly a hundred yards."

Another unusual bit of photography recorded by
this camera was the playball antics of the giant wray
fish. These huge creatures, twenty feet across the
back, group together, then spin around in the water
and leap out, then splash back with tremendous
force.

When divers go down in shark or barracuda in-
fested waters, wire mesh nets are used. These huge
nets are as large as 100 feet in diameter. Some are
open at the top, while others are enclosed.

Skin divers, with the aid of weights, are able to go
down to thirty-five feet, which for most undersea pic-
tures is deep enough.

In order to give the reader an idea of the inten-
sity of sunlight under the sea, the stop required in
Fourth of July Bay and Isthmus Cone, Santa Catalina
Island, was F: 5.6. In the sea near the Perlas Is-
lands, Panama and in the Carribean, the stop was
F:8, one fiftieth of a second exposure, no filters. This
exposure gave good density on the negative in water
depths down to thirty-five and forty feet. The shots
were made from 10 A. M. to 3 P. M., using flat light
(sun to the back of photographer).

The clearest waters encountered were Santa Cata-
lina Island, Tahiti and San Bias Islands, in the Car-
ibbean.

Billy Williams and Earl Stafford operated this
camera on various other expeditions.

June, 1936

T 1 1

INTERNATIONAL PHOTOGRAPHER

Fifteen

Lighting Equipment For
Natural-Color Photography

UR usual conception of light is keyed to sun-
light, which is a blend of all the color-fre-
^y^^A quencies from one end of the spectrum to
^-=*^* the other. So perfect is this blend that we

are not conscious of color at all: It is pure, white light.

Lighting for natural-color cinematography must
reproduce this condition, for since the picture is in
color, any unnatural coloration in the lighting will
be photographed, and will tend to give the picture
an unnatural appearance on the screen. In addi-
tion to meeting the usual standards of intensity and
light-distribution, lamps for color photography must
also produce light whose color is as nearly as pos-
sible identical with that of mid-day sunlight.

There are at present two light-sources whose rays
approximate natural sunlight. The first of these is
the carbon arc. As can be seen from Figure 1, the
spectral energy distribution of a modern studio arc
lamp is almost identical with natural sunlight ex-
cept for an excess of the invisible ultra-violet, which
can, however, be filtered out by means of a sheet of
plain lead-glass, which does not in the least affect
the lamp's visible light.

The second source is the high-temperature tung-
sten-filament globe. This is a relatively recent de-
velopment of the familiar Mazda incandescent-fila-
ment globe. By burning the globe at a voltage
somewhat higher than that which would produce a
normal light, it is possible to increase the filament-
temperature so that the light is much whiter than
would ordinarily be the case. The "Photoflood"
and "Movieflood" globes are of this type. Designed
to operate at filament temperatures higher than nor-
mal, they give a strongly white light when operated
at the higher voltages generally used in studio
practice.

Of these two sources, the arc is at present the
most generally used for lighting natural-color pro-
ductions. It is inherently very well suited to the
requirements of today's color processes. It is ex-
tremely efficient in producing the high levels of il-
lumination needed, and it will operate satisfactorily
on a variety of voltages. The high-temperature tung-
sten filament globes, on the other hand, are (in the
higher wattages) still more or less in the develop-
ment stage. We know in theory what these lamps
will do, and how they should work on color-film pro-
duction, and the research experts of several organi-
zations are busy reducing this theory to a matter of
commercial practice. It may be said, however, that
the use of these globes offers unquestionable possi-
bilities for the future.

The equipment in use on color sets today is pre-
dominantly of the arc type. Some of the units are
of familiar types, having been in use since pre-
Vitaphone days; other types are of recent introduc-
tion, having been developed expressly for the needs
of modern color photography. For the purposes of
this review, these units will be considered chrono-
logically, rather than categorically.

The basic spotlighting units are the 24-inch and
36-inch Sun Arcs. Both of these are types that were

By Peter Mole

Mole-Richardson , Inc.

in general use before the coming of sound. Except
for such necessary modernization as the use of fibre
gears in the carbon-feeding mechanisms, and the
application of choke coils or other electrical silenc-
ing devices, these lamps have required no modi-
fication. The Sun Arcs are high-intensity rotary-
carbon spotlights, using a parabolic mirror to collect
the light and project it as a beam. The parabolic
mirror is one of the most efficient light-collectors
known, and the beams from these lamps are of very
high power. The parabolic mirror is not, however,
so efficient in its distribution of the light when the
beam is flooded, and the fact that part of the carbon-
feeding mechanism must necessarily be placed in
front of the mirror adds to this central shadow when
the beam is flooded. More modern units, with bet-
ter beam-distribution, have been introduced within
the past year, and will ultimately supplant the Sun
Arcs; but as nearly every studio has quite a number
of these older units, they are extensively used on
color productions.

Some of the old-type 100 Ampere rotary-carbon
condensing-lens spotlights are also in use. Most of
the units of this type proved unsuitable for modern
use, as their carbon-feeding mechanisms did not
rotate the positive carbon with sufficient speed to
maintain a symmetrical crater, resulting in an un-
steady light. Some of the later lamps of this type,
however, have been found to have a rotation speed
rapid enough to support a symmetrical crater, giving
a light satisfactory for use with modern color pro-
cesses.

The basic general lighting units are the twin-arc
floor and overhead floodlighting units. The older
units of this type proved entirely unsuitable for mod-
ern use, as they were noisy, unsteady, and not suf-
ficiently powerful. They have been completely sup-
erseded by new equipment. The modern floor unit
is the MR Type 29, familiarly called the "Side Arc."
It is a 40 Ampere, twin-arc floodlight. A separate
mechanism is used to feed each of the two arcs, thus
ensuring greater uniformity of the light-flux, and
mechanically silent operation. The reflecting system
gives an exceptionally uniform distribution of the
light over an angle of 60 degrees. The light pro-
duced is constant both as to quantity and as to col-
or, and exceeds the output of the obsolete "Broad-

Sixteen

T h

INTERNATIONAL PHOTOGRAPHER

June, 1936

side" types by an average of 250 per cent. In oper-
ation, the lamp is silent, and the light produced is
almost identical with mid-day sunlight.

For overhead use, the same mechanism and an
essentially similar reflecting system have been built
into an overhead floodlighting unit. This is MR
Type 27, known as the "scoop." It is identical with
the Side Arc except for the fact that it is built to be
hung from above rather than mounted on a floor
standard.

The next unit developed with the "H-I-Arc" (MR
Type 90). This is essentially an adaptation of the
"Morinc"-lens construction familiar in the incande-
scent "Solarspot" to the latest conception of high
intensity arc mechanisms. The unit itself is com-
parable to the 24-inch Sun Arc, which it is supplant-
ing. Applying the "Morinc"-lens principle not only
improves the beam-distribution by eliminating the
faults inherent to the parabolic mirror, but also elim-
inates the Sun Arc's objectionable element-shadow.

The "H-I-Arc" is a 120 Ampere High Intensity
Rotary Carbon Arc Spotlight. A newiy-developed,
slightly smaller carbon contributes to both increased
intensity and better color. Careful attention to keep-
ing the incandescent crater of the positive carbon
symmetrical results in steadier, more uniform burn-
ing. Over a 20-minute burning period, the "H-I-
Arc's" light will not vary plus-or-minus five per cent.
Careful electrical and mechanical silencing of the
carbon-feeding mechanism, coupled with the fact
that the feed is continuous, rather than intermittent,
have reduced he operating noise to a point where
he lamp may be used wihin ten feet of the micro-
phone. For such abnormally close work, the feed
need not be stopped, but merely slowed down by a
speed-control provided.

As the "H-I-Arc" is designed around a lens 14
inches in diameter, it is naturally a smaller and
more compact unit than the conventional 24-inch
mirror-arc. A considerable saving in weight also
results. Notwithstanding its smaller size, however,
the "H-I-Arc," especially in the wider beam-spreads
most commonly used, has proven itself fully equal
to the larger 24-inch Sun Arc.

More recently, a companion unit of higher power
has been put into use. This is the "Ultra H-I-Arc"
(MR Type 170), a 150 Ampere unit of similar con-
struction not larger in size and power. The "Ultra
H-I-Arc" was first used on "Dancing Pirate," where
they proved themselves definitely superior to the
much larger 36-inch Sun Arcs.

Most recently, the MR Type 60 arc spotlight has
been introduced, to replace the old 80 Ampere spot-
light. This unit is of the non-rotary type, and fitted
with a conventional plano-convex condensing lens.
It has the advantages of silent operation, and sup-
plies the same spectral quality of light as do the
other high-intensity lamps.

With all of these units, modern incandescent
filament lamps are also used, and serve two im-
portant functions. The most common is for warm
projected-color effects. For this, standard incande-
scent globes are used, either in the familiar 24-inch
and 36-inch Sun Spots, or in the newer and more
controllable Junior and Senior "Solarspots." The
yellower lights from these lamps, especially when
contrasted with the almost perfectly white light of
the arcs, produces a mellow, orange-red light which
gives an excellent representation of lamplight, etc.

The newer, overvolted "Movieflood" type of in-
candescent globes also fill an important need in
normal lightings. It frequently happens that certain
parts of a set cannot conveniently be lit with the arc
equipment, either because the space available for
lamps is small, or because the lamps used must be
tipped at an angle such that the arc would not burn
satisfactorily. For these purposes, the Movieflood
globes, usually with a corrective daylight-blue filter,
are ideal. For spotlighting inaccessible parts of the
set, the globes may be used in conventional para-
bolic-mirror Sun Spots, or in the more modern Solar-
spots. For generally illuminating small closed areas
such as small rooms off a stage-built exterior set,
hallways, closets, etc., these globes in special strip
mountings are invaluable, and in some cases have
been the only possible means of doing the job.

Filtering plays an important part in lighting a
natural-color picture. It has already been mention-
ed that when the over-volted incandescent globes
are used, they are fitted with filters of daylight-blue,
to eliminate the small remaining predominance of

150- Amp. H. I. Arc.

June, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeen

the incandescent globe's characteristic yellowness.
In the same way, since the high intensity arcs pro-
duce a slight excess of blue, these units are norm-
ally used with a light straw-colored filter, which
coordinates their light perfectly with that of the
lower-powered general lighting equipment. Since
all arcs produce an excess of the invisible but harm-
ful ultra-violet, these rays are invariably filtered
out by the use of a sheet of clear lead-glass or by
the lenses with which they are fitted. This does not
in the least change the lamp's illuminating charac-
teristics, but it effectively removes the cause of the
early-day plague, "Kleig eye."

For projected-color effects, gelatin filters of any
shade or color may be used, either locally, or in the
entire scheme of lighting. The possibilities of this
technique have scarcely been explored.

The various types of diffusion commonly used in
black-and-white lighting are also used in lighting
for color. In addition, a special iris-diaphragm at-
tachment has proved very useful for special effects
with the newer "H-I-Arc" types. By closing the dia-
phragm as the lamp's beam is flooded out, it is pos-
sible to decrease the intensity of the light to any
degree, without changing the size of the beam.

Experience is proving that lighting for natural-
color photography is not difficult. Each color pro-
duction adds to the practical knowledge of the sub-
ject, and as practical experience is gained, and new-
er and more precisely controllable lighting equip-
ment becomes available, the mystery of color light-
ing vanishes. Each process, of course, has its char-
acteristic special requirements, but in general, there

iRICHARDSON, Inc.

cmore Ave.

Hollywood, California

LONDON

Mole-Richardson

(England), Ltd.

Robert Linderman,

Managing Director

BOMBAY

Bombay Radio Co.

14, New Queen's

Road

A. Fazalbhoy,

Director

is much less difference between lighting a mono-
chrome picture and lighting a color picture than was
once imagined.

Color's outstanding requirement (so far, at least)
is for a considerably higher average level of illumi-
nation, to offset the inevitable losses in filtering and
dividing the light into three color-separation images.
This increased intensity is most frequently obtained
by using higher powered units than would be re-
quired to produce the same in black-and-white,
though in some instances, a practically normal
black-and-white lighting may be used, modified only
by using the spotlights at a more concentrated beam,
and by eliminating some of the diffusers used on
the lamps.

The exact amount of increased intensity neces-
sary for color cannot accurately be fixed. It varies
greatly, not only with the process used, but with
the technique of the individual cinematographer.
One expert recently stated that in his experience, in
extreme low-key and effect lightings, color technique
was very nearly identical with black-and-white, both
as regards balance and the level of light required,
while when working in higher keys, and in more
conventional lightings, the need for additional il-
lumination in color scenes increased largely be-
cause of the need for additional illumination in the
shadows to offset the shorter gradational range of
all color-processes.

In general, a rather flatter lighting balance than
would be used for black-and-white seems to pro-
duce the best results in color. This is to be expect-
ed; in monochrome photography, the only possible
method of separating objects and planes is through
contrast of light and shade, while in a natural-color
scene, much of this can be achieved by natural
color-contrasts. In "The Garden of Allah," for in-
stance, there is a sequence played by Marlene Diet-
rich, wearing a soft, light-blue dress, in a gray Arab
(Turn to Page 30)

Eighteen

T 1 1

INTERNATIONAL PHOTOGRAPHER

June, 1936

AMATEUR MOTION PICTURE SECTION

HAMILTON RIDDEL, EDITOR -

RIGHT OFF THE REEL

Smooth Panoramic Shot: Many an amateur movie
maker, possessing only an ordinary "still" camera
tripod, overlooks the usefulness of this accessory in
motion picture work. Because the tripod has no fric-
tion or geared pam head, is no reason for not using
the "still" outfit; and while it is true best results are
obtained with a regular movie tripod and head, the
ordinary "still" one may be employed to good ad-
vantage. It is decidedly better than a hand-held
panorama shot. Do not completely tighten the movie
camera on the "still" tripod. Grasping the camera
as it is in operation, it may be revolved slowly upon
the tripod, thus securing a surprisingly smooth pam
shot. Needless to say, a little practice before actual
filming will improve the final "take."

Lens Precaution: With the advent of summertime,
with consequent greater outdoor movie camera work,
particular attention should be paid to the protection
and care of the camera lens. Avoid undue exposure
of the lens to the hot sun. Before making scenes near
water, make sure no water or spray has settled on
the lens.

Counting Off Seconds: Many amateur camera-
men meet with disappointment when their individual
shots in a roll of film turn out too long or too short.
Apparently, the difficulty is due to their having no
conception, when photographing, of what constitutes
the average 10-second scene length. A satisfactory
gauge of timing can be obtained by counting off
seconds while the camera is in operation. Train your-
self, until it becomes a regular habit, to measure,
either audily or inaudibly, the seconds by using the
old darkroom method: "one-thousand-and-one,"
' 'one-thousand-and-two' ' , "one-thousand-and-three,"
and so on.

Preservative Fluids: Motion picture film at best is
a fragile commodity, but it is not often considered as
such by the casual filmer. That it withstands the hard
wear and tear of common usage is indeed a tribute
to modern manufacturing. Fortunately enough, there
are preservative fluids which help keep movie film
flexible. Used in conjunction with humidor cans, such
fluids prevent the risk of formation of fungus and
mould, thus preserving film freshness. Use of pre-
servative fluids is to be encouraged.

Prompt Processing: For best photographic results,
as any motion picture laboratory man will tell you, a
movie film should receive prompt processing after
exposures have been made. It can not be too strong-
ly stressed that it is poor technique to expose part
of a roll — and six months later finish it. The early
footage may result in inferior screen pictures, due to
the prolonged lapse of time between exposure and
processing. It is far better practice to expose an en-
tire roll of film, all within a reasonable length of
time, and have it processed immediately.

CINE ESSENTIALS

A Review of Ever New Film Fundamentals

By F. Hamilton Riddel

T is not difficult making good movies now-
adays with the thoroughly dependable
equipment and flim which is available,
whether one's outfit be of simple variety or
the more luxurious deluxe equipment, and yet ever
present there remains the human element in the un-
dertaking. Amateur cameramen being human, it is
only natural that mistakes will occur by carelessness,
by inattention to first principles and perhaps most
often because we are all creatures of habit.

Novices or maestros in the amateur movie game,
we form a habit of making our movies a certain way
— so often the wrong way — and let it go at that. We
may well pause, therefore, every now and then and
dwell for a time upon the fundamentals of filming,
the Cine Essentials.

Old as amateur movies, and yet ever new, are
these fundamental principles of good filming. More-
over, the old saying "In everything you do, consider
the end" is so applicable in cinematography that

reiteration of cardinal rules of the game can not fail
to prove worthwhile. Reviewing cine essentials fre-
quently will prevent formation of careless habits in
movie making.

Camera Steadiness

One of the main principles of cinematography is
camera steadiness. Volumes have been written on
this; cautions, by the score. Yet film laboratories
every day see wobbly scenes, jittery shots in many
rolls they process. Such results aren't movies, they're
just a lot of acetate debased.

It is common knowledge that professional cine-
matographers invariably use a tripod, but it is per-
haps less well known that these tripods are cumber-
some affairs of great weight. For the professional
knows that all movement of the camera even from
vibration, while it is in operation, must be overcome.
The steadier the camera, the sharper will be the pic-
tures. This axiom is every bit as true of the compact
amateur movie box. Remember, then, to keep your

June, 1936

T h

INTERNATIONAL PHOTOGRAPHER

Nineteen

camera steady. You're making motion pictures and
to effect the illusion on the screen it is only permis-
sible for your subject to move — not the background
too.

A Level Camera

Carefully observe your subject via your camera
viewfinder. It should show up there perfectly level,
just as it will appear on the screen. Otherwise, you'll
have the ridiculous effect of up hill and down dale
movies! Hold the camera perfectly level, therefore,
while making shots. This is elementary advice; yet
it is surprising how often cock-eyed shots appear in
amateur films. Again, we say — hold your camera
level!

Camera Panoraming

Panoraming, or "pam shots" as they are more
popularly known, occurs when the camera is moved
horizontally across the field of action, while it is in
operation. Pam shots should only be made when
there is good reason for them. Don't become one of
those garden hose variety of movie makers who gy-
rates a camera hither and yon. Motion pictures
aren't obtained this way — only fuzz.

Pamming correctly, your subject should not be
too nearby. This positioning will allow you to move
your camera very, very slowly; very, very evenly;
and only far enough to get the picture.

There are notable exceptions, of course, regarding
pams, such as certain fast action required to cover
a rapidly moving subject. For example, a horse race.
In such cases, it is permissible for the background to
blur, for the effect adds sharpness and rivets atten-
tion on your subject.

Recall, however, that you must have a good rea-
son for making any pam shot. And that you must
shoot it carefully.

Viewfinder Composition

Any good movie shot depends on good composi-
tion. Don't hurriedly start photographing as soon as
your camera is in position. Study the composition of
the subject as it appears in your viewfinder. Watch
a good professional director at work, and you will
note he never calls for action until he's seen the shot-
to-be through the camera viewfinder. In the case of
making a scenic shot, particularly, try to select a
viewfinder composition that not only is pleasing, but
also has some foreground in it. You want beauty and
depth in such shots.

Exposure Calculation

Whether you judge exposure by experience,
table, camera chart or meter, determine the calcula-
tion deliberately and carefully and set the lens ac-
cordingly. The old rule of still photography still holds
good in cinematography: expose for the shadows
and let the highlights take care of themselves. This
old photographic rule is particularly true when using
negative-positive film in your camera; slight over-
exposure is recommended. With reversal film, how-

ever, experience dictates slight under-exposure when
in doubt.

When you change a camera setup for a different
shot or scene, don't forget to change your lens set-
ting accordingly. Keep in mind that a long shot re-
quires less exposure than does a close-up.
Lens Focusing

Generally speaking, universal focus camera own-
ers have one less important film fundamental to bear
in mind. They need only watch out for extreme
close-ups. Focusing lenses, however, must be care-
fully used and properly set. In your hurry in chang-
ing from one set-up to another, don't forget to re-
focus for the new shot.

Camera Motor

Experience teaches all cameramen to be on the
alert for the unexpected to happen. When it does,
as it most surely will, have your camera in instant
readiness. One habit worth forming is keeping your
camera motor fully wound. At the completion of
each and every scene, wind the spring. By so doing
you'll never be disappointed, nor waste film, by hav-
ing the motor run down in the middle of a scene or
exciting shot.

Lens Flare

We needn't say not to shoot towards the sun with
your camera. But we must say: Always observe that
the sun's rays (indoors, the photofloods' rays) do not
strike the lens directly. For this will cause lens flare,
a halo effect, that is displeasing in the extreme. Shoot
your movies as you have a mind to. Just remember
the lens should always be shaded.

Interesting Shots and Length

An understanding of what constitutes an interest-
ing subject is known as "cinemasense." Always
strive to avoid monotony in your subject matter and
in the length of your scenes. With rare exception, no
scene should run longer than ten seconds, nor less
than five.

Seguence and Close-Ups

A sequence, the unit in making movies, should
carry the spectators of your film from a general view
to a particular big close-up. By successive shots,
from long shot to close-up (or vice versa, in some
cases), the sequence weaves your film story together
into a comprehensible pattern.

An important factor in photographing a sequence
is the close-up. One heritage of the box Brownie days
which, in making movies, must be disowned, is res-
tricting all pictures you make to distant and medium
shots. Make many close-ups! They tell the film story
better, much more clearly and satisfactorily.

Amateur movies, of course, are improving con-
stantly as the technique of making them becomes
familiar to movie enthusiasts, with a mind set on
observing fundamentals. And too, there are new
amateurs starting in every day to whom we hope
this review of Cine Essentials will prove of assistance
and guidance.

CINEMA-TIDINGS

Amateur Motion Picture News

New Superspeed Filmo Double 8 Announced: As

the superspeed model of the Bell and Howell Filmo
Straight 8mm camera, which uses the pre-split Filmo-
pan 8mm film, has proved so popular, B & H now
announces a Superspeed Model of the Filmo Double
8mm camera. The Double 8's use Eastman 8mm film.
The new Superspeed Double 8 makes available
four camera speeds — 16, 32, 48 and 64 frames. Other-

wise it is identical with the regular speed Filmo
Double 8 camera, which operates at 8, 16, 24 and 32
speeds.

It is announced that introduction of this new
Double 8 model is actuated by the maker's desire
to give 8mm users much of the versatility for which
16mm camera owners have so long looked to this
firm.

Twenty

T h

INTERNATIONAL PHOTOGRAPHER

June, 1936

Victor's 16mm Film Directory: Victor Animato
graph Corporation's "Directory of 16mm Film
Sources," now in its Fifth Revised Edition, is a most
comprehensive listing of where to buy, rent and bor-
row 16mm film subjects. Both silent and sound-on-
16mm sources are included, together with several
pages devoted to information and data on 16mm.
The Directory, consisting of 100 pages, will prove of
value to all 16mm users.

Cine-Kodak Tripod Truck: As a new movie acces-
sory— for getting smooth, mobile camera shots —
Eastman Kodak has announced the Cine-Kodak Tri-
pod Truck.

With camera and tripod mounted on this 3-wheel
movable stand, amateur cinematographers can eas-
ily follow action which is being photographed. When
a stationary camera shot is required, a convenient
toe-brake locks the truck securely. Cine-Kodak Tri-
pod Truck, greatly simplifies the making of "dolly"
shots, and should have much appeal for the serious
worker.

Increased 8mm Output: Further evidence of the
popularity of 8mm movies may be deduced from a
recent announcement of the Bell and Howell Com-
pany of Chicago. According to word received, the
company's factories are working extra shifts and
both Straight 8 and Double 8 cameras now constitute
an important part of Bell <S Howell production.

"Wratten Light Filters": The Fourteenth Revised
Edition of "Wratten Light Filters," published by East-
man Kodak Company, is a valuable reference book
consisting of some 93 pages of text and illustrations.
The 1936 edition gives latest technical information
and data on the Wratten filters. Over one hundred
filter varieties are listed by name, use, and stability
to light.

The new edition of "Wratten Light Filters" may be

obtained for fifty cents per copy from Eastman Kodak
Company, Rochester, N. Y.

New Model Filmosound Projector: A one-case,
moderately priced, 16mm sound-on-film reproducer,
known as Filmosound 138, is announced by Bell &
Howell Company. Light (weighing 57 pounds com-
plete), compact and portable, model 138 is said to be
ideal for salesmen's use, for educational purposes in
school classrooms, and for home entertainment.

Filmosound 138 consists essentially of the time-
tried Filmo projector, with sound head, amplifier and
speaker. The sound head embraces a rotating sound
drum and a film shrinkage compensating "floating
idler." A balanced flywheel, rotating as an integral
part of the sound drum assembly, assures constant
speed and hence freedom from sound flutter. Volt-
ages on exciter lamp and photo cell are automatic-
ally balanced as volume control is changed, thus
providing an automatic "photo-hiss" eliminator. The
same photo cell and exciter lamps are used as in
previous Filmosound models, but all amplifier tubes
are of the new metal-tube type.

The new model 138 uses a 750-watt projection
lamp, and may be operated at either sound or silent
film speed. A fast 2-inch projection lens is standard
equipment, but other sizes to meet all projection con-
ditions are also available as optional equipment. A
new type convenient tilt rod, motor re-wind, and
quickly attached reel arm are additional features.

Filmosound 138 packs into a single 81/2xl8x29
inch case, with accommodation for a 1600-foot film
in humidor can. For use, the one-unit projector and
amplifier is removed, and the case then serves as a
baffle for the built-in speaker. The case is covered
in gray fabricoid to match the gray damaskene-finish
of this new 16mm sound reproducer.

EASTMAN ANNOUNCES 8MM. KODACHROME

(Editor's Note: Coinciding indeed with "The International Photographer's" special June issue on color is
the announcement of 8mm Kodachrome. Great impetus in the 8mm amateur movie field will result, now
that small-film enthusiasts may also enjoy all the natural color filming of their older brothers, the 16mms.)

That long awaited announcement from Rochester
has been made by the Eastman Kodak Company.
Cine-Kodak Eight Kodachrome, the natural color film,
is ready for the great army of 8mm. enthusiasts!

Since the first announcement of 16mm. Koda-
chrome was made in 1935, thousands of amateurs
have been asking the same questions: "When can
we get Kodachrome for our 8mm. movie cameras?"
"If it can be made in 16mm, why not eight?"

However, exacting experiments and tests revealed
problems occasioned by the smallness of the image
on 8mm. film. It has taken time to solve these tech-
nical problems but now the work is completed.

Cine-Kodak Eight Kodachrome is ready — and
ready without reservations. With this new Koda-
chrome Film the 8mm. amateur movie maker can
now make his movies in full color as satisfactorily
as he has made his black-and-white. Any 8mm.
camera using Eastman double 8mm. film will take
Kodachrome movies. No filters are required for the
making of all average shots. All 8mm. projectors will
show Kodachrome movies. Again, no filters.

There are, however, precautions to consider.

As most 8mm. film users have probably learned
by now from their experience with black-and-white
film, the most effective results are obtained in fairly
close views; that is, pictures made from 2 to 25 feet
from the subject. This does not mean that you will
not be able to make distance shots with a camera
loaded with Cine-Kodak Eight Kodachrome Film.

You can — and get wonderful effects. But as the col-
ors of objects are more apparent to you when near
by, so are Kodachrome movies of objects clearer and
more pleasing when your subjects are relatively near
the camera.

Correct exposure in Kodachrome Film is of the
greatest importance. In brief, Cine-Kodak Eight Koda-
chrome requires a slightly larger aperture than Cine-
Kodak Eight "Pan" Film — as is clearly pointed out
in the instructions supplied with each roll of Koda-
chrome. These instructions should be religiously
observed, because over — or underexposure in color
filming not only affects the quality of the images but
likewise the colors.

While filters are definitely not an integral part
of the Kodachrome picture, there are occasions when
their use may be desirable. Outdoors, when making
distance shots presenting the problem of haze, a
Kodachrome Haze Filter is suggested. It necessitates
no change in exposure. And when filming indoors
under artificial light, it is necessary to use the Koda-
chrome Filter for Photoflood.

The projection of Kodachrome is completely
trouble-free. No extra gadgets are required. You can
splice color sequences right in with black-and-white,
project them consecutively without even a single ad-
justment of your projector. The color is in the film.

Certainly 8mm. owners will be greatly interested
in the opportune arrival of 8mm. Kodachrome Film
for their cameras.

June, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

QUESTIONS AND ANSWERS

By F. Hamilton Riddel

1. Will you list a comparison of the various size
films, giving the number of frames per foot in the
respective sizes?

Professional standard film, 35mm, has 16 frames
per foot. 16mm film has 40 frames per foot. And
8mm film has 80 frames per foot.

2. In using the hand-crank on my camera, in-
stead of the spring motor for certain shots, a few pic-
tures at the end of the scene are badly overexposed.
How may this be avoided?

It is natural that as you cease normal cranking
speed, a few pictures, or frames, will receive in-
creased exposure. Simply delete these overexposed
frames by editing them out. Or with an unloaded
camera, check the shutter rotation as you turn the
crank, noting the position of the crank-handle when
the shutter fully covers the film aperture. Hence-
forth, by stopping your cranking abruptly, in proper
closed-shutter position, you will minimize overex-
posed end frames. It is better practice, however, to
delete overexposed end frames in editing.

3. Can the sunshade on a camera lens be length-
ened so scenes may be photographed more directly
towards the sun without danger from halation?

You might experiment in this. Lengthening the
sunshade, however, will probably reduce exposures
at large diaphragm openings and will vignette at
smaller openings. It is easier and more advisable to
shade your lens with the shadow of your hat, taking
care the hat itself does not get into the picture.

4. I desire to double expose a title onto a scene
by means of camera work. How should the two ex-

posures be made?

Shoot your visual scene, slightly underexposing
it. Rewind the film and photograph your title, giving
it correct exposure.

5. In making typewritten titles, what precautions
should be taken in completing the cards?

First, the type should be absolutely clean. Sec-
ond, a sharp impression must be made. Third, con-
trast must be great between card and typed copy.
It is well to "back-space" each line of copy to secure
greater contrast. Do not use a ribbon which is too
fresh and smuggy, nor one that is too old and gives
a ragged impression. Clean the type after every few
cards.

6. What is the average life of a print?

Although film which is used in a projector is nat-
urally subjected to more wear and tear than a nega-
tive, which is only employed in making prints, its
life will depend largely upon how it is handled.
Prints should be handled very carefully. The pro-
jector must be in perfect working condition. Proper
storage of the print when not in use, following the
recommendations of film manufacturers, will greatly
prolong the keeping qualities of the film.

Note: As a service to amateur movie makers, we
extend a cordial invitation to write in questions which
will be answered in this column. Address all such
letters to:

Questions and Answers Department

THE INTERNATIONAL PHOTOGRAPHER

1605 North Cahuenga Avenue

Hollywood, California

BEHIND THE LENS

The WHN "BEHIND THE LENS" radio program
has been working on a fifteen minute period during
the past month, but went back to a full half hour
period starting May 16. The world famous miniature
camera expert, Karl A. Barleben, Jr., F.R.P.S., is tech-
nical director of this program which includes valu-
able information and technical advice on the care
and handling of a camera.

Monthly prizes awarded so far include a Photo-
scope Exposure Meter, a Weston Universal Exposure
Meter, a Chromotone outfit, an Argus Candid Cam-
era and twelve sets of Fitzsimons MPG, FHS and FPD
prepared photographic chemicals.

Guests during the past few months have included
Ivan Dmitri, Fredrick Beach, George W. Hesse, Jos-
eph Dombroff, Edward Alenius, Miss Cornelia Wes-
ton, Morris Germain, Harold A. Dumont and Adolf
Fassbender.

The program goes on from 6:30 to 7:00 P. M.,
Eastern Daylight Saving Time, every Saturday.
WHN operates on a frequency of 1010 kilocycles,
5,000 watts. The studios are located atop the Loew's
State Theatre Bldg., 1540 Broadway, New York City.

BIPACK ADAPTER GAINING POPULARITY

The HCE V-Type Bi-
pack Adapter is gain-
ing popularity for color
or process work. It has
been proven thoroughly
practical. As will be
seen from the illustra-
tion, regular 400-ft. B. &
H. magazines can be
used without any alter-
ation. Unlike the regu-
lar bipack magazine,

the operator can have three magazines loaded. Only
one take-up magazine is required, thereby effecting
a considerable saving. The main body is made of
special close grain aluminum alloy and accurately
machined. The rollers are made specially large with
bronze bushings to assure free and easy rolling with-
out scratching. The large removable cover plate per-
mits quick and easy access for threading. — At Holly-
wood Camera Exchange, 1600 Cahuenga Avenue.

MAX FACTOR'S

N EW

LIQUID FOUNDATION

A REVELATION IN FACIAL MAKE-UP

Twenty-two

The INTERNATIONAL PHOTOGRAPHER

June, 1936

New Film Rewinding Apparatus

terion Machine Works, 7769 Santa Monica Boule-
vard, GR. 5524.

The official monicker of this new improvement
for the cutting room and new gift of the gods to the
film editors is THE MORGAN HILL MULTIPLE RE-
WINDER and, judged by the demand already cre-
ated, it may justly be classed a success.

This success has urged the young inventor to try
again and he has already patented another rewinder
of double capacity — four reels — which will soon be
on the market.

By Morgan Hill

Morgan Hill is a member of Local 13, Hollywood.
Phone HE. 2141.

The invention here illustrated relates to improve-
ments in film rewinding apparatus, particularly
adapted for use in the motion picture industry. The
primary object of the present invention is the pro-
vision of an improved construction, whereby a plur-
ality of films may be wound simultaneously upon a
plurality of reels driven from one and the same drive
shaft and, whereby the tension in the reels being
rewound will be substantially constant, irrespective
of differences in diameter which may exist in the
supply reels or the take-up reels.

More particularly, the present invention makes
the provision for a film rewinding apparatus of the
above stated character which is extremely simple
and compact in construction, easy and convenient to
use and manipulate and efficient in operation.

This invention is the result of the research work
of Morgan Hill, for eleven years assistant to Camera-
man Rollie Totheroh, of the Charles Chaplin Studios.

The idea of this new multiple rewinder is a brain
child of Morgan Hill, but the machine was designed
and built by Frank S. Testera, manufacturer, Cri-

Duplicating Kodachrome

By Billy Boyce

For years many of the largest concerns in the
country have considered the 16mm. camera one of
their most valuable assets in the way of sales pro-
motion and educating the public with their product.
With the advent of color the value of this kind of
advertising has been greatly enhanced. It would be
surprising to learn the vast amount of money that is
spent yearly for this kind of work. One that came to
our notice just recently is the expenditure of $2500
on one picture. While this amount may not seem
large to a producer it must be remembered that it
brings no box office returns. If by any chance — and
it oftens happens — this film were lost or ruined by
careless handling in the machine, the entire $2500
might as well have been bet on a horse that "also
ran." Aside from the financial loss, many other dis-
appointments would follow.

However, there is a very fine insurance for just
that sort of a catastrophe. A duplicate copy of
KODACHROME film may be procured for the modest
sum of about $200, which is very economical insur-
ance on the original investment.

While on a snooping tour the other day we drop-
ped in at the Stith Noble Corporation in Hollywood.
We'd heard quite a bit about what they are doing,

but seeing is believing. Well, they told us what they
are doing and then ran a lot of the original Koda-
chrome which was followed by their duplicate copy.
In some cases there was a slight gain in contrast,
due to the reversible process, and here's another fact
that will delight the reader; owing to the fact that it
is a DYE image there is no grain on the screen.

What started this company on their discovery
was that in order to put sound on KODACHROME
it was necessary to make duplicate copies, so the
Stith Noble Corporation worked out a process to
make these dupes. The sound recording on KODA-
CHROME is just as good as that on black and white.

Here's another advantage in making these dupli-
cates. A good many concerns want color over-em-
phasized (something like an artist's license). For in-
stance ,if peaches were colored in the pale yellow,
exactly as they are, they don't look nearly so invit-
ing on the screen as they do when this yellow is
over-emphasized with some warmth. The Stith Noble
Corporation accomplish this in their duplicating pro-
cess by control of the different printing colors.

This company is located at 645 No. Martel St. in
Hollywood and is glad to demonstrate its work to
the many who are interested and fortunate enough
to be in its vicinity.

June, 1936 The INTERNATIONAL PHOTOGRAPHER Twenty-three

W I IN M E K

EASTMAN Super X is a winner for every-
body in the industry . . . from the camera-
man and producer who choose it to the
exhibitor and public who ultimately benefit
by its exceptional photographic quality.
That is why Super X is used in making the
majority of the world's feature pictures.
Eastman Kodak Company, Rochester, N. Y.
(J. E. Brulatour, Inc., Distributors, Fort Lee,
New York, Chicago, Hollywood.)

EASTMAN SUPER X

PANCHROMATIC NEGATIVE

Twenty-four

The INTERNATIONAL PHOTOGRAPHER
NOTES ON THE HISTORY OF COLOR IN MOTION PICTURES

(Continued from Page 9)

June, 1936

Originally Technicolor films cost the producers
twenty cents a foot; then the cost was twelve cents,
and now it is five and a half.

Technicolor colored a cartoon sequence drawn
by Walter Lantz for the Universal film, "King of Jazz,"
released in 1930. Ted Eshbaugh released a complete
cartoon subject colored in Multicolor, July 6, 1931.

The first use of the three color imbibition process was
in a Walt Disney "Silly Symphony, Flowers and
Trees," released on July 15, 1932 at Grauman's Chin-
ese, in Hollywood. This film took the world by the
tail.

* * *

Now color is here; if you have any doubt in the
matter see the film "Dancing Pirate" soon to be re-
leased by Pioneer Production.

CANDID COLOR— THE MIKUT COLOR SYSTEM

exposure made by operating only
one of the control switches. The lens
is, of course, stopped down to any
desired degree for this operation. The
same operation is repeated by using
two more sheets of paper and expos-
ing each with a different switch. This
gives the three separation positives,
all in exact register by virtue of the
punched register holes.

The color is produced by any
chosen method such as dye printing,
toning, carbon and so on. When the
color elements are completed, they
are registered by the use of a special
assembly board which has register
pins inserted along one end. It is of
special interest to note that in such
cases as require a "black" plate, this
is obtained by exposing all three
images simultaneously upon one
sheet of paper (or transparency
plate.)

Among the factors of technical in-
terest is the means of obtaining three
identical images for the necessary
color separation. This is usually done
by a vertical division of the beam by
the use of two mirrors behind the lens
with a space between them; or by
the use of part-silvered reflectors
within the camera itself. The parallel
tri-part mirror division produces the
aberration of stereo-parallax, while
the internal reflector usually imparts
a distortion of refraction caused by
the oblique passage of the beam
through the glass of the reflector.
Pellicle reflectors designed to over-
come this refraction are too delicate
for use in any but stationary studio
cameras.

The Mikut makes use of a tri-part
lens division, but instead of parallel,
vertical stripes, the lens is divided
radially, so that each image is com-
posed of rays which pass through all
zones of the lens. Moreover, when
stopping down the lens iris remains
approximately circular, thus avoid-
ing the errors produced by elliptical
diaphragms.

The beam splitter consists of three
first surface mirrors behind the lens
and three secondary, first surface
mirrors immediately in front of the
plate. The filters are carried in swing-

(Continued from Page 2)

ing metal holders immediately in
front of, and parallel to the sensitive
plate. The camera is equipped with
a set of universal filters. For daylight
use these are arranged in the order
red-blue-green, but for photoflood or
flash use the order is changed to
blue-red-green. The reason for this
is that the central image receives its
light from a 90° sector of the lens,
the remaining 270° being divided
almost equally between the two ex-
ternal areas. That given to green is
slightly larger, perhaps by five de-
grees, than that given to the other
extreme which is red or blue accord-
ing to the light conditions in use.

The balance is unusually good, but
it must be remembered that with the
constantly varying character of light,
particularly, daylight, there must be
some variation. However, unless

conditions are extreme, these varia-
tions are within such limits that
wholly satisfactory compensation can
be made in the process of printing.
For too long a time has color pho-
tography been regarded as some sort
of mysterious rite, understandable
only to the initiate! It is time that we
recognize the fact that it is merely a
sensible, scientific application of
sound principles, capable of great
simplification it is true, but even to-
day well within the ability of any
competent photographic technician.
There can be little doubt that the in-
troduction of a serviceable color cam-
era with all of the flexibility of any
modern camera, together with its
complementary equipment will do
much to bring about a sane recogni-
tion of the sensible facts about nat-
ural color photography.

Everything for

CAMERAMEN

and

STUDIOS

Right here in our Display Rooms!

New and Used Cameras, Accessories, Lighting Equipment,
immediately available. Phone, write or wire.

Everything is thoroughly guaranteed

Eastern Representatives
MITCHELL CAMERA CORPORATION

HARRISON FILTERS — FEARLESS PRODUCTS
MOVIOLA FILM EDITING EQUIPMENT

We now have a modern, completely equipped repair and service department —
specializing on Mitchell, Bell & Howell, Akeley and De Brie Cameras.

FRANK C. ZUCKER

). BURCI CONTNER

MOTION PICTURE CAMERA

SUPPLY, Inc.

723 Seventh Ave. New York City

Telephone BRyant 9-7755 Cable Address: Cinecamera

June, 1936

The INTERNATIONAL PHOTOGRAPHER

A Few Moments With Cinecolor

By W. T. Crespinel

Twenty- five

[INECOLOR was formed over four years ago,
as a successor to Multicolor and somewhat
at the insistence of many color producers
who had contracts to fill and who had been
using the Multicolor process. Cinecolor owns all of
the Multicolor patents, some twenty-eight, issued in
the United States and foreign counries, aside from
addiional patents isued to Cinecolor and also pat-
ents pending. Cinecolor does not, however, use the
Multicolor process.

From the inception, it was the aim of the com-
pany to so construct its equipment and process that
a much more reasonable release print price could
be offered producers and by so doing, eliminate one
of the greatest hindrances to the use of color, and
after considerable footage had been put through the
plant, it was found possible to put into effect a low
print price.

About two years later, the company again effect-
ed an additional saving in production, which saving
was allowed to accrue to the benefit of the producer.
This policy has continued until now Cinecolor re-
lease prints cost only a little more than double that
of black and white, which represents an achievement
in the art of color processing.

A further reduction will be effective in the near
future.

While at this time Cinecolor does not engage in
any productions of its own, it does have a technical
staff available to the producer for the purpose of ad-
vising on the question of color selection, camera ex-
posure, make-up lighting and color effects and in

general, any question that is potent to color produc-
tion. This service is made available to the producer
without charge.

It is the aim of Cinecolor to remove the mystery
from color production and make color photography
as simple as normal black and white shooting.

At this writing, experiments are being concluded
on a radical development, protected by patents
pending, which will make any camera a color cam-
era without any change of any description. This it-
self will be revolutionary and will apply to any size
camera.

While the trade is used to designating color as a
two or three color process, meaning prints made with
two or three primary colors, this reference, as applied
to Cinecolor, is entirely erroneous. Cinecolor obtains
a range of colors far greater than any other so-called
two color process. It is true that Cinecolor does not,
at this time, obtain true colors represented at the
indigo-violet end of the spectrum, yet by association
these colors do appear to the observer.

Cinecolor is rapidly becoming recognized as the
most economical process for all types of color mo-
tion pictures, whether they be cartoons, commercial,
scientific, shorts or features.

The Imperial Film Company of India has recently
purchased the Cinecolor process rights for that coun-
try and their first all-color feature is now being pre-
pared. Three other foreign countries are now nego-
tiating for similar rights, and it seems natural to pre-
dict that Cinecolor, in the near future, will be repre-
sented in most of the important countries throughout
the world.

Make Your Motion Pictures and Snapshots in

DllfAY NATURAL COLORS

(Film Transparencies)

With Your Own Camera

NO EXTRA EQUIPMENT OF ANY KIND IS NEEDED — THE SECRET IS IN THE FILM

Any camera that uses any of the following films will take films in natural color as easily

as black and whites.

CUT FILM

Half Doz.
to Pkg.

dVi cm.
3^4 cm.
9 cm.

4 cm.

5 cm.
8 cm.

9 cm. ..% 2.60

4M cm. 3.75

12 cm. 4.25

5 cm 5.30

7 cm. 8.50

10 cm. 21.00

Doz.
to Pkg.

$ 5.00

7.20

8.10

10.35

16.65

40.50

HAND CAMERA ROLL FILM

27— ( 15/8x2i/2 ) $1.50

No. 20— (2i4x3!4) - - 2.00

No. M20 — (21/4x314 metal spool) 2.00

No. 16 — (2i/ox4i4) - 2.50

No. M16 — (2i/ox4i4 metal spool) 2.50

16mm AMATEUR MOTION PICTURE FILM

50-ft. Roll $5.50

100-ft. Roll 9.00

You simply load your camera with Dufaycolor Film and ""shoot.

MAIL ORDERS FILLED

UllLOUCHBYS

World's Largest Exclusive Camera Supply House

110 West 32 nd Street

New York

Twenty-six

The INTERNATIONAL PHOTOGRAPHER
RANDOM THOUGHTS ON NATURAL COLOR PHOTOGRAPHY

June, 1936

(Continued from Page 1)

a satisfactory picture. With color, the scene would
be a decided flop. Therefore, before making a color
exposure, be sure that there is plenty of color — the
richer the better — in the scene. And herein lies one
of the limitations of color photography — it does not
adapt itself readily to anything and everything.
Subjects have to be chosen with care.

The next thing to remember is lighting. As a rule,
plenty of light is needed — another limitation. The pro-
duction of color is dependent, so far at least, upon
the use of filters which cut down the light, necessi-
tating long exposures as a rule. By filters I mean
not only filters over the lens, but also dyes placed
on the film or plate of the color plate processes which
act in the capacity of filters. However, with speedier
emulsions and faster lenses, we are rapidly getting
away from this difficulty of illumination. At present,
however, it still remains that sufficient light is re-
quired.

Even if poor light were sufficient for photography,
it would not readily lend itself to color photography
because colors are brilliant or dead in accordance
with the light. To illustrate, an outdoor scene on a
dark, cloudy day would certainly result in a poor
color picture, whereas a bright, sunny day would
reveal the colors in all their glory.

After that comes the matter of lighting itself. In
black and white photography, we strive for fancy
"effect" lightings to create depth and a sense of
roundness. In color photography, all this effort would
be wasted, for be it known that in color photography,
contrast is secured by color and not lighting. When
shooting color, flat lighting is the rule rather than the
exception. Here we have a difference in technique,
for as you will recall, flat lighting is one of the first
things the beginner is taught to avoid — in black and
white photography. The color picture depends upon
color for almost everything, whereas the black and
white picture depends upon cross and back lighting
for effect. Back to the beginner's class when you first
work with color.

Possibly the most often asked question about
color photography is "how can it be reproduced in
newspapers and magazines?" The National Geo-
graphic magazine is always pointed out as the most
successful user of color photographs, and many won-
der how they are able to do it so well. The answer
is simple. National Geographic staff cameramen use
4x5 and 5x7 cameras and shoot color plates such
as Agfacolor, Lumiere Autochrome and Finlay, with
now and then a splurge on Dufaycolor. It will be
noted that each of these is a color plate in which the
color is right in the plate itself — in other words, not a
two or three color separation process. National Geo-

graphic maintains a most complete and elaborate
laboratory and the plates are merely sent to the en-
graver's plant as they are, the engravings being
made direct from the plates. Not so long ago this
was considered quite a feat, but today many other
magazines are doing it right along, notably Fortune.

Dufaycolor, with its screen grating, offered a dif-
ficulty in the elimination of the screen, but the en-
graver's wit solved the problem. Today it is not a
troublesome matter to "shake out" the screen at all,
and as a result, Dufaycolor has been used success-
fully for reproduction purposes. As time goes on,
more and more color pictures will be seen in the
magazines.

Perhaps the best way to learn color is to get the
three primary filters (Wrattan A, B and C5 — red, green
and blue) and shoot three panchromatic films or
plates which are correctly balanced, such as the II-
ford or Defender XF, and make one negative through
each of the filters on a still-life subject. Three black
and white negatives will result on development. If
these negatives are now printed — by contact or en-
largement— onto the Chromatone sheets, and the pro-
ceedure as outlined in the Chromatone book followed
a complete, perfect natural color print will be your
reward. This method will show the fundamentals
of color photography. If a transparency is all you
want, the matter is simplified by merely loading your
camera with one of the color plate processes — such
as Agfa, Dufaycolor, Lumiere Autochrome Filmcolor
or Finlay — and shoot. On processing, which requires
in most cases the reversal process, a color film or
plate will result. This can be used as a lantern slide
if the negative size is suitable, or may be viewed by
holding against the light. There are several methods
available now whereby paper prints can be made
from all color processes, but in most cases these are
too involved and complicated to attempt except by
those skilled and experienced.

What appears to be the quickest and most satis-
factory for the greatest range of uses is the employ-
ment of a "one-shot" camera such as the Mikut, for
with three negatives you can do an awful lot of ex-
perimenting— and isn't color photography still main-
ly experimental?

One thing is certain. Successful results do not
come flying into the lap of the novice. It takes work
and experimenting to turn out consistently good color
results. By sticking to one process long enough to
fully understand its characteristics, one can become
more or less expert at it. By changing around from
one to another, one quickly becomes a Jack of all
processes and a master of none — which is as good
as being no good at all.

During the month of May Pacific Coast headquar-
ters of I.A.T.S.E. had the honor to entertain William
Bioff, personal representative of President George E.
Browne; Harland Holmden, third vice-president and
O. M. Jacobson, International Representative, of Ta-
coma. President Browne is not expected on the West
Coast before July.

I.A.T.S.E. VISITORS FROM THE EAST

C. P. Cregan, auditor I.A.T.S.E., has returned to
Chicago, after several weeks' sojourn in Hollywood.
He was accompanied by Mrs. Cregan and their
children. Their many friends will be glad to know
that they expect to return during the summer.

June, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

Complete

Units
Installed

Prices

Submitted

Upon

Request

NEWMATZ
PROJECTOR

HOLLYWOOD
U SA

Newmatz Process Projector Equipment Co.

Phone CRanite 0515
6227 SANTA MONICA BOULEVARD • HOLLYWOOD, CALIFORNIA

Tiventy-cight

The INTERNATIONAL PHOTOGRAPHER

June, 1936

KELLER-DORIAN THREE-COLOR PROCESS

(Continued from Page 13)

This Kelly-Dorian close-up of Marlene Dietrich was made using less light,

according to Josef von Sternberg, than he normally used filming her in

black-and-white.

Dorian color camera. In the tests made during the
research on the process (here and in New York),
Pathe, DeBrie, Mitchell and the new magazine-type
Akeley cameras have been used with complete suc-
cess. At present, the studio-type Akeley is preferred
bcause of the advantage its 230 degree shutter offers
in offsetting the light-absorption losses of the tricolor
filter.

The lens used is of special design, to coordinate
with the film-base lenticulations. It is of the con-
vertible type, and works at f:1.9. A fixed front ele-
ment is used in conjunction with a variety of inter-
changeable rear elements, which give a wide range
of focal lengths. The filter is mounted at the center
of the lens, and a supplementary optical unit is in-
stalled directly before the photographing aperture to
eliminate color-fringes in the out-of-focus parts of
the picture.

Due to the nature of the process, the reversal pro-
cess is used rather than the conventional negative-
positive system. This method is well understood,
and introduces no complications. Standard devel-
oping machines can be converted to reversal-pro-
cessing with only minor modifications. As the film
exposed in the camera is reversed into a positive,
there is the distinct advantage of being able to
screen "rushes" in full color within three hours after
a scene is shot. In other words, instead of having
to wait overnight, as in black-and-white, or from sev-
eral days to a week, as in most color processes,
after filming an important sequence to see it on the
screen, the Director and Cinematographer of a
Keller-Dorian color picture can see their work
screened in full color two or three hours after shoot-
ing it.

Release-prints are made, either optically or by
contact, on lenticulated, reversal-type positive stock.
The quality of the prints is entirely comparable to
that of the original. Since the printing is a simple
photographic operation, the results are consistent
and economical.

For projection, all that is essentially necessary is
the use of the three-color filter on the projection-
lens. It is only natural that the best results will
come from the use of a modern projector, with a
fast lens and an efficient lamp.

As in most other color processes, satisfactory
screen-illumination on the huge screens of the coun-
try's largest theatres was for a time a problem. Dr.
Capstaff's recent researches, however, have solved

this problem in a simple and conclusive manner.
Even with black-and-white, many of these theatres
lacked really adequate screen brightness, yet it was
believed impossible to gain an increase in light with-
out danger to the film, and altogether excessive am-
perages. Dr. Capstaff, after making useful gains by
means of lightened print-densities and lighter filters,
attacked the problem basically. By a combination,
the exact nature of which cannot be revealed as yet,
of more efficient carbons, a new and vastly im-
proved mirror, and a speedier optical system, he
increased the light-output by 380 per cent, while at
the same time reducing the amperage used from an
average of over 120 Amperes to 85 Amperes.

In photographing Keller-Dorian color, the same
fundamental technique familiar in monochrome cine-
matography is used. Normal incandescent lighting
units are employed, and the increase necessary for
color averages from 30 per cent to 50 per cent more
light than for black-and-white. How this increase is
obtained depends on the technique of the individual
cameraman; the majority of the Paramount camera-
men who have made color tests with the process
simply use their normal black-and-white lighting,
but with the lamps "pulled down" to a more con-
centrated beam.

Virtually all of Paramount' s outstanding camera-
men have photographed Keller-Dorian color tests.
Their experience has proven that any capable cine-
matographer can make successful color scenes by
this process with only a few hours' instruction and
explanation. And as each cinematographer can
apply his individual technique, virtually unchanged,
to color photography, artistic individuality does not
become stultified in the transition from black-and-
white to K-D color.

No type of special-effects cinematography pre-
sents any insuperable problems with this process.
Optical printer and matte-shot effects can be achiev-
ed with the same facility as in monochrome. The
background-projection or "transparency" process
appears equally feasible, especially in view of Dr.
Capstaff's recent developments in projection illum-
ination, which should assure ample light for the use
of relatively sizeable background-screens. '

Color-rendition is extremely faithful; the flesh
tones are especially noteworthy, as they achieve a
naturalness impossible of attainment in subtractive
processes. Color experts have also remarked that
the Keller-Dorian process is unique in its reproduc-
tion of true whites and true blacks. There is, too, a
remarkable increase in shadow-detail when com-

/ \
Fitter Objektive F!,m Emuls,on

How the filter and embossed lenticulations on the film produce the color.

pared to most color processes. The relative bright-
ness or softnes sof coloring is completely controll-
able; soft pastel shades may easily be had, while
bright colorations are reproduced with neither un-
natural effect or eye-strain.

Since the process is strictly a matter of photogra-
phic reproduction, there can be none of the "fuzzi-

June, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-nine

ness" and color-bleeding which so often accompan-
ies dye-image printing. The definition obtainable is
on a par with the best black-and-white. In this con-
nection, it may be mentioned that tests using normal
diffusing media have shown that diffusion can be as
effective in color as in monochrome.

The embossed lenticulations do not interfere with
the definition, and they are not evident in the pro-
jected picture. These lenticulations are so extremely
fine that even when projected on large screens, they
are no more visible than the perforations in the
screen through which the sound passes from the
loudspeakers to the auditorium. At the present time,
a standard of 29 lines to the millimetre (724 per inch)
is used, while if conditions should at any time war-
rant it, still finer embossings (up to 875 per inch) can
be used without making any change in camera or
projection equipment.

Recording and reproducing sound on the em-
bossed film has presented no problem. According
to the latest tests made by critical sound engineers,
ground-noise due to the embossed film is practically
identical with that now occurring in normal black-
and-white production. Recording through the film-
base on reversal film, far from being a disadvan-
tage, has proven to be an advantage. As a direct
result of the recording tests made with Keller-Dorian,
the Paramount Sound Department is now changing
over from the conventional negative-recording meth-
ods to the use of reversal-type recording stock, which
is exposed from behind, through the film-base. Ac-
cording to the Paramount engineers, this has result-
ed in better sound-quality, with finer grain and a
more precisely-striated track.

The problem of make-up for Keller-Dorian color
is extremely simple. As the rendition of color is
wholly accurate, make-up does not have to be dis-
torted to correct an unbalanced color-rendition. In
the many make-up tests made, the best results fol-
lowed the use of only a very light street make-up,
and satisfactory results were had with no make-up
at all. Wally Westmore, head of the Paramount
Make-up Department, has evolved a standardized
system of make-up for the process, using the DeLong
(Elizabeth Arden) products. He has stated that the
best test of whether a make-up for Keller-Dorian color
is correct is a glance in a mirror; if an actress feels
that her make-up looks natural when she inspects it
in her mirror, it will be satisfactory when she sees
it on the screen. Incidentally, it may be remarked
that a player wearing a satisfactory Keller-Dorian
color make-up can wear it on the street without ap-
pearing at all "made up for the studio."

As might be expected from all of the foregoing
facts, the Keller-Dorian process is the most eco-
nomical three-color method yet achieved. Since
essentially standard black-and-white methods and
equipment are used throughout, the item of equip-
ment can be figured as identical with the equipment
cost of black-and-white. In many instances, exist-
ing black-and-white equipment can be used; if new
equipment of any type is desired, its cost will be
substantially what the same unit would cost if it
were to be used for black-and-white. A production
unit photographing a Keller-Dorian color picture can
work exactly as efficiently as it would making the
same picture in black-and-white. The extra costs for
art-direction and costuming in color would be ap-
proximately the same for any color process, and
depend entirely upon the individual producer's pol-
icy. All of the tests made at the Paramount Studio
have used standing sets from black-and-white pic-
tures, with the actors either in street attire or in cos-

Enlarged from a Keller-Dorian color frame; photographed by Charles Lang.

tumes used for regular black-and-white films; the
results have gone far to discount the need of any
extraordinary expenditures for special "color" set-
tings and costumes.

The purely photographic costs for the process are
very little higher than the cost of good black-and-
white. Film, processing, "rushes" and release-prints
for an average $400,000 feature produced in Keller-
Dorian color should not exceed the cost of the same
items for a comparable black-and-white production
by more than $30,000, even under the present, semi-
experimental conditions. With volume production,
the costs should be appreciably lowered, ultimately
reaching a point very close to, if not identical with
today's monochrome costs.

For exhibition, all that the average theatre will
need will be the projecting filter. This is especially
true in view of the fact that with the industry emerg-
ing from the depression, an amazing number of
theatres have been modernizing their projection
equipment to secure more efficient projection of
black-and-white. During 1935, for instance, one
equipment firm alone installed more than 1,800 new,
modern equipments in theatres in this country. In
most cases, these equipments will already be satis-
factory for first-class projection of Keller-Dorian color.
In theatres where the screen is of more than aver-
age size, the new optics devised by Dr. Capstaff,
which increase the projecting light 380 per cent, can
be installed for a negligible cost; and as such optics
will be incorporated shortly in the newer types of
projecting equipment, theatres re-equipping their
booths in the future will find themselves ready for
Keller-Dorian color with no additional expense.

Very few showings of the process have as yet
been made. A formal showing, however, took place
in New York, before activities were transferred to
the coast, when the process was demonstrated to the
New York Chapter of the Society of Motion Picture
Engineers, 360 strong. This group, by a unanimous
vote, expressed its appreciation to Paramount and
to the writer, and expressed its admiration of the
process. An informal showing of the process re-
cently took place before a meeting of the Art Direc-
tors Section of the Academy of Motion Picture Arts
and Sciences, where the process again received a
most flattering reception. Showings before other
local bodies are planned for the near future. The
members of the Paramount camera staff, nearly all
of whom have made tests with the process, are uni-
formly enthusiastic, and such players as Marlene
Dietrich, Claudette Colbert, Gary Cooper, Cary
Grant, and others who have appeared in these tests,
have shown equal enthusiasm.

Thirty

The INTERNATIONAL PHOTOGRAPHER

June, 1936

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 OR RENT— CAMERAS

FOR SALE OR RENT— Mitchell and Bell & Howell silenced cameras,
lollow tocus. lJan lenses, free head, corrected new aperture. Akeley,
De 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 & H Cameras with old type
shuttles silenced $150. Bipack magazines and adaptors for color. Every-
thing photographic bought, sold, rented and repaired. Send for our bar-
gain catalogue. Hollywood Camera Exchange, 1600 Cahuenga Blvd.
Phone HO. 3651. Cable, Hocamex.

LARGEST STOCK FIRST CLASS UP-TO-DATE CAMERA
EQUIPMENT IN THE WORLD

Rebuilt silenced and Standard Bell & Howell 170° Cameras — Hi-Speed
gear boxes — Hi-Speed check pawl shuttles, new Fearless shuttle for
Bell & Howell. Complete DeBrie equipments. All metal Model L with
motor, lenses and tripod. Metal Model H with lenses and tripod. Silent
Moviola Model D. Two Single System cameras complete with sound
equipment — Mole Richardson Perambulator with tilt head — Two Bell &
Howell rebuilt Splicers as new. Portable blimp with follow focus for
Mitchell Camera. 100 ft. Stineman Developing outfit. Used Holmes 35
mm. Sound-on-Film Projector complete. Precision, DeBrie and Bell &
Howell pan and tilt tripods. Bell & Howell 1000 ft., 400 ft. magazines.
Motors, sunshades, finders, lenses and all accessories. Write, wire or
cable.

MOTION PICTURE CAMERA SUPPLY. INC.
723 SEVENTH AVE., NEW YORK CITY
CABLE: "CINECAMERA"

SILENCED BELL & HOWELL CAMERA, original B&H Movement.
40, 50 & 75 mm. Lenses, choice of Astro, Cooke or Zeiss, Standard Matt
Box, Disc and Filter Holders, Sunshade, Large Finder, Extension and
Upright, two 1000 ft. or four 400 ft. Magazines, Standard Tripod Head
and Legs. Complete with Carrying Cases, $1100.00. Camera Supply
Co. Ltd., 1515 No. Cahuenga Blvd., Hollywood. Calif.

SILENCED MITCHELL CAMERA, 40, 50 & 75mm. Astro F2.5
Lenses, Upright Mitchell Finder, Mitchell Matt Box and Sunshade, two
1000 ft. Magazines, Friction Tripod Head and Legs, complete equipment
with Carrying Cases. $2600.00. Camera Supply Co., Ltd., 1515 No.
Cahuenga Blvd., Hollywood, Calif.

DEBRIE CAMERA WITH AKELEY TRIPOD, 4 lenses, 8 magazines,
motor, cases. All like new, $450. Complete single system. Camera,
Tripod, Amplifier, cases, etc., $1000. Also new Moviesound "Camera-
lator" (folding dolly). Weighs 18 lbs. Will carry 400 lbs. Rock
steady, fits all regular tripods, $100 with case. Moviesound Studios,
Jamaica, Long Island.

MITCHELL CAMERA, all built in features. Five 400 ft. magazines,
40-50 Astro F2.3 75mm F3.5 Carl Zeiss, tripod, two new cases — sun-
shade, $750.00. Irving Browning, 110 West 40th Street, New York City.

DEBRIE MODEL L, complete, converted for Bi-pack or Du-pack with
outside Bell & Howell magazines, special take-up, perfect registration
assured, sliding ground glass focus, outfit complete with four Bell &
Howell magainzes, six DeBrie inside magazines, motor drive, cases,
Model C pan and tilt tripod. Price $1450.00. BASS CAMERA COM-
PANY, 179 W. Madison St., Chicago, Illinois.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

LIKE NEW BELL & HOWELL 5-way Sound Printers and Sound
Moviolas. Reasonable price. HOLLYWOOD CAMERA EXCHANGE,
'600 Cahuenga Blvd., Hollywood, Calif.

ART REEVES, latest model 1935, double system sound recording in-
stallation, factory guaranteed, Automatic Speed Control Motor, Twin
Fidelity Optical Unit, Bomb microphone, the only genuine, modern,
workable ArtReeves equipment for sale in Hollywood outside factory.
CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga Blvd.,
Hollywood.

BELL & HOWELL silenced camera with variable area single system
sound. Complete outfit, like new, ready to shoot. Price, $3000.00.
HOLLYWOOD CAMERA EXCHANGE, 1600 Cahuenga Ave., Holly-
wood, Calif. Cable address — Hocamex.

8 MM. AND 16 MM.

8 MM. ULTRACHROM, NATURAL COLOR, FINE GRAIN— $3.50.

S. S. Panchromatic, reversible, and Positive Palomar Titling Film, for
all 8 MM. Cameras, reversible data. Home Titling Data, Accessories,
Processing, Titling, reducing from 16 MM. to 8 MM. "Movie Making Made
Easy" — 50c. "Money Saving Tips for the Amateur Movie Maker" — 25c.
"How to Make Money with a Movie Outfit" — 15c. Cine Nizo Camera
Distributors. FILM SPECIALTIES. 11 IN. El Monte, California.

POSITION WANTED

DEVELOPING DUFAYCOLOR FILM

WANTED TO BUY

WILL PAY CASH FOR: Bell & Howell, Mitchell, Akeley or De Brie
Cameras, lenses, motors, parts and accessories. Motion Picture Camera
S'upply, Inc., 723 Seventh Avenue, New York City.

MISCELLANEOUS

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 L. Finn Publishing Corp., 580 Fifth Ave., New York.

COMPLETE COURSE IN FLYING— If interested in aviation, see Roy
Klaffki, 1605 North Cahuenga Ave., Hollywood.

CAMERA REPAIRING

BELL & HOWELL cameras with old type shuttles silenced, $150.
Hollywood Motion Picture Equipment Co., 645 No. Martel Ave.,
Hollywood.

LIGHTING EQUIPMENT FOR NATURAL-COLOR
PHOTOGRAPHY

(Continued from Page 17)

tent. In black-and-white, Miss Dietrich's blondeness,
the blue dress, and the gray background, would de-
mand a decidedly contrasty lighting. In Techni-
color, the natural color-contrasts, enhanced by a
normal lighting, separate the three exactly as our
vision does.

Experience on this picture, as on others, is prov-
ing emphatically that color does not demand in-
flexible adherence to a set style of lighting. The
artistic individuality of the cinematographer, not the
process or the fact that the picture is being made in
color, is the governing factor. As color photography
becomes better understood, and new and more effi-
cient lighting tools are introduced, the problem of
lighting for color grows less and less; ultimately, it
undoubtedly will vanish, and become as complete-
ly accepted a commonplace as is lighting today's
black-and-white.

5. M. P. E.

The Hotel Sagamore, Rochester, New York, has
been selected for Convention Headauarters for the
Fall Meeting of the S.M.P.E. to be held October 12 to
October 15, according to W. C. Kunzmann, Vice
President in charge of Conventions. Mr. Kunzmann
will be in Rochester the week of May 25 to line up the
fall meeting committees and complete preliminary
arrangements . This will be the first Society of Motion
Picture Engineers' Convention to be held in the cam-
era city since 1922.

June, 1936

T h

INTERNATIONAL PHOTOGRAPHER

Thirtvonc

Miniature Camera and Color

By Gilbert Morgan

What about color? Can it be printed on paper?
How does it look? Who does it? Such are the
questions being asked every day all over the coun-
try. The color interest is aroused again as it has been
many times in previous years, but this time the pres-
ent group which raises the questions is out to obtain
results. If color is to be had on the movie screen,
then why not on paper as well?

Today color is available for amateur and profes-
sionals using the miniature cameras, such as the
Leica and Contax. Color photography has long been
in the minds of many, but only recently through the
constant development of colored film emulsions and
equally constant development of miniature cameras
with fast lenses of shorter focal length has this aim
been partially reached with a material reduction in
cost.

A year ago Dufaycolor film was introduced for
use in the miniature as well as the larger cameras.
This film embodies the old tri-color screen principle
and is probably the most simple to process of the
various films on the market, it being a straight re-
versal process. Under normal conditions in daylight
no filters or special lenses are necessary to produce
colored transparencies since the tri-color elements
of the screen serve as the filters for the primary color
separations. However, where there is an abundance
of ultra-violet light the use of a compensating filter
is advisable so that the pictures are not dominated
by an excessive bluish cast. Blue filters are neces-
sary when artifcial Mazda or photoflood lighting is
used for the picture. These filters overcome the ex-
cess of red rays given out and balance the colors.
As with all color films correct exposure is of prime
importance for true color values. Under exposed
pictures will produce, as most of us have found out,
very little on a color film, everything going a dark
blue, almost black, while over exposed pictures will
give the color a faded or washed out appearance.

Besides Dufaycolor film there are other miniature
color films on the market, such as, Agfacolor, and
the Lumiere color film which give good results. It
is the hope of all color enthusiasts that Kodachrome,
available at present only in 16mm and 8mm, will be
out in the 35mm size. (The grapevine telegraph says
that it will be only a matter of one or two months.
Members of the Eastman Co. are at present testing
the film in Leica and Contax cameras before placing
Kodachrome in the hands of the public.)

Three color separation negatives on Agfa, East-
man, and Dupont panchromatic emulsions have
been used for some time but until now there has been
no satisfactory and simplified process by which
color prints could be made on paper. By the new

Ruthenberg Colorstil Process prints are easy to make
at a low cost. Using the Colorstil Process prints can
be made from Dufaycolor, Kodachrome, and three
color separations. Results: three color separ-
ations by far the best. Separation negatives are
made by filtering the picture three times which must
naturally be a still subject — a red filter is used for
the blue green separation, a blue filter for the yellow,
and a green filter for the magenta. Usually the three
separations can be taken with a miniature camera
within approximately three to four seconds.

A new one-shot camera, the Mikut, at a more
nominal price than most of this type, is expected to
be on the market in America soon. The Mikut, a
miniature snap camera, makes three 5 cm by 5 cm
separations on a single glass plate 5 cm by 15 cm
with the one exposure. This will enable action pict-
tures to be taken in color with far less bulky equip-
ment than heretofore.

Once the separation negatives have been made
natural color prints are then possible by the Colorstil
Process. Color separations can be made from Du-
faycolor or Kodachrome by breaking the colors down
into three separations. In this process there are three
films dyed in the complementary colors. Each is ex-
posed to the corresponding separation negative and
after development, fixing, and bleaching of the silver
image the films are super-imposed upon each other
in a white enameled tray for registration and color
balance. If any one of the three colors is too strong
it can be reduced by washing in hot water, the dye
being only partially solvent in hot water. When sat-
isfactory color balance is obtained the film is trans-
ferred to a white glossy, matte, or semi-matte paper
by stripping off the film backing of the three films,
one at a time.

It is possible to make a dozen color prints at the
same time once the separations are made and the
exposures for the corresponding dyed films have
been correctly determined. Elapsed time from the
moment that the separations are ready for printing
to the finished print is not over two hours.

For best results with the Colorstil Process good
filters, a good photo electric cell exposure meter and
precision work are above everything else most nec-
essary. In making color separation negatives strive
for a soft and not a harsh contrasty negative.

This is only a brief sketch of things being accom-
plished in color. There are other color printing pro-
cesses and color films which have their merits, and
I dare say that in the next few years those men who
have been working with color photography will see
the grand realization of the fruits of their years of
labor.

BUCK JONES HAS A NEW VEHICLE

"Ride 'Em Cowboy" is Buck Jones' current ve-
hicle for Universal production. Leslie Selander di-
recting, an assistant cameraman of other days.

Allen Thompson is first cameraman; Herbert
Kirkpatrick, operative cameraman; Eddie Jones and
Buddie Weiler, assistant cameramen; Arthur Marion,
still artist.

"Ride 'Em Cowboy" is somewhat of a departure
from the usual Western of Buck Jones, but those in
the know think that the handsome star of the West-

erns will be sure to score a great success in it.

The time is about the debut of the automobile and
one of the thrills of the picture is a small time auto
race.

There will be plenty of horseflesh, six guns, hero
stuff, etc., and the Dubrox Riding Academy of Holly-
wood will supply the equine action.

Admirers of Buck Jones should read a sketch of
him recently published in Collier's Magazine. He's
quite a citizen.

Thirty-two

T h

INTERNATIONAL PHOTOGRAPHER

June, 1936

CINEMACARONI

(With Sauce for Those Who Like !t)

HOLLYWOOD HONEYMOON

(.1 novel novel of a thousand and one nights

in a daze)

By
R. THRITIS
Synopsis of preceding installments:

There's been only one issue sinee I didn't give
you any synopsis last time, so I don't see what
you have to gain by no synopsis of last issue. So
I won't bother with not any. Pick up the pieces
from there.

CHAPTER XX— THEME SONG

"And now the problem is," remarked Perri-
wether Murgle, "how do we get down from
here?"

"Maybe you mean the theme song from my last
picture," said Lili brightly. " Where Do We Go
From Here'."

"Don't be dense," snapped Perri. " 'Where Do
We Go From Here' is an old-timer. Your song was
'Where Do We Go From Love'."

"That's the one I mean," answered Lili. "Let's
sing it!" And she sounded a note and began to
hum the seductive melody in her $5,000-a-week
contralto. (That is, if Flamboyant Films, Ltd.,
hadn't cut her off salary for being A.W.O.L.)

When La Liverblossom sang, there was no re-
sisting the appeal in that alluring voice, so Perri,
hypnotized, sang along with her. He had once
been a church singer. Just now he was an apart-
ment house singer. Flat.

Even the ghost attempted to join in. but his
slow sepulchral voice couldn't keep up •with the
lively tempo of Lili's song, so he contented himself
with a low saxophone moan at judicious mo-
ments, now and then clanking the bracelet on his
wrist in a cymbal effect.

After finishing one stanza and a couple of
choruses, Lili and Perri looked up, sensing some-
one nearby. There in the kitchen passageway
were Willy and Nelly Nilly, enraptured by the
music, leaning on the wall and gazing fatuously
at each other.

"I can certainly do something with that," said
Perri, and muttered under his breath, "The fatu-
ous in the fire."

Aloud he said, "Get back into the kitchen, you
two. I can smell the fish burning."

"That's funny," said Nelly Nilly. "It's still in
the sink."

"Get back in the kitchen anyway," barked
Perri. "We're trying to escape, and we certainly
can't do it if you're going to stand there and
gawk at us."

"Excuse us." said Willy Nilly, and grasping
Nelly by the arm, he led her back into the
kitchen.

"Come on," said Perri. "Let's go."

"Just one more chorus," pleaded the ghost.

"Okay, toots," said Lili, and started to sing
again.

The ghost jumped and clicked his heels with
joy.

"Ah, the Fred Astaire influence," exclaimed
Perri.

Lili interrupted herself to sniff," "Remember
you're working for Flamboyant Films, will you,
and not for R.K.O. Publicize our own stars.
What's the matter with Franklie Fleetfoot?"

Before Perri could reply adeguately, there was
a hollow tapping sound from somewhere in the
lair. It seemed to come from all around them.
The ghost began to moan and clank his bracelet.

"Don't carry on so," said Murgle. "What are
you giving us — professional jealousy?" He
kneeled down beside the eggs underneath the
heating pad. Faint sounds came from inside the
shells.

"Let's get out of here," Perri said, rising quick-
ly. "If those eggs hatch while we're here,
there'll be the devil to pay. And I haven't a
cent."

"Okay," said the ghost. "I'll carry Lili. Can
you still fly?"

"Of course," said Perri.

Without further ado, the ghost picked Lili up
and set out across the desert. In a flash he was
out of sight.

Perri teetered on the edge of the Eagle's lair.
The precipice took a sheer drop of two thousand
feet below him. Perri ddin't care to follow suit.
Could he still fly — or had he lost his magic
power?

Our hero drew a deep breath, jumped, and
flapped his arms as he had done before. His
arms seemed like lead, and he dropped like a
plummet. Fortunately he managed to catch hold
of an outjutting rock twenty feet below. And
there he hung.

{What can Perri do? Potty and Lili arc out of
earshot. If Perri yells, he will attract the vicious
Eagle and his mate. Our hero is really in a spot.
HI, ittcr next month.)

By Robert Tobey

PROSPERITY POEM
What with all his Mickey Mouse cartoons
And Three Little Wolves and Silly Symphonisney,
Walt Disney

Is certainly keeping very bisney.
Isney?

by the prosperity poet,

R. THRITIS.

Warning on a theatre marquee:
DON'T GET PERSONAL
SPECIAL INVESTIGATOR

KNEECAP REVIEWS
(No space left on my thumbnails)

"UNDER TWO FLAGS." A story of the French
Foreign Legion and the desert that tends to prove
ell the sand isn't under the horses' hoofs. Clau-
dette Colbert, although not starred, carries off
acting honors as the fiery, smiling little "Cig-
arette." If her final scene in the picture doesn't
bring a lump to your throat you just weren't
looking at the picture. Ronald Colman, barring
a slight woodenness, is splendid as the man
whom all the shootin' is fur. Victor McLaglen is
up to snuff in an Informerish role. Rosalind Rus-
sell and Nigel Bruce perform creditably.

Frank Lloyd's direction is responsible for the
great dramatic and emotional power of the piece.
Thrilling, breathtakingly real battle sequences
were under direction of Otto Brower. Photography
by Ernest Palmer and Sidney Wagner is well
above average generally, while some of the long
shots in the desert sequences possessed a rich-
ness of tone and an awe-inspiring beauty that
classed them as masterpieces.

"TROUBLE FOR TWO." Trouble for too many
exhibitors, I'm afraid. Seems to have all the ele-
ments that should make good box-office; trouble
is it has too many of them. It commences as a
mythical kingdom romance, and gives no indica-
tion of being a blood-and-thunder affair( unless
you know it is adapted from Stevenson's "The
Suicide Club"). Film suddenly becomes the latter,
ending up in a Doug-Fairbankish Robert Mont-
gomery matching wits — and rapiers — with a
ghoulish old man rebuilt from Stevenson's original
conception of the President of the Suicide Club.

Picture suffers from, rather than being improved
by, the changes in the original story. Plot be-
comes much more complicated. Chief advantage
to the picture is its presentation of Montgomery
in a type of role that well becomes him — a de-
bonair, reckless sort of fellow (physically here,
whereas previously only in dialogue). Maybe
Bob will do more of this. We could use a new
Fairbanks about now.

Direction by J. Walter Ruben is uneven, or
maybe it's the fault of the script. Rosalind Rus-
sell does as well as she can with a strange part.
As for Frank Morgan — isn't he always good?
Photography by Charles Clarke is effective.

"THINGS TO COMEr England's Jules Verne
and her greatest film producer got together and
the result is highly imaginative, stimulating, im-
pressive. H. G. Wells conceives a world nearly
annihilated by war and ensuing pestilence, rebuilt
nearer to the heart's desire by unrestrained science.
Alexander Korda spared no penny and no effort to
make this dream real as possible. Understanding
direction is by William Cameron Menzies.

Aside from the original conception, excellent de-
sign and art direction by Vincent Korda and superb
effect photography by tivo well-known Americans,
Harry Zech and Ned Mann, help keep the plot
'tincture sound and coherent, instead of the in-
articulate mass it easily could have become. How-
ever, the average audience will doubtless feel that
mechanistic aspects have been too strongly stressed.

Raymond Massey gives a powerful portrayal of
the central figure, John Cabal, leader in the fight
for progress. Ralph Richardson contributes the
other outstanding performance as "The Boss,"
feudal leader of the reverted "valley people," and
a delicious satire on some of our better dictators
of today.

"LADIES' LAKE." If you get a chance to see
this imported French production, called "Lac Aux
Dames," don't pass it up. It is intriguing, a
deparutre from our current American themes and
methods, and handled with less restraint. Salient
are the gorgeous scenic shots and the wistful and
tender beauty of Simone Simon. Marc Allegret
has directed -with a sophisticated wit. Jean Pierre
Aumont is quite handsome and proficient in the
part of the swimming instructor.

"SMALL TOWN GIRL." A very pleasant piece
of film fare employing red-headed Janet Gaynor
and handsome Robert Taylor to fuss and make up
and generally entertain the folks. In this tale of a
small-town girl who yearns for the great city,
Gaynor is big-eyed and innocent as usual, even if
Bob Taylor doesn't think so when she apparently
ropes him into a sudden marriage. The way they
work out their problem makes a swiftly-moving,
well-mounted story. Dialogue and humor do not
pretend to be ultra-smart ; arc of the homey type.
Only criticism is of a couple of moldy situations.

Story is full of realistic touches, probably due
to excellent direction of William Wellman. Andy
Devine provides laughs of his own special brand.
Isobcl Jewell does her best with a small, earthy
part.

COOKERY DEPT.

Into the Frying Pan

Eleanor Powell and Nelson Eddy

Cesar Romero and Virginia Bruce

Out of the Fire

Ginger Rogers and Lew Ayres

Arline Judge and Wesley Ruggles

HOLLYWOODCUTS, by the Shovel Boys (they
dish the dirt). * * * The latest romance on the
broiler is that of Ginger Rogers and Jimmy Stew-
art, now that Ginger and Lew Ayres have sund-
ered. Neither Ginger nor Jimmy will talk about
it (except to each other). * * * Helen Ferguson,
former screen star now turned publicity agent
(and doing darn well too — she numbers Fay
Wray, Dolores del Rio, Fred Stone, Anita Louise,
Joel McCrea, Gene Raymond, and Jeanette Mac-
Donald among her clients) goes to New York for
a few weeks rest, accompanied by her husband,
Dick Hargreaves. * * * Jean Harlow is selling
her big house in Holmby Hills. There might be
a reason. * * * What star went to Ensenada all
by her lonesome but her b.f. who was supposed
to stay right in town couldn't be located for days?

Big turnout at the new and fashionable West
Side Tennis Club for a swimming meet sponsored
by Ida Koverman of M-G-M. Chief piece of fare
was an informal diviyig and swimming exhibition
by Johnny Weissmuller and that priceless water
comedian, "Stubby" Kreuger. * * * Roger Pryor
was as busy as an ant, taking pictures with his
Leica. Roger goes in thoroughly for amateur pho-
tography. He even uses a professional light-metei
to judge his exposures. * * * Claire Trevor was
among the onlookers, looking very fetching. * *
Nancy Carroll very fetching too, in a grey tailored
outfit with grey hat, shoes, stockings, and acces-
sories, in interesting contrast to her auburn hair
and white skin. * * * Eleanor Whitney very
smart, chinning with cute Arline Judge. * *
Cute Grace Durkin and her sister Gertrude dropped
in late, escorted by Henry Wilson and Dennis
Moore. * * * Igor Gorin among the onlookers, also
Wendy Barrie, and Robert Warwick. * * * Of
course Paula Stone was there, as she is on the
entertainment committee. * * * Margaret Sullavan,
quite gay. attended alone, her arm out of its splints
but well wrapped in bandages. * * * Cesar Romero
among those present, and SO attentive to Virginia
Bruce and little Susan Gilbert.

Always put your best foot forward; and some-
one will step on it.

16 MM.-
35 MM.

$1.00

At Your Dealers

LIGHT gives us SUPER EYES

. . . to search for invisible flaws in glass bulbs

Thanks to polarized light, the actual inspection of
the bulbs is quite simple. The lamp is held over
a surface which resembles an illuminated ground
glass. Above, at an angle, is a polarizing mirror.
Light coming through this mirror makes flaws
reveal themselves to the inspector as he turns and
twists the lamp. The presence of definite color
bands immediately tells the inspector of some

J.N the heating and
reheating of glass bulbs, which
takes place in the making of
lamps, there are many chances
for cracks and strains to develop,
especially in the large 5 K.W. lamps.

That is why General Electric puts
the super eyes of polarized light to
work on the bulbs of G-E MAZDA
lamps, proving the absence of such
flaws or finding them before they
become a source of trouble for
you. For cracks and strains may
become breaks . . . which admit air
and rapidly end the life of the lamp.

HERE'S HOW WE DO IT

otherwise invisible flaw in the glass of the bulb.
All types of G-E MAZDA lamps for movie service

must pass this test.

By such exacting methods, General Electric assures
you of lamps you can depend on for every lighting
purpose . . . from set lighting to special process work.
General Electric Co., Nela Park, Cleveland, Ohio.

GENERAL ff ELECTRIC

MAZDA LAMPS

Cameraman's Choice

ONE thing only could have won
for Super X Pan Negative the

phenomenal preference it enjoys
among cameramen here and
abroad. It delivers photographic

quality par excellence You can

have such quality in your next
picture by letting us supply you
with this famous Eastman film.

J. E. BRULATOUR, Inc.

FORT LEE • NEW YORK • CHICAGO • HOLLYWOOD

HOLLYWOOD

3.TH YEAR

JULY, 1936

VOL.
No. 6

THEY HAIL THE HERO WHO CHARGES THE GUNS"

JAMES N. DOOLITTLE

CENTS
) A COPY

From the camera of one of the cleverest still artists in the world. It is the photograph of a tablet

modelled in clay by the distinguished sculptress, Ella Buchanan, of Hollywood. One of the eight

subjects in bas relief made by Miss Buchanan to illustrate a book written by a Hollywood author.

All photographed by Mr. Doolittle.

OTION PICTURE ARTS AND CRAFTS

* XX xvtt^^xk x* -x* x* *« *y- «* «* stw m

RE6. U.S. PAT.OFf.

Cameramen know that
Du Pont Negative is a
good partner— for studio,
expedition or news
photography.

is:

DU PONT FILM MANUFACTURING CORPORATION

35 WEST 45th STREET

NEW YORK CITY

PLANT . . . PARLIN, N. J.

SMITH & ALLER, LTD.

6656 :: SANTA MONICA BLVD.

HOLLYWOOD, CAL.

:x>c

ouc

:xx:

ixx:

I5MC

2tJC

3<}C

3kk:

:xx:

ixk:

:xjc

PALS FOR LIFE

A lioness and a dog were brought up together by Col. Selig, at Selig Zoo, and they lived together long
and happily, but they were not the pair here depicted. The puppy spaniel and the lioness here pre-
sented to the reader are the property of Otto H. Stolberg, of Oakland, California, and they are offered
to our still artists as a suggestion of what may be done in that line.

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol. 8

HOLLYWOOD, JULY, 1936

No. 6

Publisher's Agent, Herbert Aller

Silas Edgar Snyder, Editor-in-Chief

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerberg, Technical Editors

Helen Boyce, Business Manager

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.

CONTENTS

Cover Still by James N. Doolittle
Frontispiece by Otto H. Stolberg

ENGLAND, ITS TECHNICIANS AND THE FILM INDUSTRY - 3

By Lawrence Allen

MOTION PICTURE SOUND RECORDING . . _ 4

By Charles Felstead

MOVIES IN COLOR— FROM AN IDEA TO TECHNICOLOR - 6
By Howard C. Brown

"HOLD THE CAMERA STEADY" AND

"IN DEFENSE OF PREPARED DEVELOPERS" - - - 8 & 9

By Karl A. Barleben, Jr., F.R.P.S.

COLOR— THE SPIRIT OF THE NEW AGE 12

By Mary King Hunter

THE VIEW FINDER 14

By Avenir le Heart

THE STORMING OF HOLLYWOOD 16-17

By R. Ian Slyker
AMATEUR MOTION PICTURE SECTION - 18-21

By F. Hamilton Riddel

Bird Cinematography

By O. J. Gromme

Right-off-the-Reel

Cine-Essentials

Questions and Answers
SCIENCE STEPS INTO OPTICS - 22-23

By Earl Theisen
PATENTS ABSTRACTS APPERTAINING TO COLOR - - 24
TECHNICOLOR SHOOTING IN INDIA ----- 25

(From Journal of Motion Picture Society of India)
TAILOR MADE WIPES - 27

By W. V. Draper

CLASSIFIED - - 30

COLOR PHOTOGRAPHY UNDER THE SEA— Paper IV. - - 31

By Paul R. Harmcr
CINEMACARONI 32

By Robert Tohey

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles.
California, under the act of March 3, 1879.

and Canada

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California

GLadstone 3235

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, $2.50; Canada and Foreign $3.00 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

80~CTggp-^>

SERVICE ENGRAVING CO

COLOR

Perfection in color is not yet here,
but it is rapidly approaching and the
International Photographer is able to
say right now that at least four sys-
tems or processes are bunched in the
home stretch and others, too numer-
ous to mention, are strung out behind.

These four, which it had been
hoped to proclaim in this issue as hav-
ing reached the goal, begged further
time fearing pre-mature publicity, but
as they say in the vernacular — it
won't be long now.

All this researching in garages, cel-
lars, attics and laboratories has not
been for nothing and it is interesting
to note that Hollywood is proving to
be the pioneer — the Tek-Nik Town —
of this great pursuit of color.

Hollywood is color-minded with a
vengeance. Watch for announce-
ments.

16 MM.-
35 MM.

$1.00

At Your Dealers [

Julv. 1936

The INTERNATIONAL PHOTOGRAPHER

Three

England, It's Technicians and the

Film Industry

By LAWRENCE ALLEN
Written Especially for the International Photographer

UR American brothers are now aware of the
Association of Cine-Technicians which ex-
ists in England for the protection of studio
workers, as covered in Hollywood by Local
659, I.A.T.S.E. and M.P.M.O. You know our attitude
toward foreign technicians (thanks to a fair article
by Phil Tannura) and it is sincerely hoped that all
American technicians understand that A.C.T. is not
opposed to the entry of real ACE men into the Brit-
ish industry, provided they give our fellows a chance
to learn how to be Aces. All the same, we have in
England men whom we consider to be ACE tech-
nicians in the highest degree.

What A.C.T. is Doing to Improve Conditions in
the Industry

There exists in England a "Quota Act" which
was designed to aid the English film trade. Before
this ACT came into being the industry was dying of
strangulation by foreign competition. During 1925
only one major film was made in England, surely a
proof that the industry, as such, was nearly dead.
In 1927 the QUOTA ACT was introduced. A.C.T.
claim, quite rightly, that this act is responsible for
the huge film industry that exists in England today.

We technicians realize that this ACT has many
shortcomings. It is held responsible for the produc-
tion of films that are so bad they cannot be shown.
These are made by certain producers just to fulfill
their quota and as "commercial" films are a dead
loss.

The conditions under which these Quota Quick-
ies are made are fantastic, to say the least: e.g.,
seven reels in six days, eighteen hours a day for
two weeks on end, and other such crazy conditions
are worked by English technicians on these "Quick-
ies."

The British Board of Trade is carrying out an
inquiry as to the advisability of framing a new
quota act or scrapping it entirely. The present Act
expires in 1938. The A.C.T. gave evidence before
this Board and urged the drafting of a new quota
act with more exacting conditions and penalties.

One of the points put forward by the Technicians
through A.C.T. was for the fixing of a minimum of
$48,000 to be spent on any picture before it could
qualify for quota registration. Under the present Act
75 per cent of monies spent on wages must go to
Britishers such as stars and labor, i.e., technicians
and semi-skilled labor.

The Technicians ask that 75 per cent of monies
should be spent on wages paid to British Techni-
cians. The word "technician" defined thus: "Per-
sons employed in the following departments: Cam-
era, Sound, Scenario, Editing and Cutting, Art, Floor
and Production (Assistant Directors, Associate Pro-
ducers, Production Managers, Script Girls, etc.),
Stills, Musical, Make-Up, Sound Maintenance, Pro-
jection."

The work A.C.T. is doing on the Quota Act in-
quiry is a long wanted and highly desirable task,
as there have been a lot of breaches by some pro-

ducers in the carying out of this Act. These breaches
are too numerous to mention.

The Standard Agreement

A.C.T. has set itself the task of drawing up a
Standard Agreement that will be reasonable and
fair for the industry as a whole in England. Such a
job is extremely difficult, as there is no uniform rate
of pay and no uniform conditions, in fact, these are
chaotic. However, A.C.T. has almost completed
drafting the Agreement; that done, it will be present-
ed to the studio executives for signature. This, they
realize, will probably be the hardest task of all.

Probably the worst working conditions which ex-
ist are in the laboratories, where A.C.T. is rapidly
approaching 100 per cent membership. That figure
has been reached in the last six months. In this
section we have some of the real old-timers who
know the work from "A to Z", including optical
printing, which they have done since it became the
vogue. These people need an agreement more than
anyone else. They have drawn up their own for
A.C.T. to present; it is most reasonable and should
raise no objections with any fair-minded official.

The A.C.T. Technical Research Committee

A.C.T. have established a committee for the pur-
pose of keeping all its members informed concern-
ing new apparatus and processes which are of in-
terest. This committee will publish abstracts each
month relating to the latest technical discoveries.
The publication will be a world wide review of the
industry and should be of great value to its mem-
bers. This committee will be responsible for the
organization of all lectures to be held during the
winter months under the aegis of A.C.T.

Another duty of this committee will be to form-
late some scheme of apprenticeship, an important
subject, as at the moment there is no organized sys-
tem of entry or of teaching the new blood that is
bound to come into the industry. Some form of
control is badly needed to prevent the flooding of
the trade with these would-be's, sons of so-and-so,
etc., who stay in the industry for two or three months
for the thrill of it.

I have already outlined part of the work that
A.C.T. is doing for its members and the industry.
There are still other problems to be or in the process
of being tackled, but as A.C.T. has only just recently
found its legs it does not intend making them
"bandy" by running too soon.

The following is a brief outline explaining the
growth of A.C.T.: Formed in 1933 with about 100
members; had stormy days in that year. In 1934
it claimed 98 members; still more stormy days. 1935
started off with 88 members and a new organizer.
Now we can boast of 1,100 members, sunny days
and members still rolling in. These conditions are
similar, I suppose, to those experienced by the
Local 659 when it first started.

As you, our American Brothers, got that 100 per
cent organization, so will we. At least that is our
AIM and OBJECT.

Four

The INTERNATIONAL PHOTOGRAPHER

July, 1936

Motion Picture Sound Recording

CHAPTER XXVI.

N the three preceding chapters, we discussed
the design of a basic amplifier for operation
I from direct current supplied by batteries, the
associated input and output circuits, an
arrangement for measuring plate current and grid
and plate voltages with a single meter, formulas for
meter conversion and range extension, and the appli-
cations of this high-grade amplifier. In this chapter
we continue that discussion by showing how that
amplifier may be improved in design and adapted
to operation from an alternating current source.

The Improved Amplifier Circuit

In Figure 1 may be seen the diagram of an im-
proved model of this amplifier that is designed to
operate entirely from an a-c source; yet this arrange-
ment will provide amplification of sufficient quality
and freedom from hum to permit it to be used as a
recording amplifier.

It will be noted that the chief difference between
this amplifier and the original basic amplifier, dis-
regarding the power supply, lies in the grid and plate
filtering of each stage and in the method of securing
grid bias voltage for the tubes. The jacks for the
single milliammeter, as discussed in the preceding
chapter, should be included in this improved ampli-
fier, particularly those jacks in the plate circuits of
each stage; but in order to simplify the diagram they
were omitted.

The same components are used throughout this

amplifier as were used in the original basic ampli-
fier, the changes that have been made being entirely
from the addition of other parts for the purpose of
reducing the possibility of interaction between the
stages of the amplifier due to common coupling. The
quality of amplification of the original amplifier will
be equal in every respect to that obtained with this
improved model, but the original basic amplifier
had the very great disadvantage of employing bat-
teries for its power supplies.

Need For Grid Circuit Filtering

Beginning with the first stage of the amplifier
diagrammed in Figure 1, it will be noted that there
has been incorporated in its cathode and grid-return
circuits resistances of 2500 and 100,000 ohms respect-
ively and a condenser of four microfarads. The 2500
ohm resistance is for the purpose of providing grid
bias voltage for the tube in a manner that will be
discussed later; but the 100,000-ohm resistance and
the four-microfarad condenser together comprise
what is known as a grid filter.

This grid filter is necessary only because all three
of the stages of the amplifier receive their plate and
grid voltage from a common power supply. If separ-
ate C bias batteries were used, as in the original
basic amplifier, this grid filter (and the grid filter in
the second stage of the amplifier) would not be nec-
essary.

Since a common power supply is used, if the grid

5oo ooou°

POTENTIOMETER. , ,

) Ob

500 ^>
3 OUTPUT

output
transformer

2MF0

FRs AND BRs ARE
I WATT CARBON

RESISTORS

Cs MAY BE
2 5- VOLT
ELECTROLYTIC

2 o. 000

SO WATTS

Wire \novho

Fig. 1. Diagram of the improved version of the basic amplifier.

My, 1936

The INTERNATIONAL PHOTOGRAPHER

Five

filter of this first stage — or even the grid filter of the
second stage — were omitted, the amplifier would be
inclined to break into a sustained oscillation due to
feed back. This condition of oscillation occurs at a
frequency within the audible range, so it produces
a steady howling in the loud speaker connected to
the output of the amplifier — the frequency of the
howling sound being dependent on various circuit
constants. This howling is sometimes called "motor-
boating."

Functioning of the Grid Filter

The feed-back of energy that produces this effect
takes place in the following manner when grid filters
are not employed. A voltage produced by a sound
that disturbs the diaphragm of the microphone is fed
through the input transformer to the grid circuit of
the first amplifier tube. This voltage is amplified by
that tube and by the two succeeding tubes of the
amplifier, appearing as a greatly increased voltage
in the circuit of the third amplifier tube. This rela-
tively high signal voltage is fed back through the
action of common coupling (common impedance) in
the power supply to the grid circuit of the first am-
plifier tube.

The first amplifier tube and the succeeding two
tubes then function to amplify this fed-back signal
voltage, producing this time a very large voltage
change in the third amplifier stage. This greatly in-
creased energy is fed back in turn to the grid circuit
of the first tube — amplified again — and so on and on
until the signal voltage builds up to a steady value,
which is determined by the tubes employed and the
circuit constants. Of course, all this action and re-
action takes place during an interval of seconds or
fractions of a second.

When a grid filter such as shown in Figure 2 is
used in the first amplifier stage, the energy that is
fed back through the power supply from the final
amplifier tube (or even from the second amplifier
tube) is prevented from reaching the grid of the first
tube by the grid filter.

Since the energy that is fed back is represented
by a flow of current in the order of a few milliam-
peres, or fractions of a milliampere, and since this
fed-back current must flow through the grid-filter re-
sistance FR to reach the grid of the first tube, the
voltage drop through this high resistance is so great
that no energy is left to effect the grid. In other
words, all the power that is fed back through com-
mon coupling in the power supply is dissipated in
the filtering resistor FR and does not reach the tube
grid.

It is to be remembered in this connection that a
voltage, or pressure, is necessary to produce a flow
of current, just as pressure is necessary to force water
to flow through a pipe. Voltage, or pressure, how-
ever, can exist without a current flow (as in the case
of a pipe that is capped on one end and yet has
water under pressure in it). The voltage drop that
occurs in FR is equal to E = I x R, or in this case,
E = 1x100,000, where E is the loss of voltage that
occurs in the resistance, I is the current in amperes
that the voltage is trying to force through the resist-
ance, and R is the resistance in ohms of the resistor,
FR.

Other Effects of Grid Filter

A voltage that is produced across the secondary
of the input transformer by a sound picked up by the
microphone is applied directly across the grid and
cathode of the tube by way of the condenser C in
Figure 2. This condenser should have a capacity

CHARLES

FELSTEAD

ASSOCIATE

EDITOR

of at least two microfarads, and preferably more, so
that it presents a path of very low impedance to cur-
rents of all frequencies within the audio-frequency
range. In other words, it offers practically no oppo-
sition to the passage of alternating currents of aud-
ible frequencies, yet it acts as an open circuit to
direct current.

The grid bias voltage produced across BR in a
manner that will be described later is applied to the
grid of the tube through the filter resistor FR. Since
the tubes in this amplifier are intended to act as Class
A amplifiers, the grid of the tube is never permitted
to swing into the positive region of its Ip - Eg charac-
teristic curve, and so no grid current ever flows.

The bias voltage produced across BR and applied
to the grid of the tube through FR is thus purely a
voltage, or pressure; and since there is no current
flowing in this circuit due to the grid bias voltage, no
voltage drop (or I x R drop) occurs in the filter resis-
tor FR. As in the case of the capped pipe mentioned
previously, we have only pressure (voltage) here,
and as there is no current flowing, no loss of voltage
occurs in the resistor FR. E = IR; so if I = O, then
R x O = O, and E, the voltage drop, = O.)

A grid filter is used in the second stage of the
amplifier, since, although this is not as low an elec-
trical level point as the first stage, there is still the
possibility of feed-back from the final stage of the
amplifier. No harmful effect is likely to result, how-
ever, if this grid filter is not employed; in which case
the cathode bias resistor BR is shunted by the grid
by-pass condenser and the grid return of this second
stage connected directly to the ground point without
the 100,000-ohm resistor FR.

For the reason mentioned above, no grid filter is
required in the final stage; there being no higher
level point in the amplifier from which energy may
be fed back to this grid circuit. The grid bias resis-
tor (BR) for this stage and its by-pass condenser are
incorporated with the power supply, as may be seen
in Figure 1. This helps to simplify the amplifier.

Plate Filtering

It will be noted that parallel feed is used in the
plate circuit of the first amplifier tube. This is done,
as was explained in a previous chapter of this series,
to avoid any possibility of magnetic saturation of the
coupling transformer core by the flow of an exces-
sive current through the transformer primary wind
ing. In addition to this parallel feed circuit, a con-
denser marked CP and a resistor, PR, are incorpor-

(Turn to Page 25)

Six

The I N T F. R N A T I O N A f . PHOTOGRAPHER

July, 1936

Movies In Color: From An
Idea To Technicolor

By Howard C. Brown

|HE beginning of color photography was
probably Clerk Maxwell's classic experi-
ment before the Royal Institute of London
when, in 1861, he demonstrated that any
shade of colored light could be produced by com-
bining various amounts of the three primary colors:
red, green and blue. A few years after Maxwell's
demonstration, Ducos du Hauron published a
pamphlet entitled "Solution of the Problem of Photo-
graphy in Natural Colors" in which he described
nearly all of the basic principles of color photo-
graphy as we know them today, and laid the ground-
work for practically all of the subsequent develop-
ments of color photography, including the principle
of bi-pack and tri-pack.

As far back as 1866, then, it was known what
must be done to get photographs in natural color.
The seventy years since then have been devoted to
finding out how to do it.

Since any shade or color can be produced by
some combination of red, blue and green light, if
we make three negatives of a scene, each filtered
to record only one of the primary colors, we should
from these negatives be able to reproduce a perfect
color picture. Suppose we make three black-and-
white positives from our three negatives: If you project
them on a screen, each filtered by its proper primary-
color filter, we should be putting the picture together
exactly the way we took it apart in making the nega-
tives, and a perfect color-reproduction should result.
This is called the ADDITIVE system, for we start
with a dark screen and build up our picture by add-
ing primary-color components of white light until the
desired color is obtained.

If, on the other hand, we make a single compos-
ite color-print from our three negatives, the various
areas of print will subtract the unwanted color-com-
ponents from the white projection light, and give us
a perfect reproduction of the scene's colors on the
screen. This, since it works by subtracting parts of
while light until the desired color is reached, is
called the SUBTRACTIVE method.

Ruling out the early experiments in coloring
black-and-white pictures by hand or stencil (the first
motion picture projected by a screen, exhibited in
1894 by C. Francis Jenkins, is said to have been
hand-tinted by a Mrs. Boyce), the first important
step in genuine natural-color cinematography was
a three-color additive process developed in England
by W. Friese-Greene. This process consisted in tak-
ing successive pictures through primary filters, on
a single strip of negative. The filters were made
part of a rotating wheel in front of the film. An or-
dinary positive was made from this negative, and
the print was projected upon the screen in a similar

manner, through synchronized color-filters. But the
excessive speed necessary in taking and projecting
these pictures caused uncontrollable wear on both
the machines and the film, so the process was soon
discarded.

Gaumont, in France, tried to overcome this diffi-
culty by developing a camera and projector both
equipped with a special three-lens system. Each
lens reproduced a frame approximately two-thirds
the size of a normal 35mm. frame, and each lens
carried its proper primary-color filter. Very promis-
ing results were obtained by this process, but the
fact that special camera and projection equipment
were necessary eliminated any commercial possi-
bilities.

The only additive three-color process that has
lived down through the years is the one invented by
A. Keller-Dorian, based on the principle of inserting
a line screen three-color filter in front of the lens of
both camera and projector, and impressing a series
of microscopic cylindrical lenses onto and across
the celluloid side of panchromatic film. The 16mm.
rights to this process were purchased about ten
years ago by the Eastman Kodak Company, who
marketed it successfully under the name "Koda-
color." Of late, Eastman and Paramount engineers
have been grooming the process for a professional
debut. It is said by those in the know that the 35mm.
version of the process has been refined to give out-
standing results.

The many difficulties inherent to three-color addi-
tive work prompted many inventors to try and per-
fect a two-color additive process. For perfect repro-
duction of colors, the three primaries are necessary;
but a fair effect of color can be obtained by using
only two colors — usually red-orange and blue, or
red-orange and green. And while the results may
not equal those of a three-color system, the greater
simplicity of a two-color process offered definite eco-
nomic advantages — especially when there existed
no practical three-color system as a competitor.

The most important of these two-color additive
systems was Kinemacolor, which enjoyed consid-
erable favorable publicity, and some small com-

1 -
1 '

1 <

m l '

| Variable area recorders'

W~ PATENT NO. 1985584. OTHERS PENDING
I ALSO

^^ 35 mm to 1 6 mm ^^
L JTJ REDUCTION SOUND PRINTER 1

P 1 [^ SOUND EQUIPMENT ijfc

* ^P Cable address CRSCO ^J

f C. R. SKINNER MFG. Co.

290 TURK STREET. PHONE OROUWY 6909

^ ^ San Francisco. California U. S. A. j

July, Wf>

INTERNATIONAL PHOTOGRAPHER

Seven

mercial success about 25 years ago. This process
used a special camera and projector, and worked at
a speed of 32 frames per second. A rotating color-
filter wheel made alternate frames through red and
green filters, or projected them the same way. But
an important defect in the Kinemacolor method was
its inability to reproduce even moderate action
scenes without color fringing. The color-image of
any scene was composed of two frames — a red-
filtered frame and a green-filtered frame — photo-
graphed successively; on the screen, that same "per-
sistence of vision" which blends any series of pro-
jected frames into an illusion of continuous motion
blended the two partial-color images into an illusion
of a fully-colored picture. That is, after the red-
filtered frame left the screen and the green-filtered
one took its place, the eye retained a left-over im-
pression of the red picture, which blended with the
actual green image to reproduce the intermediate

cated, four-color additive process, but before it got
anywhere, it shed two of its colors and became sub-
tractive. For several years after this development,
which came about 1921, Prizma flourished. D. W.
Griffith's "Way Down East" had a long Prizma se-
quence, and many of the old Famous Players pro-
ductions had Prizma sequences and inserts. In
England, Commodore J. Stuart Blackton made two
complete features in Prizma; one of them, "The Glori-
ous Adventure," starring Lady Diana Manners and
Victor McLaglen, was quite extensively shown in
this country. It was actually the first commercial
all-color feature, being released August 27, 1922.

On January 22, 1923, Technicolor's two-color sub-
tractive process made its bow in Technicolor's pro-
duction "The Toll of the Sea," which was accorded
Honorable Mention in Robert E. Sherwood's listing
of the Ten Best Pictures of 1922-23. It was photo-
graphed by Ray Rennahan, who is still one of Tech-

ln the middle we see Ray Rennahan and one of the old two-color Technicolor cameras, flanked by right- and left-hand views of the three-
color Technicolor camera which photographed "Trail of the Lonesome Pine."

shades. That idea works very well when there is
no great amount of movement between one frame
and the next; but where some fast-moving object
has greatly changed its position between the frames,
the carried-over image won't be in perfect register
with the actual one, and on one side of the object,
we will see a bit of red, without any admixture of the
green, whiie the other side will show a fringe of
green, unmodified by the red-component which
should be there.

About this time, a firm of consulting engineers,
Kalmus, Comstock & Wescott, became interested in
the problem of color movies. Their first color re-
search was along two-color additive lines, and an
early American patent was issued to Dr. Daniel Frost
Comstock for a method and system of producing a
plurality of images, which successfully eliminated
color fringes. These gentlemen soon set up a color
film company, naming it, in honor of their Alma
Mater, Massachusetts Tech, "Technicolor." It is not
generally known, but Technicolor's first color picture,
which was produced in Florida, made use of the
additive theory of color-photography.

Although this process obtained very pleasing re-
sults, and had eliminated most of the two-color addi-
tive defects, it got nowhere commercially because
of its requirement of special projection equipment.
So instead of dominating the motion picture industry
with its process, Technicolor discovered that it must
start afresh and try to develop a commercial sub-
tractive process.

While the Technicolorists wrestled with this prob-
lem, the Prizma process (later Kelly-color) enjoyed a
brief vogue. Prizma began life as a rather compli-

nocolor's ace lensers after fourteen years of un-
broken Technicoloring.

This version of the process involved the use of
a special camera, and a great deal of intricate work
in the laboratory; but the prints could be run on any
projector. The two-color separation images were
made on adjacent frames, through a single lens, at
one exposure. A rather delicate beam-splitting
prism divided the lens' image into two. One of
these was reflected upwards, and then around to
the film; the other, down and around in similar
fashion, so that the image-forming light travelled
in each case the same distance. The camera oper-
ated at twice normal speed, pulling down two
frames at a time, instead of one; but counting the
two frames of the pair exposed as a single exposure,
the exposure-frequency was normal, though twice
as much footage passed through the aperture.

Printing was done on an improved Duplex printer
known as the Carleton Printer. The two separation
images were printed on two separate strips of a
special, thin stock. After printing, developing and
dyeing, the two films were cemented together, back-
to-back, in register, to form a single two-color print.

Technicolor also used another printer, perfected
by their own engineers, and known as the "K"
printer. This printer was very slow in speed and
was used only for the printing of badly over-or
under-exposed scenes, out-of-register negatives, and
similar precision salvage-jobs.

About eight years ago ,the firm evolved their
present printing method, which is known as Imbibi-
tion Printing — familiarly, "lb" printing. This is a sys-

(Turn to Page 26)

Eight

The INTERNATIONAL PHOTOGRAPHER

Jid\,1936

■ 'A

Hold the Camera Steady

By KARL A. BARLEBEN, JR., F.R.P.S.

DEAN, New York Institute
of Photography.

N the old days fuzzy and blurry photographs
were quite unusual because a tripod was
then an indispensable part of the camera.
Snapshot exposures were the exception
rather than the rule, and to make a picture, the
photographer had to take his time and set up a
tripod, focus on a ground glass, insert the plate
holder, pull out the slide, and then finally make
the exposure. Even so-called snapshot shutter
speeds were used with the camera on a tripod.
What a difference today! The tripod is now re-
garded as an obsolete relic of the years gone by.
Only view camera users seem to use it; everyone
else preferring to hold the camera in the hands.
This is a natural result of the popularity of the
"hand camera" which did away with ground glass
focusing and physical bulk. Fast lenses and speedy
emulsions have made it possible to photograph at
rapid shutter speeds in very unfavorable illumina-
tion. The tripod, then, was eased out until now it
is used only for very extreme cases such as time
exposures and the like by the vast majority of ama-
teurs. Miniature camera owners seem to ignore
the tripod completely, for only now and then will
you find an owner confessing to the ownership of a
tripod — and then it is a flimsy affair which gives
more trouble than anything else. Yet, because of
our dislike for the tripod, and our unwillingness to
be burdened with it, we often secure pictures which
do not quite please or satisfy us.

Blur, fuzziness, and general out-of-focus effects
grace many of the present-day snapshots, and the
amateur often believes that his lens is a poor one,
or that something is wrong with it. Or he figures
that perhaps the film is not lying perfectly flat in
the film channel, thus causing a slight blur in his
pictures. Never would it occur to him that he may
be at fault. Of course there may be a possibility of
the lens being defective, and it may happen that
the film does not lie perfectly flat in the film chan-
nel, but on closer examination you will most likely
find that none of these is responsible.

In our hurry-up civilization, in which we cannot
take time ever to make a photograph properly, we
often ruin what might have been a perfect picture.
The actual count cannot be even guessed, but I am
sure that every single camera owner at some time
or another has experienced fuzzy pictures which
owe their failure as photographs to our inability to
hold the camera steadily during the interval of ex-
posture. Invariably we jerk the shutter release sud-
denly, thus moving the camera slightly at just the
moment when it should be at its steadiest! First,
it becomes necessary to learn how to hold the cam-
era securely in the hands — something few instruc-
tion books mention. Cameras of all sizes and
shapes and designs are naturally different and re-

quire different handling, yet the basic principle of
holding them steadily remains the same. Both hands
should be used, and the camera should be cradled
in them comfortably, yet firmly. No effort is re-
quired to do this properly, for force is unnecessary.

At eye-level, the camera is best braced against
the nose or forehead, depending upon the style and
type of camera. At waist-level, the chest makes an
ideal brace for the back of the camera. In each
case, both hands hold the camera at convenient
ends with the shutter release adjacent and conveni-
ent to the thumb or forefinger, whichever is most
convenient. There should be no need to shift or
move a hand or the camera to reach the release.
As an aid to steadiness, and to foster our laziness
in the matter of tripods, some manufactuiers have
devised special tripod substitutes. One such de-
vice consists of a walking stick which can be used
to support the camera. Another consists of a metal
chain, upon one end of which the camerist steps,
while the other end is fastened to the tripod socket
of the camera. By holding the camera up and thus
tightening the chain, added steadiness is achieved.
Still another device consists of a belt into which fits
a short staff, upon which the camera is mounted.
This makes the cameraman look like the color bear-
er in a parade, but it does serve the purpose of aid-
ing in holding the camera steady. All of these de-
vices are intended to replace the regular tripod,
which, in the final analysis, is the best camera sup-
port as yet discovered — yet few will use it.

However, now that we have some idea on the
matter of holding the camera steady when hand-
held, let us go a bit further. Assuming that we can
hold the camera steadily in the hands, we can still
shake it at the critical moment by using the shutter
release lever or button as we would an electric
light switch which requires force to operate it. It
seems that everyone has a decided tendency to
press or push on the release as though it were
some thing gigantic. Not only that, but the move-
ment on it is quick, sudden, and jerky. This quick
action certainly throws the camera somewhat off
its original position, and the worst part of it is that
the camera moves at precisely the moment it should
be a its steadiest — the moment of actual exposure.
Result: Blur due to movement of the camera.

If every camera owner were a marksman, this
evil would not exist because the marksman has
trained himself to squeeze the trigger of the rifle,
and never to jerk or pull it suddenly. To snap the
trigger back suddenly would destroy his aim com-
pletely. He presses or squeezes the trigger slowly
and deliberately until the hammer hits the cartridge.
There is no haste, no sudden movement. As a re-
sult, if the rifle is aimed at the bulls-eye, the bullet
reaches it because nothing has disturbed the careful

DUPLICATES OF KODACHROME

Silent — or sound can be added.

The only laboratory in the country duplicating Koda-

chrome Film. ... ..

Write for prices.

STITH— NOBLE CORPORATION, LTD.

645 No. Martel Ave. Hollywood, Calif.

July, 1936

The INTERNATIONAL PHOTOGRAPHER

Nin

aim of the rifle during the pulling of the trigger.
The camera owner can learn a lot from the marks-
man, for the same technique he uses with his trigger
can be applied to the shutter release of a camera.
Aside from holding the camera steadily in the hands,
the release should be depressed in a slow deliber-
ate manner, so that the shutter is caused to operate
at its own good time and without causing the camera
to move during the exposure. Try this some time
and see if the results are a lot better.

As a general thing, a heavy camera is better
for hand use than a light one because the very
weight of it tends to maintain its original position
when the shutter is released, however, light and
small cameras can be kept perfectly steady by
simply applying the few fundamental principles pre-
viously outlined.

The speed of the shutter is another factor to
reckon with. It follows that the faster the shutter
speed, the less danger of blurred pictures due to
movement or shake of the camera. For this reason,
many cameraists never use a speed of more than
l/25th of a second when using the camera hand-
held. Indeed, some few cannot even hold the cam-
era steady at this speed and have to step the speed
up to l/50th of a second as their lowest limit. Just
as everyone finds his own method of holding any
camera, so each one differs as to the shutter speed
he can use. Some can hold a camera steady in the
hands for a full one second exposure, while others,
as mentioned, must use at least a l/50th speed.
Everyone must learn his limits. A safe average
rule is to use a l/25th of a second or faster shutter
speed when holding the camera in the hands.
Slower speed should be used only with the aid of
a tripod or similar firm support for the camera. By
observing this suggestion, no danger of blurred re-
sults need be felt.

illustrating a good
way to hold a stand-
ard folding camera in
the hands. Note that
the back of the cam-
era is resting against
the nose and that the
cable release is con-
veniently held in one
hand which also holds
the camera — Photo
by Josephene
Barleben.

So far we have been discussing cameras fitted
with normal focus lenses. What about telephoto
lenses? It is obvious that a long focus lens will
magnify any vibration or movement of the camera
just so much more than the normal focus lens.
Therefore, a greater shutter speed must be used if
the complete elimination of movement be expected.
When a 1 /25th of a second speed may stop vibra-
tion with a normal lens, a l/50th, l/75th, or 1/1 00th
of a second speed should be used under the same
conditions with a telephoto lens. By far the wisest
plan is to always use a tripod when long focus
lenses are used, for it is surprising how such lenses
will amplify the slightest movement of the camera,
and record it, naturally, upon the film.

By holding the camera steady and using com-
mon sense, or better still, by using a tripod, you can
forget about camera movement.

When using telephoto lenses, extra care must be exercised. Here one hand is used to support the lens on a miniature
camera for steadiness — Photo by Karl A. Barleben, )r.

The best way to hold a miniature camera in the vertical position. Here the left forefinger ties against the bottom of the
camera to give steadiness. The back of the camera is pressed against the forehead. The right forefinger is at the shutter

release — Photo by Morris Germain.
An easy way to hold a miniature camera in the horizontal position. Note how the hands cradle the camera securely yet
comfortably, and the forefinger is on the shutter release without the hand moving — Photo by Morris Germain.

In Defense of Prepared Developers

By Karl A. Barleben, Jr., F.R.P.S.

IODAY there is a vast array of prepared
developers available. In fact one wonders
if amateurs make up their own solutions
any longer. The puzzling thing is why they
should want to. It can be easily understood why
the professional photographer ignores the prepared
products and sticks to mixing his own chemicals —

he has all the facilities and time, and of course by
mixing his own he can vary the amounts at will
to produce certain definite results which he may
want now and then. With the amateur, the case is
a little different.

Let us look into the matter a bit more carefully.
The average amateur produces pictures for the

Ten

The INTERNATIONAL PHOTOGRAPHER

July, 1936

pleasure involved. He is not likely to find any par-
ticular joy in mixing his own chemicals, for the
process is, after the novelty has worn off, rather dull
and uninteresting, to say nothing of monotonous.
And as usually is the case, the stock solution bot-
tles are empty of the precious fluid just when one
wants to develop up some particularly interesting
or important negatives, and time is at a premium.
It would appear that good sense dictate the use of
the prepared products rather than get into difficulties
of his sort. The professional has his dark or work-
room wherein he can mix chemicals to his heart's
content. He saves money by so doing. But the
amateur? When it is considered that the few cents
saved by mixing chemicals is quickly overcome by
the time lost, to say nothing of the bother involved,
the prepared products certainly are not overly ex-
pensive.

As many amateur photographers are city dwell-
ers and live in cramped quarters, any additional
space required or effort expended seems to be ampli-
fied. If the bathroom or kitchen is chosen for mix-
ing chemicals, there will be "the little lady" to con-
tend with. While the element of danger is negligible,
it might also be considered. Some chemicals do
not improve the flavor of the dinner, nor make the
toothbrush work any better. A certain amount of
chemical dust can be expected to be carried through
the air and into food, cooking utensils, and toilet
preparations. Paraphenlylene-diamine, in the most
common form, readily powders and dusts itself into
thin air when poured, shaken, or agitated. Fortu-
nately few, if any, amateurs use the chemical these
days in this form.

But enough. My principal purpose here is to
indicate the wisdom of using prepared developers
and not to knock the idea of mixing chemicals. My
thought is that those who have the time and facilities
should, and those who haven't, shouldn't. Unques-
tionably the era of the miniature camera is respon-
sible for the increased use of prepared developers.
Years ago, you were a sissy if you used them. Even
today some few amateurs consider it "professional"
to mix their own chemicals, and for no other rea-
son clutter up their homes and spend precious time
at it.

A few of the excellent reasons for using the pre-
pared products are as follows:

(a) You are assured of uniform strength.

(b) Purity of ingredients.

(d) Avoidance of fuss and bother.

(e) Cleanliness.

(f) Freedom from staining, chemical infusion, etc.

Years ago the photographer carried a little note-
book in his pocket in which he kept treasured and
"secret" formulas. If he liked you he might let you
copy one of his pet formulas as a great favor. Today
there is no such secrecy. All formulas are yours for
the asking. In case the formula of a prepared
product is not made public, who cares? As long
as it does the work, and it is made available, why
should anyone worry about what chemicals it con-
tains? Practically all of the prepared products are
unknown chemically to the public, yet they do their
work in a most satisfactory manner. So most ama-
teurs let it go at that.

The beauty of prepared developers lies in the
fact that they can be obtained in several forms.
There are many in powder form, supplied in glass
tubes or containers. Then there are the clever
"aspirin tablet" kind offered by Burroughs Wellcome.

And last but not least is the liquid type, usually sold
in concentrated form, but in some cases "straight,"
to be used "as is." The most convenient is the liquid
type, for all that is needed is to pour the contents
of the bottle in a tray or tank and get down to de-
veloping the films or plates, as the case may be.
I like the liquid type because it particularly avoids
any possibility of the chemical content of the water
supply affecting the solution. Most liquid developers
are made with distilled water, hence their action can
be accounted for every time. When you dissolve
a powder in tap water, the results may or may not
be completely satisfactory, particularly when travel-
ing about.

And speaking of traveling. It is quite out of the
question to mix your own chemicals when away
from home unless you want to make a truck-horse
of yourself. Travelers always depend upon prepared
developers, even if they are not so inclined. There
just isn't anything else they can do about it. Even
with the prepared products, things can be tough
enough for the traveler. Try developing your films
or plates on a train, ship, or in a hotel, and see
what you have to go through! For home use it is
the same. How convenient to merely empty a bottle
into the tray or tank whenever the urge to develop
strikes you. No mess to clean up, and no time lost.
You need never battle with the good wife if you use
prepared developers.

In this modern age we not only have prepared
developers, but also acid hypo solutions in concen-
trated form. And paper developers. And special
hardening solutions. The connection between chem-
istry and photography is becoming more and more
strained. Well, why not? The actual contact with
chemicals does not, except in very rare cases, pro-
duce better pictures. With the prepared solutions
you have a fixed, definite strength of known purity,
always at hand. The mystery and element of chance
have been eliminated. You make the picture in the
camera and trust to several bottled solutions. The
chances are that by so doing you can do better than
trying new formulas and mixtures of your own mix-
ing. In short, the mechanics of photography have
been removed and placed in safe hands. This
leaves you more time to produce good pictures. If,
as is often claimed, photography entertains certain
variations, why not stabilize it and assure the pho-
tographer of consistent results? It is the final re-
sult which counts — the negative, the print, and not
the camera, the formula for developing, or the type
and grade of paper. It is the picture that people
see and enjoy. Their interest in its birth and travel
to maturity on the finished, mounted print is prac-
tically nil. This being so, why not standardize a
variable process as far as possible and thus gain
in the end by producing better and more consistent
pictures?

In (/QprlJ-QOiiU Use

Effects in Daytime'F^ Scenes-

bif fused. Ftfcus. and many ^ftar effects

With any Uamera "" In any Ulimate

GcorcjG H. ScKeibo

ORIGINATOR OF EFFECT FILTERS

1927 WEST 78th ST. LOS ANGELES. CAL.

july> 1936 The INTERNATIONAL PHOTOGRAPHER Eleven

UNEQUALLED

THE record of Super X is unequalled . . . both
as to the photographic quality it sends to
the screen, and the resulting acceptance it
enjoys in the industry. Not only in this coun-
try, but abroad as well, it rates as the pre-
mier motion picture negative of the day.
Eastman Kodak Company, Rochester, N. Y.
(J. E. Brulatour, Inc., Distributors, Fort Lee,
New York, Chicago, Hollywood.)

EASTMAN SUPER X

PANCHROMATIC NEGATIVE

7 welve

INTERNATIONAL P HO TOGRAPHER

July, 1936

Color— The Spirit of the New Age

By Mary King Hunter

(By Special Permission of the Authoress)

|OLOR, in its appeal to the mind of the aver-
age person, affects both nerve and emotion-
al centers. No matter how unconscious we
may be of this, all of us vibrate to color,
more or less, and feel it in our super-sensitiveness.

The primary or elemental colors produce an in-
stantaneous response and when once the effect or
sensation which they produce on the mind is known,
then their uniformity can always be depended upon
in producing a like result.

We use the bright, primal colors for advertising
purposes, desiring as we do an instant re-action
thereto and realizing that the elementary colors are
fixed in their wave length and re-action. Advertising
is to business today exactly what steam is to ma-
chinery, the great propelling power. It would there-
fore seem that when we use color, a knowledge of
color-vibration would be not only helpful but actually
necessary. All complimentary colors work much
more slowly, their action being reduced by the addi-
tion to the color — of the neutral white.

Complimentary or neutral colors, such as black,
white, grey or beige, are less disturbing than the
brighter colors, but at the same time have their uses
in acting as a buffer to the reds, blues, greens and
yellows which we group upon or around them.

Color is either a smile or a frown. First we learn
how to use it and every smile tends to make the
nerve centers, and other of the body chemicals, sense
a feeling of happiness, well-being, or harmony and
health. Evil, too, has its own distinct vibration which
can be shown in color aura. Badly chosen color in
dress or for home decoration not only reflects a poor
taste in color, an uneducated color-sense, but defin-
itely reflects character. Merely negative people do
not throw off a strong color vibration. They are most-
ly weak, yet, often "stubborn in the wrong," easily
influenced and changeable as the winds that blow,
hither and thither, "Where no man listeth."

Untutored people prefer the so-called "loud" col-
ors. Loud noises are their manner of expressing great
joy, loud music too, not always inharmonious, but
noticeable for the abuse of the loud pedal. "King
for a day," the modern version of "Place a beggar
on horseback and watch him ride to the devil," — two
ways of remarking on the loud, self-assertion and lat-
ent self-complacency so purely a sign of the un-
tutored mind.

Real taste and discriminating conduct along al-
most any line is either ours from hereditary instinct
or the hourly, daily use of fine clean thought, fine
feelings and harmonious surroundings. Aristocracy
of character, quietly and without a flare of trumpets,
proclaiming itself in well-chosen, actions and lan-
guage.

Narrow-minded people are often the subtle-
minded amongst us. They are not imaginative and
have little or no enthusiasm, being often suspicious
and distrustful without due cause. Their color is al-
ways amber, shading to yellowish green.

Broad-minded, humane people sub-consciously

see color everywhere — in fact without always recog-
nizing their own particular color vibration. The rea-
son for this is the multiplicity of colors to which they
may be said to vibrate. The rolling prairie intrigues
them with its scintillating gray-green haze. The ever-
changing sea with the restless white breakers capping
the billows of greenish blue, the eternal hills with
their variegated hues of greens, golds and purples.
How small we feel, we, the dreamers, the thinkers,
the creatures of vivid imagination, the enthusiasts
whose color aura is as vivid as the Rainbow! And —
how great the Works of God. Only the "seeing eye"
(the introspective character) feels color in its deepest
and most sacred message to the human mind. This
character sees all, hears all and bows low before the
majesty of Nature.

The superficially clever person, especially in
woman-kind, will display her desires and complexes
by the use in dress of a vivid gaudy scarlet. "The
Scarlet Letter" — "The Scarlet Woman" — "As Scarlet
Their Sins," etc., denote the conjunction of this color
with a misuse of sex. Over-sexed children, particu-
larly young girls, adore scarlet and it is often foolish
sex impulses or complexes that drive certain types
of older women (women of light, mercurial mentality)
to the use and abuse of this flaunting color.

Palest pink, fresh as a daisy, — who amongst us
but would see it as the color of Innocence, blush
roses, sweet baby toes and sugar candies?

Even the dignified and often sad purple has
within it a strain of wickedness. Bacchante's grapes
were purple and the purple orchid proclaims an
exotic, experienced, expensive taste on the part of

Fully Guaranteed

USED 35 MM.
EQUIPMENT

Mitchell, Bell & Howell, Akeley, DeBrie,
Universal, Pathe Cameras.

Portable Sound Recording Outfits.

B & H Eyemo, 400 ft. Magazine, Motor
driven.

Holmes Projectors, Sound and Silent.

DeVry Suit Case Model Projectors.

We buy, sell and rent anything Photo-
graphic.

•• •

CAMERA SUPPLY CO. LTD.

1515 No. Cahuenga Blvd.

Cable Address:

Hollywood, Calif.
CAMERAS.

July, 1936

The INTERNATIONAL PHOTOGRAPH E

Thirteen

the wearer. Yet, violets are the outward manifesta-
tion of "kind thoughts" and in many cases equally
kind deeds. The deep red of the purple has been
lightened — the sadness of experience gained — all is
lightened and softened by the introduction of the
neutral white.

Thus we know the character of our friends by
their vibrations in shape, sound, color and even odor.
Their state of mind is clearly expressed in the colors
to which they are at the moment vibrating. Work
with nature, and anything progressive is possible.
Nature is always seeking direct expression.

The nervous system reflects its own disturbances,
causing pain or pleasure, as the accompanying emo-
tion.

Super-sensitiveness reveals a co-ordination of
color vibrations to moral impulses, or in other words,
the effect of color is clearly shown on the morals of
man. The artistic temperament is best balanced by
the colors which appeal to the religious temperament
and vice versa, as the scientific and musical temper-

ament would find its balance or neutrality in the
artistic and religious. The substance of all good
thought is essentially creative and intentions always
determine the intensity of a thought-vibration.

Both COLOR and MUSIC arouse and stimulate
the memory and as all things in the thought-world
seek to become things in the physical — color-
thoughts seek expression in Harmony. Sir Isaac
Newton has assured us that the length of the spaces
occupied by the seven primary colors correspond in
chord length to the seven notes of the diatonic scale.
Many people uneducated in a color-sense will seek to
visualize Harmony by employing only one color
tone, although that may well be in its various shades.
We now realize that this expresses only continuity
and that Harmony requires various notes of color,
as music skillfully blended together to produce a
pleasing and harmonious result. Yes, and often a
discord of the correct vibration in relieving monotony
creates a wonderful melody or a pleasing and cura-
tive color scheme.

FUSTER COLOR

The contribution of Mr. Lewis Fuster to the sym-
posium of color in this issue of INTERNATIONAL
PHOTOGRAPHER is as follows:

Its name is Fuster (Fooster) Color.

It is full natural three colors.

High Speed.

Costs but little more than black and white.

No waste.

Minimum of effort.

Thoroughly standardized simple laboratory pro-
cedures.

Fuster-Color is not to be confused with Mr. Fuster's

old or new Imbibition processes, nor with his Mosaic
process — it is a fully subtractive process.

It was originally shown more than twenty years
ago and has since been quietly and scientifically
developed until recently perfected.

This process is claimed to be distinctly a major
studio method.

Priority is said to have been established by patent
literature, public demonstrations, press announce-
ments, etc.

Mr. Fuster is well known among the pioneer
color men from Boston to Hollywood and he has been
a citizen of Los Angeles for twenty-five years.

CAMERAMEN

STUDIOS • • •

it9s here!

Eastern Representatives

•

MITCHELL CAMERA CORP.

FEARLESS PRODUCTS

HARRISON FILTERS

MOVIOLAS

In our display rooms you will
find New and Used Cameras, Ac-
cessories, Lighting Equipment,
immediately available. Phone,
write or wire.

Everything is thoroughly guar-
anteed.

Our experienced engineers, work-
ing in our own machine shop,
can repair any make of camera,
quickly, at low cost.

FRANK C. ZUCKER
I. BURCI CONTNERl

MOTION PICTURE CAMERA

SUPPLY, Inc.
723 Seventh Ave. New York City

Telephone BRyant 9-7755 Cable Address: Cinecamera

*****

UNITED STATES CIVIL
SERVICE EXAMINATIONS

Junior Motion Picture Director
$3,500 a Year

Motion Picture Specialist
$3,200 a Year

DEPARTMENT OF
AGRICULTURE

Applications must be on file
with the United States Civil
Service Commission at Wash-
ington D. C, not later than July,
13, 1936.

• * * * •

Fourteen

The INTERNATIONAL PHOTOGRAPHER

July, 1936

THE VIEW FINDER

The Correct and Proper Way of
Utilizing It

By AVENIR LE HEART

505^$ VERY photographic camera is equipped with
a device known as a view-finder. This little
addition to the camera was to help the pho-
tographer to absorb the view as he might
be attracted by it in his routine of photography. For
his convenience this view finder brings the view to
very pleasing small dimensions which prove most
attractive.

This little appliance, which seems most friendly
in its nature, is, in fact, a most powerful enemy to the
one who would rely upon it and its working qualities.

The object of this article is to expose this pre-
sumably friendly little attachment and to suggest the
correct and proper way of utilizing it.

There are two popular types of view finder: One
reflects through the lens of the camera and the other
through a lens of its own. One of these types absorb
the view on a diagonally placed mirror, which in
turn projects it to its adapted lens. Now, in the pro-
cess of projection, the matter of composition, due to
he law of the lens, crosses its lines and the appear-
ance of the projected composition is reversed in its
placements. What is present in composition on the
right side appears through projection on the left
side and vice versa.

This factor of reversal is the inner secret of the
failure of many pictorial possibilities.

The law of balance, as it is applied in the con-
ception of proper composition, requires that the heav-
ier weight be on the right hand as we view it. Ac-
cordingly we locate studies consciously or uncon-
sciously, having this law in mind.

If the photograph is made without consulting the
view-finder, we are apt to be successful in register-
ing correct composition. But suppose we locate the
view by seeing it through the view finder, then we
have the choice of two things; either to reject a good
and correct composition by seeing it in its reverse
form, or look for another composition that would ap-
pear in the view-finder's projection as pleasing and
find it wrong in the finished print.

In talking to an average camera artist, this sub-
ject of deceit, on the part of the view-finder, has
never seemed important, because the average "snap
shooter" seemed perfectly satisfied with registering
the desired view or the familiar person.

The photographer whose ambition is to portray
studies of quality should be conscious of the decep-
tive nature of this view-finder. In the estimation of
the author, the view-finder should be consulted only
as a matter of sharpness or delineation of the study
itself. The composition should not be located by the
help of the camera's mechanical view-finder, but

spotted as one actually sees it, or with the help of
a little device that one can prepare for his own use,
i.e. take a square piece of cardboard of let's say
5 x 7" and make a small opening of about one-
quarter to one-half inch in the center of it. By locat-
ing the composition through this opening one has the
advantage of seeing the composition unalterably as
it is and, at the same time, by moving the card-board
nearer or further from the eye, one ill see the linear
limitations of the object or the imaginary bordering
lines of the composition. Having located the desired
composition it is an easy matter to adjust the camera
with the help of the demoted view-finder and obtain
a good picture.

There is a slight drawback to this cardboard
finder, as one does not see through it on the same
level as one would see through the view-finder.
Therefore, one must be conscious of this fact and
bring his eye level with the level of the camera in
viewing a scene or an object.

There is still another kind of view-finder; the
ground glass commonly found in portrait cameras,
on which the image appears in upside down posi-

(Turn to Page 28)

New. . .

a magazine keyed to the
trend of the times. The
modern, sparkling ....

PHOTOGRAPHIC

DIGEST

Devoted to condensing the most in-
teresting and informative articles
from contemporary publications ap-
pealing to the amateur, professional,
camera journalist, movie maker,
technician, laboratory worker, news-
paper cameraman, and all others in-
terested in photography.

Single copy 25c . . $2.50 by the year

See It at Your Dealer or Send for
FREE Sample Copy

PHOTOGRAPHIC DIGEST

267 FIFTH AVENUE

NEW YORK, N. Y.

July, 1936 The INTERNATIONAL PHOTOGRAPHER Fifteen

fflake Use of This Quality

BOTH here and abroad
Super X is steadily adding
to its reputation for de-
livering the finest photo-
graphic quality available
in any motion picture
negative film. Be sure to
make use of this quality.
Specify Super X for your
next picture.

J. E. BRULATOUR, INC.

FORT LEE + NEW YORK + CHICAGO + HOLLYWOOD

Sixteen

The INTERNATIONAL PHOTOGRAPHER

July, 1936

THE STORMING OF HOLLYWOOD

By R. Van Slyker

^N March 20th the report of the Weather
Bureau of Los Angeles was 75 degrees, one
of our annual unsually warm days. On
^ the stage, with the heat being generated by
some forty studio lights, Mae Clarke and James

After all this work we have the answer expressed
in terms of tons of refrigeration per hour. This should
give an indication of the amount of heat generated
by the lamps. When it is also considered that a ton
of ice has heat absorbing value of 288,000 B.T.U.'s

Machine manufacturing snow from 300 pound blocks of ice.

Dunn, literally bundled up to their eyebrows in ice
skating costumes of the 1860's, skated across the
pond of real ice on the cold frozen set, using real
snow for Republic's "Hearts in Bondage." Trees were
bowed down by the weight of snow on their
branches with the temperature a few degrees above
freezing. In this manner the world's first scene was
shot in an (Ice Box) Refrigerated Stage.

The conversion of the refrigerated building, some
140 feet long by 90 feet wide and 42 feet high, into
a sound stage acceptable to the demands of the
camera and sound departments of the various stu-
dios, created quite a problem in acoustical treat-
ments. In a bare building the usual normal accept-
able noise level of minus 30 DB was easily met
with as the insulated walls of this stage were al-
ready 14 inches thick, filled with a heat resistant
material which also acted as a nearly perfect sound
absorbent. Unfortunately ,the interior finish of the
building was of hard pine, carefully varnished, giv-
ing a bright glossy damp-proof finish to the wall and
a bright glossy reverberatory effect to the slightest
noise. This was overcome by the liberal use of
ozite hung on the walls and distributed in sections
along the ceiling a few feet below the main refriger-
ating coil.

An idea as to the amount of the heat load given
by the lamps can be seen by these figures — 1 watt
of electricity contains a heat energy content of 3.42
British Thermal Units; 1 ,000 wats generate heat ener-
gy to the extent of 56.9 B.T.U.'s per minute. This
amount multiplied by the number of minutes in an
hour gives a total B.T.U. heat content for 1 kilowatt
of electricity of 3,420 B.T.U.'s per hour. Multiply
this figure by the total load expressed in kilowatts,
or as in one case, that of Republic's "Glory Parade"
— some 2,000 amperes were used. Multiplying this
2,000 amperes by the lamp voltage of approximately
100 volts to get the watt, then divide this by 1,000
to get the load in kilowatts, finally muliplying by
3,420 B.T.U.'s and divide the product by 12,000 which
will determine the rate of evaporation of ice ex-
pressed in B.T.U.'s per hour.

Motion picture set ready for its baptism of fresh snow.

for 24 hours by melting, we can easily realize the
enormous amount of refrigeration per hour required
to absorb the heat loads of the lamps.

Moving persons give off a heat load per indi-
vidual of some 500 B.T.U.'s per hour. A crew and

(Turn to Page 29)

WORL

MOLE-RlCt

Studio Liqi

941 No. Sycamore Av

In NEW YORK

Motion Picture Lighting

and Equipment Co.

244 West 49th Street

Charles Ross

Manager

In LONDON

Mole-Richardson

(England), Ltd.

H-I-Arc Works

St. Leonard's Road

Park Royal, London, N.\

Robert Linderman

Managing Director

July, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeen

Adventurers to Seek Sheba's Treasures

By Fred Haag

[Air. Haag is a well known writer whose home is in Hollywood. He is a man of
considerable background and may be depended upon to bring back something unusual.
Let us hope he may be the new discoverer of Sheba and her capital. — Editor's Note.]

J HE fabled treasures, of the Queen of Sheba,
may at last be brought to civilization if our
exploration work in Northern Arabia meets
with success this summer.

We are starting on a search for the lost city of
Saba, better known as the city once ruled by the
Queen of Sheba.

The Queen of Sheba, as we all know, was the
girl friend of King Solomon and she is said to have
laid vast treasures of gold, spices and precious
stones at his feet, in quantities never before heard of.

The most glowing accounts of the Queen of Sheba
are recorded in the Bible. Here we find that she
visited Solomon in the year 950 B. C. and brought
her treasures by camel train from the capital of Saba.
In one load there were 120 talents of gold, which in
good old American cash is $1,700,000 or better.

Two French flyers are credited to have flown over,
and to have photographed this city, but they were
unable to land because of the rough terrain. They
stated that the natives took great pleasure in taking
pot shots at them just by way of amusement.

Saba at one time is supposed to have been the
capital of Arabia and one of the greatest trade cen-
ters in the world. Great overland caravans of cam-
els carried ivory, gold, spices, textiles, etc., as well

Wide

DSON, Inc.

lyjlPMENT
Ulywood, California

t CAIRO

•J. Nassibian
8 .venue Fouad ler

1. Nassibian
Director

In BOMBAY

Bombay Radio Company
16, New Queen's Road

A. Fazalbhoy
Director

as gems to all parts of the world at that time. Its
trade became so great that trade branches were
established in other parts of Arabia as well as in
Ethiopia, but after the sea routes were established
they closed the overland routes and Saba fast fell to
ruins.

During the second, fourth and sixth centuries this
land was ruled by Ethiopia and the Romans are said
to have made several unsuccessful attempts to cap-
ture it at that time.

We plan on flying from London to our base which
we will choose when we arrive in the country itself.
From there we will use the air or any type of trans-
portation that can be used to the best advantage.
There is no doubt that we will collect a good deal
of material for screen as well as fiction writing and
bring back many fine shots.

This trip will not be a grand and comfortable va-
cation, but it should prove very interesting and may
net some unexpected thrills, as there is less known
about this territory than any part of the world, ex-
cept the polar regions.

While in Europe I will visit the Olympic Games
and write a few articles.

Here's hoping I meet many of the Hollywood boys
in London, Paris or Berlin.

AN ENVIABLE RECORD

Mr. Edward Alenius, A.R.P.S., President of the
Telephone Camera Club of Manhattan, N. Y., enjoys
a unique distinction. He has had more prints ac-
cepted and hung in salons all over the world during
1935 than any one individual, according to "Pic-
torial Who's Who."

In a talk he recently gave at the New York Insti-
tute of Photography for the benefit of the students,
Mr. Alenius explained the inside story of his unusual
success with pictorial and salon photography. Most
interesting was his description of the methods he
employs in preparing his prints, using Fresson, Car-
bro and Bromoil as mediums to suit the different
types of pictures.

Some 200 students of the New York Institute gath-
ered to listen to Mr. Alenius. And they came away
wondering how a man with so little spare time
could accomplish so much in photography. For
Mr. Alenius is a business man, associated with the
Telephone Company, and his photographic activi-
ties must be confined to evenings and week ends.
Yet in spite of this he is number one man in Amer-
ican Photography in respect to the number of his
prints that have hung in salons during 1935.

People interested in photography can learn a
lot from such authorities as Mr. Alenius, and it is a
tribute to the New York Institute that they bring such
men to their studios to address their students. Each
month an outstanding authority in some branch of
photography conducts a special lecture for the bene-
fit of N. Y I. students.

A fully illustrated catalog describing the various
courses of instruction in portrait, commercial and
motion picture photography may be secured free of
charge by writing to the New York Institute of Pho-
tography, 10 West 33rd Street, New York City.

Eighteen

The INTERNATIONAL PHOTOGRAPHER

July. 1936

AMATEURMOTION PICTURE SECTIOJH

HAMILTON RIDDEL, EDITOR

BIRD CINEMATOGRAPHY

By O. J. G ROM ME

H £gj*g5j ILMING birds in their natural environment
ll^^lf&j calls for some strategy and a great deal, a
$N|||i| very great deal, of patience. Most people
fe"a3al have the idea that picture work we do is
always one thrill after another. Nature filming, of
course, isn't that. Yet it is exciting in another way;
exciting because one is never quite sure what will
be the filmer's lot. With the outcome never a sure
thing, there's an element of uncertainy which makes
photographing bird-life with a modern picture
camera a most interesting venture.

While, for obvious reasons, our camera equip-
ment is standard 35 mm. — Akeley and Eyemo —
movie amateurs now have such a variety of sub-
standard equipment to choose from that bird-life film-
ing becomes far less arduous. I have in mind the
motor-driven amateur size camera, with its utter sim-
plicity of operation.

Bird cinematography we have already mentioned
as requiring some strategy; namely, a camera-blind.
This is a square tent-like affair, usually made of
burlap. The burlap is camouflaged so that its out-
side appearance will be as near to natural surround-
ings as possible. Completed, my usual camera-
blind measures approximately 4x4 feet. This kind
of blind is not necessarily the only type, but in my
work I use the foregoing.

Positioning of the camera-blind is of paramount
importance. You will set up a blind, say, a hun-
dred yards away from a nest. Gradually it is moved
closer and closer, a few yards or a few feet at a
time, to the nest. This is not always necessary, de-
pending upon the shyness of the birds. Incidentally,
it is worth mention that once having attained a final
position, one must be on the lookout for cows. Cows
may be dumb animals, but I don't think there's any
more curious. I've had many a good camera-blind
wrecked by their innate curiosity. If your blind is
located anywhere near grazing pastures, I heartily
recommend erecting a barbed-wire fence around it.
One of the newest developments, which assure posi-
tive protection, is the electric fence. Very efficient
and consisting of a single charged wire the electric
fence, when our friends — the cows — let curiosity get
the best of them, will let them get an electric spark!

While one is attaining a photographing position,
through the side flap in the camera-blind it is ad-

( Editor's Note: Mr. 0. J. Gromme, chief ornithologist of the Milwaukee Public Museum, has for many
years been successful in obtaining unusual pictures of bird-life. His account of Bird Cinematography is
authoritive, and will profe especially interesting to those moxne makers who desire to record an unusual

subject for their home films.)

visable to hang out what we shall call a "decoy
lens." This "lens" may consist merely of an old
baking powder can, tied to a string. Its purpose
is to accustom birds to its movement, so that when
one is ready for camera work and having substituted
the camera lens for the tin can, the birds will not
shy away. Birds, as a general rule, do not espe-
cially mind noises, but any movement which they
perceive is fatal until they become accustomed over
a period of time.

After the camera-blind is satisfactorily positioned,
then is when the matter of patience comes in. The
cameraman will take his position inside the blind,
with camera loaded, and will wait for the action he
desires to record. Sometimes it may start soon;
again, in most cases, it will be only after hours of
patient waiting.

The best time for photographing birds is when
the eggs in the nest are near hatching, or when
the young have emerged. It is at this time that one
will get interesting movies, plenty of action and
close-up studies, as the parent birds stay near the
nest.

As there is no telling where you'll finally posi-
tion your camera-blind, from the standpoint of an
ideal camera set-up, it is well to be prepared for
movie making in deep shadows. Even though you
achieve an ideal set-up, one is still confronted with
the possible necessity of making a shot when the
sunlight is about gone. Hence, I always take along,
on my field trips, a fair-sized mirror. With its help,
light rays may be gathered and reflected into a poor-
ly lighted camera angle. The accompanying illus-
tration of the Ruby-Throated Hummingbird was ob-
tained by this means of lighting.

One should be well versed in the art of proper
exposure. You will encounter all kinds and degrees
of lighting. Hence, a reliable exposure meter will
considerably reduce the chance of inadequate ex-
posure. Also, be sure that every bit of the business
of handling the camera is perfectly familiar to you.
You should be able to load, focus, and shoot with
a minimum of fuss and movement. Fast Panchro-
matic film is essential for best results.

As a rule, I personally prefer to get as near to
my subject as possible in order to use the regular
two-inch lens. This requires extra patience and
trouble, but is worth it. Telephoto lenses while mak-
ing a set-up easier do, with a hand-cranked camera,
cause side-sway which, in the case of a 12-inch lens,
is quite noticeable on the screen. There are many
times, however, as in the case of a camera-blind
positioned in a tree (see illustration) where tele-

July, 1936

The INTERNATIONAL PHOTOGRAPHER

Nineteen

The tamest, or American Woodcock, upper left; a tree camera blind, upper center; the Goshawk, upper right; the Dickcissel, lower right; a
typical camera blind, lower center; close up of Ruby Throated Humming bird, lower left. — Stills by courtesy of Milwaukee Museum.

photos are indispensable.

The most photographed bird, the Tamest, or
American Woodcock, relies upon its protective col-
oration for concealment. Nature's camouflage is
most effective, as the photo of the Tamest will tes-
tify. One needs to look closely to discern the Tam-
est in the nest.

It has been my experience that the most diffi-
cult birds to photograph are the Sandhill Crane and
Dickcissel. Both are particularly wary, and the
cameraman's patience will be tried to the utmost in
positioning a camera-blind which will fool them.

The Goshawk is another North American bird
that once turned "Indian" on me, one day as I was
making movies of it. Normally weighing about three

pounds, the Goshawk took exception to the stranger
in his midst. With all the finesse of a seasoned
aviator, he flew to an altitude of about 200 feet and
then went in a "power" dive ... at me! His aim
was good, for his talons got part of my scalp, and
tore it loose. Ever since this experience, whenever
I'm photographing Goshawks, I always wear an
aviator's helmet! Goshawks haven't particularly
good temperament, as the reader will note from the
accompanying photograph and belligerent attitude
of the Goshawk.

Bird cinematography may be more trouble than
average movie making activity. But for those who
seek the unusual in motion pictures, there's nothing
as fascinating.

RIGHT OFF THE REEL

Bv F. Hamilton Riddel

In It Yourself: Although all amateur cameras
have a "lock" position on the exposure lever, it is
seldom that this feature is used. There are many
times when the cameraman would like to get in the
picture, too. Simply set up the camera — on tripod
or other stationary support — press the exposure lever
to "lock" position, and make your entrance into the
scene. To avoid appearance of the scene having
been made in this way, it is preferable in editing to
delete the cameraman's entrance and exit from the
shot.

Camera Oiling: The music goes 'round and 'round
— and so does the mechanism in any movie camera.
Shutter, sprockets, and film claw all make hundreds
of revolutions every time you expose a roll of film.
Such moving mechanism needs occasional atten-
tion— oiling. Don't squirt oil all over bearings; just
a drop is sufficient. And be sure to wipe away any

excess oil, for oil and film don't mix!

Bent Camera Reels: Constructed to withstand
ordinary usage, solid flange camera reels through
careless handling can nevertheless become bent.
Such reels are "film snaggers," and cause a lot of
camera trouble. Make a habit of inspecting all
camera reels before using them. Both flanges must
be straight and parallel to each other so film will
pass between the flanges freely.

Close-up Movement: Take a tip from the profes-
sional screen and note the deliberate movement, of
action, in the big close-ups. A hand reaching for
keys in a pocket, for example, when being photo-
graphed must move more slowly than in actuality.
Yet on the screen, the close-up action will appear
perfectly life-like; and technically, you will have
overcome blurred results.

Make Them Want More: When presenting a

ipii

• — — &

Amprosound

Projector,

Junior

Model

CINEMA-TIDINGS
Amateur Motion Picture News

New Series Amprosounds. Answering increas-
ing demand for inexpensive 16mm sound projectors,
the Ampro Corporation of Chicago has announced
a new series of Amprosounds. Announcement
states the Junior Model Amprosound is designed for
audiences up to 500 persons. Total weight of pro-
jector and speaker is only 53 pounds.

The improved sound head, a completely self-
contained unit, is easily removable by withdrawal
of four screws which detaches the unit from the pro-
jector. Exciter lamp — prefocused, obviating adjust-
ments— and photocell are readily accessible for in-
stantaneous replacements. Sound drum and filter
are mounted on ball bearings. The drum is the rot-
ary type to avoid sliding action between drum and
film, said to be an important factor in film preserva-
tion and high fidelity sound.

Home Movie Show to your friends, learn to balance
your program with an appealing choice of profes-
sionally-produced subjects and your own films. And
don't attempt to show all your films. Hold the show
down to a running time of, say, about one hour.
Remember, it's good showmanship, at home or at
the theatre, to leave your audience wanting more.

Summer Color: We can visualize the fun some
movie makers are going to have this summer shoot-
ing color — someone's sunburn in Kodachrome!

Looking Ahead: While 16mm talkies are here,
both sound cameras as well as projectors, at present
they are not generally in home use. Nevertheless,
the day is not far off when home sound recording
will become as usual as silent movie making now.
When that day comes there will be many valuable
family silent films in one's library to which sound
can be added; in many instances, will be. But
sound films must be recorded and run at 24 speed,
and the silents were originally taken at 1 6. To match
perfectly the tempo of sound-film action — avoiding
the noticeable jerky action of sound dubbed silent
film — many amateur movie makers, looking ahead,
will today make a regular practice of shooting their
present day silent pictures at 24 speed.

Lamp equipment includes 500-watt, 2-inch F 1.85
projection lens, and a new design single-phase shut-
ter which provides maximum light efficiency. Triple
claw film movement engages three perforations
simultaneously. Thus, film with two adjacent torn
sprocket holes can be used successfully.

Conveniences include pilot light; shutter knob
for manual operation in threading; safety fuse
mounted externally; microphone and phonograph
pick-up socket; 1600-foot capacity with permanently
attached swivel reel arms; and matched brass and
bakelite mechanism gears.

For professional and semi-professional use, the
750-watt Senior Model Amprosound is available. All
Amprosound 16mm projectors are licensed under
Western Electric patents.

Kodascope Libraries. The well-known film li-
brary organization, Kodascope Libraries, Inc., has
issued a fourth edition 16mm talking-film catalog.
Consisting of 64 pages, profusely illustrated, the
Kodascope Talking Film catalog lists many single-
reel and feature-length subjects, which are available
for rental from 15 branch libraries, located in key

cities of the country. Such memorable pictures as
"King of Kings," "Grass," "Oliver Twist," "The Cov-
ered Wagon" and Walt Disney's "Mickey Mouse"
and "Silly Symphonies," are available only from
Kodascope Libraries.

Kodak Snapbook-and-Frame. Keeping snapshots,
or enlargements from movie frames, in an album
and at the same time exhibiting any of them in a
picture frame, although still in the album, is afforded
amateurs by the combined use of two new devices
of the Eastman Kodak Company, just announced.
One is "The Snapbook," a 20-page album with a gilt
spiral binding; the other "The Snapbook Frame"
which is a leather-finished gilt embossed picture
frame into which the album is inserted with any
page in front that is desired.

Thus, without need of turning pages to find favor-
ite shots as in the ordinary album, you may enjoy
them exhibited in an attractive frame on desk, table
or wall, as long as you like and you may put a dif-
ferent page in front at any time. With a full-page
enlargement, the effect is that of a framed single
photograph. The "Snapbook-and-Frame" are sold
as a complete unit. The Snapbook has covers of
heavy, black, leather-finished material, 73/sx95/8
inches; the leaves provide 7x95/s inch mounting
space. The Snapbook Frame is 8V4 x IOV4 inches, to
take an 8 x 10 inch enlargement in front of the Snap-
book.

Announced in connection with the Snapbook-and-
Frame is another new device, the Kodak Snap-
sticker, which is a sticker gummed on both sides for
easier mounting of snapshots in an album. Each
booklet contains 800 Snap-stickers.

Color Titles. Bell & Howell announces Titlecraft
color titles for Kodachrome film in both 16mm and
8mm size. These color titles are brilliant, clear, read-
able and are available in four different tones: Blue,
with purple and pink overtones, pale pink letters;
Dark green, with gold overtones, pale gold letters;
Brown, with orange overtones, yellow letters; and
Brown, with green overtones, pale green letters.
Color tones may be ordered to fit the character and
mood of the sequence into which the titles are to be
spliced.

The lettering may be had in standard type or
junior letter styles on any background shown in the
Titlecraft sample book, copies of which are available
at Bell & Howell dealers.

July, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

QUESTIONS and ANSWERS

By F. Hamilton Riddel

1. What manner of hand cranking a movie cam-
era gives the best results?

When using the hand crank, always crank with
a wrist motion. Do not use a full arm motion, as
such motion will usually prove jerky. The wrist
movement is less tiring to the operator and, more
important, results in more even exposures.

2. At normal speed, what governs the exposure
in a motion picture camera?

The shutter and the lens diaphragm. Located
back of the lens, the shutter opens and closes and,
on most amateur cameras, its speed is constant and
non-adjustable. Therefore, the manner of controlling
exposure is by varying the lens diaphragm, an iris
mask that covers the margin of a lens, which regu-
lates the amount of light that passes through the lens
on its way to the film.

3. What causes a few pictures at the end of my
scenes to be blurred?

No doubt, camera movement. Don't move your
camera in closing a scene until the mechanism has
actually stopped. Always be deliberate in starting
and stopping a camera, otherwise end-frames will
show up blurred.

4. How often should a camera gate be cleaned?

It is good practice to clean the gate before shoot-
ing each and every roll of film. Small particles of
emulsion scrape from film, accumulate at the gate,
and may cause film scratches. Clean the film gate
with a moistened cloth only. The gate should be per-
fectly smooth and highly polished when ready for
use.

5. What is the easiest way to shoot a backlighted
close-up?

Backlighted shots as a rule call for the use of a
reflector. However, if you are not inclined to trouble,
then place your subject in front of a solid back-
ground— a hedge will do — with the back of the sub-
ject towards the sun. The sun should be fairly high
in the sky, so that its rays will strike both shoulders
of your subject, with particular brilliance spotting
the subject's head. Be sure to increase exposure for
the face, if it is not brilliantly lighted.

6. Why should early morning and late afternoon
scenes, using Orthochromatic film, be avoided?

Light, at these times of day, is tinged with yellow.
As is known, yellow is composed of green and red.
Orthochromatic film has strongest color value in the
blues, and is not so sensitive to greens, reds, and
yellows. It is not advisable, therefore, to use Ortho
on color in which greens, reds, and yellows pre-
dominate. Orthochromatic film has many uses, how-
ever, and is inexpensive. For early morning and for
late afternoon shooting, Panchromatic film is better
suited.

Eastman Kodak Snapp Book and Frame.

7. Can you explain my difficulties in projecting
Dufaycolor 8mm. film? If the pictures are in focus,
the titles are not; and vice versa. Also, how will I
splice titles into Dufaycolor pictures?

Titles for use with Dufaycolor film should be pho-
tographed through the flim base — since Dufaycolor
pictures are photographed in that way. Therefore,
when making titles for Dufaycolor subjects, put your
titling film in the camera with the emulsion side
away from the lens, but with the shiny side toward
the lens. Since the base is clear, no difference in
exposure will be necessitated.

Titles should be spliced into Dufaycolor pictures
exactly the same as in ordinary Reversible film —
that is, with the frames headed the same way, and
with the emulsion side of both up, or with the smooth
side of both films down. The secret of having them
focus uniformly lies in photographing the titles
through the film base, as already explained.

The foregoing remarks apply, of course, to both
8mm. and 16mm. Dufaycolor.

Note: As a service to amateur movie makers,
we extend a cordial invitation to write in questions
which will be answered in this column. Address all
such letters to:

Questions and Answers Column

THE INTERNATIONAL PHOTOGRAPHER

1605 North Cahuenga Avenue

Hollywood, California

MAX FACTOR'S

N EW

<Sa#f£ <Smo<ytk

LIQUID FOUNDATION

A REVELATION IN FACIAL MAKE-UP

Twenty-tzvo

The INTERNATIONAL PHOTOGRAPHER

My, 1936

SCIENCE STEPS INTO OPTICS

A Chronological History of Class and

Lenses

J3v Earl Theisex

{Associate Editor,
International
Photographer)

5400 B.C.— A glass bead was found in an Egyp-
tian tomb of this date. It is doubtful, however,
whether it was made intentionally; since the bead
is of a green sodium calcium glass and evidently of
volcanic origin.1

3500 B.C. — The Egyptians started making orna-
ments at this time. This glass was a vitreous paste,
which was molded by them in clay. It was opaque
and closely resembled a fine sandstone. The Egyp-
tians made long strings of beads and other orna-
ments from this paste which they greatly prized.

The glazier's art reached its highest perfection
in Egypt during 1370 to 1200 B. C. The Greeks also
knew of glass at this time.:;

1643 B.C. — The glass statue of Sesostris was cast
at this date.

640 B.C. — A concave mirror made of bronze and
covered with silver foil was used by the Greeks for
starting fires. Plutarch, (49-120), mentioned that the
Romans used focusing mirrors for lighting the sacred
fires. These concave focusing mirrors were shaped
so the light rays striking them were reflected to a
point. This convergence of the light rays raised the
temperature sufficiently to start combustible material
to burn.

According to an improbable tradition, Archimedes
used such mirrors to set on fire and destroy the
Roman fleet which attacked Syracuse in 214 B.C.

350 B.C. — The Phoenicians started to make orna-
ments of opaque glass, such as cameos and rings. ;5- 4'"'

150 B.C. — Ptolemy, the Egyptian scientist, because
of his studies in light refraction, evidently knew of a
transparent glass.

140 B.C.— In China, the Emperor Ou-Ti (Han
Dynasty) established a glass factory to make beads
and other ornamental glass. For lessening sun glare,
the Chinese at this time used a tea-colored stone in
spectacles.

100 B.C. — The Phoenicians, at Sidon, are gener-
ally credited with making clear, transparent glass.

20 B.C. — The Phoenicians invented the art of glass
blowing. The art of working glass reached its high-
est perfection under the craftsmanship of the Phoe-
nicians.

20 A.D. — The Romans devised many improved
methods of working glass. Cicero (106-43 B.C.) rec-
ords the use of glass in theaters and other public
places.2- 3' *

23-79 A.D.— Pliny the Elder describes the use of
hollow glass spheres filled with water so as to focus
light rays for burning. He calls them, "pilae vi-
treae." 4

50 — Seneca (4?-65 A.D.) mentions convex lenses

and light colored after dispersion from angular re-
flection.

70 — St. Gregory writing in 560 A.D. states that
colored windows were in use at this date.

130 — Aulus Gellius refers to metallic mirrors of
concave form.

1052 — Allhazen first described the effect of mag-
nification of simple lenses.5

1090 — The Venetians first started to make art
glass.

1200 — Windows composed of pieces of colored
glass held in place with strips of lead so as to form
a picture or pattern were first made in Europe at this
time. Many examples of these early leaded art
windows still exist in churches throughout Europe.

1255 — Sal vino D'Armato degli Armati is gener-
ally credited with the invention of spectacles.0, 12

1280 — Roger Bacon was the first to describe def-
initely a convex lens.7, s

1260-1280 — Meissner mentions in his writings that
old people derive advantages from spectacles.9, 5

1282 — Nicolas Bullet is credited with the use of
spectacles in signing a document. Record of this
exists in the archives of the Abbey of Saint-Bayon-les-
Gand.1"

1303 — Alexander de Spina, a monk of Pisa, Tus-
cany, Italy, is credited with the re-invention of spec-
tacles in a document dated 1303 in the archives of
the St. Catherine Convent.11

1305 — On February 23, Giordano da Rivalto stat-
ed in a sermon that, 'It was only twenty years since
the art of making spectacles was discovered." 10, 47

1360 — Tommaso da Modena painted the first pic-
ture in which spectacles are known to have ap-
peared. This picture is in the church of San Nicola,
in Treviso, Italy.

1555 — Thomas Chamock mentions the first glass
plant in England in a bit of poetry written in 1557:
"As for glass makers they be scant in the land,

Yet one there is as I do understand,

And in Sussex now his habitation,

At Chiddingsfold he works his occupation."13, 14

1561 — Jarius Aucott made the first colored optical
glass. It was green and was used for spectacles.
(Although colored glass dates from the Roman Em-
pire when it was used for windows, this was the first
time it was made for optical purposes). It is of in-
terest to note, also, that the glass of the early Egyp-
tians was mostly of a greenish color.

Blue glass is first mentioned by Richard Pierson
in 1672;1"' Red glass, by Mayer Oppenheim in 1755.
Edward de Laval conducted exhaustive researches
in glass coloring by metallic salts in 1764. Amber
lenses were made by Elias Solomons in England in
1832. Thomas Gaffney conducted experiments in col-
oring glass between 1863-1881, using metallic salts
and solar energy. Lavarock made a blue glass lens
of plano-convex form backed with a green glass.16, "

1568 — Daniello Barbaro described the use of a
lens on a camera obscura. (This was not for photo-
graphic purposes, but was used for outlining land-
scapes.) He also made it clear that both concave
and convex glasses were known when he says,

July, 1936

INTERNATIONAL PHOTOGRAPHER

Twenty-three

"having made a hole in a window of a room from
which you wish to observe, as large as a spectacle
glass, then take an old man's glass, convex on both
sides, not concaev like the glasses of youth with
short sight." This is the first written record of a cam-
era with a lens.

1571 — Leonard Digges is credited with making
the first telescope.

1590 — Hans Laffrey and Zacharias Janssen, in
Holland, are believed to have combined two single
lenses, thus forming a compound microscope.17, ,;

1591— Battista Porta, in Naples, in his second edi-
tion of "Magia Naturalis" describes the procedure
of making a convex lens, and lists the materials
used.

1608 — Johann Lipperhey, in Holland, made a tele-
scope.

1610 — Gallilei, who is generally known by his
Christian name, Gallileo, is generally credited with
the invention of the telescope because of his fame as
an astronomer. This, however, is an error; though
Gallilei made a telescope which consisted of a com-
bination of convex lenses of long focus, with a con-
cave one of short focus. This form is still retained in
the ordinary opera glass, which is generally desig-
nated as the "Gallilean Telescope."'1

1611 — The first American glass factory was estab-
lished at Jamestown, Virginia, with Italians as crafts-
men. This factory was in reality a mint because they
made beads for the Indians, who used the beads for
"Wampum." Colored glass was made here in

1622.20.18,19

1621 — Willebrord Snell discovered the law of re-
fraction of light. In 1638, Rene Des-Cartes restated
the law thus, "The ratio of the sines of the angles of
incidence and angles of refraction is constant."

1635 — George Bontempts, in France, started the
first factory for making flint glass.

1638 — Rene Des-Cartes built a machine for lens
grinding, and made other improvements in the op-
tical science.

1660 — Manzini wrote his, "L'Occhiale All'Occhio
Dioptrica Practica" in which he described a lens-
making technique.

1661 — Martin Clifford and Thomas Paulden made
a flawless crystal glass.

1662 — Athanasius Kircher made lenses and in-
vented his Maltesian burning mirrors.21

1664 — Giuseppe Campani, on March 6, read the
first paper to be presented before the Royal Society.

This paper was a description of a molding device
for making improved lenses.

1666 — Eustachis Divinis constructed the first lens
of rock crystal, which he used in a telescope. The
first rock crystal spectacle lens was used in 1690.

1666 — Francis Smithwick, on May 14, was grant-
ed patent No. 149 by Charles II, of England, for a
method of "Grinding Optike lasses." This is the first
patent on record for lens grinding.

1667 — Robert Hooke described the making of
small bead lenses for microscopes.22, 2:i

1671 — Pere Cherubin d'Orleans wrote "La Diop-
trica Oculaire," in which he described his machines
for constructing and polishing lenses; and his meth-
od of making telescopes, binoculars, and micro-
scopes. This book also includes much of the theory
of the optics of these inventions.

1673 — The first mirror glass was made in Eng-
land.

1676 — Ole Roemer discovered the speed of light
by astronomical observation of the speed and time
of the eclipses of Jupiter's moons. His calculation
was 186,000 miles a second.

1678 — Christiaan Huygens propounded the mo-
dulatory theory of light upon which all optical sci-
ence of refraction and lens making is based. Accord-
ing to this theory, the propagation of light may be
likened to the waves in a pan of water after it has
been disturbed.

1700 — "The Tattler," published in London, in an
issue in 1710 tells of the first glass factory. They
made optical glass for spectacles, in England.

1704 — Richard Cole, in England, is credited with
making the first conical lens.

1708 — Geoffroy made a burning glass that was 36
inches in diameter for the Duke of Orleans.

1715 — Antoni van Leeuwenhoek, in a letter on
September 28, tried to discourage Leibnitz from or-
ganizing a school of optics. This fact is significant,
in that it indicates the probable value of such a
school during this time. Optics during 1600-1700 was
not the accredited science that it is today.

Leeuwenhoek is known as the Father of Bacteri-
ology because of his discoveries of many bacteria
which he called, "Wretched Little Beasties." His
first discovery of bacteria was about 1673, and from
then until his death in 1723 everything coming into
his hands was placed under one of his 247 micro-
scopes.-4- *5

(Turn Id Page 28)

ArtReeves

ArtReeves''

FILM TESTED EQUIPMENT
LABORATORY EQUIPMENT

AND

SOUND RECORDING EQUIPMENT

J-folry^vood

^IdTlON PlCTURE/^QiJIPMEriT0. ftp

6*5 NORTH MARTEL AVE-

CABLE ADDRESS ARTREEVES

HOLLYWOOD, CALIFORNIA, USA

Twenty-four

The INTERNATIONAL PHOTOGRAPHER

July, 1936

Patent Abstracts Appertaining To Color

(Kodak Research Laboratories Bulletin)

K/72
Br. 434,514. M. C. Meere; W. H. Hackett. Surfaces
for multicolor printing are prepared by making an
outline drawing indicating the color components of
the original, transferring this drawing to a soft, im-
pressionable smooth surface, stippling this surface,
"painting-in" selected portions of this surface to form
a representation of a color component of the original,
and from this preparing, by a line-block process, a
photographic reproduction in reduced size on a sur-
face, as of metal, to form the ultimate printing sur-
face. The process is then repeated for the other color
components.

K/2
U. S. 2.020.564. G. G. Moreno. Assigned to C. M.
C. Corp. Color films for the additive color process
are prepared by exposing two film strips with the
emulsion layers in contact to form isomorphous color-
separation images, developing the films separately,
and printing every other pair of isomorphous images
from both films upon a single positive film in juxta-
position.

K/23
Br. 435.222. A. J. Arnulf. In a system for color
photography, in which a number of monochrome
images are obtained simultaneously by means of
an equal number of separate objectives, plates hav-
ing parallel faces are placed in front of the objectives
in order to increase, reduce, or eliminate parallax.

K/25
U. S. 2.022.432. A. Rodde. Apparatus for the pro-
jection printing of monochrome images on lenticular
film advances three monochrome image frames for
each advance of the lenticular film and a separate
color filter is introduced for each frame. A stationary
banded filter is positioned in front of the lenticular
film. Corresponds to Br. 408,109; Fr. 751,407.

K/25
U. S. 2.022.768. G. Heymer. Assigned to Agfa
Ansco Corp. Projection printing of lenticular films is
effected with the embossings facing the incident light
and a multicolor filter in position in front of the orig-
inal film. Corresponds to Br. 399,984; Ger. 612,942;
Canadian 340,905.

K/25
U. S. 2.022.978. K. Rantsch. Assigned to Opticolor
Akt.-Ges. For taking and projecting lenticular films,
the objective has spaced from its diaphragm a multi-
color filter, the colors of which recur cyclically, and
masking means are applied to the zones thereof
which appear to be too great because of the distor-
tion of the objective.

K/3
Br. 434,434. G. B. Harrison. In order to produce
a large number of copies of a multicolor-screen mas-
ter negative or positive without undue damage to the
master, ses of intermediate color-separation prints

SACRIFICE!

Variable area single system sound camera complete—
all accessories — perfect condition. Write, wire or cable
for prices and particulars.

MOTION PICTURE CAMERA SUPPLY Inc.

723 Seventh Ave.

(able: (IM0CAMERA

New York City

are made from the master on plain sensitive mate-
rial, and from each set finished copies are prepared
by printing the components, each with light of the
appropriate color, in register on multicolor-screen
sensitive material. In either or both printing stages,
the images may be slightly diffused in known man-
ner to compensate for lack of registration of the
screen elements on the master and final copies.

K/34

Br. 435.484. H. D. Murray; H. Baines; R. A. S.
Grist; Dufaycolor Ltd. In sensitive material employ-
ing a monochrome or multicolor screen, the color
screen is separated from the emulsion by a varnish
layer which comprises a composition containing a
resin of the kind known as "Glyptal," e.g., Paralac,
which also contains a drying oil, such as linseed oil
or tung oil. Inert substances, such as cellulose esters,
or chlorinated rubber compounds, or metallic driers
may also be added to assist in the drying of the
layer.

K/4

U. S. 2.020.607. G. Heymer. Assigned to Agfa
Ansco Corp. A film for color photography has at
least two superposed emulsion layers, each dyed
the color to which it is sensitive, at least one of the
layers containing in addition a filter dye which ab-
sorbs part of the spectral region transmitted by the
layer. Corresponds to Br. 379,374; Partial duplicate
of Fr. 727,899; Partial duplicate of Ger. 576,374; Par-
tial duplicate of Canadian 327,079.

NEWS-WEEK PHOTO BY WENDELL MACRAE

ENLARGED 7000 TIMES

— one of the most amazing feats of
candid camera history

The spectacular has become almost commonplace with Leica. As one
critic said "it has revolutionized picture taking and placed it among the arts".

'eica

Model G with
t:2 Summar Lens

THE ORIGINAL MINIATURE CANDID CAMERA
PRICES START AT $88.50 U.S. PAT. NO 1,960,044

E. LEITZ. INC • DEPT. 175 • b0 EAST 10th ST., NEW YORK CITY
Branch Offices in CHICAGO

WASHINGTON • LOS ANGELES • SAN FRANCISCO

July, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-five

TECHNICOLOR SHOOTING IN INDIA

(From the Journal of the Motion Picture Society of India)

A very interesting demonstration was arranged
this month, for members and non-members of the
Society interested in Technicolor photography.

The American Technicolor film expedition, head-
ed by Mr. James Fitzpatrick, was shooting black and
white as well as Technicolor. The Society requested
Mr. Winton Hoch, the chief cameraman of the expe-
dition, to give a demonstration of his color camera
work, and in spite of the very heavy program before
him, Mr. Hoch agreed to take the members of the
Society with him to the location where he was shoot-
ing scenes for his Technicolor film.

On the 6th of March the party accordingly went
to a small but picturesque fishing village of Danda,
near Bandra, to shoot the scenes. The members of
the party were very much impressed by the quick
and systematic work, the choice of material and the
exposing of Mr. Hoch. In spite of the rush work,
M. Hoch took the trouble to show and explain all
parts of the Technicolor Camera in detail and also
gave an outline of the processing and printing of
Technicolor film.

Every member of the party enjoyed the expedi-

tion immensely and was thankful to the Society and
Mr. Hoch for the opportunity afforded to them of see-
ing the working of the latest (3 color) Technicolor
Camera and shooting.

MOTION PICTURE SOUND RECORDINGS

(Continued from Page 5)

ated in this plate circuit. These constitute a form of
plate circuit filter.

Plate circuit filtering is employed for the same
reason as grid filtering: to prevent oscillation through
the feed back of energy from higher level stages due
to common coupling in the power supply. The prin-
cipal purpose of the resistor PR is to provide a volt-
age drop (IR drop) so that the d-c. plate voltage ap-
plied to the first amplifier tube will not be as great
as the plate voltage applied to the tubes in the sec-
ond stage of amplification; but in connection with
the condenser this resistor serves also as a plate cir-
cuit filter.

Functioning of the Plate Filter

The plate filter used in the second stage is more
true to type, and for that reason will bear descrip-
tion. It is formed by the by-pass condenser CP and
the reactance, or choke coil, PC. Since the d-c. ohmic
resistance of the choke coil PC is low, it offers almost
no opposition to the passage of the direct plate cur-

irtPUT TRANSFORMER

Gmo HlTER CATHODE BIAS

Fig. 2. Schematic Diagram of Amplifier showing Grid Filter
and Cathode Bias Circuits.

rent; but its impedance to an alternating current, such
as would be transmitted back from the final ampli-
fier stage in the form of feed back energy, is very
high, and the voltage drop in the choke coil would
be so great as to prevent any of that feed-back
energy reaching the plate of the tube.

The by-pass condenser CP serves to provide a

low impedance path for the signal current in the
plate circuit from the tube plate, through the trans-
former primary and the by-pass condenser CP to the
cathode of the tube. This prevents any loss of the
signal voltage by keeping it from entering the power
supply. This combination of condenser and choke
coil also forms a filter that tends to smooth out any
fluctuations in the plate supply current that may
have got by the regular filter in the power supply.
This is the reason for the plate filter in the final am-
plifier stage.

This combination of inductance and capacity in
the plate filter forms what is known as a low-pass
wave filter. Such a filter derives its name from the
fact that it passes all frequencies below a certain
"cut-off" value, and attenuates, or practically pre-
vents the passage, of all frequencies above that cut-
off value. The plate filter described for this amplifier
cuts off well below the audio-frequency range (20 to
20,000 cycles per second); so it does not hinder the
passage of direct current, which is considered to be
a current of zero frequency, to any appreciable ex-
tent.

In the next, and final, chapter on this subject of
the basic amplifier, we will discuss cathode biasing,
the power supply for the amplifier, and the design
of a high-power output or bridging amplifier that will
greatly increase the effective power output of this
amplifier and permit it to be used in a large public
address system or radiotelephone transmitter.

Subscription to the

INTERNATIONAL PHOTOGRAPHER

$2.50 per Year

There Is No Better Value

Twenty- Six

The INTERNATIONAL PHOTOGRAPHER

July, 1936

MOVIES IN COLOR

(Continued from Page 7)

tern which works essentially like a glorified rubber-
stamp. From each color-separation negative, a
"matrix" is made. This is done by printing onto a
film coated only with dichromated gelatin. Where
this has been affected by the printing-light, it swells
upon "development" with warm water, so that the
image appears in relief. The matrix is moistened
with a dye of the desired color, and pressed against
a strip of plain film. Like a rubber-stamp, it passes
its dye-image on to the second film. By repeating
the process, two, three or any number of separation-
images may be combined in a single, full-color print.

While this process was being perfected, Techni-
color began to meet some competition from the two-
color bipack processes like Multicolor, Cinecolor,
etc. These used a standard camera through which
ran two films, face to face. The front film was of the
Ortho type, and received the blue image. In its coat-
ing it carried a reddish stain roughly equivalent to a
23-A filter, which prevented anything but the red-
orange rays from exposing the rear film, which was
Panchromatic. Prints were made on double-coated
positive stock, which carried an emulsion on each
side the celluloid. Each side was printed from one
of the separation-negatives and dye-toned its proper
color.

This bipack system today takes care of two of the
three color-separation negatives in Technicolor's new
three-color process. Behind the lens of the camera
is a square block of glass, made from two prisms.
The inner faces of these prisms are gold-sputtered, to
make a partially reflecting mirror. One-third of the
light passes through this mirror, then through a green
filter, to record on a strip of panchromatic film the
green-component image. The remaining two-thirds of
the light are reflected to the right-hand side of the
camera, where after passing through a magenta fil-
ter which excludes the green components, they ex-
pose a pair of bipack films, producing the red and
blue negatives.

Printing subtractively by the Imbibition method,
each of the matrices made from the three separation
negatives is printed with a dye of a color comple-
mentary to that recorded in its particular negative.
Thus, the red-record negative is printed with cyan
blue-green; the blue negative prints with yellow, and
the green, with magenta. This seems, at first sight,
contradictory, but it is very logical if you look more
closely into the working of the process. Consider the
image of a red object. In the red-filtered, red record
negative, the image of this red object is very dense.
When the matrix is printed, the image of this portion
is not affected by the printing-light, and so is repre-
sented by a depression in the relief-image. If we
simply applied a red dye to this matrix, our red
area wouldn't print at all, while the other parts of
the picture, which were of different colors, would be
printed in red. Instead, we use a dye of a color com-
plementary to red with this matrix: Thus the adjoining
areas which contain no red, but may contain some
blue-green, are printed in that color, while our red
object remains unprinted. Since this object did not
register on the blue and green negatives, the other
two matrices will show it as a high spot. Printing from
them, first with magenta (which transmits red and
blue) and next with yellow (which in projection fil-
ters out the blue), the image of that particular area
on the screen will be red — which was what we
wanted all along.

What is coming in color is hard to forecast. Even
the most optimistic of the Technicolor engineers do

not insist that their present process, good as it is, is
the ultimate, and a great deal of undercover develop-
ment is going in both here and abroad. The Para-
mount-Eastman experiments with the Keller-Dorian
process seem to be bearing excellent fruit, and the
process is likely to be seen in production before
many months.

Technicolor, due to certain basic patents issued
some time ago to the late Dr. Leonard Troland, seems
to have the inside track on the professional use of
Eastman's monopack amateur process known as
Kodachrome. In this, the three color-separation
images are formed in three separate layers of emul-
sion on a single film; each emulsion being sensi-
tized only to its proper color.

In Kodachrome, the three images are developed
and reversed into positives, then each is converted
into a deposit of its proper subtractive dye. The pro-
cess is very successful in the 16mm. and 8mm. fields,
but appears to have, in its extension to 35mm. pro-
fessionalism, a number of problems which have thus
far baffled the best brains of Hollywood and Roches-
ter. Over in England, the mosaic-screen Dufaycolor
process is being exploited, and may yet be heard
from.

One thing only is certain: We have today better
color than was ever before available and producers
and public are showing more and more interest in
color. Whether color remains as a part of our daily
filming depends less and less on the laboratorians
and more and more upon the skill and intelligence
of the directors and cameramen who actually make
our natural-color releases. If they react with their
traditional artistry, nothing can stop the permanent
coming of color.

HOW TECHNICOLORS THREE COLOR CAMERA
WORKS (Courtesy of "Fortune")

Bipack Film: (emulsion
surfaces in con tact), front
sensitive to BLUE;
rear sensitive to
RED

— Film: receiving
(E) GREEN image;
emulsion facing
prism.

®
LIGHT:

enters
camera fr
through

Cold -flecked Mirror:*

(bet ween prisms) which

allows some light to pass straight

through Aperture J; the rest being

deflected at right angles through Aperture II

Technicolor Specially Built Camera.

July, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

TAILOR MADE WIPES

By W. V. Draper

5SOME months ago the writer found himself
confronted with the problem of making a
number of wipes and laps with no equip-
ment other than a Bell & Howell camera.
It is a comparatively simple matter to animate wipes
against black and white cards if one has a stop
motion machine. In this instance, however, there
seemed to be none available. Moreover, the cutter
had supplied negatives of the scenes instead of
lavender prints, and there was no time to wait a
day for the lab. to make them.

The problem was solved in the following manner:
A pair of black and white matts representing the
two parts of the wipe was provided with frame
marks exactly five feet ahead of the first frame of
the wipe. These strips were placed in contact with
raw lavendar stock, the frame marks transferred,
and an exposure of the matt made in the raw laven-
der stock. The lavender stock was then rewound,
the negative of the scene matched up with the
starting mark previously transferred from the matt
and a print made against a white card.

The result of this operation, when developed, was
a lavender print of the scene with the areas cor-
responding to the overlap of the wipe blocked out.
It only remained to start the two lavenders on a
common frame and make a dupe of one, rewind
and dupe the other. The result now was a com-
posite of the two scenes wiped together on a dupe
negative and, in the opinion of the writer,, of very
good quality; as good, in fact, as a straight dupe
could have been made. The only limitation was
the skill of the operator, as the series of steps per-
mitted everything to be done in contact. There were
only two films used at a time and nothing about
the process could possibly interfere with the quality,
provided those portions which were supposed to be
opaque were really opaque.

Now these steps are about as many and about
as laborious as the usual way of making wipes and
were there nothing more to say in its favor it would
only be another way of making wipes which could
be resorted to in an emergency. It happens, how-
ever, that there is something else to be said. While
trying to simplify the process one day this sugges-
tion came to mind: Make the fogged lavender stock
up in advance, then there would be nothing left
to do but print and dupe. Yes, this very ordinary
process had one distinct advantage. You could
make up a thousand in advance if you wished. It
permitted factory production. In fact it became a
"Tailor Made Wipe."

As the idea grew, other advantages presented
themselves. Any camera or printer capable of han-
dling two films could be used to finish a "Tailor
Made Wipe." The laboratory, even though its only
equipment was a continuous printer, could make
wipes by buying this pretreated stock.

Accordingly, a few samples were made up and
tested. On the outside of a 50 foot can was an illus-
tration depicting the type of wipe it contained. When
the operator opened the can in the ruby light of his
print room he found two rolls of lavender film. One
was marked "In." The other "Out." Upon opening
the roll marked "In" he found a boldly marked frame
a sufficient distance from the front end of the roll

to make threading convenient and, beneath it, this
information, "Wipe in 5 Feet."

This frame he matched with a predetermined
frame on the negative which is five feet ahead of
the wiping point, and prints. The operation is re-
peated with the "Out roll." It was found that an
inexperienced print hand who had to be told each
step could complete the process in five minutes up
to this point. After development the duping is prac-
tically a repitition of this step so that it is a reason-
able to suppose that 10 minutes work on the part of
a printer will complete a wipe. It can be readily
seen that this would be an extremely economical
method.

Other enlargements of the idea include the estab-
lishment of a central plant which would concentrate
on making up these "Tailor Made Wipes" in every
conceivable design. Small users would figure out
what wipes they desired and buy that particular
group from the central plant which would carry all
designs and lengths in stock. Large users would
be provided with cabinets in which a full stock of
wipes would be kept. As the operator used out
of the stock a delivery man from the central plant
would replenish the stock.

Color wipes are no obstacle to this process as
contact printing throughout makes registering the
multiple film much easier than when a matt is in-
troduced between the two films.

The accompanying illustration taken from the
patent application which is being secured by one

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

July, 1Q36

of the major studios, shows the various steps. Fig. 1
is the matt. Fig. 2 represents the undeveloped lav-
ender stock after having been fogged through matt
No. 1. Fig. 3 shows the same piece of lavender
stock after a scene has been printed over the fogged
and unfogged area. Fig. 4 is the composite dupe,
while Figs. 5 and 6 illustrate method of procedure.
Another useful application of this principle would
be the making of temporary wipes and laps for use
while cutting the picture. Half sized wipes going
from the scene to black and black to the next scene
could be supplied the trade very simply and cheap-

ly and would eliminate the necessity of using a
title to explain the absence of the effect during pre-
liminary showings.

The process is being developed at 937 North
Sycamore in the Centaur Films Building. Details
are being worked out and suitable equipment is be-
ing built. If present plans materialize the 16 mm.
field will be supplied in the near future with "Tailor
Made Wipes" which they will be able to buy over
the counter in any design desired and which they
can either finish in their cameras or have completed
at the nearest local 16 mm. laboratory.

THE VIEW FINDER

(Continued from Page 14)

tion. In calling attention to portrait photographers
and their peculiar quality of judging composition, it
might be stated that htey have learned to read up-
side down. It might be a good stunt to be able to see
hings upside down, but the correct viewing of the
subject through the above described home-made
view-finder would affect the matter and consequently
produce better portrait studies.

The object of this article on the part of the author

is to call attention to this commonly negleced fact
of the deceptive nature of the view-finder and to in-
duce the photographer to think and consider its per-
verted qualities. Then too, it may serve as an induce-
ment for some researchive mind to delve into the
question of perfecting the view-finder thus adding to
his wealth for the benefit of the entire art of photog-
raphy.

SCIENCE STEPS IN

(Continued from Page 23)

1716 — C. Hertel made a meniscus lens. This is
thought to be the first of this type of lens made.

1721 — Sir Isaac Newton comments upon lenses
and the uses of mirrors in optics. Among his many
contributions to optical science, probably, his most
important is the introduction of pitch in the polishing
processes.-5

1758 — John Dolland, in England, invented the
achromatic lens. His first achromatic lens consisted
of a combination of a glass with a central chamber
for water. Dolland was later successful in making
an achromatic lens by combining two glasses of
different densities. To get a correct focus on all colors
in an image from a lens, it is necessary to construct
the lens of two mediums of different densities. This
is necessitated from the fact that the red rays of the
spectrum are retarded less in passing through a
transparent medium than the blue or violet rays.
This difference in speed varies with different densi-
ties of glass, and when a light ray composed of the
spectral colors strikes a medium at an angle, some
of the colors are slowed up more than others. This
slowing up of the light ray bends it, and spreads it

in a fan-shaped spectrum. In order to eliminate this
situation and bring all the colored constituents of the
white ray to the same focus a combination of two
lenses is needed, one that will bend one end of the
spectrum one way and a second that will bend it
the other. Such a lens is known as an achromatic
lens.12

1766 — Benjamin Franklin devised for his own use
the first bi-focal or double focus spectacles. The first
ground bi-focal was made by Isaac Schnaitman, of
Philadelphia, in 1836. The first insert bi-focal was
made by Benjamin W. Hanna, 1884.21''-6

Only A Few Left!

The most useful book ever published in the
interest of cameramen of the motion picture
industry will soon be out of print. "The
Cameraman's Book of Tables," $1.00 at deal-
ers or this office.

TEAGLE PROCESS

Dependable rear-projection process equipment manufactured. Projectors tested under actual studio condi-
tions. Installations throughout the motion picture world.

Mr. Teague is now making a technical survey of the motion picture studios of all European countries with
a view towards equipping them with the most modern of studio apparatus for making rear-projection trans-
parency shots.

HOLLYWOOD

GENERAL SERVICE STUDIO

1040 Las Palmas

CABLE TEAC PROCESS

LONDON

c/o TWICKENHAM FILM STUDIO

Twickenham, Middlesex, England

CABLE TWICK FILMS

July, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-nine

STORMING HOLLYWOOD

(Continued from Page 16)

cast of 75 to 100 or more cause a not inconsider-
able heat load in themselves. Fortunately, the plant
at Mesquite Street that supplies refrigeration to the
sound stage has a capacity of nearly 500 tons of
refrigeration per day. This is divided as follows:
There are two huge Frick type VSA ammonia com-
pressors with a combined refrigeration capacity of
270 tons per day. There are also in this engine
room two Vilter type HDA horizontal ammonia com-
pressors with a combined refrigerating capacity of
225 tons per day. This capacity requires with all
its auxiliaries, the combined horsepower of some
1,500 H.P.

A serious factor in the operation of the refriger-
ated sound stage was that of removing gases from
the lamps together with the vitiated and other foul
air from the room and replacing the removed air
with cold or pre-cooled fresh air in order to prevent
the warming of the prevailing temperature by the
introduction of warm, fresh air. This was nicely
nicely handled by the installation of a large air-
pre-cooling bunker system, consisting of approxi-
mately 6,000 feet of two-inch ammonia pipe in ad-
dition to the main refrigerating system of nearly four
miles of ammonia piping installed on the ceiling of
the stage, over which fresh air is drawn by 25,000
cubic foot per minute positive pressure blower that
in turn exhausts the air under an approximate
pressure of one ounce into the stage proper. Foul
air is expelled through a suitable, controllable ex-
haust hatch located some 42 feet from the floor in
the ceiling of the stage, being easily manipulated
from the stage floor by an elaborate counterweight
system. After tests were made of the air circulation
it was decided to increase this air flow by a re-
circulation of the warmer air near the ceiling of the
stage through the installation of four large Utility
air screw fans located approximately seven feet from
the ceiling, giving an additional air circulation of
some 16,000 cubic feet per minute of free air across
the main ceiling refrigerating coils. This combined
air flow of some 41,000 cubic feet per minute of air
assures a clean, cold, fresh air supply and an aver-
age temperature of 26 degrees above zero or other
temperatures as required (it is also possible to lower
the temperature of this stage to approximately zero
if wanted) enabling persons' breath to be extremely
visible and maintenance of sets of real snow and
ice for indefnite periods. The usual misty haze ac-
companying ice or snow scenes is completely elimi-
nated on the stage by virtue of this large cold air
flow. This haze is in reality a water vapor released
by the ice when the directed rays of the lamps strike
it. As the cold air and ammonia pipes continually
dry the air by absorbing the moisture, the slight
vapor given off by the ice becomes visible in a
fairly dry atmosphere. This phenomena is not con-
fined to the refrigerated stage but is found in every
cold locale.

Snow as mentioned in this article is manufactured

on the stage by taking 300 pound blocks of ice and
running them through a portable preliminary pri-
mary crusher, feeding this crushed ice through a
suitable conveyor to the hopper of the special aerated
blower, that in turn, forces the aerated particles of
pulverized ice through a flexible nozzle, a distance
of nearly 150 feet, forming a fine light snow that is
placeable in any quantity and amount where and
as needed.

In a recent test conducted by Nels H. Rosberg,
Manager of Production for the California Consumers'
Corporation, and the author, R. Van Slyker, the
snow machine was capable of putting through ap-
proximately 10 tons of ice or making approximately
80 cubic feet of snow per ton — some 800 cubic feet
of snow in an hour. This test was conducted under
normal operating conditions used in snowing one of
the extremely large sets of the Columbia Pictures
Corporation for their latest production.

The snow as made by this machine is nearly a
duplicate of nature's product, giving all the effects of
real snow — being edible, enabling persons to make
snow balls, snow men, wash each other's faces,
and indulge in any form of snow sport, as skiing,
sleighing, etc.

Another of the features of this refrigerated stage
is that of creating large, natural frozen ice ponds
in their normal winter dress. In freezing ice skating
ponds, it was found that an acoustical treatment was
necessary in order to overcome floor rumble. This
was carried out, and the result more than justified
the trouble met in determining what form of treat-
ment was need to faithfully reproduce the slither
and scrape of persons skating over the ice. The
ice for the ice skating pond is formed by sloughing
layers of pre-cooled water directly on top of this
acoustical material, allowing the water to freeze in
the low temperature of the stage, and making the
smooth, even ice surface desired in any thickness.

As can be imagined, the actual setting of cold
frozen sets give a most stimulating effect to the mem-
bers of the cast, causing involuntary shudders and
involuntary slips on the ice without undue discom-
fort to the members of the company. All this goes
to make for the utmost in realism for scenes of this
nature. The photographic value of this manufactured
snow gives a most natural and satisfactory effect
as all of the crystalline luster of real snow is cap-
tured by the camera. This plastic make-up allows
for quick set dressing and the arting in of various
properties and allowing extreme latitude in the de-
signing of sets. With from 500 to 600 members of
the various studios employed over the period of the
last ten weeks at this stage, it has been found that
the general health of the employees at the refriger-
ated stage is far better than elsewhere, in fact, only
two colds are recorded out of this number of men
and women, which, on any set at any time of the
year, is an exceptional fact.

NEW BOOKS— THE STUDENT'S MANUAL OF MICROSCOPIC TECHNIQUE

By Carroll Tobias. While simple enough for the
beginner it is also most helpful to the advanced
student. It is profusely illustrated and practical.
Among the subjects included are: Optics and Care
of the Microscope; Killing, Fixing and Preserving;

Dissociation; Section Cutting; Staining; Preparing
and Mounting Hard Objects; Preparation of Animal
Material; Preparing Vegetable Specimens; The Pol-
arizing Microscope; Accessories; Photomicrography.
Published by American Photographic Publishing
Company, Boston, Mass. The price is $2.50.

Thirty

The INTERNATIONAL PHOTOGRAPHER

July, 1936

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 OR RENT— CAMERAS

FOR SALE OR RENT — Mitchell and Bell & Howell silenced cameras,
iollow 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 variety of
16 mm. and still cameras and projectors. B & H Cameras with old type
shuttles silenced $150. Bipack magazines and adaptors for color. Every-
thing photographic bought, sold, rented and repaired. Send for our bar-
gain catalogue. Hollywood Camera Exchange, 1600 Cahuenga Blvd.
Phone HO. 3651. Cable, Hocamex.

LARGEST STOCK FIRST CLASS UPvTO-DATE CAMERA
EQUIPMENT IN THE WORLD
Rebuilt silenced and Standard Bell & Howell 170° Cameras — Hi-SpeeJ
gear boxes — Hi-Speed check pawl shuttles. New Fearless shuttle for
Bell & Howell. DeBrie Model M, with 3 lenses, automatic dissolve,
complete outfit. DeBrie slow motion camera with prism focus and
motor. Silent Moviola Model D. Two single System cameras complete
with sound equipment. Bell & Howell rebuilt Splicers as new. Portable
blimp with follow focus for Mitchell Camera, 100 ft. Stineman Developing
outfit. Used Holmes 35 mm. Sound-on-Film Projector complete. Pre-
cision, DeBrie and Bell & Howell pan and tilt tripods. Bell & Howell
1000 ft., 400 ft. magazines. Motors, sunshades, finders, lenses and all
accessories. Write, wire or cable.

MOTION PICTURE CAMERA SUPPLY. INC.
723 SEVENTH AVE., NEW YORK CITY
CABLE: -'CINECAMERA"

SILENCED BELL & HOWELL CAMERA, original B&H Movement.
40, 50 & 75 mm. Lenses, choice of Astro, Cooke or Zeiss, Standard Matt
Box, Disc and Filter Holders, Sunshade, Large Finder, Extension and
Upright, two 1000 ft. or four 400 ft. Magazines. Standard Tripod Head
and Legs. Complete with Carrying Cases. $1100.00. Camera Supply
Co. Ltd., 1515 No. Cahuenga Blvd., Hollywood, Calif.

SILENCED MITCHELL CAMERA. 40. 50 & 75mm. Astro F2.5
Lenses, Upright Mitchell Finder, Mitchell Matt Box and Sunshade, two
1000 ft. Magazines, Friction Tripod Head and Legs, complete equipment
with Carrying Cases. $2600.00. Camera Siipply Co., Ltd.. 1515 No.
Cahuenga Blvd., Hollywood, Calif.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

LIKE NEW BELL & HOWELL 5-way Sound Printers and Sound
Moviolas. Reasonable price. HOLLYWOOD CAMERA EXCHANGE,
1600 Cahuenga Blvd., Hollywood, Calif.

ART REEVES, latest model 1935, double system sound recording in-
stallation, factory guaranteed, Automatic Speed Control Motor, Twin
Fidelity Optical Unit, Bomb microphone, the only genuine, modern,
workable ArtReeves equipment for sale in Hollywood outside factory.
CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga Blvd.,
Hollywood.

BELL AND HOWELL CAMERA silenced, adapted for color, with
variable area recording single system sound. Complete outfit like new,
ready to shoot. Price, $3000.00. Hollywood Camera Exchange, Ltd.,
1600 Cahuenga Blvd., Hollywood, Calif. Cable: Hocamex.

FOR SALE COMPLETE VARIABLE AREA SOUND TRUCK with
extension mixer, camera motors, microphones, converter. Ready for
production. Write Box B.-C, International Photographer.

8 MM. AND 16 MM.

8MM. DUFAYCOLOR $2.90, Panchromatic $1.70, S. S. Panchromatic
$2.10 with processing, positive home titling film with data 95c, equip-
ment, etc. Film Specialties, 111-1 El Monte, Calif.

CAMERA REPAIRING

BELL ft HOWELL cameras with old type shuttles silenced, $150.
Hollywood Motion Picture Equipment Co., 645 No. Martel Ave.,
Hollywood.

POSITION WANTED

WANTED TO BUY

PLEASE SEND CATALOG AND PRICES on new or rebuilt auto-
matic developing machine, picture and sound printing apparatus and
Moviolas, motion picture cameras for sound, sound reproduction appara-
tus, all laboratory and scientific instruments, etc. Garin Film, 17
Tewfik St., Cairo, Egypt.

MISCELLANEOUS

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 L. Finn Publishing Corp., 580 Fifth Ave., New York.

COMPLETE COURSE IN FLYING — If interested in aviation, see Roy
KlafFki, 1605 North Cahuenga Ave., Hollywood.

NEW SUPER

CIXEGLOW

THREE ELEMENT

Recording

Lamp

A true, high fidelity, ultra-
viol e t, modulating light
source.

• High Intensity Exposure

• Long Life

• Uniform Quality

Blue Seal
Sound Devices

Incorporated
723 Seventh Ave.
New York, N. Y.

YOUR

MOTION PICTURE RELIEF FUND OF AMERICA, INC.

POLICY

1 . To care for illness — preservation of life and health.

2. To lend financial aid for food, shelter and clothing
to those persons whose work in pictures has been
such as to definitely entitle them to such aid and
who are now, through no fault of their own, un-
employed. Such aid to be distributed:

(a) To married couples with small children.

(b) To a woman with dependents.

(d) To single men and single women.

3. To lend such aid in unusual and extraordinary
cases as may be deemed advisable when voted
upon by the Executive Committee.

INITIAL REQUIREMENT 3 YEARS IN INDUSTRY

OPERATES EXCLUSIVELY ON VOLUNTARY CON-
TRIBUTIONS AND PLEDGES OF ONE-HALF OF ONE
PER CENT OF STUDIO EARNINGS
50c from $100.00
No Benefits Sponsored

July. 1936

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

COLOR PHOTOGRAPHY UNDER THE SEA

Paul R. Harmer

paper IV.

Most of the photographers are familiar with reli-
able color systems used for photographing under
water, but when taking colored pictures under water,
the greater the depth the greater the darkness and
loss of color contrast.

The most successful system of securing under
water photography that I know of is the one devel-
oped by Henry Fischer. Twenty-one years ago
Henry started to work in the laboratory of Mack Sen-
nett.

When Mr. Sennett decided to have color photog-
raphy he didn't intend to stop short of having every-
thing. Ernest Crockett developed the under water
camera and right away the Big Boss wanted under
water colored photography.

Henry got the job of reproducing in colors the

various shots that Ernest made. In the first trial
Ernest had the swimming pool drained and painted
the bottom in squares of different color, then he had
the tank filled with water, put Mr. Sennett's bathing
girls to work for a test and this was the start.

After a few trials Henry got the color system down
to a perfect balance. These pictures were released
through Educational.

Mr. Fischer had a color card made which was set
at a given distance from the lens. Then the camera-
man took a reading with a spectrometer which gave
the gamma for the red, blue and yellow.

This first gamma strip which was made when the
first shot was taken was the master and all the nega-
tives shot in this set that day were prized accord-
ingly.

The negative used was hypersensitized fifteen
times and of a bi-pack nature. Equalizing filters were
used to bring the spectrum to a normal range, there-
by reducing the intensity of the green and increas-
ing the red and violet. Shortly after this Mr. Fischer
made a trip to Europe, where he found a dye so
strong that one pound of yellow, one pound of blue
and one pound of red would make a million feet of
master positive with a black and white sound track.

The deepest that color motion picture photog-
raphy can be taken by sunlight, with this system, is
about fifty feet.

Deep sea color is successful with lamps using
polarized light.

ROSS FISHER VISITS HOLLYWOOD

Ross Fisher, for many years one of the ace cam-
eramen of the motion picture industry in the United
States and Great Britain, has departed for his home
in Mexico City after an equipment shopping expedi-
tion in Hollywood.

Mr. Fisher is a member of Local 659, I.T.A.S.E.
and M.P.M.O., also a charter member of A.S.C. He
went to the City of Mexico in 1932 upon call from a
motion picture producer and, during the past four
years, has been busy every day in active camera
work or production.

Accompanying Mr. Fisher on his Hollywood trip
was Senor Roberto Morales of the production com-
pany of that name, located at the City of Mexico
where all other motion picture studios in Mexico are
located.

Those in addition to the Morales Studio are In-
dustrial Studios; Mexico Film Studio; Classa Co.
Studios; Cuernavaca Studios.

W EVERYTHING ^

W PHOTOGRAPHIC \

pTcjj

^m for Professional and Amateur T

^f New and used. Bought, sold '

^LWb- °*tK\

¥ rented and repaired. Designers

and manufacturers of the

4 H.C.E. Combination Lens

^r''~^H

^ Shade and Filter Holder ,

tr «^^S1

P*^

^^ for any size lens. 1
^^L Send for bargain catalogue A

jcJH

w • m

^k Hollywood Camera ^k

vJIkl

^k Exchange ^m

^k 1600 Cahuenga Blvd. M.

^k ^H

m lla'

A Tel.: HO-365I jfl

IllH

m L^ A

f J |(l

V ^k HOCAMEX ^k

^L^^H

Here is the clearing house of motion pictures for
the entire Spanish speaking world. Here actors,
technicians, craftsmen, writers, laborers, producers,
financiers, etc., do their stuff to serve an empire ex-
tending from the Rio Grande and the islands of the
sea through the entire continent of South America,
Spain and Portugal.

Trade Unions dominate the situation and an out-
sider would quickly note that the immigration laws
of Mexico are pretty tight. Young Mexicans are in
control and, while the rules are rather drastic, they
are fair and written with the idea of keeping the
reins in the hands of the men who built the budding
cine industry of Mexico and intend to see that it
doesn't get away.

Mr. Fisher states that the Mexican producers are
careful to use Mexican and Spanish stories in their
pictures and that they are working hard to progress
rapidly toward their ideals. They are getting into
color now and if there ever is such a development
in the cine as three dimensional cinematography,
Ross Fisher will not be far behind the pioneers when
the announcement is made.

Mr. Fisher does not want to discourage United
States capital against investment in motion picture
production in Mexico, but he does wish to warn
against inadequate capitalization and the producer
with lack of finances will not have an easy time
south of the Rio Grande.

Among other business scheduled for this trip to
Hollywood, Mr. Fisher's associate, Senor Roberto Mo-
rales brought along for cutting his latest picture,
"The Novice," in color. The work was done by
CINECOLOR, INC.

The International Photographer extends to Mr.
Fisher and his associates in Mexico congratulations
upon their success against great odds.

Thirty -two

The INTERNATIONAL PHOTOGRAPHER

July, 1036

CINEMACRONI

(With Sauce for Those Who Like It)

By Robert Tobey

HOLLYWOOD HONEYMOON

The Loves of Lili Liverblossom

By R. THRITIS

Lili Liverblossom, beautiful star of Flamboyant
Films, Ltd.

Perriwether Murgle, her Public Relations Coun-
sel.

Olga Bendova, her rival.

Willy Nilly, a large Bald Eagle; genus haliaetus
leucocephalus, in case you're the technical type.

Nelly Nilly, his wife.

Hiram von Willeze, a noted film director sliding
down the balustrade of fame.

Bill, a ghost writer.

Potty, a ghost.
Synopsis of preceding chapters:

Lovely Lili Liverblossom is afraid Olga Bendova
will get the part she covets in Flamboyant Film
Company's new super-epic, "Sacred and (cen-
sored) Love." She calls Murgle into conference,
which is about the least she ever calls him.
Perri suggests a marriage to Hiram von Willeze
as a publicity stunt to reawaken interest in Lili
and cinch the coveted part for her. In his hurry
get to von Willeze, Perri slides down the drain-
pipe outside Lili's penthouse apartment, instead
of taking the elevator. He gets caught part way
down, and enlists the aid of Willy Nilly to help
him to the ground. Instead, the Eagle carries
Willy off to his lair on a high cliff miles from
Hollywood and the cut-rate drug stores.

Frantic at the loss of her P. A., Lili figures out
that a ghost might be able ot help her track down
the Eagle and rescue Perri. So she enlists the
aid of an old friend, a ghost writer named Bill.
Bill writes her up a ghost and sends it over to
Lili's apartment. The ghost arrives in jig time; a
real honest-to-gosh ghost that can pass through
walls and can't get along without a chain to
clank. Lili, with her usual breezy informality,
dubs the fellow Potty. After a brief chat, the two
set off in search of Perriwether Murgle.

Meanwhile, in the Eagle's lair, Willy Nilly has
gone off in search of some fish and snakes for
dinner. Nelly Willy sidles over to 'where Perri is
sitting, and looks coyly up at him. Perri hardly
knows what to expect.

Just in the nick of time Potty and Lili arrive
on the scene to breake up the tenseness of the sit-
uation. Soon Willy arrives with some grub, mostly
dried fish he has stolen from some fishermen on
a nearby Dry Lake. He and Nelly go into the
kitchen to get dinner ready, so Perri seizes the
opportunity to attempt an escape. He has some
trouble getting Lili off a couple of eagle eggs,
which Lili has promised to sit on while Nelly is
busy. Finally, they are ready to escape. Potty
picks up Lili and in no time is out of sight.
Perri, thinking he can still fly, flaps his arms and
jumps, but falls, and only barely manages to
catch hold of a piece of rock twenty feet below.
And there he hangs. Now we go on with the
story.

CHAPTER XXI

Heigh-ho. Isn't that disconcerting. Here I've
used up all the space for a synopsis. Guess Perri
will have to hang from that cliff for another month!
Tough going, kiddo.

KNEECAP REVIEWS
(No space left on my thumbnails)

-THE UNGUARDED HOUR." A really en-
thralling murder mystery; one that will grip you in
every minute of its running. Truly mystifying to
the end. it is well-written, thoughtfully produced,
and excellently directed.

Loretta Young and Franchot Tone are the young
married couple around whom this unusual story
revolves. Tone, playing a young English barrister
with one eye on his wife and the other on the
Attorney-General's seat, is a polished though re-
strained performer. Loretta Young as his lovely
wife, will lose none of her following. Just as well
for them, too, that they arc so good, or Roland
Young would steal the picture.

The fate of a picture like this trembles before
the director, so the excellence of this film speaks
well for Sam Wood. Photography by James Van
Trees is above reproach.

"FURY." A searching analysis of mob psy-
chology; a relentless flaying of the urge to lynch.
Director Fritz has employed his camera as a
scourge to lay bare the rotten tissue around the
heart of the screaming pack that is a mob.

The picture itself cannot be described except
in full book form, and derives its chief power

from its dramatic intensity and the basic nature
of its emotional pull. Spencer Tracy carries away
top acting honors, while Sylvia Sidney does well
with a part that offers nothing compared -with
what Spencer has to work with. Photography is
by Joseph Ruttenberg.

"THE MOON'S OUR HOME." Madness envelopes
Margaret Sullavan and Henry Fonda, and you'll
love 'em half-baked. Maggie has done nothing
better than this madcap role of Cherry Chester,
beautiful screen star who believes the publicity
about herself. Henry onda as Anthony Amberton,
spoiled novelist, complements her splendidly, al-
though he is not quite up to his high water mark
in this.

Old-time director William A. Seiter is far from
old-time in his treatment of the script. Photogra-
phy by Joseph Valentine is topnotch.

In the supporting cast, Charles Butterworth is
much too overdrawn to be funny in the stock
role of the rejected though wealthy suitor. Mar-
garet Hamilton has a noteworthy supporting role.

"THE FIRST BABY," an average homey sort of
picture with Johnny Downs, Dixie Dunbar, Shirley
Deane, Marjorie Gateson and Jane Darwell. Not
startling in any respect, the film is more or less
devoted to the mother-in-law problem, and is
interestingly and intelligently treated. Downs,
Dunbar and Deane start the ball rolling in a more
or less amateur fashion, but as soon as veterans
Marjorie Gateson and Jane Darwell come into the
picture the thing rolls along under its own power.
Direction is by Lew Seiler and photography by
Barney McGill.

Worth going to see even if you have to pay for
a couple of dull features and play hookey on 'em
is Walt Disney's Mickey Mouse in "THROUGH
THE MIRROR." There is a sequence using ani-
mated playing cards, hilariously burlesquing the
outlandish dance sequences in some of our "better"
productions, that is a gem in itself.

"THE DANCING PIRATE." Very little to recom-
mend this. It is slow and draggy, of uneven
tempo, with interminable climax and anti-climax.
The use of color throughout adds nothing to the
spectacle except changes in color ratio, an error
you don't encounter in black-and-white. Dis-
tressingly, too, this picture seems to mark the
return to the indiscriminate use of bicolor capes
as an irritating prod to color consciousness.

Charles Collins is not the Fred Astaire whom
he seems to be imitating. He is nimble and
graceful enough as a dancer, but hasn't the
Astaire nonchalance and personality. Kept on
the screen long enough, of course, he may lose
his self-consciousness and go places. Frank
Morgan plays his usual incoherent role, and
drives you a little cuckoo -with it all. The only
moments of relief are when the piquant Steffi
Duna appears on the scene. The girl is no beauty,
but has the saucy charm and graceful abandon
of a dryad. What beauty she has is not en-
hanced by the adobe makeup plastered on her
face and torso in an attempt to make her look
Spanish.

Next best mention goes to Victor Varconi and
Jack LaRue, as the very doughy heavies.

Production is by Jock Whitney, direction by
Lloyd Corrigan, story by Emma Lindsay Squire,
cameras by Technicolor, photography by William
Skall, and release is via R.K.O. You figure out
who is to blame.

"LITTLE MISS NOBODY." Herein Jane Withers
definitely becomes a little Miss Somebody. It's
Jane's picture and nobody takes it away from
her. Her work in this would do credit to far
weightier years. However, detracting from the
value of the picture is the fact that it is patterned
so closely after a recent Shirley Temple opus.

Supporting cast is well chosen. Little Betty
Jean Hainey is almost as good as Jane Withers,
if less impish. Harry Carey has a fine fat role,
and does well with it. Direction by John Blystone
is good. Bert Glennon photographed.

"SAN FRANCISCO," a picture proving that no
matter what type of music beautiful Jeannettc
MacDonald chooses to sing with that glorious voice
of hers, the public will love it; and no matter how
much blood is caked on Clark Gable's face, that
ole Gable personality shines forth just the same.
The film also proves that M-G-M's technical staff
can cook up an earthquake that is just about as
realistic and horrifying as any of old Mother

Nature's brewing.

Production should do a box-office cleanup. It
has everything tne doctor orderea — thrills, chills,
laughs, suspense, and a hearty love interest — and
all arc expertly blended by veteran megger W. S.
I' an Dyke. Oliver Marsh is responsible for the
first-rate photography.

The picking of tough mug Spencer Tracy for the
role of Father Mullen was a quaint piece of cast-
ing. Can you imagine that hombre in clerical garb?
But don't get hysterical before you see him in the
part. He's the tops. Jack Holt, Ted Healy, Mar-
garet Irving, and Jessie Ralph shine from out the
supporting cast.

Seen on a local marquee'.

MR. DEEDS GOES TO TOWN
EVERY SATURDAY NITE

And this from a studio daily shooting report:
THERE GOES THE BRIDE
(two days ahead of schedule)

HOLLYWOODCUTS, by the Shovel Boys. (They
dish the dirt.) * * * The good news comes from
New York that Edwina Booth, who seven years
ago played the White Goddess in M-G-M's pro-
duction of "Trader Horn" is at last recovering
from what 'was considered an incurable illness.
Stricken shortly after her return from Africa with
the location unit making "Trader Horn," for six
years the girl hovered between life and death.
She traveled the world in search of a cure for
the little known malady that had attacked her.
Her father, himself a physician, gave up his
practise to devote his life to study and research
in aid of his daughter. No hope was held out for
Edwina's recovery. The last few years she has
spent in bed, in a darkened room, emaciated,
■waiting to die. Now comes -word that in the New
York psychiatric clinic Dr. Edward S. Cowles,
Edwina Booth is able to walk and stand the sun-
light again on her once lovely body. A complete
cure is looked for by the girl and her family.*

Out of Circulation Notice. Fred McMurray mar-
ried Lillian LaMont, reported to the studio just
to make sure there -weren't any retakes in the offing
for his latest picture, and then sailed with his bride
on the Lurline for a long honeymoon in Honolulu.
Fred's courtship has been troublous, for Paramount,
when they began to push Fred ahead, tried to keep
him unmarried. He fussed and fumed for three
years, and then couldn't stand it any longer.

Here's a rib-tickler. Mae West, Queen of Up-
holstery and first lady of the Risque, proposes
to defend her reputation at all costs. Many's the
check she has quietly made out in favor of the
Assistance League, a prominent Hollyood chari-
table organization. And she has told the League
that they can have a contribution from her any
time they ask for it. But the other day she
balked hen she was asked to appear in person
at the League on behalf of charity. She said she
couldn't let reporters and the public actually see
her in the role of a good woman. She was afraid
it would spoil her standing! * * *

Don't look now. Miss Sugarpuss, but there's a
fellow stealing your scene.

ty*$

—cssr r

m SW

YOSEMITE NATIONAL PARK

SUPERPAN has unexcelled fineness of grain, wider
latitude, supersensitive speed and unparalleled emulsion
quality. Try it — you'll see why SUPERPAN marks an
advance in negative manufacture.

C. KING CHARNEY, Incorporated

HOLLYWOOD

6372 Santa Monica Blvd.

Tel. Hollywood 2918-2919

NEW YORK

245 West 55th Street

New York City

nas^EiicwEf

PHOTOGRAPHI

31TH YE

HOLLYWOOD

AUGUST, 1936

VOL. 8

No. 7

CENTS
> A COPY

This glorious shot of the Yosemite Valley was snatched by the versatile camera of Cameraman William Marshall at the
time when the waters are most active and beautiful in that place of magic. It shows the Valley at its best.

VIOTION PICTURE ARTS AND CRAFTS

NOT JUST FOR LOOKS

REG. U.S. PAT. OFf-

Not just for looks do we maintain smooth lawns, trim hedges and borders of trees and
shrubbery but to help eliminate dirt and dust.

By continual vigilance in our manufacturing operations, with the help of landscaping
outside our buildings and washed air brought to uniform temperature inside our factories
we assure you a panchromatic film which is exceptionally clean and free from blemishes.

Du Pont Film Manufacturing Corporation

35 WEST 45th STREET SMITH & ALLER, LTD.

NEW YORK CITY 6656 .. SANTA MONICA BLVD.

PLANT . . . PARLIN, N. J. HOLLYWOOD, CAL.

Edward H. Kemp thought this picture worthy of his "good box" as he rode through the Canyon de

Chelly, Arizona, once upon a time. It is one of nature's marvels and is a little brother to the Grand

Canyon of the Colorado. If the reader desires to know a lot about Canyon de Chelly, just look up an

Indian and ask him to tell some stories about it.

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol.8

HOLLYWOOD, AUGUST, 1936

No. 7

Publisher's Agent, Herbert Aller

Silas Edgar Snyder, Editor-in-Chief

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerberg, Technical Editors

John Corydon Hill, Art Edttot

Helen Boyce, Business Manager

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.

CONTENTS

Front Cover by William Marshall
Frontispiece by Edward H. Kemp

FERNSTROM- DUNNING TRAVELOGUE PHOTOGRAPHY - 3
By Ray Frrnstrom

MORE ABOUT LIGHTING 4 & 5

By Lewis W . Physioc

MOTION PICTURE SOUND RECORDING— Chapter 26 - 6 & 7

By Charles Felstead

INTO PICTURES— THROUGH PICTURES 8 & 9

By Jo/in Van Pelt

SCIENCE STEPS INTO OPTICS— Part II - - - - - 10
By Earl Theisen

FUN WITH MICROSCOPE AND CAMERA - - - 12 & 13
By Karl A. Barleben, Jr., F.R.P.S.

THE CHROMOTONE PROCESS - - - - - - 14 & 15

By Rowland S. Potter

PHOTOGRAPHY— METROPOLITAN WATER DISTRICT

OF SOUTHERN CALIFORNIA - 16 & 17

AMATEUR MOTION PICTURE SECTION:

The National 1936 Conference on Visual Education 18

Cinema Tiding* .-.-.....19
By F. Hamilton Riddel
CLASSIFIED - 30

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles,
California, under the act of March 3, 1879.

and Canada

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California

GLadstone 3235

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, $2.50; Canada and Foreign $3.00 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. 9. A. at Hollywood, California

SERVICE ENGRAVING CO

Ye Tek-Nik Towne
of Olde Hollywood

Pre-war readers of INTERNA-
TIONAL PHOTOCRAPHER will re-
member Ye Tek-Nik-Towne of Olde
Hollywoode wherein was exploited
the commercial side of this commun-
ity. During the fighting the Olde
Towne fell into a slight decline, but
of late there has been a decided turn
for better things and the editors have
decided that Ye Olde Tek-Nik-Towne
shall again be a feature of this mag-
azine.

Those who do not know would be
amazed to learn of the volume and
value of the allied industries of the
motion picture concerns centered in
the world's Film Capital, and the
people who conduct, manage and di-
rect these concerns are quite as in-
teresting as the concerns themselves.

All the former residents of Tek-
Nik-Towne are invited to move in
again and all the new citizens will
be received with open arms.

COLOR
There will be more important color
news in our September issue. Look
out for it.

August, 1936

T h e

INTERNATIONAL PHOTOGRAPHER

Three

Fernstrom-Dunning Color
Travelogue Photography

By Ray Fernstrom

This novel camera was designed especially for
color travelogue photography To increase the ef-
ficiency of a small crew, a special top was built
similar to the laminated fuselage of the Lockheed
airplane.

In this top was built an airplane cockpit, with
hatch doors that drop down into the body out of the
way. A four point airplane mount carries the
camera level with the top of the car and between
the four wheels, cutting down on swerve and bounc-
ing on running shots. This same mount swings
round and bolts in any direction. For low running
shots there are three other mounts, allowing for vari-
ous levels. The top being solid enables us to set
up high for stationary scenes.

Body, top and mount having been reinforced, no
variation occurs at any speed. During the last two
months we have covered more than 7,000 miles

on a new picture in Dunning Color, in which 2,000
or more miles were covered carrying the camera on
the top airplant mount.

Since B batteries would not last long on a two
months' trip of this sort, Dunning Process Co. in-
stalled six wet batteries and a converter, giving us
110 volts, A.C. to run the camera motor. For scenes
far from the car we use 500 feet of cable on spools
with swinging hangers. In addition we used one
set of B batteries. These we utilize if we need a
couple of Photoflood lights off our 110 volt, A.C. line,
or, if more than 500 feet from the car.

(After six years of shooting color travelogues in
various processes, with a motley assortment of
cameras and improvised camera cars, Mr. Fern-
strom feels that he now has an ideal union in this
type of car and the Dunning color camera.)

1. On location at Echo Summit, on the Lake Tahoe-Placerville,
State Highway, with the Dunning Color Process, shooting a three
reel travelogue of California. In the cockpit Mr. Fernstrom is
standing. At the right is Dodge Dunning of the Dunning Process

Co., Hollywood.

2. Shasta Canyon, California, showing how the closed hatch serves
as a parallel for stationary shots. |im Cowper with Ray Fernstrom

at the rock dedicated to the old-time stage coach drivers of

California's early days.
3. In the center is Fernstrom's camera car from Dunning Process
Co. for shooting color movies. In the open cockpit are Rey Fern-
strom and |im Cowper. At the right is Mole-Richardson's new

motor-generator truck.

THREE NEW INDUSTRIALS IN WORK AT HOLLYWOOD

Three new films of a wide variety of interest are
in production by Metropolitan Industrial Pictures of
Hollywood, for leading corporations.

One production unit, headed by Hobart Brown ell,
Metropolitan director, is covering the State of Ore-
gon for a sound picture for Portland General Electric
Company. This picture will outline the company's
development of natural resources in the territory and
special power applications in industry and agricul-
ture. This is a two-reel production.

Finishing work is being done on a three-ieel
sound film for California and Hawaiian Sugar Re-

fining Corporation of San Francisco. A photo-
graphic unit was sent by Metropolitan to cover the
growing of cane in the Hawaiian Islands and also
to show all the refining operations at the company's
plant at Crockett, California.

Metropolitan of Hollywood is also at work on a
new synchronized version of "The Romance of the
Reaper," for International Harvester Company of
Chicago. The new sound version of this story will
depict in three reels, the invention, more than a
century ago, of the first successful grain cutting ma-
chine and then the development down to date of the
various harvesting equipment.

Four

The INTERNATIONAL PHOTOGRAPHER

Aui/ust,1936

MORE ABOUT LIGHTING

By Lewis W. Physioc

Technical Director, International Photographer

RESPITE the great advances made in the man-
ufacture of photographic materials, cameras
and general equipment, the matter of light-
ing is an all-important subject. We fre-
quently hear the question: What is the one element
most inimical to good photography?

The question is easily answered — it is flat light-

ing.

What is more serious, the evil is still apparent,

Figure 1

regardless of the aforementioned improvements in
the materials and apparatus.

We may look for the reason in the fact that the
developments in esthetics have not kept pace with
those of science and mechanics.

Of course this suggests a controversial point. But
it cannot be denied that we live in an age that does
not encourage these studies that demand patience,
close application and considerable time.

This matter of properly lighting a photographic
subject is embodied in that category of esthetic stud-
ies that cannot be learned overnight It cannot be
supplied, even, by a faultless use of exposure meter,
the modern lens and fancy camera and sensitomet-
ric processing. It comes only as a result of earnest
study, much experimenting, close observation and
mental recording of beautiful chance effects in natu-
ral subjects.

One of the commonest examples of which we
may learn from chance effects is experienced while
sitting in the projecting room watching the "dailies."
They are running an elaborate scene where some
special effect has been carefully designed.

Everything in the matter of equipment the studio
can boast has been used — lights., lights, and more
lights. But the "shot" doesn't seem to "click." No

one seems greatly to enthuse. The end of the scene
comes. Some of the lights are turned off, leaving
just sufficient, as was thought, for the boy to step in
and hold the slate. Everybody gasps. There, unde-
signed, by the merest chance, is the beautiful effect
so much desired, so carefully striven for. but every-
thing had been used but a knowledge of lighting.
That old bugaboo, flat lighting, had destroyed all
effect.

But that is not all that flat lighting destroys — it
may totally destroy all idea of form.

From the foregoing discussion we get the sugges-
tion that lighting ambodies three important elements
necessary to artistic photography:

First, the rendering of effects.

Second, the preservation of natural beauty.

Third, the suggestion of proper form.

This last element, form, is necessary to the others,
for both depend upon a faithful rendition of the form.

The greatest problem of the motion picture pho-
tographer, in particular, is preserving, and even
favoring, the beauty of his feminine star. For a long
time it was thought that this was possible only by
flat lighting — the burn-up method. We are gradually
proving the error of this method.

The rendering of form is commonly called model-
ing, and depends upon the proper distribution of
light, shade and shadow. The getting of effects and
preserving beauty is achieved by the degree of con-
trast— the proper choice of the quality of light, its
modification, by mediums or diffusion, and the
strength of the highlights and shadows.

This matter of lighting is very difficult for the pho-
tographer as compared to the painter.

Figure 2

The artist can render very delicate effects with-
out danger of flatness, because he can build up the

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Five

modeling (or chiaroscuro, as he calls it) by a wide
range of tints not available to the photographer, who
must paint only in light and shade. Of course, color
photography greatly lessens the evils of flat lighting,
but by no means dispenses with the necessity for
artistic lighting.

The matter of photographing women is so impor-
tant, it is well to impress upon the student a few
points that may be learned by observation and sim-
ple experiments.

Beauty may be preserved, and even enhanced,
by the correct diffusion of lights. And the sources
should be as simple as possible. Remember that
every light casts its shadows and that a multiplicity
of shadows raises havoc with a beautiful face.

Diffusion may be accomplished in two ways —
more properly speaking, the light may be modified
by diffusion and dispersion by reflection. The me-
diums of diffusion and the reflecting surfaces are all
important; as are, also, the distance of diffusing me-
diums from the source of light, and the distance of
reflectors from the subject. Try a few of these ex-
periments:

Stand before a window facing the north; hold a
piece of white paper in one hand and interpose the
other hand before the light and the paper, and ob-
serve the softness of the shadow. This proves the
beautiful dispersion of the north light.

Perform the same experiment, using various re-
flectors, tin, harsh aluminum, softer aluminum, then
a white sheet or matte surface cardboard. The
harshness or softness of the shadow cast will doubt-
less suggest which should be used on a delicate
face, particularly on the eyes.

Then spread a piece of white paper on your desk;
place upon it some object round in form, with some
sort of protuberances on the surface. Throw your
desk light across the object from the side, so as to
bring out the form sharply. Then you might say to
yourself: "If I photographed a girl in that sort of
light, I'd make her look like her grandma!" This
might be the case.

But now you take a piece of tracing paper, or

light and nearer to the object. It will then be noticed
that the cast shadow becomes softer, the protuber-
ances not nearly so harsh. And what is more
striking, the light side of the object appears more

Figure 3

ground glass, and hold it over the light. The effect
on the object is much more pleasing, but the shadow
of the object on the paper is still well defined and a
little harsh and the protuberances still show up pretty
strong. Gradually draw the diffuser away from the

Figure 4

brilliant, the shaded side glows with a soft reflected
light and yet the form of the object is perfectly main-
tained.

If you do not believe that flat lighting destroys
form, look at Figure 1 of the accompanying cut. See
if you can determine the forms of the three uprights:
Yet it is supposed to represent three different and
distinct forms. The picture was taken with the light-
ing falling upon the objects directly in front. Such
lighting frequently is employed by photographers
who use a strong light directly over the camera or
very nearly in such a position, and also by holding
the flash bulb in such a position. This scheme of
lighting cannot produce any degree of shading (or
modeling) so necessary to represent the form of an
object.

Figure 2 shows the uprights photographed with
the same light, except that it is now placed so as to
shine upon the objects from a side position, clearly
bringing out the forms of the uprights. One can
hardly believe the two pictures represent the same
objects. However, there is still a chance for improve-
ment, for there is a suggestion of harshness as seen
in the rough texture of the surfaces. The light is a
little too direct. Sometimes a face, even though
beautifully formed, has certain little blemishes, like
the pores and excrescences of the skin; too direct a
light exaggerates these little faults.

Figure 3 shows a further improvement. The same
light is used and the same side direction, except that
in this illustration the light has been diffused after
the manner suggested in the experiment of holding
the diffuser close to the objects. Observe how the
roughness in the texture of the surfaces is now
smoothed out and beautified. Yet the modeling is still
preserved, only softer, with less contrast. This is the
ideal scheme of lighting for feminine heads.

Figure 4 is merely a simple suggestion of the
possibilities of securing dramatic and pictorial effects
by employing cast shadows. Broad, plain surfaces
may be enhanced in interest by throwing cast shad-
ows upon them; and, at the same time, the form of
objects may be accentuated.

Six

The INTERNATIONAL PHOTOGRAPHER

August, 1936

Motion Picture Sound Recording

Chapter XXVI

|N the three preceding chapters, we discussed
the design of a basic amplifier for oper-
ation from direct current supplied by bat-
teries, the associated input and output cir-
cuits, an arrangement for measuring plate current
and grid and plate voltages with a single meter,
formulas for meter conversion and range extension,
and the applications of this high-grade amplifier. In
this chapter we continue that discussion by showing
how that amplifier may be improved in design and
adapted to operation from an alternating current
source.

The Improved Amplifier Circuit

It will be noted that the chief difference between
this amplifier and the original basic amplifier, dis-
regarding the power supply, lies in the grid and plate

fier, particularly those jacks in the plate circuits of
each stage; but in order to simplify the diagram they
were omitted.

The same components are used throughout this
amplifier as were used in the original basic ampli-
fier, the changes that have been made being entirely
from the addition of other parts for the purpose of re-
ducing the possibility of interaction between the
stages of the amplifier due to common coupling. The
quality of amplification of the original amplifier will
be equal in every respect to that obtained with this
improved model, but the original basic amplifier had
the very great disadvantage of employing batteries
for its power supplies.

Need For Grid Circuit Filtering

Beginning with the first stage of the amplifier
diagrammed in Figure 1, it will be noted that there
has been incorporated in its cathode and grid-return
circuits resistance of 2500 and 100,000 ohms respec-
tively and a condenser of four microfarads. The 2500
ohm resistance is for the purpose of providing grid
bias voltage for the tube in a manner that will be

5oo, ooot*)

POTENTIOMETER. c ,

500 **>
3 OUTPUT

^•output
transformer

FRs AND BRs ARE
I WATT CARBON
RESISTORS

Cs ttAY B£
2 5- VOLT

ELECTROLYTIC
CONDENSERS

6
2 0. OOO

SO WATTS
Wl RE VWOUNO

Fig. 1. Diagram of the improved version of the basic amplifier.

filtering of each stage and in the method of securing
grid bias voltage for the tubes. The jacks for the
single milliammeter, as discussed in the preceding
chapter, should be included in this improved ampli-

discussed later; but the 100,000-ohm resistance and
the four-microfarad condenser together comprise
what is known as a grid filter.

This grid filter is necessary only because all three

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Seven

of the stages of the amplifier receive their plate and
grid voltages from a common power supply. If sep-
arate C bias batteries were used, as in the original
basic amplifier, this grid filter (and the grid filter in
the second stage of the amplifier) would not be nec-
essary.

Since a common power supply is used, if the grid
filter of this first stage — or even the grid filter of the
second stage — were omitted, the amplifier would be
inclined to break into a sustained oscillation due to
feed back. This condition of oscillation occurs at a
frequency within the audible range, so it produces a
steady howling in the loud speaker connected to the
output of the amplifier — the frequency of the howl-
ing sound being dependent on various circuit con-
stants. This howling is sometimes called "motor-
boating."

Functioning of the Grid Filter

The feed-back of energy that produces this effect
takes place in the following manner when grid filters
are not employed. A voltage produced by a sound
that disturbs the diaphragm of the microphone is fed
through the input transformer to the grid circuit of the
first amplifier tube. This voltage is amplified by that
tube and by the two succeeding tubes of the ampli-
fier, appearing as a greatly increased voltage in the
circuit of the third amplifier tube. This relatively
high signal voltage is fed back through the action
of common coupling (common impedance) in the
power supply to the grid circuit of the first amplifier
tube.

The first amplifier tube and the succeeding two
tubes then function to amplify this fed-back signal
voltage, producing this time a very large voltage
change in the third amplifier stage. This greatly in-
creased energy is fed back in turn to the grid cir-
cuit of the first tube — amplified again — and so on
and on until the signal voltage builds up to a steady
value, which is determined by the tubes employed
and the circuit constants. Of course, all this action
and reaction takes place during an interval of sec-
onds or fractions of a second.

When a grid filter such as shown in Figure 2 is
used in the first amplifier stage, the energy that is fed
back through the power supply from the final ampli-
fier tube (or even from the second amplifier tube) is
prevented from reaching the grid of the first tube
by the grid filter.

Since the energy that is fed back is represented

IMPUT TRANSFORMER

GRID FILTER

Fig. 2. Schematic Diagram of Amplifier showing Grid Filter
and Cathode Bias Circuits.

by a flow of current in the order of a few milliam-
peres, or fractions of a milliampere, and since this
fed-back current must flow through the grid-filter re-
sistance FR to reach the grid of the first tube, the volt-
age drop through this high resistance is so great that
no energy is left to effect the grid. In other words,
all the power that is fed back through common

CHARLES

FELSTEAD

ASSOCIATE

EDITOR

coupling in the power supply is dissipated in the
filtering resistor FR and does not reach the tube grid.
It is to be remembered in this connection that a
voltage, or pressure, is necessary to produce a flow
of current, just as pressure is necessary to force
water to flow through a pipe. Voltage, or pressure,
however, can exist without a current flow (as in the
case of a pipe that is capped on one end and yet
has water under pressure in it). The voltage drop
that occurs in FR is equal to E = I x R, or in this case,
E = Ix 100,000, where E is the loss of voltage that
occurs in the resistance, I is the current in amperes
that the voltage is trying to force through the resist-
ance, and R is the resistance in ohms of the resistor,
FR.

Other Effects of Grid Filter

The voltage that is produced across the second-
ary of the input transformer by a sound picked up
by the microphone is applied directly across the grid
and cathode of the tube by way of the condenser C
in Figure 2. This condenser should have a capacity
of at least two microfarads, and preferably more, so
that it presents a path of very low impedance to cur-
rents of all frequencies within the audio-frequency
range. In other words, it offers practically no oppo-
sition to the passage of alternating currents of aud-
ible frequencies, yet it acts as an open circuit to
direct current.

The grid bias voltage produced across BR in a
manner that will be described later is applied to the
grid of the tube through the filter resistor FR. Since
the tubes in this amplifier are intended to act as
Class A amplifiers, the grid of the tube is never per-
mitted to swing into the positive region of its Ip-Eg
characteristic curve, and so no grid current ever
flows.

The bias voltage produced across BR and ap-
plied to the grid of the tube through FR is thus purely
a voltage, or pressure; and since there is no current
flowing in this circuit due to the grid bias voltage, no
voltage drop (or I x R drop) occurs in the filter resis-
tor FR. As in the case of the capped pipe mentioned
previously, we have only pressure (voltage) here,
and as there is no current flowing, no loss of voltage
occurs in the resistor FR. (E = IR; so if I = O, then
R X O = O, and E, the voltage drop, = O.)

(Turn to Page 20)

Eight

The INTERNATIONAL PHOTOGRAPHER

August, 1936

Into Pictures— Through Pictures

By John Van Pelt

iThe Western Costume Company, of Hollywood, one of the world's largest, has agreed by written statement to make financial concessions
to actors desiring to duplicate Mr. Van Pelt's idea. Actors may bring their photographers with them to the costume company if they desire.

The Stillman Studios, of Hollywood, will co-operate, as no doubt will other photographers when they learn of the plan which Mr. Van
Pelt has so generously passed on to fellow players.

Although up to the time of issue, there has been no publicity other than by word oi mouth, the editors have been informed that a num-
ber of actors have recently carried out in detail the Van Pelt plan of complete and up-to-date character studies.

Mr. Van Pelt informs us he will be happy to pass on any details resulting lrom his experience to fellow actors or photographers — write
him in care of this magazine, or to his residence, 2147 Lyric Ave., Hollywood, or phone MCrningside 16121.

It is prophesied that intensive experimentation in the field of character studies and characterization will bring big results. It is obviously
of interest to the aciors, casting directors, photographers and costume companies, and -while assisting in truer, prompter casting it aids in the
discovery of talented personalities photographically fitted for the screen. — Editor's Note.)

CAME to Los Angeles in 1919 as an ex-
lieutenant from army service. Became an
East Hollywood community developer, sub-
divider and realtor from 1920 to 1935 and
was associated in developing the properties known
as Moreno Highlands, Silver Lake Terrace, Griffith
Heights, and other tracts. Financial reverses caused
me to cast about for new opportunities.

One day last October I dropped in alone at the
Gateway Players' Club to attend a show. It turned
out to be a tryout for parts. I was invited to try
out for the part of Mr. Eversman in "Every Saturday
Night"the male lead with fifty "sides" — a father of
five youngsters. Thinking I had failed, I left hur-
riedly, telling no one at home of the evening's
escapade.

Returning from a business trip to San Francisco
several days later, in the middle of the night, my
wife awakened and said: "A man named Hickson,
producer at the neighborhood Gateway Theatre,
called up and said he is going to make an actor
out of you. What does that mean?"

It meant I was offered the part. The evening of
the tryout had been a nightmare to me, as it awak-
ened dormant actor inhibitions and I had tried to
forget the whole business. We talked it over pro
and con until daylight Myra (MarshV my actress
wife being a trouper in fact, and, having watched
my antics for several years since our marriage,
clinched the argument with the statement: "You've
been acting all your life — you might as well be paid
for it."

The play ran for about eight weeks. Joyce and
Selznick, Ltd., of Hollywood, became agents for the
picture rights. Many studio representatives saw the
play — the Fox-Western Studio bought it and are
making it into a series of "family problem" pictures
concerning the Jones family.

While still playing, several agents and studio
talent scouts encouraged me to try out for pictures.
However, having lived on the side lines for fifteen
years, I thought I was immune. At the time I was
having too much fun demonstrating how convincing
a father I could be — that is, in the play. Anyway,
I gave an agency a thirty-day option on my services.

I was taken to all of the studios, but nothing
happened. I waited another month — still nothing
happened. In the meantime the "Bug" had bitten
me and the game of it pulled hard at me. Said I
to myself "I am not going to quit until I see myself
in A PICTURE and decide for myself whether to con-
tinue trying."

Obviously I had to do something to compete with
the influx of the New York actor horde. So the
idea occurred to me to have A COMPLETE SET
OF PHOTOGRAPHIC CHARACTER STUDIES MADE.

I searched ten days to find a photographer who

would co-operate with me and would give the time
necessary to accomplish my purpose. Taking thiee
character pictures in costume each week for six
weeks did the trick and allowed plenty of time to
think through and grow into each character. As
a result, the showing of these studies got me my
first "bits" and I now have finished parts in current
pictures — "Captain Calamity," Hirlman Productions
(M-G-M) and as Stevens in "The Singing Cowboy,"
Republic; as "Tex" the prospector, Johnnie Mack
Brown Series, and as Will Bannister, hard-fisted busi-
ness man, and I'm "set" in the part of doctor and
up for other parts, all in four months.

My character studies, with linen backs and filed
in sequence in an attractive looseleaf leather binder,
continues to secure me parts, but with much less
difficulty now, as I have picture stills also to present
to casting directors.

/ am told that the remarkable thing is that no one of
the several casting directors who hired me had ever seen
me on a foot of film. I attribute this to the quality of
character studies I presented.

My father, the Rev. Samuel Van Pelt, retired
Methodist preacher, considered it was stretching a
point that my first part should be in a Tim McCoy
Western production, where I sat smoking at a poker
table in a saloon. But what do you expect from a
preacher's kid?

In "The Singing Cowboy" I was shot through the
lungs, dragged through burning straw in a burning
barn and, when "dying" outside the barn., was per-
mitted to fall from the arms of the "lead." All this
happened, not once, but several times. It was in-
ferred that if I lived through these "deaths," maybe
I'd be given another part. My initiation was com-
plete. It's as much fun as selling rea1 estate — when
it sells!

I'm trying out a new line on my family and live-
stock at home. "Don't act — just be natural — all right,
try it again — what's the number — 37 Sleepy Ears —
quiet now! (Whistle)— close that door!— ROLL 'EM!
—(Slap)— (Buzz)— * * * CUT, My **d, all right, once
more — quiet — Camera! * * * O K. it's a take (relief).
What a ham! Move up for a still, Rembrandt, make
it snappy. Now, move over there for the next shot.

'In 1915 I played the part of ....' When do

we eat?"

Repeat the above until you are exhausted unto

DUPLICATES OF KODACHROME

Silent — or sound can be added.

The only laboratory in the country duplicating Koda-

chrome Film. ... ..

Write for prices.

STITH— NOBLE CORPORATION, LTD.

645 No. Martel Ave. Hollywood, Calif.

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Nht

John Van Pelt — showing him in twelve characterizations of the kind that interested the casting director.

Studios, Hollywood.

-Stillman

giddiness. I guess this equals motion pictures in the
rough. Such entertainment has strenuous and pain-
ful delivery. Methinks a strong constitution and
ability to take it comes before talent . . . still, I like
it and should I continue to advance in pictures, it
will be largely due to the faith and encouragement
given me by my wife.

Outside of the need for a livelihood, the thing
that fascinates me most in my new endeavor is the
possible opportunity of creating a wide range of
striking and convincing characters.

Furthermore, I think my wife arid I have solved
the problem of the usual long and demoralizing
waits between pictures, as we own and love two
acres of rustically treated Hollywood hillside piop-
erty. This gives us plenty to do, what with rock
walls to build, the care of the garden, trees, chick-
ens, pigeons, rabbits, two dogs, three milk goats,
and the boy.

Tips to My Fellow Beginners

Unless to materially change the age of the actor,
I believe that the less make-up used the better. Why
fill the natural lines of the face with paste and
expect true expression? On the other hand, a little
cold cream applied, with no powder, assists in
bringing out highlights and points up the natural
expression. This assists in offsetting varying light-
ing if in an action scene.

In attempting a variety of character studies the

subject, if inexperienced in concentrating on the
characteristic thought, must be quietly led by the
photographer, through suggestion, into the charac-
ter.

I wish to state that others can often visualize
characters the actor can portray better than him-
self. This was my experience with Mr. Stillman of
the Stillman Studios, Hollywood, which studios liter-
ally dug out of myself my best character portrayals.
Mr. Stillman is one of a small group of Hollywood
photographers not yet absorbed by the picture in-
dustry, yet whose close association with pictures
permit them to know what the casting director looks
for in a photograph — sharp and unretouched, prefer-
ably of a glossy finish, permitting the actual per-
sonality to reveal itself; in a word, REALISM, the
same thing the motion oicture camera searches out
when the subject is not pose conscious.

Usually motion picture aspirants go broke be-
fore learning what is effective. Only one out of
many will get good advice and if one does get it,
his chance of recognizing it is just as slim. The
"sucker list" is endless. Much feature acting mate-
rial has come and gone by this route.

The casting director is looking for personality, an
element usually hidden with the self-conscious, over-
anxious beginner or "rusty" actor appearing in per-
son. Therefore, surely one constructive approach is

(Turn to Page 24)

Ten

The INTERNATIONAL PHOTOGRAPHER

August, 1936

Science Steps Into Optics

Associate Editor
International
Photographer

1767 — George Adams introduced a smoked glass
which was known then as "grey glass." It was
used for lessening sun glare.

1767 — James Short lectured on making a perfect
spherical lens. The spherical lens is used mostly
as an aid to the eye in improving the visual image
definition. It gives an image wherein there is no
curved distortion toward the outer edge of the image.

1772 — Richard Watson, at Cambridge, noted the
heat absorption qualities of colored glasses.

1774 — Sir John Herschell made a telescope. He
polished the speculum mirror of this telescope, which
was large, by hand, using pitch; but he later de-
vised a machine to do this polishing. 27, 28

1783— Addison Smith, on March 13, in England,
was granted the first patent on a pair of spectacles
with achromatic lenses.

1786-1826 — Joseph Fraunhofer devised many im-
provements for the optical science. His contribu-
tions list a polishing device for large objectives; a
furnace for making an improved flint glass. He also
made a crown glass because of flaws in the other
makes during his time. In 1815, he discovered in
the spectrum, the bright lines which bear his name,
and that each line was caused by some vaporized
or gaseous element heated to incandescence.

1791 — James Smithhurst's patent contains the first
recorded mention of a concavo-convex and a plano-
convex lens.

1802 — Thomas Wedgewood used a lens in his
photograph process.48 This was the first time a lens
was used in photography.29

1805 — Pierre Louis Guinaud, in Switzerland, made
an improved optical glass.

1807— G. B. Amici, of Modena, Italy, is said to
have designed the first prism. It had one plane
and two lenticular surfaces.

1812 — William Hyde Wollaston introduced the
meniscus lens which was later used in the first
photographic processes. It was a lens of a single
piece of glass, concavo-convex in form, and was
not chromatically correct.30

1824 — The first binoulars came into use at this
time. They had no prismatic construction which
gave a stereo perspective but consisted of a tele-
scope for each eye made after the principle of the
Gallilean Telescope.

1833— George W. Wells started in the optical
business at this time, and in 1869, he formed the
American Optical Company. This is the oldest op-
tical company in America, and is one of the few in
the United States who at this time make optical
glass.31

1840 — Joseph Petzval calculated a photographic

By Earl Theisen

PART II.

lens which was constructed by the Voigtlander
Company. This was a portrait type lens and was
the first serious attempt at making a photographic
lens. It had a combination of two elements of crown
and flint glass. The front combination consisted of
a positive of crown and a negative of flint, while
the rear element was of a convexo-concavo of flint
and a double convex of crown glass. This lens was
altered later by others, but the general principle re-
tains some popularity today, particularly in the
lenses used in the projection of motion pictures.

John William Draper is credited with using this
lens in his studio, in which was taken the portrait
that is said to be the first photograph of the human
face. He used the Daguerrotype process.32

1840 — Andrew Ross made a photographic lens of
"Triplet" construction for Fox-Talbot. It consisted
of a concave dispersing lens of flint glass for a cen-
tral unit, with a symmetrical construction on either
side. It had a speed of F.4, and was the first of
the Triplet Lenses that came into wide use re-
cently.49

1846 — Carl Zeiss established the Carl Zeiss Com-
pany, and in 1866 Ernst Abbe became associated
with the company. Otto Schott, in 1881, joined the
Zeiss Works as a glass maker. Schott introduced
the Jena glass in 1886.34

1851 — Ignace Porro, in Paris, is credited with the
use of the Gallilean Telescope principle in a photo-
graphic telephoto lens. This was the first time a
long focus lens was used in photography. Others
to later perfect telephoto lenses were Deitzler, in
1856, who made a fixed focus telephoto; Ross, Lim-
ited, in 1912; and many others.32

1853 — John Bausch and Henry Lomb formed a
partnership for the purpose of making and selling
a horn rim spectacle. They sold their spectacles
from door to door by soliciting. They later perfected
a hard rubber frame. Bausch and Lomb made their
first microscope in 1874. 31>33

1857 — Grubb patented an achromatic lens that
consisted of two concavo-convex meniscus lenses in
combination; the rear glass was of crown while the
front was of flint. An achromatic lens is one that is
corrected so all colors come to a focus in the same
plane. The Grubb lens was well corrected spheri-
cally; which with its chromatic correction, caused it
to be widely used for a time.

1860 — Harrison and Schnitzer introduced the

(Turn to Page 26)

| Variable area recorders ^

" PATENT NO. I985S84. OTHERS PENDING
ALSO

^ ^ 35 mm to 1 6 mm ^^
|2 REDUCTION SOUND PRINTER CT

| O ' SOUND EQUIPMENT [^
' \J Cable address CRSCO ^J

! CR. SKINNER MFG. Co.

290 TURK STREET. PHONE OROWflY 6909

^ ^ San Francisco. California U. S. A. A

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Eleven

Shoots ANGLES

»»

ON LIGHT BULBS

livery cinematographer knows that camera
angles are important. But light bulb "angles" are
important to you, too . . . especially the angles that
tell whether a bulb is straight on its base.

For a crooked base may mean that the lamp is out
of position in reflectors and thus gives less light, and
less even illumination, than it should. It may also
cause difficulty in inserting the lamp in the socket.

To assure you uniform lighting performance, a defi-
nite proportion of every type of G-E MAZDA lamp
produced, chosen at random, is checked by outside
inspectors, employes of Electrical Testing Labora-

tories, New York. Lamps like the one in the picture
are tested as shown. The bulb is screwed into the
socket on the test gauge and the socket is rotated.
An arm traveling over the bulb registers on the
dial the variation in angle between base and bulb.

This is only one of hundreds of tests that General Elec-
tric employs to guard the quality of G-E MAZDA lamps.

The fact that scores of cinematographers use G-E
MAZDA lamps for all their lighting needs suggests
that they appreciate the dependability which such
rigorous inspection provides. General Electric
Company, Nela Park, Cleveland, Ohio.

GENERAL fP ELECTRIC

MAZDA LAMPS

Twelve

The INTERNATIONAL PHOTOGRAPHER

August, 1936

Fun With Microscope and

Camera

By Karl A. Barleben, Jr., F.R.P.S.
Dean : New York Institute of Photography

| HERE was a time, not so long ago, when
not many people owned a microscope, but
thanks to the far-sightedness of several
firms in offering inexpensive and practical
microscopes, many are now to be found in homes
all over the country. I do not refer to the toy out-
fits usually sold in department stores around Christ-
mas time, but really efficient "scopes" which cost
from $15.00 to $25.00. The cheaper toy outfits are
impractical for serious amateur work, because their
lenses are decidedly inferior and in general, they
offer no inducement for the serious applications in-
volved in photomicrography. The least expensive,
practical and yet worthy microscopes include those
offered by the Bausch & Lomb Optical and Wollan-
sak companies.

The Bausch & Lomb Model R microscope is a
representative example of the type which, in my
estimation, meets all amateur requirements at least
cost. It is folly to invest in instruments which cost

cost from $120.00 and up. However, it serves the
purpose nicely.

It is true, that most of the inexpensive micro-
scopes fall into the hands of the boys and girls of
high school age, yet you would be surprised at the
number owned and used by grown-ups, for amateur
experimenting and amusement. There is a vast army
of individuals who are sufficiently interested in the
"Invisible World" and who invest in a simple micro-
scope to probe its wonders, but who do not feel
justified in making an expenditure of one or more
hundred dollars to satisfy their scientific curiosity.
The simple "scopes" serve their purpose well, and
as a result thousands are in use. Amateur micro-
scopy is quite an important hobby in England, and
in fact all over Europe, and it seems that it is only
here in the United States that microscopy has made
headway during the past few years. Today thou-
sands own practical microscopes, and through the
efforts of the Bausch & Lomb Optical Company,

Upper left and right — Exp. 12" on Eastman Pan, B Filter, Enlarged 3x on P. M. C. No. 1 contrast. Dr. Milton I. Schwalbe,

New York City. Exp. 8" on Eastman Pan. B and C Filters. Enlarged 3x on P. M. C. No. 1 medium. Dr. Milton I. Schwalbe,

New York City. Lower center — Dr. Julian D. Corrington, Ph.D., Microscopist, Ward's Natural Science Establishment,

University of Rochester, Author "Adventures With the Microscope."

less than $12.00 to $15.00, because of their poor
quality optics and inferior workmanship. The
Model R, selling at $21.00, is as practical a micro-
scope for the money as I have ever seen. Natur-
ally, this inexpensive microscope, while completely
satisfactory and practical, is not as large nor elabo-
rate as the larger and more expensive models which

hundreds of amateur microscope clubs have been
formed in various parts of the country.

Aside from using the microscope for examining
interesting microscopic objects, the camera owner
will sooner or later get the idea of hooking his
camera to it. Then the fun really begins, for be
it known that photomicrography is no mean hobby,

and demands of its adherents a technique and pa-
tience not possessed by everyone. The rewards,
however, fully justify any time and effort spent in
the pursuit. With the idea of offering a few sug-
gestions to those who wish to delve deeper into this
fascinating subject, the following remarks are pre-
sented.

First of all, the microscope, in order to be suc-
cessfully used with a camera, must have certain
qualifications — but really not many. The simple
"scopes," such as have been previously mentioned,
are perfectly suited for practically all the work the
amateur photographer may care to do. So many
people believe that high qualifications are import-
ant, and that a microscope is judged by how many
diameters it will enlarge an object, that I feel it
best to point out from the start that such is not the
case. As a matter of fact, more can be seen — and
photographed — at low magnifications than at high,
and that the application of high power is extremely
limited. The novice is, as a matter of fact, better
off with a simple microscope which contains a good
optical system consisting of a mirror, a good ob-
jective, and a good eye-piece. The more expensive
models of the laboratory type include, among other
things, a condenser, which to begin with, may offer
more difficulty and complications than the beginner
will care to bother with. Then too, the amateur
models are small and compact so that they can be
stowed away when not in use, without taking any
space to speak of.

Aside from the microscope, some form of illumi-
nation will be required. Standard laboratory equip-
ment calls for special tungsten or arc lamps of high
power, but for home work, almost any tungsten
mazda lamp will do nicely. The brilliant arc lamp
is needed only when working at high magnifcations
or with live specimens, where the exposure has to
be of very short duration. In the vast majority of
cases, the amateur will content himself with in-
animate specimens, hence a low-power mazda lamp
will suffice.

In amateur photomicography, the illumination of
a tungsten 60-watt lamp will, in the majority of
cases, be entirely satisfactory. The standard Photo-

Fully Guaranteed

USED 35 MM.
EQUIPMENT

•••

Mitchell, Bell & Howell, Akeley, DeBrie,
Universal, Pathe Cameras.

Portable Sound Recording Outfits.

B & H Eyemo, 400 ft. Magazine, Motor
driven.

Holmes Projectors, Sound and Silent.

DeVry Suit Case Model Projectors.

We buy, sell and rent anything Photo-
graphic.

•• •

CAMERA SUPPLY CO. LTD.

1515 No. Cahuenga Blvd. Hollywood, Calif.

Cable Address: CAMERAS.

Standard
equipment for
amateur re-
search in
photomicro-
graphy.

flood lamp may be preferred, where the heat dis-
sipated by it is not objectionable. A regular adjust-
able desk or table lamp can be brought into service,
the flexible "goose-neck" adjusting the light to just
where it is wanted in front of the microscope mirror.
If any amount of work is contemplated, a special
microscope lamp can be purchased at a very rea-
sonable cost. Thus we have solved the lighting
problem without any undue expense or bother.

The next problem is the camera. Almost any
camera can be made to serve the purpose. In fact,
a simple camera might be said to be best, for it
eliminates many of the complicated non-essentials.
It may seem strange, but nevertheless true, that a
simple box camera can be used for completely suc-
cessful photomicographs. A small camera is prefer-
able, but here again, this makes very little differ-
ence except in the matter of convenience.

The problem which will most likely cause the
most difficulty is the method of coupling the camera
to the microscope. Two methods present themselves:

(1) Using the camera lens as it is on the camera and

(2) using the camera without its lens. When using
the camera lens, the lens is set at infinity and sus-
pended squarely over the microscope eye-piece. In
cases where the camera lens can be removed, the
eye of the microscope takes its place in the front
of the camera, and the specimen is, of course, fo-
cused carefully on the ground glass focusing screen
of the camera. As various cameras have to be
handled differently, no definite rule can be set down
here. With a little experimentation, the problem can
be easily worked out to suit individual requirements.
Off-hand, I would suggest, for simplicity and ease of
operation, the use of one of the special outfits avail-
able, such as the Bausch & Lomb Amateur Photo-
micograph Outfit, which is shown in the accom-
panying illustrations. With this camera stand and
Model R microscope, a complete unit which requires
no adjustment or fussing is available. The small,
special box camera, to which is attached a focus-
ing tube, is mounted so as to be adjustable upon
the upright stand in the most convenient manner,
and is adapted for use instantly with the Model R or
Gem, or for that matter, any similar amateur micro-

scope

Regardless of what equipment is used, it becomes
(Turn to Page 28)

Fourteen

The INTERNATIONAL PHOTOGRAPHER

August, 1936

THE CHROMATONE PROCESS

By Rowland S. Potter,

Defender Photo Supply Company , Inc.,
Rochester, N. Y.

|HERE are three basic methods of making
pictures in color:

(1) We can illuminate a receptive sur-
face with varying proportions of the three
basic colors, one on top of the other, thus additively
producing white or any intermediate color. This is
known as additive synthesis.

(2) We can place on a receptive surface pre-
viously blended mixtures of color pigments in the
proportions desired. This is the direct method and
is almost universally used by the artist in oil colors.

(3) We can start with a white surface and obtain
all our colors by taking away the components, one
by one until, when all are taken away, we obtain
black. This is known as subtractive synthesis and
can be illustrated by placing a yellow transparent
media over a white surface thus subtracting blue, —
if a magenta layer is now overlaid we obtain white
minus blue and minus green, which is obviously
red. All possible colors can be reproduced by over-
laying on a white surface the three complimentary
or minus colors in varying proportions. Thus:

White overlaid with yellow and magenta gives
red;

White overlaid with yellow and blue-green gives
green;

White overlaid with magenta and blue-green
gives blue;

And the overlaying of all three subtract every
color from the original white surface, producing
black.

The Chromatone Process belongs to Class 3, and
involves no new processing methods. Each stage
of the process can be described as photographic
and covers methods of manipulating with which
every photographer is familiar, such as developing,
fixing, toning, washing, etc.

Preparation of Color Separation Negatives

It is first necessary to obtain photographic rec-
ords of the original taken through the three basic
tri-color filters. These negatives can be obtained
by any one of the following methods:

(1) In any still-life subject, three successive pho-
tographs can be taken through the red, green and
blue filters. (In practice the Wratten A, B, and
C-5 filters are entirely satisfactory, using any good
panchromatic plate or film.) It is desirable for rea-
sons to be explained later that a neutral scale and
a color identification chart be included in some
corner of the original set-up.

(2) By the use of a sliding back in an ordinary
view camera, the color sensitive plate or material
is placed in a long light-tight holder close in front
of which are the three-color filters, both plate or
film and filters are slid back of the camera so that
three separate exposures through the appropriate
filters can be made in very rapid succession.

(3) By means of mirrors or prisms the beam of

light from the lens can be split up so that three
separate and similar images are formed in thiee
different places — with the correct light filters in front
of each. Simultaneous exposures are made for the
blue, green, and red records, thus making portraiture
and instananeous color photography a practical pos-
sibility. (Owing to the great accuracy required these
cameras are very expensive.)

(4) It is possible to make three-color separation
negatives from such screen plates or films as Lu-
miere, Dufay and Finlay.

Having obtained three separate negatives, the
first step in making Chromatone prints is to make
black and white prints on Chromatone print paper.
This is a collodion stripping paper. Chromatone
print paper is exposed, developed and fixed in the
same way as any projection paper such as Velour
Black; in fact, this is the emulsion used. Prints can
be made by enlargement or contact. During the
fixation or shortly afterwards in the wash water, it
will be found that the strip-film will easily separate
from the paper base and can be handled subse-
quently without the paper backing. The strip-film
consists of a thin layer of collodion on top of which
is the usual gelatin layer containing the black and
white silver positive picture. This film is strong
enough to be handled, without damage, through the
subsequent manipulation and when dry it forms a
film only one-thousandth of an inch thick.

Consideration of the theory and practical illus-
tration will indicate that the whites and varying pro-
portions of white in each positive is a record of the
quantity of primary red, green, or blue in each
picture. The blacks or shadows in these prints are
obviously a record of the absence of the particular
primary and hence must be converted or toned to
a color and depth of color recording the varying pro-
portions of lack of this color; that is, to the com-
plimentary or minus color to which we have already
referred.

Toning the Strip-Film Prints

The next stage, after adequately washing the
Chromatone strip-film prints, is to tone them by
means of the special toning solutions to the compli-
mentary colors of the taking filters. The toning
proceeds in two stages. In the first solution or "A"
toner, the images are bleached by the well known
ferrocyanide reactions to a combined ferrocyanide
of silver and another metal; after adequate wash-
ing of the prints are immersed in the second or "B"
toning solution which changes the bleached image
to the desired complimentary color.

The prints from both the green and red filters
are bleached for about ten minutes in the special
bleach bath-red-blue toner "A" and after washing
transferred to the second or "B" toning solutions for
the desired color, which rapidly changes the
bleached images to magenta and blue-green colors,
respectively. A treatment with hypo solution clears
out the residual salts, leaving a transparent color

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Fifteen

behind which only needs washing to give a perma-
nent image.

The print from the blue filter negative is also
bleached in another special bleach bath, yellow
toner "A," and is toned yellow with the special yel-
low toner "B," and then fixed and washed.
Assembling the Color Print

The finished print is now ready to be assembled
and it is astonishing how easy and simple the final
assembly and registration really is.

On a piece of Masonite board or other smooth
waterproof material, larger than the print, is first
laid down on a piece of gelatin coated backing
paper, previously soaked in water.

The yellow toned print is first laid face down
on this paper and squeegeed in contact by means
of a flat squeegee — allowing about one minute to
elapse (to avoid slipperiness of surface); the print
toned magenta is laid on top, slightly squeegeed and

(Turn to Page 21)

Metro-Goldwyn-Mayer Traveling Studio

Members of I. A. T. S. E. and M. P. M. 0. everywhere, will recognize this magnificent overcoat of Gorgonzola fur.

Note the grace with which our hero wears it.

Seen rambling through the hills, in the big cities,
in small towns where theatres are few, in fact,
everywhere, is that Metro-Goldwyn-Mayer Traveling
Studio. It consists of a fully equipped sound truck
with troupe, comprising director, cameraman and
sound man. The purpose of this innovation is to
afford tryouts to thousands of girls who patiently
await opportunity to appear on the screen.

Charles David, long time member and former
president of Local 666, Chicago, is the cameraman
in charge of this travelling studio, to whom the girls
turn, as in his hands are the destinies of those who
believe that they can make good.

Mr. David has covered over 100,000 miles in the
three years that he has been devoting his time to
this search for beauty and talent. Endless reels of
film have passed through his camera and over 7,000
tests have actually been made. One of David's
strange adventures was to come to Hollywood and
ask Herbert Aller, Business Representative of Local
659, to act as a judge in selecting the girl most

qualified of a number that appeared on the stage
in the Garfield Theatre, Alhambra.

Aller's selection was Miss Beverly Arnett and this
young lady is now the happy "party of the second
part" in a three month's contract with Metro-Gold-
wyn-Mayer Studios.

Charlie, as Mr. David's fellow cameramen call
him, will soon leave for England where he is to con-
tinue in the same capacity. Those who are familiar
with his work and his personality are confident that
it won't be long before he will have an international
reputation for the excellency of his photography.

Charles
David

Eastern Representatives

•

MITCHELL CAMERA CORP.

FEARLESS PRODUCTS

HARRISON FILTERS

MOVIOLAS

CAMERAMEN • • •
STUDIOS • • •

it's here I

In our display rooms you will
find New and Used Cameras, Ac-
cessories, Lighting Equipment,
immediately available. Phone,
write or wire.

Everything is thoroughly guar-
anteed.

Our experienced engineers, work-
ing in our own machine shop,
can repair any make of camera,
quickly, at low cost.

I FRANK C. ZUCKER
BURCI CONTNERl

MOTION PICTURE CAMERA
SUPPLY, Inc.

723 Seventh Ave. New York City

Telephone BRyant 9-7755

Cable Address: Cinecamera

Sixteen

The INTERNATIONAL PHOTOGRAPHER

August, 1936

PHOTOGRAPHY

"It Included the Use of a Tool Relatively New to

Construction and Engineering Practice — That

Tool Was Photography."

(Written Exclusively for the International Photographer)

J HEN officials of The Metropolitan Water Dis-
trict of Southern California set about the
1 tremendous task of building the world's
largest aqueduct, they determined upon the
policy of using the most modern of engineering and
construction methods.

That policy embraced more than simply the use
of up-to-date mucking machines, drills and shovels.
It included the use of a tool relatively new to con-
struction and engineering practice. That tool was
photography.

The Metropolitan Water District Aqueduct, now
under construction, will carry a billion gallons of
water a day all the way from the Colorado River,
on the eastern boundary of California, to Los An-
geles and other cities and highly developed areas
in Southern California which comprise the district.
This giant water supply system includes 390 miles
of tunnels, canals, conduits and reservoirs. It is
the largest water supply system ever to be con-
structed. It is being built to provide an everlasting
protection against drouth for Southern California's
cities in the Metropolitan Water District.

The Metropolitan Aqueduct is by no means the
first great project on which pictures have been taken,
but it is thought to be the first on which photog-
raphy has been used so extensively and effectively.

Primarily, the purpose of the district's photo-
graphic department has been to aid the engineers
and construction superintendents in their day-by-day
work. Photographs of work on the huge job have
saved thousands of miles of traveling on the part
of executives who otherwise would have had to visit
the work personally before a decision could be
made.

The work of the project's photographic depart-
ment also has been valuable to the district as an
aid in acquainting the public with progress on the
aqueduct. Prints of still photographs are made avail-
able to newspapers and magazines, and motion pic-
tures of the job have been given extensive distri-
bution in theatres and before such groups as service
clubs, churches, and schools.

Last but not least, the district has kept in mind
in its photographic activity the fact that a complete
picture record of the project would be of great value
as an historical record of a great engineering work
which is bringing a new and abundant water supply
to a semi-desert country.

In looking about for a man to take charge of its
extensive photographic activitv, the district realized
that it must find an individual with a well rounded
experience in the business, not only from the operat-
ing end but also from the standpoint of laboratory
background.

The man chosen to fill the post was Will N. Fox,
a veteran of the photographic industry in Southern
California.

Starting from scratch when the project was
launched in 1932, Fox designed and supervised the

Lower Right — Looking from one tunnel into another on the Metropolian /al )
nardino Mountains, Metropolitan Water District Aqueduct. Center— [II *
Center — Placing concrete lining in a Metropolitan Water District tunr
right) using special camera car designed for Metropolitan Water Dist t Ji
lice, sound, and Alfred D. Brick, camera Upper Center — Will N. Fox. aff i
Right— Alfred D. Brick of Fox Movietone and Will N. Fox, staff photo iph*
Brick, Fox Movietone, emerging from an aqueduct tunnel aboard the 'e *

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeen

The Metropolitan Water District of

Southern California

Finds a New Aid in

Construction

-/»<,, (-r*~fr

nc Aqueduct. Bottom Center — Berdoo Camp in the Little San Ber-
u; in tunnels of the Metropolitan Water District Aqueduct. Left
Le -Fox Movietone crew (Alfred D. Brick, left, and Herbert Tice,
:t mnels. Upper Left — Fox Movietone crew on Aqueduct — Herbert
i'3 :r, The Metropolitan Water District of Southern California. Upper
trc litan Water District. Right Center — Herbert Tice and Alfred D.
ag' lattery locomotive which furnishes power for lights used in tunnel

By Robert Speers

construction of a complete photographic laboratory
to meet the unusual conditions of the job on which,
for several months of the year, extreme heat pre-
vails.

Since 1932, Fox has made more than 10,000 still
pictures and approximately 200,000 feet of 35 milli-
meter sound on film motion picture negative on the
390-mile aqueduct line.

This large output has been accomplished in spite
of a wide variety of unusual conditions. First, there
has been the physical size of the aqueduct job which
is illustrated by the fact that Fox has traveled more
than 150,000 miles in the course of turning out the
work mentioned above.

Climatic conditions have constituted a definite
problem. Extreme heat, coupled with frequent dust
and sand storms have required a specially built
photographic car and dus;-proof cases for all equip-
ment. In the laboratory, special refriaerating appa-
ratus had to be installed to maintain an even tem-
perature for processing.

As far as light has been concerned, it has been
both feast and famine on the aqueduct. As is well
known, the desert country normally presents an
abundance of light. But in the deep recesses of the
108 miles of aqueduct tunnels, an entirely different
situation prevails. It was necessary to exercise con-
siderable ingenuity to provide sufficient light in the
perpetual gloom underground, especially for taking
motion pictures.

Another major problem in taking pictures under-
ground lay in the limited space available and the
heavy traffic in the bores, which were excavated 18
feet in diameter. In the dry tunnels, dust is a prob-
lem. In the wet tunnels, water and fog present
difficulties to the photographer.

The recording of sound in the tunnels, of course,
presented a multiplicity of problems

To meet these varied conditions, it has been
necessary for Fox to design and build a numbei of
unusual pieces of photographic equipment.

For example, to obtain proper lighting in the
tunnels, use was made of the storage battery loco-
motives which haul the muck trains in and out of
the bores. The voltage of the batteries which power
these locomotives is approximately 115 volts, and
they are large enough to stand a drain of 400 am-
peres. A special connection was designed which
made it possible to hook on to any of the locomo-
tives. A special camera car, with a framework sup-
porting reflectors and lights, was built so that it
could be attached to the front end of a locomotive.
Thus it was possible to provide ample light at any
point in the tunnel, or to successfully make push
shots.

(Turn to Page 22)

Eighteen

The INTERNATIONAL PHOTOGRAPHER

August, 1936

AMATEUR MOTION PICTURE SECTION

HAMILTON RIDDEL, EDITOR

The
1936 National Conference
On Visual Education

EFORE a large gathering of its membership,
the 1936 National Conference on Visual
Education, sponsored by the De Vry Foun-
dation, was held the latter part of June at
the Francis W. Parker School in Chicago.

This sixth annual assembly of the Conference,
formerly known as the De Vry Summer School of
Visual Education, was enthusiastically attended
throughout the four days of the sessions by promi-
nent educators and representative advertising execu-
tives. Leading business firms and educational cen-
ters submitted films, representative of each field,
which were shown daily at the Conference.

For the convenience of assembled members and
guests, a separate hall was available in which was
displayed the complete line of motion picture prod-
ucts of the De Vry Corporation. Here, one could
examine at his leisure the sound and silent, 35 mm.
and 16 mm., theatrical, non-theatrical and portable
projectors and cameras and special equipment made
by this well-known company. An especial treat for
visiting members during the sessions this year was
the 16 mm. sound-on-film recordings which were
made of each and every guest attending the Con-
ference.

Speaking in the auditorium of the Parker School,
which was completely equipped for the occasion of
the Conference with both 35 mm. and 16 mm. De Vry
sound projectors, slide machines and public address
system, Herman A. De Vry, president of the cor-
poration and founder of the Conference, opened this
year's sessions with a few words of welcome. The
four-day program was conducted by A. P. Hollis,
Educational Director, who is well-known in the visual
education field.

Selected industrial and educational motion pic-
tures, 35 mm. and 16 mm., examples of best current
practice, were shown daily, a majority of the films
this year being sound-on-film. Film rating cards
were distributed to each member and after the run-
ning of each film, members were asked to grade the
film as Excellent, Good, Fair or Doubtful. With the
termination of the Conference, an honor list of non-
theatrical films was announced, in the order of pref-
erence, constituting a valuable guide to industrial
and educational film producers. From such guid-
ance should come constantly improved films.

Between the many film exhibitions, a portion of

By F. Hamilton Riddel

each day's session was given over to current de-
velopments in visual education by its leading ex-
ponents. Verbal presentations and discussions out-
lined events of note which had transpired during
the past year, and in many cases speakers accom-
panied their remarks with special films illustrative
of their respective topics. From such periods of dis-
cussion, which were participated in by pertinent re-
marks and questions from the audience, a consensus
opinion of value to all present was obtained.

During the second day's meeting, Rupert Peters,
director of the public school system of Kansas City,
Missouri, spoke on that city's department of visual
education. He stated that his department buys most
film subjects outright, rather than by renting them.
Purchased subjects do not lose their appeal, as a
new class of pupils view the films each year. In
the case of silents where titles are particularly face-
tious, Kansas City replaces them with more instruc-
tional ones, written by teachers and produced by
the cinematographic department of their trade
school. Results of visual education in the Missouri
city, according to Mr. Peters, are best when the
films are shown to single classes in respective class-
rooms; more films are shown in the elementary
grades than high school; and teachers must be well-
versed in the proper use of visual education.

J. E. Hansen, Director of the Department of Visual
Instruction at the University of Wisconsin, traced the
founding and growth of film instruction at Madison.
Organized twenty years ago, the department has
attained an important position in Wisconsin. In re-
cent years film distribution has greatly superseded
lantern slides at Madison, and for the current sea-
son about 20,000 reels have been booked for show-
ings. Two schools in Milwaukee, for example, have
placed orders two years in advance. Mr. Hansen
voiced a plea for producers to really offer some-
thing in sound. He believes the future of visual
education is very great and that so far the surface
has only been scratched.

Another speaker was W. J. Hamilton, Superin-
tendent of Oak Park (Illinois) Schools, who reported
a survey he had made in the Central States on
visual education. He finds that although practically
all schools of these States use visual instruction, too
often it is treated as a side-issue. As a result of his
survey, Mr. Hamilton feels there is room for improved
technique in visual education and advises that
necessary effort be put forth in it. In his opinion,
films should be used exclusively for education and
(Turn to Page 29)

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Nineteen

CINEMA-TIDINGS

Amateur Motion Picture News
Films, Inc.

^SUORMERLY known as Home Film Libraries in
the silent days of 16 mm., the organization
i of Film, Inc., now offer 16 mm. talkie sub-
jects for rental from the studios of Univer-
sal, Paramount, Gaumont-British and many inde-
pendent producers. Full length feature pictures,
combined with selected short subjects, forming pro-
grams one and a quarter to two hours, are rented
as unit programs. Single talkie subjects are also
available. Prominent stars as George Arliss, Jack
Benny, Ricardo Cortez, James Gleason, Edward
Everett Horton, Herbert Marshall, Chester Morris,
Edna May Oliver, ZaSu Pitts, Ginger Rogers, and
Henry Wilcoxon are featured in the programs. An
attractive catalog describes Films, Inc., offerings in
the 16 mm. sound library field.

B. & H. Catalog

Bell <& Howell Company announces a new edi-
tion of its catalog of Sources of 16 mm. Films on
Geography, Travel and Natural Resources. It is
stated the purpose of the catalog is to indicate as
completely as possible the films available in this
field and where they may be obtained by free loan,
purchase or rental.

Especially noteworthy is the large number of
sound films listed — 87 in all. Among them are sev-
eral of feature length, such as "Thunder Over Mexi-
co," "Isle of Peril" (life of the Faroe Islands), "Matto
Grosso" (River of Doubt country in South America),
"N'Mango" (British Cameroons), "Trekking to Tim-
buctoo," and "This Is America."

Also listed are timely sound film shorts, such as
"Ethiopia" and "The Winter Olympic Games in Ger-
many," several sound films on travel in Germany,
three on coal mining, as well as a number on trac-
tors and oil.

The National Park Service now has a full dozen
films on National Parks, CCC and ECW work.

Among new silent films is a fine listing of hunt-
ing and fishing subjects available through Field &
Stream Magazine and the South Bend Bait Com-
pany. There are, too, films available on the con-
struction of Boulder Dam.

A Kodachrome natural color silent film on Ber-
muda is listed as available from the Cunard White
Star, Limited.

The catalog may be obtained from Films Division,
Bell & Howell Co., 1801 Larchmont Ave., Chicago,
by sending 25 cents in stamps to help defray the cost
of preparation and mailing.

De Vry Booklet

The firm of Herman A. De Vry, Inc., 1111 Center
Street, Chicago, has issued an interesting booklet,
entitled "The Bangs No-Home-Work Plan," which
gives a clear account of the De Vry Sound Project-
ing unit, that can also be used for a public address
system, as installed in the Bangs (Texas) public
schools.

Describing how the plan works and how visual
instruction aids, the booklet states: "Bangs schools
have used the no-required-home-work plan for two
years and the results are highly satisfactory. In
this plan the teacher's two greatest duties to her
pupils are to inspire them to desire to learn and to

guide and direct them in their learning. Her chief
objective in introducing a unit of study, then, is to
create interest in the unit and to arouse the curiosity
of the students to such an extent that they become
eager to start work on the unit. The teachers of

Bangs are convinced through actual experience and
observation that there is no greater aid for giving
pupils a genuine inspiration and for arousing their
intense interest in the study of a unit than that of
visual instruction."

Much specific and definite information is included
on how Banas uses 16 mm. sound for this work.
Educators will find the De Vry booklet especially
interesting and informative.

New Eastman Camera

The Kodak Bantam Special, featuring a built-in
range-finder synchronized with focusing mount and
new Ektar F.2 lens, has just been announced by
Eastman Kodak Company. It is particularly de-
signed for the advanced worker who desires a
camera capable of taking fine pictures under ad-
verse conditions.

Smartly-styled, with die-cast and machined
aluminum case, the Kodak Bantam Special has been
carefully shaped for maximum convenience in the
hand. Its lustrous black enamel finish presents a
pleasing contrast to the raised aluminum ribbing of
the case. When closed, the case provides complete
protection for lens, shutter and front elements of the
view-finder and range-finder.

The built-in range-finder is of the split-field, mili-
(Turn to Page 31)

Twenty

The INTERNATIONAL PHOTOGRAPHER

August, 1936

MOTION PICTURE SOUND RECORDING

(Continued from Page 7)

the cathode bias resistor BR is shunted by the grid
by-pass condenser and the grid return of this second
stage connected directly to the ground point without
the 100,000-ohm resistor FR.

Plate Filtering

It will be noted that parallel feed is used in the
plate circuit of the first amplifier tube. This is done,
as was explained in a previous chapter of this series,
to avoid any possibility of magnetic saturation of
the coupling transformer core by the flow of an ex-
cessive current through the transformer primary
winding. In addition to this parallel feed circuit, a
condenser marked CP and a resistor, PR. are incor-
porated in this plate circuit. These constitute a form
of plate circuit filter.

Plate circuit filtering is employed for the same
reason as grid filtering: to prevent oscillation through
the feed back of energy from higher level stages due
to common coupling in the power supply. The prin-
cipal purpose of the resistor PR is to provide a volt-
age drop (IR drop) so that the d-c. plate voltage ap-
plied to the first amplifier tube will not be as great
as the plate voltage applied to the tubes in the sec-
ond stage of amplification; but in connection with the
condenser this resistor serves also as a plate circuit
filter.

Functioning of the Plate Filter

The plate filter used in the second stage is more
true to type, and for that reason will bear descrip-
tion. It is formed of the by-pass condenser CP and
the reactance, or choke coil, PC. Since the d-c. ohmic

resistance of the choke coil PC is low, it offers almost
no opposition to the passage of the direct plate cur-
rent; but its impedance to an alternating current,
such as would be transmitted back from the final
amplifier stage in the form of feed-back energy, is
very high, and the voltage drop in the choke coil
would be so great as to prevent any of that feed-
back energy reaching the plate of the tube.

The by-pass condenser CP serves to provide a
low impedance path for the signal current in the
plate circuit from the tube plate, through the trans-
former primary and the by-pass condenser CP to the
cathode of the tube. This prevents any loss of the
signal voltage by keeping it from entering the power
supply. This combination of condenser and choke
coil also forms a filter that tends to smooth out any
fluctuations in the plate supply current that may
have got by the regular filter in the power supply.
This is the reason for the plate filter in the final am-
plifier stage.

NEWSREEL COVERING AT THE G. 0. P. CONVENTION CLEVELAND, OHIO, JUNE 1936

A week before the Elephants started trumpeting
the opening of the great Republican show that is
held every four years, the button pushers and noise
catchers of the world's greatest Procurers of Bally-
hoo started arriving in Cleveland.

Teddy Rickman and Irving Korenman were the
first to arrive after making a side trip to the Windy
City of Chicago from the 500 mile auto race at In-
dianapolis— The Red Head (Felbinger), from Chicago,
was the next to arrive as he had to appear on the
CBS broadcast on Saturday before the grand open-
ing. This was the Red Head's first appearance before
a Mike — that is a radio mike on a national hook-up
— and to nip the St. Vitus dance he consumed a box
of aspirin and at that he forgot all about the speech
he had made up to tell about the many fire, police
and sheriff badges that I have in my collection.

The Columbia Broadcasting System on Saturday,
June 6th interviewed members of the newsreel staffs
on a nation wide hook up regarding the newsreel
coverage to be made of the convention.

Bob Trout chief announcer did the honors inter-
viewing the following button pushers — Gene Boyd
of Hearst Metrotone, Arthur DeTetta of Movietone,
Anthony Caputo of Pathe, Fred Felbinger and myself
of Paramount. Universal missed out as none of their
crank turners arrived in Cleveland in time. I think

now would be a good time to list the various crews
starting with Paramount who had the largest number
covering.

PARAMOUNT NEWS: Wm. P. Montague, Assign-
ment Editor, in charge; Robert Denton, Special Wash-
ington representative, Local 644; Wm. A. Macdonald,
Assistant Make-up Editor; Clyde Somers, Paramount
News laboratory superintendent; Nat Wolensky,
Contact man.

Fred Felbinger, Local 666 Camera

Robbie Robinson, Local 476 Sound
Lou Hutt, Local 644 Camera

George Westbrook, Local 52 Sound
Douglas Dupont, Local 644 Camera
E. Warren Wood, Local 52 Sound
James Buchanan, Local 666 Camera
Harold Flood, Local 52 Sound

John L. Hermann, Local 644 Camera
Walter Swenson, Local 52 Sound
L. Mingalone, Local 644 Camera

HEARST METROTONE, with Gene Boyd contact
man in charge had three sound crews.
Jack Whipple, Local 644 Camera

James McKean, Local 52 Sound

Teddy Rickman, Local 644 Camera
Irving Korenman, Local 52 Sound
Fred Fordham, Local 666 Camera

August, 1936

The INTERNATIONAL PHOTOGRAPHE

Twenty-one

Oscar Ryan, Local 476 Sound

Harry Boilerman, Assistant

FOX MOVIETONE had two sound crews with
Arthur De Titta, Local 644, special Washington rep-
resentative in charge.

Al Gold,

Local 644

Camera

Ad Tice,

Local 52

Sound

Emile Montemurro,

Local 666

Camera

Jack Dunn,

Local 476

Sound

PATHE with editor Jack Connolly in charge, cov-

ered with two sound crews.

Lawrence Oreilly,

Local 644

Camera

Gustave Kraemer

Local 52

Sound

Anthony Caputo,

Local 666

Camera

Ralph Saunders,

Local 476

Sound

UNIVERSAL covered with

one sound crew and

three silent cameramen.

James Lyons,

Local 644

Cameraman in charge

George Graham,

Local 52

Sound

Irving Smith,

Local 644

Camera

Floyd Traynham,

Local 666

Camera

James Sedivy,

Local 666

Camera

The Republican committee on arrangements d'd
themselves proud in taking care of the newsreel i.

In the basement they constructed five rooms, one
for each company, to be used as a combination office
and darkroom. These rooms were ten by ten feet,
with a dark room five by ten feet. They were equip-
ped with benches, a table for a typewriter and a
phone.

Signs were placed over each door with the name
of the newsreel it was assigned to. In the basement
also was the newsreel studio equipped with lights
to be used for sound interviews. Besides the news-
reels the basement was also used by the wire serv-
ices, still photo services and rooms for the various
newspapers that covered.

The Associated Press also set up their portable
wirephoto sending machine. In the auditorium of
the Public Hall it took nine days and nights to pre-
pare it for the convention. The speakers platform
was extended about a hundred feet out from the cen-
ter of the stage six feet above the floor.

On each side of the speaker's stand was the press

section. Back of the speakers stand on each side of

the proscenium arch, the broadcasting companies

built their control rooms from which they could look

(Turn to Page 30)

CHROMATONE PROCESS

(Continued from Page 15)

pushed into register, where it is firmly squeegeed
down. Viewing the assembly through a blue filter
like a Wratten C-5 will make this a little easier.

We are now ready to add the blue toned print
which we do in an exactly similar manner and it
is seen how the picture "jumps into color." The blue
image is very easy to register.

If at this stage we find the picture out of color
balance, it is well to refer to the appearance of the
neutral scale which, as we have previously men-
tioned, should be included in every picture (at least
until considerable experience has been gained), the
three images can be separated and one or othei re-
placed by a darker or lighter print in order to obtain
a more satisfactory balance.

When all have been registered a narrow piece
of Kraft gummed paper is used to fasten down the
print on all four edges to the Masonite board, over-
lapping the prints about one-quarter inch on the
edge. As the print dries, the collodion contracts
slightly and when dry a very smooth finished print
is obtained. It is interesting to note that whereas
the three components can be separated when wet,
after drying, without the use of any adhesive, they
stick so tightly that it is impossible to again separate
them.

The print can now be bound with gummed tape
in the regular way. Why dry and stripped from

the supporting board, any slight tendency to curl
can be remedied by rolling the print over a straight
edge in the conventional manner, but prints must
not be too dry, if cracking is to be avoided.

The print can now be trimmed to size. The back-
ing board can be cleaned by soaking it for a short
time in warm water, when the adhering gummed
tape can be easily removed. The board is then
ready for use again.

Chromatone prints, ordinarily processed, dry
with a high gloss and great color brilliancy, which
is considered desirable for illustrative and commer-
cial work.

Matt surface finishes may be obtained by special
treatment.

THE PHOTOGRAPHIC SOCIETY OF AMERICA

The Photographic Society of America One Hun-
dred Print Salon. Last day for receiving prints Octo-
ber 1, 1936. Limit four prints. Entry fee $1.00.
Open to all photographers (professional and ama-
teur) of the United States, Canada and Mexico end
all members of the Society regardless of residence.
Selected prints to be exhibited in the United States
and Canada during 1937. Mail entry forms and
prints to Dever Timmons, A.R P.S. Salon Secretary,
Box 216, Coshocton, Ohio.

MAX FACTOR'S

N EW

LIQUID FOUNDATION

A REVELATION IN FACIAL MAKE-UP

Twenty-two

The INTERNATIONAL PHOTOGRAPH KR

August, 1936

PHOTOGRAPHY— A TOOL RELATIVELY NEW

(Continued from Page 17)

In the wet tunnels, with large quantities of water
falling from the roof, it was necessary to design
special water-proof reflectors with pyrex glass lenses
to protect the hot photofloods from the falling water.
In addition, conditions in the wet tunnels required
special covers for the cameras and amplifier so
they could be kept free from moisture.

Since practically every known record for con-
struction speed has been broken by the aqueduct
crews, not the least of the photographer's problems
was that of snatching his pictures without unduly
interfering with the work. The characteristics of a
diplomat often had to be combined with those of
a cameraman in order to convince some zealous
superintendent that the camera had as much busi-
ness on his job as did the mucking machines and
drills.

All still pictures of the job taken for record of
progress purposes, were made on 4x5 film. Con-
tact prints were used in engineering reports. Eight
by ten, 11x14, and 30x40 projection prints were made
for display and publicity purposes.

The still equipment consists of a 4x5 Agfa Ansco
view camera, equipped with a Carl Zeis 16.5 centi-
meter f:4.5 lens in compur shutter; one 5x7 Agfa
Ansco view camera with a 4x5 reducing back and
15 centimeter Goerz Dagor f:6.8 lens in compur shut-
ter; one 8x10 Agfa Ansco view camera with 12-irch
Goerz Dagor f:6.8 lens in compur shutter; one 10-
inch Folmer & Swing circuit camera with Turner
Reich convertible protar; one No. 6 Folmar & Swing
circuit camera; one 4x5 revolving back Graflex with
a 16.5 centimeter Carl Zeis f:4.5 lens; one 4x5 press
Graphic with a 17 centimeter Carl Zeis f:4.5 lens.

The motion picture equipment consists of a Fox
Case Movietone single system, variable density
sound on film camera which was built by Wahl from
a Bell and Howell camera. The lens complement
includes all Cook speed panchro lenses as follows:
24 millimeter, 40 millimeter, 50 millimeter. 75 milli-
meter, and 8 and 12-inch telephotos.

This particular camera has an interesting his-
tory, in that it was the first Fox Case Movietone
built and used by Fox Movietone back in the days
when sound was in its swaddling clothes. Though
newer models may have snappier paint jobs and
carry more gadgets, this old No. 1 Fox Case job can
hold its own with any of the best or latest, under
the above mentioned extreme conditions. Despite
its years of service, recent tests on an unmodulated

track demonstrated that the camera still is as steady
as the proverbial Rock of Gibraltar. Will Fox, who
has lugged it over many a hundred miles, reports
that it also is just about as heavy as that famous
rock, which is one point of advantage the newer
models have over it. In addition, a 35 millimeter
De Vry hand camera equipped with Leica inter-
changeable 35 and 50 millimeter lenses.

Although all of the district's motion pictures are
on 35 millimeter negative, it was decided to make
projection prints on 16 millimeter. The principal rea-
son for this decision was the portability of 16 milli-
meter sound projection equipment. This portability,
coupled with the great strides which have been
made in the perfection of 16 millimeter sound on
projection, makes this set-up ideal for the purposes
of the Metropolitan Water District.

Because of the unusual working conditions along
the aqueduct, it was felt that better results could be
obtained by taking the picture and sound with 35
millimeter equipment, and then making 16 millimeter
reduction prints.

The technique is as follows: Thirty-five milli-
meter single system picture and sound negative — 35
millimeter picture work print — 35 millimeter sound
track work print — picture print and sound print cut
to continuity — sound print re-recorded to 16 milli-
meter sound track negative — 35 millimeter picture
negative cut to work print — 16 millimeter reduction
print made from 35 millimeter picture negative — 16
millimeter re-recorded sound track printed by con-
tact on 16 millimeter reduction print.

This procedure results in a complete 35 milli-
meter picture negative and a complete 16 milli-
meter re-recorded sound print from which subse-
quent 16 millimeter prints are made.

An alternative considered was the making of a
16 millimeter sound track by optical reduction rather
than re-recording, but the latter procedure as han-
dled by a Hollywood laboratory was found to be
entirely satisfactory.

Prints also were made on 35 millimeter negative
and shown in approximately 200 theatres through-
out Southern California.

The huge size and spectacular nature of the
giant aqueduct have from time to time attracted
newsreel crews from all of the major companies.
The use of all of the district's equipment has been
made available to these visitors.

TECHNICIAN ZECH RETURNS

Harry Zech, accompanied by his wife, has re-
turned from a year's sojourn in England where, for
ten months, Mr. Zech acted as chief technician to
the Alexander Korda unit, in the production of H. G.
Wells' "Things to Come."

Mr. Zech also officiated in technical matters on
Thornton Freeland's "Sky Larks," with De Limur on
International Players' Production, Ltd., "Important
Romance"; with Manning Hayes on "Tomorrow We
Live" and other important productions.

Mr. Zech has renewed old connections in Holly-
wood and expects to remain under the Stars and
Stripes.

ICTER^

In Wtfrld~Wid* Us«

Cff^cls in Daytime ~R7<j Scenes-
diffused. F^eus.and many oH«r «Ff««s
With any Camera " In any Climate
GcoroG H. Scheibe

ORIGINATOR OF EFFECT FILTERS

1927 WEST 78™ ST.

LOS ANGELES. CAL.

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-three

A New Convenient Viscose Brush

By Karl A. Barleben, Jr., F.R.P.S.

OT so long ago the new style Viscose Brush
was announced (see page 14, May, 1936, is-
sue of THE INTERNATIONAL PHOTOG-
RAPHER). This improvement was hailed as
a most useful one, and now along comes still an-
other improvement in this most practical of photo-
graphic accessories. The Willoughby Camera
Stores, Inc., 110 West 32nd Street, New York City,
is now proudly displaying the new double Viscose
Brush, a metal frame at one end of which are fas-
tened two Viscose Brushes so that the film may be
wiped on both sides simultaneously. The metal
handle makes a convenient holder and at the same
time regulates the pressure applied to both sides of
the film as the two brushes are moved along the
film strip.

This new Viscose product — which costs $2.50 and
may be obtained from all local photographic sup-
ply stores or from Willoughby's direct — is of great
value to not only all amateur photographers but com-

mercial finishers as well. In the case of the latter,
where hundreds of film strips are to be dried rapidly
and uniformly, the new Viscose product will be a
boon in saving time and effort, combining as it
does two brushes which complete the operation of
wiping the film on both sides in one operation.

Should the Viscose Brushes wear down (I haven't
as yet been able to wear them out) it becomes a
simple matter to replace them on the metal holder
by removing two screws which fasten each brush
to the metal holder.

Viscose products are now available in various
sizes and styles to accommodate any kind of pho-
tographic work. There are sponges, brushes and the
new double brush units. The latter accommodate
the 1x3 brushes; the entire units, including the metal
holders, are 91/2 inches long.

Be sure to see the Viscose products at your dealer
or write for folder.

HOLLYWOOD WELCOMES THE FAZALBHOYS

Mr. Y. A. Fazalbhoy, of the great firm Fazalbhoy
<& Sons, Bombay, India, made a short visit to Holly-
wood during July. He was accompanied by Mrs.
Fazalbhoy.

Mr. Fazalbhoy, among other things, is director of
the Bombay Radio Company, established in 1926.
Mr. Fazalbhoy tells us that since the inauguration
of the Delhi Broadcasting Station and the announce-
ment by the government of India that the Indian
States Broadcasting Service will be completely re-
organized and that the present ten-year-old Bombay
and Calcutta stations will be replaced with higher
powered stations. A new broadcasting transmitter
will be installed at Madras. In all, there has been
very keen development of the radio business in
India.

The purpose of Mr. Fazalbhoy's visit is to strength-
en relations with manufacturers for which his com-
pany is distributor and to discuss with them the dif-
ferent types of equipment so they may have the
latest and newest in India.

It seems that not only is the Government of India
developing broadcasting, but there are rumors that
Nizam's Dominions and the Government of Mysore
are going ahead with similar work.

The Sound Equipment Company, Ltd., is also one
of the Fazalbhoy interests. This branch deals in
reproducing equipment and photographic and light-
ing equipment for studios and theatres. This com-
pany handles RCA Photophone and Simplex Projec-
tors and have equipped over a hundred studios in
India during the past two years.

In the cinema industry, the Bombay Radio Com-
pany is also much interested, they being agents for
Mitchell cameras, Bell <& Howell printers, Jenkins &
Adair Recording Equipment, Mole-Richardson Studio
Lights, etc. This company is introducing the 16
and 8 mm. cameras and projectors to the Indian
market.

Mr. Fazalbhoy is director of Sound Studios, India.
This is an organization which rents out studios,
camera equipment, recording equipment, or what-
ever may be desired in the way of studio equip-
ment. That's another reason for Mr Fazalbhoy's
visit. He wishes to make investigation into the new-
est and most modern developments, so that India
may have advantage of them.

Among other institutions visited by Mr. Fazalbhoy
was the Hollywood Motion Picture Equipment Co.,
(Art Reeves).

ArtReeves

ArtReeves '

FILM TESTED EQUIPMENT
LABORATORY EQUIPMENT

AND

SOUND RECORDING EQUIPMENT

Motion PicTure/^ujipmemT(p. |Td.

645 NORTH MARTEL AVE-

CABLE ADDRESS ARTREEVES

HOLLYWOOD, CALIFORNIA. USA

Twenty-four

The INTERNATIONAL PHOTOGRAPHER

August, 1936

INTO PICTURES— THROUGH PICTURES

(Continued from Page 9)

to have convincing character studies to show and
which become the actor's permanent library; and
give the casting director a camera-eye view at least
of the person's capacity and personality. It invari-
ably arouses interest.

Perseverence is the next step. Usually several

John Van Pelt (right)

as "Tex" the Prospector with Johnny
Mack Brown.

studio executives must be impressed, as it is safer
and more comfortable to divide the responsibility of
risking a first part with a beginner.

Observation and conversations with casting direc-
tors lead me to state that the retouched and artis-
tic (?) diffused photographs from the back-home pho-
tographer often do the aspirant more harm than
good. These pictures often hail from the same old
lens and perhaps on none too good paper stock.
It also reveals an ignorance of the A. B, C in mo-
tion picture requirements. The motion picture in-
dustry hasn't the time to take you through the kin-
dergarten.

The New Broom's Brief for the Stillman

As a new actor in motion pictures, I am con-
tinually surprised at the lack of co-operation the
stillman gets on the motion picture set. These action

stills, shot at the end of a motion picture scene, are
those observed in front of a motion picture theatre,
placed there, of course with the intent of enticing
you.

If you knew of the noise, haste, conversation, or-
ders— even cat-calls that burst out, cannon-fashion,
at the end of a scene on the command "CUT!" the
reader would understand why really so few stills
are effective.

Over this confusion the director yells: "Move up
for a still and make it fast!" or "make it snappy,
Rembrandt," or some equally harassing expletives
that do not spell team work. Few seem to catch
the importance of the movement and the seeming
conflict between the production department and the
publicity department goes on.

Of course, under such circumstances, the pho-
tographer has the "jitters." His reputation and his
job are at stake. He must perform a miracle.
Actors are trying to concentrate for the still — the elec-
trician demands speed (he needs the spotlights for
the next scene) but the still which will affect the box
office usually is taken under these conditions. In-
stead of co-ordination the view toward the stillman
on the set seems to be that he is a necessary evil,
and work with him is time wasted It's a case of
one man against twenty-five. If he demands silence
it's "temperament" or "big-head," yet for the rank
and file of pictures shown from the village to New
York City, the stillman holds the greatest influence,
push or pull on the box office.

One would assume that, with the business acu-
men represented in the industry, the same import-
ance and right of way, for the few moments required,
would be given the still as is given the picture in
motion, remembering that the still conveys the first
impression to the man on the sidewalk All should
keep in mind that the still not only sells the theatre
goer, but is used by salesmen to sell the motion
picture to the distributor or the theatre owner.

As long as the standard still is shown in front
of all theatres it would seem good business to give
the stillman a break and make it a custom by
official order. The actor would appreciate it and
respond. His advance is at stake every time his
face appears. It would correct an obviously weak
spot in picture production and, beside being in the
interest of fair play, it would be money in the pocket
of all concerned.

An organization sales talk by the head of pub-
licity, backed by orders from the producer, might
be in order.

NEW MOVIE MAGAZINE

A. Griffith Grey, president of Cinema Magazine,
Inc., announces the publication of Cinema Arts, a
new monthly in the motion picture publication field,
the first issue of which is scheduled for January,
1937. Mr. Grey was formerly general manager and
vice-president of D. W. Griffith, Inc.; vice-president
of United Artists and for three years the head of
Paramount Pictures Corporation's road show depart-
ment.

"Cinema Arts is designed, edited and published
for a discriminating class of people who appreciate
the growing art of the present day," Mr. Grey stated.
"Its cultural character is exemplified both by the
quality of its contents and by the highest craftsman-
ship of the graphic arts.

"The modern mode of American living has been
profoundly affected by motion pictures, because pic-
tures have been instrumental in educating millions
of people in buying luxury articles through seeing
them portrayed in screen plays. The definite selling
effect of glamorous Hollywood on Americans' desire
to dress, live and play like movieland people has
changed the buying habits of a nation."

Cinema Arts claims the distinction of being the
largest magazine in the United States, measuring
14 by 17 inches. A special feature is its wire spiral
binding. The single copy price is fifty cents and
annual subscription five dollars.

Editorial and business offices are at 250 Park
Avenue, New York City.

August, 1936 The INTERNATIONAL PHOTOGRAPHER Twenty-five

MAINSTAY

AS THE motion picture industry grows, so
grows the importance of Eastman Super X
Panchromatic Negative. This world-fa-
mous Eastman film guards the high photo-
graphic quality of the bulk of today's
feature productions. It is truly a mainstay
of one of the country's greatest industries.
Eastman Kodak Company, Rochester,
N. Y. (J. E. Brulatour, Inc., Distributors,
Fort Lee, New York, Chicago, Hollywood.)

EASTMAN SUPER X

PANCHROMATIC NEGATIVE

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

August, 1936

SCIENCE STEPS INTO OPTICS

(Continued from Page 10)

"Globe Lens," which was rather a slow type pic-
torial lens of good quality.

Dallmeyer about the same time introduced a
"Triple Achromatic Lens." In 1864, Dallmeyer per-
fected his "Rapid Landscape Lens," which was an
achromatic lens with a third meniscus element of
crown glass. In 1888, he patented the "Rectilinear
Lens." The "Rectilinear Lens" had a double ele-
ment with an air space between, and a speed of
about F.14. The recent soft focus lenses date from
the lens that Dallmeyer made for the painter Berg-
heim in 1896. In 1895, he introduced his "Stig-
matic," which was calculated by H. L. Aldis.

Other semi-achromatic lenses introduced follow-
ing the Dallmeyer Bergheim lens were: Struss' "Pic-
torial"; Smith, "Semi-Achromatic"; Spencer, "Port-
land"; Sundach, "Single Achromatic"; Bausch and
Lomb, "Plastigmat"; Gundlach, "Hyperion"; Wollen-
sack, "Verito"; and Smith, "Visual Quality."30

1866 — Steinheil introduced the "Aplanat," the
first of the symmetrical lenses. This lens was later
known as the "Rapid Rectilinear." It consisted of
two elements of flint glass of achromatic construc-
tion, and had a relative speed of F.8.

J. H. Dallmeyer independently discovered the
same construction about the same time, and was
granted a British patent on it.35

1868 — Messrs. Pugh and Field, in London, made
a monochromatic spectacle lens by cementing a
piano-colored glass to a piano lens.

1871 — Brachet and Gesell suggested the use of
uranium salts in the coloration of glass

1881 — Nathan Lazarus was granted an English
patent on a process of welding crown and flint
glass. •">7

1886 — Jena Glass Works, in Germany, an-
nounced nineteen new kinds of glass In 1888, they
announced an additional twenty-four types, and in
1894 eight more were announced.50

1890 — Paul Rudolph of the Jena Works introduced
the first anastigmat, as the "Protar."38 In 1896, he
calculated for Carl Zeiss the "Planar" lens having
two meniscus lenses with their concave sides facing
the incident light (entering light). This planar type
lens followed the Gauss principle of an earlier date.
Rudolph later designed the "Unar" which was intro-
duced by Zeiss in 1899; the "Plasmat" (1920); "Tes-
sar" (1902). The "Tessar," which was patented in
the United States,39 was essentially a combination
of the principles of the "Unar" and "Protar" lens.51

1891 — Ernst Abbe, in connection with Carl Zeiss,
announced a microscope with a stereo eyepiece.
Abbe had perfected this microscope in 1870, but it
was not announced until this time. In 1893, he in-
troduced the prism binocular which used a perfected
type of prism of crown glass. Abbe first became
associated with Carl Zeiss in 1866.

1893 — Richard Hansel, of Dresden, made a lens
of celluloid.

1894 — Sighting telescopes for guns introduced by
Carl Zeiss.

1895 — Cooke patented in the United States,40 a
"Triplet" anastigmat giving a large flat photographic
image. Among the many later copies of this lens
is the "Divergent Triplet" made by Taylor, which
was an uncemented type of Triplet.

1898 — H. Dennis Taylor perfected a modified
"Triplet" having a split central dispersing lens. In

1899, Taylor describes three lenses of notable quality
in his British patent41 on his lens series Nos. Ha,
11, and III. Subsequently, there were many other
lenses made after this principle introduced by others.

1898 — Carl Zeiss introduced a binocular micro-
scope that had an image erecting prism.

1903 — Eduard Benedictus, in France, is said to
have made a safety glass at this time. It consisted
of a celluloid plastic between two sheets of glass.
In 1909 he was granted his first French patent, and
in 1912 he started a commercial manufacture of a
safety glass known as "Triplex."

In the meantime, John Wood, in London, was
granted an English patent on a safety glass in 1905.
Wood proposed to cement glass together with Can-
ada Balsam, while Benedictus cemented his glass
and celluloid together with gelatine.

The Libbey-Owens Glass Company was the first
to seriously consider the commercial aspects of
safety glass. In 1926 they built a research labora-
tory and shortly thereafter, they perfected a type of
plastic filler for the safety glass. In 1928, Henry
Ford installed safety glass in his cars.

1906 — Busby Allen developed an adjustable pro-
jection lens, which consisted of two units. The front
unit was a negative reduction lens, while the rear
compound was a photographic objective. It was
used for projecting pictures, and gave images of
adjustable size. In 1896, Allen had made a type of
hollow lens that was to be filled with chemicals for
the absorption of any desired light ray.

1913 — Sir William Crookes invented a glass that
would absorb both the ultra violet and infra red

There Is

No Substitute

for

^SJiP * *

SOLARSPOT

PERFORMANCE

•

Mole-Richardson, Inc.

941 North Sycamore Avenue
Hollywood, California

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

light rays. It is used mostly in spectacles.

1914 — United States Bureau of Standards added
to its staff a glass maker, who subsequently did
much to advance the optical science.

1926 — In his "Collected Papers," Lord Rosse de-
scribes to the Royal Society a machine for polish-
ing specula and the preparation of rouge for pol-
ishing by calcination.

1931 — Robin Hill calculated a lens capable of
focusing 180 degrees in a complete hemisphere. It
was issued by Beck and Company. (The eye can
see only 170 degrees.)43

1932 — Bell and Howell announce their "Varo" or
"zoom" lens. This lens was made by Cooke. It
has the ability of following action on a motion pic-
ture set with the desired action always in focus. Too,
it can go from a "long shot" into a "close-up" with-
out moving the camera. Others made "zoom" lenses
earlier. However, they were not entirely a success.
The most notable one being the lens developed by
Joe Walker in 1919.44

In recent years the manufacturers of optical
goods and the optical science have developed many
specialized types of objectives to meet varied de-
mands. In this chronology, because of space limi-
tations, only the more noteworthy and evolutionary
achievements of the science have been recorded.
The student desiring complete information should
consult the references.

REFERENCES:

1 The Technical Arts and Sciences of the Ancients, Albert
Neuberger, 1930.

2 Das Glas un Altertume, Kisa, 1908, Leipzig.

Many museums have examples of this art, and many ex-
amples of ancient glass.

D O L L I N A

THE CAMERA SENSATION
OF THE DAY!

Compact, precise, ultra-rapid, fool-proof and
easily manipulated. Built-in, optically depend-
able and lens-synchronized range finder enables
one to obtain critically sharp negatives. It is
priced with extraordinary moderation and pos-
sesses various up-to-the-minute features, includ-
ing an automatic counting and film-loading de-
vice and conveniently located focusing mount.
Its refinements include: Schneider Xenon Ultra-
Rapid f/2 lens, Rapid Compur Shutter with
speeds up to 1/500 second, and optically per-
fect, built-in View Finder. Dimensions :
5x3 }4xl% inches. Takes 36 exposures 24x36
mm. cine film.

FREE TRIAL GLADLY GRANTED

Literature on Request

BURLEIGH BROOKS

127 West 42nd Street

New York

* The Romance of Old Sandwich Glass, Frank W. Chapman,
1932.

5 Encyclopedia Brittanica, 1929, Vol. 13, p. 920.

0 Americana Encyclopedia, 1928, Vol. 17, p. 290.

' Opus Majus, Roger Bacon, London Edition, 1733, p. 352.
8 History of Opthalmology, Thomas Shastid, 1927.
"Die Brille u Ihre Geschechte, E. Bock, 1903.

10 Histoire des Lunettes, P. Pansier, 1901.

11 History of Opthalmology, Thomas Shastid, 1927, p. 580.

" For recent developments in optometry see, History of Op-
tometry, E. E. Arrington, 1929, pp. 93-219.

1,1 Colored Glass, E. E. Schreiner, 1919.

'4 Old Glass, European and American, N. Hudson Moore, 1926.

10 Encyclopedia Londonesis, 11:1, 1799.

,0 For history of staining glass see, Stained Glass, Alfred
Werck, 1926.

17 Da Varo Telescopii Inventori, Peter Borellies, 1609.

1 American Glass, Mary Harrod Northend, 1926.
19 American Glassware, Barber, 1900.

The Drama of Glass, Kate Field, published by Libbey Glass
Company.

21 Ars Magna Lucis et Umbrae (Great Art of Light and Sha-
dow), Athanasius Kircher, 1646.

32 Micrographia, Robert Hooke, 1664.

"3 Abstracts of Transactions of the Royal Society (paper by
David Brewster), Vol. II, p. 1, 1815.

"4 Educational Focus, Bausch and Lomb Optical Company,
March, 1932.

J5 Optiks, Isaac Newton, 4th London Edition, 1730; Or: Optiks,
Isaac Newton, Whittlesey House, New York, 1931, foreword by
Albert Einstein.

3liFor a complete list of the inventions of Bi-Focal Spectacles
see, Colored Glass, E. E. Schreiner, 1919.

2 Collected Papers, John Herschell, Royal Society, 1812.

"s Much information can be obtained from the Transactions of
the Royal Society, Vol. HI, 1800-1830, on light and lenses of this
period.

29 History of Photography, Harrison, 1887.

30 Abstract of Transactions of Royal Society, Vol. I, p. 438,
1812, William Hyde Wollaston.

31 For history of American Optical Company, see History of
Optometry, E. E. Arrington, 1929. Chapt. XI.

33 Photography, Its Principles and Practices, C. B. Neblette,
1927, pp. 138-147.

33 Fortune Magazine, ApriK 1931, p. 41.

34 The Zeiss Works, Felix Auerbach, p. 22.

35 British Patents No. 1641 and No. 2502.

36 Students desiring a more complete resume of the history
of the Photographic Objective see, Die Photographischen Objectiv,
Eder; and Theory and Geschitchte der Photographischen Objec-
tiv, Von Rohr; L'Optique Industrielle, Turriere, may be consulted
for a history of the later lenses.

37 Method of making optical glass, Transactions Royal Society,
Michael Faraday, 1830, p. 383.

38 U. S. Patent No. 444,714, 1891.

40 U. S. Patent No. 721,240, 1903.

41 U.S. Patent No. 540,122.

41 British Patent No. 1699.

42 International Photographer, October, 1932, p. 36.
"Das Deutche Lichtbild, 1931.

44 Transactions Society Motion Picture Engineers, October,
1932, Vol. XIX, No. 4, p. 329.

45 Epistolae Physiologicae super Compluribus Naturae Arcanis,
Anthony van Leeuwenhoek, 1719.

'° The Story of Common Things, Louis Ehrenfeld, Minton,
Balch and Co., N. Y., 1932, p. 51.

" There are many contradictions in the histories on the sub-
ject as to who invented or re-invented the spectacle; hence it
was deemed advisable not only to record those accredited with
their invention but also the -writers who mentioned their invention
contemporarily.

The Wedgewood process was not a successful photographic
process, since the pictures made by it were not permanent (un-
fixed), but continued to darken when exposed to light; such as
portrait proofs do today. Fox-Talbot, in 1833-35, is credited with
being the first to make successful photographic pictures.

A symmetrical construction is a combination of two achro-
matic lenses with a diaphragm; thus the barrel distortion of one
is off-set by the opposite pin-cushion-like fault of the other.

Astigmatism is an aberration of the light rays, or pencils
of light, that pass obliquely through the lens. The first Rudolph
Protar consisted of an achromat of spherical correction and an
achromat that corrected astigmatically. Until the newer Jena
glasses became available, astigmatism could only be minimized
and not entirely eliminated.

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

August, 1936

FUN WITH THE MICROSCOPE AND CAMERA

(Continued from Page 13)

important to see that both camera and microscope
are coupled together in such a way that the optical
axis remains perfectly straight and true. In order
to achieve this most satisfactorily, make-shifts should
be avoided. That is to say, a camera support should
be purchased or built which conforms in general to
the upright shown in the illustrations. Such a stand
can be made of wood or metal at very little cost
by mechanically-minded amateurs. In no case
should the camera be supported on a pile of books,
a box or similar insecure support.

It is also more convenient to work with the out-
fit in a vertical position, although it is possible, when
using fixed or animate specimens, to use the equip-
ment horizontally. Not only must the stand, the
camera and the microscope be solidly connected
with each other, but vibration must be guarded
against, in order to eliminate any possibility of
blurring the image on the film. It is wise not to pro-
long the exposures unduly, such as would be neces-
sary when using a too-low wattage lamp, or too
high a magnification. Instead, strive for compara-
tively short exposures and thus eliminate, as far
as possible, any vibration such as might be caused
by traffic in the streets, machinery in operation in
the building, etc. Don't forget that a slight tremble
or vibration which may not be noticeable, will be
definitely picked up by the photomicrographic equip-
ment. As a precaution against vibration, a pad of
thick, soft sponge rubber can be used as the base
upon which to set the entire apparatus. It is also
on account of vibration that make-shift devices are
condemned. There can be no assurance of free-
dom from vibration if the elements of the outfit are
loosely coupled together.

The next problem concerns itself with film. What
film is best? Here we have something of a problem
indeed, because so much depends upon the type
of specimen, filter (if any) used, exposure, etc. For
ordinary work to begin with, Agfa Plenachrome or
Eastman Verichrome are highly recommended, but
obviously when filters other than yellow are used,
these orthochromatic films are out of the question.
If panchromatic film is indicated, Agfa Superpan,
Eastman Panatomic or Supersensitive pan are recom-
mended.

Those who use miniature cameras using stand-
ard 35 mm. movie film can use Agfa Finopan, Du-
Pont Micropan or Eastman Panatomic effectively.
With the small cameras, fine grain in photomi-
cography plays an important role, hence the recom-
mendation of these fine grain emulsions. For own-
ers of cameras which use cut film, Defender XF pan
film will prove ideal for all routine work.

The matter of exposure is of prime importance
and it becomes necessary to make a few test ex-
posures in the beginning, and because each outfit
will in all probability differ from the next, in accord-
ance with the equipment used, a series of tests will
be found to give more definite information than
anything else. Points to be considered in this in-
clude, among others, magnifcation, type and speed
of film, type of specimen, intensity of illumination
and available shutter speeds. In beginning, a test
of a simple specimen, such as the wing of a house
fly, should be used. Each exposure in a series of
tests should be proportionately greater, or in other
words, twice that of the one preceding it. As these
tests are being made, notes should be carefully

made so that after the test negatives are developed,
the exposure can be definitely determined along
with the quality.

The magnification of the photomicrograph is in
proportion to the distances between the eye-point
of the microscope, a few millimeters above the top
of the eye-piece, and the film in the camera. This
distance in the Bausch <S Lomb Photomicrographic
Outfit is 2.7 inches. Naturally the magnification
secured on the film is not the same as that secured
when observing the specimen visually through the
microscope. In short, the exposure problem is one
of tremendous variation, and no one can give exact
figures without knowing the complete set-up, con-
ditions and the equipment. It is only through ex-
perimentation that the correct data concerning the
exposures are to be had.

In photomicrography, a print may appear poor
to the casual observer. It is desired to show as
much fine detail as possible, for this is the key
to successful photomicrography, and in order to get
the proper results, the print may at first glance ap-
pear indistinct. On the other hand, the poorly-made
photograph may appear sharper and reveal more
contrast. Look for lines or dots that lie close to-
gether in order to determine the true worth of a
photomicrography.

There are so many conditions affecting the re-
sults that it requires considerable experience to de-
termine a good from a poor photomicrograph. To
illustrate, improper lighting can completely alter the
appearance of the specimen, to mention just one con-
dition. The keeping of careful notes, as one goes
along, is the most satisfactory way of progressing
without discouragement in the problems of photo-
micrography.

It is necessary to progress in this work step by
step; slowly, but surely, for it is pure folly to at-
tempt too difficult a subject without having previous
experience with the simple ones. In the long run,
the successful amateur will have a series of photo-
micrographs which are completely satisfactory in
every way, and a certainty that once he becomes
interested in the work, he will continue as an ardent
photomicrographer. If too difficult a subject is
tackled to begin with, the individual will not only
become discouraged with his inferior results, but
refuse to have anything further to do with a micro-
scope in the future. Such a condition is entirely un-
necessary.

It is not intended here to go exhaustively into
the matter, but rather to introduce a marvelous in-
become increasingly popular. The technically-
minded amateur will undoubtedly find in photomi-
crography a new outlet for his activities and prob-
lems which will tax his ability. It is hoped that
many new thousands of camera users will delve into
the mysteries of the "Invisible World" in the future
months.

As the winter months approach, it offers a de-
lightful, yet inspiring and beneficial hobby for those
who are the fortunate possessors of both a camera
and a microscope. It is strongly urged that a study
of the various forms microscopy be absorbed in
order that the best results may be secured with the
minimum of wasted time and discouraging results.

A few of the books which I believe will be not
only of great interest, but value as well to the bud-
ding amateur photomicrographer include:

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-nine

"Adventures with the Microscope" by Julian D.
Corrington, published by Bausch & Lomb Optical
Company, Rochester, New York, price $5.00.

"Hunting with the Microscope" by Gaylord John-
son, published by Leisure League of America,
price 25c.

"Wonders Through the Microscope," published
by Popular Science Monthly, New York, price $1.00.

"Photomicroscopy," published by Eastman Kodak
Company, Rochester, New York, price $1.00.

"The Microscope" by S. H. Gage, published by
Comstock Company, Inc., Ithaca, New York, price
$4.00.

For stimulating reading of a literary nature, try
"Microbe Hunters" by Dr. Paul DeKruif and "Arrow-
smith" by Sinclair Lewis.

THE NATIONAL. CONFERENCE OF VISUAL EDUCATION

(Continued from Page IS)

leave the matter of entertainment to the local picture
shows. Mr. Hamilton recommends a central projec-
tion room in a school, adequately equipped, and
always ready for immediate use at any time.

R. W. Damron, Superintendent of Schools at
Franklin Park, Illinois, speaking on "Practical Visual
Education," outlined what could be accomplished by
smaller schools on limited budgets. In his school,
visual education equipment consists of one 16 mm.
silent comera, 16 mm. sound projector, lantern slide
machine, and a public address system inter-con-
nected with the amplifier of the sound projector.
Pupils and teachers are instructed in the running of
the equipment. Their 16 mm. camera records vari-
ous school activities, and allows the school annual
to be presented visually rather than in printed form.
For best instructional purposes films must be avail-
able at time the subject is studied, not later. Funds
for equipment should be allotted as for any other
school materials and not considered, as so often,
as a side-issue. Mr. Damron also touched upon the
possibilities of county film libraries to supplement
the work now being done by state libraries.

J. A. Hollinger, Director, Department of Science,
Pittsburgh, Pennsylvania, Schools before showing an
effective example of a class-room film, briefly stated
his conception of the value of film instruction. He
holds that schools should allow "$1.00 per pupil per
year allotment for film instructional purposes," and
follow this up with a very definite program. It has
been the experience of the Pittsburgh schools that
"movie days" have cut absences to a minimum,
thus proving the interest stimulated by film presen-
tations. Mr. Hollinger ran a two-reel sound subject,
"U. S. Coast Guard," recorded on 16 mm. film.

Space does not allow a complete printing of the
program, but appended below is a partial list, picked
at random, of films and speakers presented to the

Sound Film (2 r) — "Remember Jimmy" — H. C.
Conference:

Sound Film (2 r)— "V-8 Honey Moon"— C. E. Faw-
cett, Sales Department, Ford Motor Co.

ftstW EVERYTHING W-'

W PHOTOGRAPHIC^

CZ^j

WW for Professional and Amateur T

WJ New and used. Bought, sold '

Sal

¥ rented and repaired. Designers

and manufacturers of the

4 H.C.E. Combination Lens

^K 1M^|

^ Shade and Filter Holder ,

t/ ^'J^Bf* TlfTl

lf|l

^k for any size lens. i
Wm^ Send for bargain catalogue A\

EMI

W.'lM

^k Hollywood Camera Am

rilki

Wk\ Exchange AW
Wk 1600 Cahuenga Blvd. AW.

WX\ Hollywood AW ?

VllA'

Wm\ Tel: HO-3651 AW\ '

I1IB

V ^ Cable: M .

f M\\mm

WM Wk HOCAMEX AW '

w\^?Aw\m

Sound Film — "The Nickel Album" — Douglas
Rothacker, New York City.

Silent Film (1 r) — "Movies Stimulate Travel"- —
W. T. Parkhill, Champaign, 111.

Sound Film (3 r) — "International Harvester Die-
sel"— L. A. Hawkins, International Harvester Co.,
Chicago.

Sound Film (1 r) — "Boulder Dam" — L A. Hawkins,
International Harvester Co., Chicago.

Sound Film (1 r) — "News Reel" — Jose R. Nin,
Pres., J. R. Nin Film Co., San Juan, Porto Rico.

Report on "National Visual Instruction Survey" —
Hon. C. M. Koon, Senior Specialist Radio and Visual
Education, U. S. Office of Education, Washington,
D. C.

Sound Film (4 r)— "Take Me Out to the Ball
Game" — Official American League Film, sponsored
by Fisher Body, Detroit Division, General Motors
Corp.

Sound Film (5 r) — "Sunkist Speaks" — C. E. Hol-
lender, Sales and Adv., California Fruit Growers'
Exchange.

Sound Fiml (1 r) — John Schlegel, Pan American
Airways, Chicago.

"Visual Education in the Skokie Valley CCC
Camp" — W. L. Randle, District Educational Adviser,
Glenview, 111.

"Films for Character Building" — Dr. I. E. Deer,
M. P. Producers & Distributors of America.

"The De Vry School Films" — Norman D. Olsen.

"Trouble Shooting in Sound" — J. G. Black, Engi-
neering Dept., Herman A. De Vry, Inc.
Carter, Keep Chicago Safe Committee, Chicago.

Silent Film (2 r)— "Digging Into the Past"— Metro-
politan Museum of Art, New York City.

The 1936 National Conference on Visual Educa-
tion was a most interesting and educational event
for which Herman A. De Vry, in sponsoring the ses-
sions each year, is deserving of much commenda-
tion. The marked increase in attendance this year
and the quality of the program presented are in-
dicative of the great future potentialities of non-
theatrical motion pictures.

I.A.T.S.E. AND M.P.M.O.

The Banner Pictures Corporation has just com-
pleted its first production, "Murder in Chinatown,"
featuring Norman Foster, who was also the director.

Mr. Foster was supported by Elaine Shepherd,
Theodore von Eltz, Polly Ann Young. Vince Barnett,
Arthur Lake and Eddie Gribbon.

Arthur Reed and James Murray were the camera-
men; Carl Pierson, film editor while Finn Kimball
and James Love were respectively producer and
assistant. The picture was the first of a series of
four.

The producers extended to Messrs. Reed and
Murray the courtesy of permitting the I.A.T.S.E. and
M.P.M.O. label to appear opposite their names on
the main title, the first time this label has appeared
on the main title during the last three years.

Thirty

The INTERNATIONAL PHOTOGRAPHER

August, 1936

I NTERNATIONAL

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 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 variety of
16 mm. and still cameras and projectors. B & H Cameras with old type
shuttles silenced $150. Bipack magazines and adaptors for color. Every-
thing photographic bought, sold, rented and repaired. Send for our bar-
gain catalogue. Hollywood Camera Exchange, 1600 Cahuenga Blvd.
Phone HO. 3651. Cable, Hocamex.

LARGEST STOCK FIRST CLASS UPvTO-DATE CAMERA
EQUIPMENT IN THE WORLD
Rebuilt silenced and Standard Bell & Howell 170° Cameras — Hi-Speed
gear boxes — Hi-Speed check pawl shuttles. New Fearless shuttle for
Bell & Howell. DeBrie Model M, with 3 lenses, automatic dissolver com-
plete outfit. Silent Moviola Model D. Two single System cameras complete
with sound equipment. Bell & Howell rebuilt Splicers as new. Portable
blimp with follow focus for Mitchell Camera, 100 ft. Stineman Developing
outfit. Used Holmes 35 mm. Sound-on-Film Projector complete. Pre-
cision, DeBrie and Bell & Howell pan and tilt tripods. Bell & Howell
1000 ft., 400 ft. magazines. Motors, sunshades, finders, lenses and all
accessories. Write, wire or cable.

MOTION PICTURE CAMERA SUPPLY. INC.
723 SEVENTH AVE., NEW YORK CITY
CABLE: "CINECAMERA"

SILENCED MITCHELL CAMERA, 40, 50 & 75mm. Astro F2.5
Lenses, Upright Mitchell Finder, Mitchell Matt Box and Sunshade, two
1000 ft. Magazines, Friction Tripod Head and Legs, complete equipment
with Carrying Cases, $2600.00. Camera S'upply Co., Ltd., 1515 No.
Cahuenga Blvd., Hollywood, Calif.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

LIKE NEW BELL & HOWELL 5-w.iv Sound Printers and Sound
Moviolas. Reasonable price. HOLLYWOOD CAMERA EXCHANGE,
t600 Cahuenga Blvd., Hollywood, Calif.

ART REEVES, latest model 1935, double system sound recording in-
stallation, factory guaranteed, Automatic Speed Control Motor, Twin
Fidelity Optical Unit, Bomb microphone, the only genuine, modern,
workable ArtReeves equipment for sale in Hollywood outside factory.
CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga Blvd.,
Hollywood.

BELL AND HOWELL CAMERA silenced, adapted for color, with

variable area recording single system sound. Complete outfit like new,

ready to shoot. Price, $3000.00. Hollywood Camera Exchange, Ltd.,
1600 Cahuenga Blvd., Hollywood, Calif. Cable: Hocamex.

COMPLETE DOUBLE SYSTEM SOUND RECORDING equipment.
$800. J. Burgi Contner, 723 7th Ave., New York City.

FOR SALE COMPLETE VARIABLE AREA SOUND TRUCK with
extension mixer, camera motors, microphones, converter. Ready for
production. Write Box B.-C, International Photographer.

CAMERA REPAIRING

FOR SALE COMPLETE VARIABLE AREA SOUND TRUCK with
extension mixer, camera motors, microphones, converter. Ready for
production. Write Box B.-C, International Photographer.

MISCELLANEOUS

COMPLETE COURSE IN FLYING — If interested in aviation, see Roy
Klaffki, 1605 North Cahuenga Ave., Hollywood.

8 MM. AND 16 MM.

8MM PALOMATIC, $1.50; Panchromatic, $1.70; S. S. Panchromatic,
$2.10; Dufaycolor, $2.75; on daylight loading spools, with processing.
Economic titling film. Home titling data reversible negative; processing,
etc. 8MM equipment and accessories, card for catalogue. Prizes given
with purchases. '"Camera Trails Through the Southwest," 112 pages, 33
illustrations, 75c. Film Specialties, Box 111-N, El Monte, California.

16MM DUFAYCOLOR FILM on 50 foot rolls, furnished without pro-
cessing, instructions if wanted, closing out all 16mm stock. While they
last only $2.85 per roll postpaid. Exchange. Box 607. El Monte, Calif.

BELL & HOWELL cameras with old type shuttles silenced, $150.
Hollywood Motion Picture Equipment Co., 645 No. Martel Ave.,
Hollywood.

POSITION WANTED

BOOKS

"CAMERA TKAILS THROUGH THE SOUTHWEST." Consisting
of 112 pages and 33 illustrations, concentrating on the camera possibilities
of vacations and jaunts in the National Parks. Film Specialties, Box
111-N, El Monte, California.

SACRIFICE!

Variable area single system sound camera complete —
all accessories — perfect condition. Write, wire or cable
for prices and particulars.

MOTION PICTURE CAMERA SUPPLY Inc.

"23 Seventh Ave.

Cable: CINECAMERA

New York City

NEWSREEL COVERING AT C. 0. P. CONVENTION

(Continued from Page 21)

over the entire auditorium. In the extreme back of
the auditorium high above the balcony was erected
a large camera stand for the long shots. Another
camera stand was erected in the shape of a triangle,
eighty feet in front and to the left of the speakers
stand, seven feet above the floor so that close up
pictures could be made of the speakers. The reason
the stand was in the shape of a triangle was so that
all of the six sound cameras in this stand would be
facing the speaker without interfering with each
other.

On top of the broadcasting booths were also
camera platforms for back shots. Chas. Ross, of New
York, had charge of the lighting and he placed seven
strips each containing five 1500 watt lamps in front
and over the speaker's stand. Near the ceiling on
the platforms spaced around the auditorium were
eight high intensity sun arcs. At each arc was a
local IA electrician, all of the lights were controlled
from the camera platforms by a system of intercom-
municating phones.

Paramount set up a lab at the Tri-State Motion
Picture Co. (Jack Flannigan, former Pathe News cam-
eraman's place) and specialed the convention from
Cleveland, thereby securing a beat of from twenty-
four to forty-eight hours over the country with actual
convention pictures.

We started making pictures a few days before
the convention opened, of arrivals, street scenes,
broadcasting companies getting their control rooms
in shape, the wire services with their many teletypes
in operation and many other pre convention activ-
ities

John Begg, on leave from Pathe, was the contact
man for the Republican National committee handling
the newsreels and he did a swell job.

August, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

THE WOOD - FRITH TEST METER

Here is a handy and comparatively cheap in-
strument that will be very serviceable around radio
or sound equipment, because it will measure D.C. or
A.C. from 5 to 1,000 volts; and D.C. or A.C. from 1
milliampere to one ampere; measure resistances
from 0 to 10,000 ohms, all on one meter, — a D.C. volt-
milliammeter, 1000 ohms per volt, with an ohm scale
and a 50, 250 and 1,000 volt scale, similar to the
Weston model.

The A.C. readings will not be full scale on the
meter, due to the internal resistance of the rectifier
used. These readings can be calibrated, however,
and will always read the same for the different
values.

The entire unit is mounted on the back of 3/16"
Bakelite panel, 6" x 8" and all is contained in a box
ll5/8x65/8"x2I/2/' high.

The accompanying diagram shows the proper
connections for the various parts and resistors. The
special resistor indicated is home made and is
wound on 1/16" Bakelite strip, 7" long and 2A" wide,
the values being determined by trial, with the use
of two dry cells and variable resistors in series, be-
ginning with the shunt of least resistance and re-
ducing the reading on the milliammeter according to
the steps required with another ammeter in circuit
to show that 1 mill is always being drawn from the
batteries.

The selector switch, if of the Yaxley type, can

easily bo arranged so that one gang is non-shorting
and the other gang of the shorting type.

This instrument also shows the presence of radio
frequency by means of a coil of No. 24 wire, %"
diameter, 15 turns, wound on a mandril and shel-
laced and plugged in on the black and green banana
plug receptacle.

This instrument, even with the cheaper type of 1
watt resistors if the resistors are properly selected,
is accurate within the limits of the milliammeter.

The astonishing fact is that this instrument can
be built for approximately $20 Compare that with
the price of factory made instruments to cover the
same ranges and cost many times that amount.

CINEMA TIDINGS

(Continued from Page 19)

tary type; housed as an integral part of the camera.
Coupled and synchronized with the focusing mount,
the range is found by moving the focus-lever which
operates from a handy position directly above the
shutter. When the split image is brought into a co-
incidence, the lens is in focus. To the right of the
range-finder is a built-in optical view-finder. An
auxiliary focusing scale on the lens mount shows
at what distance the picture is being taken. The fo-
cusing is possible from three feet to infinity. A Com-
pur-Rapid shutter affords nine speeds, from 1 -second
to 1/500-second, also "time" and "bulb." Opening
the camera sets the focus automatically at infinity.
Automatic film measuring and centering prevents
overlapping of exposures. To make film winding
doubly convenient, the winding knob may be pulled
out to extend it beyond the range-finder housing.
Specially designed film pressure plate holds film in
microscopically-fine focal-plane adjustment, assur-
ing a sharp image throughout the negative area.
The Kodak Bantam Special weighs 16 ounces.

New Ektar Lens

Announced with the Kodak Bantam Special, there
appears the first of the Ektar lenses — a new series
of high-precision Kodak Anastigmats. The 45 mm.
F.2 Ektar has six elements. Made according to a
newly computed Eastman formula, its performance,
even at full opening of F.2, is said to enthuse the
most critical. Eastman designers, it is stated, have
succeeded in reducing both spherical and chromatic
aberration to negligible proportions, at the same
time maintaining a perfectly flat field, free from
astigmatism and distortion to a degree which is re-
markable in a lens of such large aperture. Attri-
butes of the new Ektar all contribute to one end —

microscopically-clear negatives, vital in enlargement
work.

Two Films Available

The Kodak Bantam Special loads with eight-ex-
posure roll film, available in two different types:
Panatomic, F828; and Super X, X828.

Extremely sensitive to yellow, green and red,
Super X film XX828 makes possible good negatives
much earlier and later in the day, and is ideal when
high shutter speeds are necessary to catch rapid
action. Used indoors, it goes a step farther than
Kodak "S" Pan and, with all its added speed, does
not show an increased grain size. Development in-
structions, packed with each roll, should be followed
exactly.

NEW SUPER

(IXEGLOW
X9

THREE ELEMENT

Recording

Lamp

A true, high fidelity, ultra
violet, modulating light
source.

• High Intensity Exposure

• Long Life

• Uniform Quality

Blue Seal
Sound Devices

Incorporated
723 Seventh Ave.
New York, N. Y.

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

August, 1936

CINEMACARONI

(With Sauce for Those Who Like It)

By Robert Tobey

HOLLYWOOD HONEYMOON

The Loves of Lili Liverblossom

R. THRITIS

Synopsis of preceding chapters:

Let's not go into THAT again!

CHAPTER XXII ESCAPE
As he clung to the outjutting rock, Perriwether
Murgle looked into the yawning space below him
— much more space than he'd ever had in the
newspapers, he mused. He shuddered and looked
up again at the cleft in the rock twenty feet
above.

"Well, I guess that's not the first crack that's
been over my head," he muttered, his sense of
humor gettin gthe better of him.

At that moment there was a great snapping
and crunching above, and the beaks of two small
eaglets poked over the edge of the lair. Small
beady eyes blinked at Perri, and then the two
looked at each other.

"Funny looking duck, isn't it?" said one. "It
must be either maw or paw!"

"Never mind the guessing contest," snapped
Perri. "Lend a hand here."

The two eaglets were quick to comprehend and
immediately flew down and picked Perri up.
setting him back in the eyrie above.

"Well, which arc you," asked one of the
eaglets, more impatient than breathless. "Ar3
you maw or paw?" The two poked at him
familiarly.

Perri didn't answer, but reached for the jug
still half full of amber liquid. He took a big
swig and smacked his lips.

"Ah," said Perri. "That'll do the trick." With
that he patted the two young eaglets on their
bald pates (eaglets of the family haliaeetus leu-
cocephalus are bald from birth, the poor kids),
flapped his arms, and was off, buckety-buckety
as fast as he could go. As he flew, he thought
of poor Lili alone in the hands of Potty, the ghost.
After all, Lili didn't know Potty very well. She
was a fool to trust herself with him. And what
could poor Perri do. What could anyone do to
a ghost.

At this point, there was a whoosh and a rush
of damp air, and there was the ghost beside
Perri, with Lili slung under one arm.

"Oh, theer you are," cried Lili, with her cus-
tomary originality. "Giblets, but we were wor-
ried. We came back to see how you were
doing."

"I'm doing all right," said Perri, brightly.
"How are all your folks?"

They set off together this time in the direction
of Hollywood. They flew along for some time
in silence.

"Want me to carry her for a while?" said
Perri finally.

"No need to," said Potty. "She's light as a
feather."

"You ought to pick her up some time after r
big meal at the Brown Derby," said Perri. (He
had a discount card there.) "Say, where'd you
get that mink coat," he added suspiciously *o
Lili, "That's not the one I gave you!"

"Potty picked it up for me," answered Lili,
hesitating a little. "I got cold on the way out."
"M-hm. Something he picked up in the five
and ten, I suppose," said Perri nastily.

They flew the rest of theway back to Lili's
apartment in icy silence.

(.Here we have a strange triangle — the glamorous
movie star Lili Liverblossom: Perriwether Murg.e,
her handsome and quick-witted press-agent; an I
Potty, the ghost, who while net exactly a creature
of parts, has his advantages. What will come o*
this strange situation? If I ever find out, I'll eil
you. Take a gander next month — you can't ted
when the news will break.)

Comes to Hollywood now from Lunnon Towne a
gal hight Phyllis Clare, who takes up a contra ;t
with Metro-Goldwyn-Mayer Studios. Miss Clare
has some outstanding characteristics.

For one thing, she is a combined blonde and
brunette. The front part of her hair is blond:;
the tresses at the back of her head are brunette.
Miss Clare explains the phenomenon by stating
that when but a babe she zvas dropped by a nurse.
* * *

This just goes to prove what has been hinted
before; you don't HAVE to be dropped on your
head to get in pictures, but it helps.

Into the Fire

Irene Hervey and Allan Jones

Myrna Loy and Arthur Hornblow Jr.

Sheila Browning and Henry Wilcoxon

Jean Chatburn and Frank Orsatti

KNEECAP REVIEWS
(No space left on my thumbnails)
"TO MARY, WITH LOVE," a tender if somewhat
slow-moving triangle drama of the love of a
woman for a handsome money-worshipper.
Splendid work by Warner Baxter, Myrna Loy,
Ian Hunter, and Claire Trevor lift the picture
out of what 'would otherwise be mediocrity.

■■THE SINS OF MAN," wherein Jean Hersh >lt
again takes up the torch of Emil Tannings. White
the picture as a whole will no doubt prove too
much of a strain on the tear duets for the aver-
age audience , it is a fine piece of work through-
out. Hcrshort is superb as the Tyrolean sextun,
and his age transition is convincingly portrayed.
Don Ameche is an interesting newcomer and
handles two roles well. Film might hav been a
box-office wow if a little comedy relief had been
injected. Direction by Otto Brower and Gregoiy
Ratoff is sympathetic and smooth. Sid Wagner's
photography is well above average.

"THE PRINCESS COMES ACROSS," and it takes
Fred MacMurray, Douglas Dumbrille, Alison
Skipworth, William Frawley, Porter Hall, George
Barbier, Lumsden Hare, Mischa Auer, Bradley
Page, and a few others to make it possible. The
Princess who comes across — the ocean — is nore
other than (you'll never guess, unless you've
been reading the papers again) Carole Lombard.
And let me tell you Carole makes a very fine
Princess Olga of Sweden. Her accent is mar-
velous, and I'm no Swede. The picture has mys-
tery enough and murder enough for the most
bloodthirsty, with a tasty little romance to boot.

William K. Howard directed this very fine piece
of film fare, and Ted Tetzlaff in his photography
makes it evident why Lombard cries for him like
children cry for Castoria.

A news item from London states that Tay Gar-
nett has been offered a million dollars by Japan
to put the Japanese film industry on the map.
According to the dispatch, Tay is "still consider-
ing the offer."

Whereas you'd think he'd toss it aside like a
button.

But maybe he's afraid he'll get paid in yen
and he knows the Jap have no yen for the
Americans.

Besides, those fellows are pretty cagey. You II
notice they didn't say what map. It will proba'ily
turn out to be a map of the United States.

Silly Sally thinks a movie magnate "must be
terribly attractive."

The latest contribution to the GEEVASENTENCE
DEPT., is from an anonymous 'writer. You figure
out why he's anonymous.

GEEVASENTENCE with the word "INERTIA."
"You can't get into a motion picture studio
inertia have a lot of drag."

COOKERY DEPARTMENT

(July was a hot month)

Into the Frying Pan

Ginger Rogers and James Stewart
Marian Marsh and Al Scott
Grace Durkin and Bill Henry

HOLLYWOODCUTS, by the Shovel Boys (they
dish the dirt.) * * * The meteoric Texas Centen-
nial is just snooting fragments all over the coun-
try. One of 'em landed in Hollywood in the
person of Lucy Ann Snell, personable Texas girl
sent here by Governor James Allred. She came
for the purpose of adding a few Texas Rangers
to her home State's police force. And the first
to receive a commission as a Ranger was none
other than Louis B. Mayer of M-G-M. Joan Craw-
ford, formerly a Texas gal, ■was made a Captain
in the Texas Rangerettes, Amazon branch of the
Rangers. In retaliation, Universal made a test
of Miss Snell, and she may remain permanently
in Hollywood. * * * The court was thoroughly
covered at the exhibition tennis match at the
West Side Club the night of their first Dinner
Dance. There were four players on each side-
two at the net and two baseline players! Among
the eight Hollywoodsmen in the game were Frank
Shields, Ralph Bellamy, Count Alfredo di Car-
pegna, Milton Beecher, and Frank Ross. In the
ballroom, a few people hung on after the main
gang had fled and were lucky enough to hear
Ann Sothern play the big grand piano and sing.
There was a hue and cry raised for George
Murphy to dance and Gertrude Neisen to sing, so
Ann and Count Carpegna played the piano — and
George Murphy sang and Gertie Niesen danced!

* * " On July 23 a surprise birthday party was
given at the Brown Derby for Helen Ferguson.
Among those to congratulate Helen, who looks
younger than ever, were Jeannette MacDonald.
Anita Louise, Fay Wray, Gene Raymond, Mr. and
Mrs. John Mack Brown, Harriet Parsons, Eadie
Adams, Glenda Farrell, Dr. Herbert Gaillard,
Ella Wickersham, and Liza Wilson.

At a huge dinner at the Breakfast Club on Jui}
8, an organization called the Association Cinema
Stars was formed under the guidance of pioneer
J. Stuart Blackton. Over three hundred prominent
motion picture people were present, most of whom
became members of the organization. Requirements
for membership include ten years of distinguished
and outstanding motion picture work. Officers
were elected, but instead of the usual titles of
President, Vice-President, etc., titles typical of the
industry were bestowed.

A list of officers follows:

Producer

Commodore J. Stuart Blackton
Directors

William Farnum
Lionel Barrymore

Leading Men

Maurice Cost el to

Bryant Washburn

Creighton Hale

Jack Mulhall

Leading Ladies

Florence Turner

Virginia Pearson

Agnes Ayrcs

Alice Calhoun

Heavies

Paul Panzer
Sheldon Lewis
Montague Love
Wilfred Lucas

Comedians

Flora Finch
Charles Murray

Otis Harlan
Walter McGrail

Production Manager

Victor Potcl

Casting Director

Harry Burns

Call Boy

Billy Fletcher

Chaplain

Rev. Neal Dodds

It seems the romance between Gail Patrick and
Bob Cobb is cooling off. Can't just be a natural
defense against the hot weather, can it?
Some of the wiseacres are predicting that Simone
Simon will turn out to be one of the year's best
bets, considering her work in "Girls' Dormitory.
Chief rub is her display of temperament, which
has turned a lot of Hollywood against her. Some
quarters seem to believe she was put up to it
before she left France, having been told that the
Americans expected foreign temperament and
would have no use for her if she was easy to
handle. * * * Edward Everett Horton left for
Europe early in July. His Encino estate is being
extensively remodeled during his absence. Horton
makes so many changes in his place that he
keeps a boss carpenter on salary year in ana
year out. * * *

HOW SAD DEPT.
Here lies the remains of Director McBipp.
Though he drank from a saucer he'd had many a
stip.

35 MM. FILM

Xf its only feature were unequalled fineness of grain,
SUPERPAN would still be hailed as an aid to better
photography. Because it combines finer grain with speed,
sensitivity and wider latitude SUPERPAN marks an
advance in negative manufacture. Made by Agfa Ansco
Corporation in Binghamton, New York.

C. KING CHARNEY, Incorporated

HOLLYWOOD

6372 Santa Monica Blvd.

Tel. Hollywood 2918-2919

NEW YORK

245 West 5 5th Street

New York City

EASTMAN

Super X

Panchromatic

Negative

AND

Chicago Hollywood

HOTOGRAPHER

3HTH YEAR

HOLLYWOOD

SEPTEMBER, 1936

VOL.8

No. 8

PROGRESS

■f« U. $ PAT Off

Congratulations

to California

for its

Successful

Pacific

International

Exposition

Typifying Modern American Progress

SCIENCE CONTINUES FORWARD IN THE
MANUFACTURE OF PHOTOGRAPHIC FILM

DU PONT SUPERIOR PANCHROMATIC AND POSITIVE FILMS
ARE OF UNIFORMLY HIGH QUALITY

DU PONT FILM MANUFACTURING CORPORATION

35 WEST 45th STREET

NEW YORK CITY

PLANT . . . PARLIN, N. J.

SMITH & ALLER, LTD.

6656 .. SANTA MONICA BLVD.
HOLLYWOOD, CAL.

Eastern Butterflies

PHOTO BY ERNST KEIL

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol. 8 HOLLYWOOD, SEPTEMBER, 1936 No. 8

Publisher's Agent, Herbert Aller

Silas Edgar Snyder, Editor-in-Chief

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerberc, Technical Editors

John Corydon Hill, Art Editor

Helen Boyce, Business Manager

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.

CONTENTS

Front Cover by Alexander Kahle
Frontispiece by Ernst Keil

MAX FACTOR— HOLLYWOOD AND LONDON - - - - 3

MOTION PICTURE SOUND RECORDING— Chapter XXVII - 4
By Charles Felstead

TELEVISION— DON LEE HOLDS FIRST PUBLIC DEMON-
STRATION OF HIGH DEFINITION IN THE NATION - 6

By The Editor

SCIENCE STEPS INTO OPTICS— Part III ------ 8

By Earl Theisen

RESEARCH COUNCIL STANDARD 2000 FT. RELEASE REEL
FOR 35 MM. MOTION PICTURE FILM 10

THERE ARE CAMERAS AND CAMERAS - - - - - 12 & 13
By Karl A. Barlebcn, Jr., F.R.P.S.

NEWSREELERS LIVE TEN DAYS ON SALT ----- 14
By Frank W. Vail, Local 659

A FORTY MILLION DOLLAR SHOW 15

By George Lyng

THE DE KAY CONTINUOUS MOVEMENT ----- 15

By Walter Bluemel
"THE EYES HAVE IT" 16 & 17

By John Van Pelt
AMATEUR MOTION PICTURE SECTION:

Movie Scenic - - - - 18

Cinema Tidings -----19

Questions and Answers ---------- 21

By F. Hamilton Riddel
CINELIGHTING THE STEEL-MILLS 26

By Hal Mohr

CLASSIFIED ADVERTISING - - 29

A REVOLUTION IN LIGHTING? - - - - - - - 30 & 31

By A. C. Jenking

CINEMACARONI 32

By Robert Tohey

MOHR UNIVERSAL FOCUS LENS MOUNT ------ 32

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles,
California, under the act of March 3, 1879.

and Canada

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California

GLadstone 3235

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, $2.50; Canada and Foreign $3.00 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

SERVICE ENGRAVING CO

TEK-NIK

TOWNE

OLDE

Hollywood

will begin in October with
a letter from R. D. Sangster
of the Industrial Depart-
ment of the Chamber of
Commerce of Los Angeles.

16MM.-
35 MM.

$1.00

At Your Dealers

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Three

MAX FACTOR • Hollywood & London

A New Label Makes Its Bid for Recognition in the

British Empire

The opening of Max Factor Studios, cosmetic lab-
oratories and manufacturing plant in London marks
another great step forward in the international ex-
pansion of this unique organization which has con-
tributed so much towards the advancement of the
motion picture industry . . . and the beautification of
the women of the world in general.

Max Factor's progress has been merited. His ad-
vance has measured up to every branch of the mo-
tion picture industry and has overstepped most of
them. His progress in the manufacture of face pow-
ders, rouge, lipstick and other make-up preparations
has been the inspiration of every other maker of
those products. Max Factor has been the leader and
the creator — the others have followed.

The announcement of Max Factor's opening of
cosmetic laboratories, manufacturing plant and salon
in London now makes available to the British pro-
fession the same type of make-up service that has
proven so popular and indispensible to the Holly-
wood film industry and foremost stars of the screen
for the past quarter of a century.

In addition to creating and manufacturing theat-
rical make-up for the British motion picture industry,
Max Factor will also manufacture his complete line
of Society Cosmetics in London.

Davis Factor, eldest son of Max Factor, and gen-
eral manager of Max Factor and Company, expects
to supply the entire English market, including all
British possessions and the whole of Europe, from
the London branch by January 1, 1937.

"In the few short months that we have been
manufacturing abroad, every indication is that Eng-
land will provide as large a market for Max Factor
products as the United States," said Davis Factor,
who left Hollywood August 21 to return to England
for the second time this year.

It was Davis Factor who had the full responsibil-
ity of establishing and organizing the Max Factor
branch in London. Arriving single-handed last No-
vember, the new plant was not only completely or-
ganized, but also running at full capacity by May 1 ,
1936 Besides the factory and laboratories, which
are located at 17, Gorst Road, Park Royal, N. W. 10,
luxurious Make-up Studios have been established at
49, Old Bond Street.

The laboratories and factory have been patterned
as closely as possible after the plans of Max Factor's
new $600,000 Hollywood establishment, which was
just opened last November.

All machinery used in the making of their cos-
metics is an exact duplication of the special equip-
ment which was made-to-order for the Hollywood
manufacturing plant.

Research and analytical laboratories are iden-

tical to those in Hollywood, with Max Factor employ-
ing the same number of chemists in his London
labortories as in the Hollywood laboratories.

According to Davis Factor, great pains were taken
to make the English branch as near a replica of the
Hollywood Studios as possible.

"It is only natural that we should attempt to do
this," he said, "since our working set-up in Holly-
wood is so satisfactory. By patterning our London
branch after the Hollywood headquarters, we are
now able to immediately benefit by the manufactur-
ing experiences which we have learned in this coun-
try during the past twenty-seven years."

Mr. Factor also pointed out the absolute necessity
for maintaining identical laboratory set-ups on the
two continents.

"The labs constitute the backbone of our indus-
try," he explains. "Experiments are constantly being
made with new formulas and new ideas. Then, too,
complete analytical laboratory facilities are abso-
lutely imperative to insure purity and a uniform
standard of all the products which we regularly
make.

"The prime reason for establishing research lab-
oratories in London was because of the fact that I
will be forced to divide my time between Hollywood
and London, spending about six months of every
year at both plants. With complete research labora-
tory facilities in both places, no time will be lost in
finishing any research work that I may start in either
country. It will just be a matter of moving the ex-
periments from one laboratory to another

In Hollywood, according to Mr. Factor, the re-
search laboratory is constantly working to create or
perfect some new make-up requisite for the motion
picture industry. Just recently a new make-up was
created in the Max Factor laboratories that will
eventually replace grease-paint altogether Other
experiments are daily being conducted on make-up
for television.

Since Max Factor's English laboratories will serve
the British film industry in the same manner that the
Hollywood laboratories serve the American film in-
dustry, the importance of complete laboratory facili-
ties becomes quite apparent. Many developments,
originally created in the field of theatrical make-up,
are later adapted and perfected for street wear also.

In addition to his son, Davis, Max Factor has sent
two more sons, Frank and Sidney, to London to take
charge of his English interests.

The organization of the British factory and labor-
atories also necessitated sending a staff of skilled
chemists, demonstrators, factory workers, and sales
managers to London. Each of these employees will
spend at least one year in England training British
workers in the Max Factor methods.

"Studio Call Service" has been organized by
Cameraman James Murray, Local 659, in association
with Bernice Ceder, with headquarters in Suite 6,
6418 Santa Monica Boulevard. "Studio Call Service"
gives a twenty-four hour service to all studio workers
who have need of such service. The charges are
small and the slogan is: "If the studio calls you we
will get you." The service adds its mite to the great
machine called "The Industry."

Four

The INTERNATIONAL PHOTOGRAPHER

September, 1936

Motion Picture Sound Recording

Chapter XXVII

|HE four chapters immediately preceding this
one discussed what we have called the
basic amplifier — an amplifier designed to
serve as a main recording amplifier for
motion picture sound recording, as the preliminary
or sale amplifier for a public-address system, or
as to the speech amplifier for a radio broadcast
transmitter.

In those other chapters, we described the origi-
nal amplifier designed to operate from batteries, the
microphone input and the output circuits for it, meter-
ing arrangements, grid and plate filtering, and final-
ly the adaptation of the amplifier to operation from
an alternating-current source. This chapter com-
pletes the description of this basic amplifier.

Cathode Biasing

It will be noted that in the cathode circuits of
the first two stages of this amplifier there are resistors

may be understood by reference to Figure 2 and
the following explanation:

A current flows at all times in the plate circuits
of the tubes in this amplifier when the filaments are
heated, since these tubes are biased to operate as
Class A amplifiers. This plate current flows (con-
trary to the common and erroneous conception of
current flow) from the negative terminal of the plate
voltage source — marked B — in Figure 2 — through the
resistance BR, from the cathode to the plate within
the tube as an emission current (a flow of electrons
through vacuum) and through the primary of the
transformer to the positive terminal of the plate volt-
age source, B-f.

This plate current that flows through the resistor
BR causes a voltage drop across the resistor that
is equal to IxR, where I is the current flow in am-
peres (one ampere is equal to 1000 milliamperes)
and R is the resistance in ohms of the biasing re-
sistor BR. This is simply Ohm's Law. Now let us

5oo, ooo***

POTENTIOMETER. , j
) Ob

FRs AND BRs ARE
I WATT CARBON

RESISTORS

Cs MAY BE
25- VOLT

ELECTROLYTIC
CONOENSIRS

^•output

TRANSFORMER
I L-2MF0

it L

500^
3 output

20. 000

SO WATTS

Wire wound

Fig. 1. Diagram of the improved version of the basic amplifier.

marked BR, and that there is a similarly marked
resistor connected between the center-top of the final
amplifier stage filament transform and ground.
These resistors are for the purpose of providing C
bias voltage for the grids of the various tubes, thus
making unnecessary the bias batteries used in the
original model of this amplifier. Their functioning

see this worked out in a practical example.

The type — 56 tube in the first stage of ampli-
fication has a voltage of about 250 volts applied to
its plate. At normal grid bias voltage of 13.5 volts,
a plate current of five milliamperes flows for this
plate voltage. In Figure 1, it will be seen that the
bias resistor, BR. has a value of 2500 ohms. Apply-

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Five

ing this in the above E=IR formula, E=0.005X2500,
or E=12.5 volts. This is not quite the required 13.5
volts, but it is close enough.

Since in the second stage of amplification of
Figure 1 two tubes are used, the plate current is
twice five milliamperes, or ten milliamperes, the
cathode resistor has a value of 1200 ohms, and the
problem becomes, E=0.010X1200, or E=12.0 volts.
This again is a bit below the required 13.5 volts,
but it is close enough; and it saves the expense of
having resistors of special ohmage made up.
Theory of Cathode Biasing

By reference to Figure 3, the theory of cathode
biasing will be understood. Here a resistance, Rp,
has been substituted for the "plate" resistance that
exists between the cathode and plate within all
vacuum tubes; and another resistance, marked Rt,
has been substituted for the primary of the trans-
former. It will be apparent that these two resistors
and the cathode bias resistor BR in series form a
simple voltage divider circuit across the plate volt-
age supply.

According to the laws of electricity, the voltage
divides itself across these resistances in proportion
to the relative value of the resistance in ohms. Thus
the grounded end of BR is the most negative point
in the circuit; point A is more positive by the volt-
age drop in resistor BR; point B is more positive than
the grounded point by the sum of the voltage drops
across BR and Rp; and point C has the same posi-
tive voltage as the positive terminal of the plate
voltage source. In other words, the sum of the
voltage drops across BR, Rp, and Rt is equal to the
voltage of the plate voltage supply.

Since the cathode terminal in a vacuum tube
circuit is considered as the source, or the point of
zero voltage with respect to all other portions of the
tube circuit, and since the cathode in this case is
positive with respect to ground by the voltage drop
across BR, then by reverse English we can say that
the cathode (point A in Figure 3) is at zero potential
and the ground point is at a negative potential by
the voltage drop across BR. Since the grid return
circuit connects through resistor FR (see Figure 2)
to ground, this in actual effect makes the grid nega-
tive by ihe amount of the voltage drop across the
cathode bias resistor. By computation we found
this to be 12.5 volts in the first stage of the ampli-
fier, and 12.0 volts in the second stage.

The same condition holds in the third stage of

INPUT TRANSFORME

OHIO FILTER CATHODE BIAS

Fig. 2. Schematic Diagram of Single Stage Amplifier showing
Grid Filter and Cathode Bias Circuits.

amplification, where the center tap on the filament
transformer winding takes the place of the cathode
of the preceding stages. This is necessary, since
the 2A3 tubes of this stage are of the filament type
instead of the indirectly-heated type, as are the type
— 56 tubes of the first two stages.

The Power Supply
The power supply is of the conventional type,

CHARLES

FELSTEAD

ASSOCIATE

EDITOR

as may be seen by reference to the accompanying
diagram. As in all other portions of this amplifier,
it is well to use high-grade parts in the power sup-
ply. Best and most consistent results are secured
only when such parts are used. Economies in cost
are often expensive in results.

The power transformer, particularly, should be
of rugged construction. An over all secondary volt-
age of at least 750 volts is desirable; and the trans-
former should have a rating of 100 watts or more.
The three filament windings — two for the tubes in
the amplifier and one for the rectifier tube — may
be on the same core with the plate voltage wind-
ing; but it is better to have a separate three-winding
filament transformer so that the core material of the
plate transformer will be less heavily loaded.

The windings on the filament transformer should
be rated at 2.5 volts and 5.0 amperes for the three
type — 56 tubes, 2.5 volts and 8.0 amperes for the
two 2A3 tubes, and 5.0 volts and 5.0 amperes for
the rectifier tube. The voltage ratings must be ex-
actly as specified; but the amperage ratings given
are the minimum and it will be better if they are
exceeded.

It will be noted that the center tap of the 2.5
volt winding for the type — 56 filaments is connected
to the common ground point of the amplifier. This
may seem unnecessary since the tubes are of the
heater type, but it is done simply as a precaution
to eliminate the possibility of any A-C hum in this
portion of the circuit not being grounded out.

A triple eight-microfarad electrolytic condenser
and two thirty-henry choke coils form the filter for
the power supply. It is important that the choke
coils be capable of carrying the total plate cur-
rent drawn by the amolifier. The rectifier tube
shown is of the 5Z3 type, but the less expensive type
— 80 tube will work almost equally well.

The "bleeder" across the power supply, marked
Rb in Figure 1, should be a 15,000 or 20,000 ohm
wire-wound resistor rated at about 50 watts. In case
the output voltage of the power supply is in excess
of the desirable value of 300 volts, it will be neces-
sary to connect the plate return leads from the ampli-
fier tubes to points on this bleeder that provide the
correct plate voltages for the tubes. A high-reading
voltmeter will be of assistance in finding the proper
points for connection to this resistor.

High-Power Output Amplifier

Although in the several preceding chapters we
were concerned only with the three-stage basic
amplifier, it will be well to expand this final chap-
ter to include the design of a high-power amplifier

(Turn to Page 22)

JU'

The INTERNATIONAL PHOTOGRAPHER

TELEVISION

September, 1936

Don Lee Holds First Public Demo nstration of High-Definition

in the Nation

By The Editor

[ULMINATING several years of pioneering
experimentation, a television receiver that
is believed to have achieved a new peak
in the clarity of the image transmitted, has
been perfected by Harry R. Lubcke, Director of the
Television Division of the Don Lee Broadcasting
System.

cathode-ray tube receiver was witnessed on Thurs-
day, June 4, 1936, by radio editors and other press
representatives of metropolitan Los Angeles.

Justly proud of the achievement in the field to
which he has consistently given every possible en-
couragement and support, Thomas S. Lee, president

Mr. Bernard H. Linden, Inspector in charge Federal Communications Commission, 11th District, at the controls of Don Lee television
receiver. The receiver is on a black platform for viewing while standing. Off the platform the image is the correct height for viewing

while seated in the usual easy chair.
Mr. Bernard H. Linden, Inspector in charge Federal Communications Commission, 11th district, inspects the Don Lee Television Transmitter

W6XA0. He is shown at the side of the radio frequency portion, which serves to put the television images "out on the air."
Looking up at the television antenna for the Don Lee Receiver. It consists of two five-foot one and thirteen-sixteenth inch long copper
tubes separated by an insulator and connecting each to one wire of the two-wire rubber covered feeder shown leading around the corner

of the building. This installation may be copied for home receiver use.
The public sees television. A group of persons about to view a television program as given in the special demonstration booth on the main
floor of the Don Lee Building, Los Angeles. The receiver is at the right, as is Television Engineer, Everest, who explained the workings of

the device to those interested.
The candid camera (A Contax) catches a mixed group looking at an image. Note the attentive look, particularly on the faces of the men.

Simultaneous with the announcement of the new
instrument's completion came the word that the Don
Lee experimental television station, W6XAO, would
immediately expand its regular daily schedule of
broadcasting. Demonstration of the transmitter and

of the Don Lee Broadcasting System, announced that,
beginning Friday, June 5, the receiver, which has
been perfected by the Don Lee organization, would
be available for inspection by any and all interested
persons.

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Seven

After demonstrating to the press, Director Lubcke
left Thursday night, June 4, for Washington, D. O,
there to attend conferences and hearings which were
conducted by the Federal Communications Commis-
sion on June 8 and 15, respectively. He testified
as a representative of the Don Lee Television Di-
vision, outlining in detail the conditions regarding
television in Southern California.

Something of the significance of the event is evi-
denced in the fact that this is the first public demon-
stration of high-definition television ever conducted
in the United States. These public demonstrations
observed the following daily (except Sunday) sched-
ule: 3:00 to 5:00 P.M. P.S.T., 6:30 to 8:30 P.M., P.S.T.

During these periods, thousands of interested per-
sons were given an opportunity to both see and
hear the sight-and-sound television, as newsreels
and short subject films were reproduced for both
the eye and ear. In the interests of convenience,
the instrument is located at the Don Lee Building
at Seventh and Bixel Streets.

This high-definition equipment, only recently per-
fected by Director Lubcke and his associates, is the
culmination of experimental and test work begun in
1930, conducted for the most part behind closed
doors. Television transmissions have gone out from
W6XAO since December, 1931, the images being re-
ceived over the air and not by means of wires. The
test period for the new equipment has occupied the
past year. No announcement of this activity was
made.

The receiver is of the self-synchronized, cathode-
ray tube type, developed by Mr. Lubcke and first
proved by him on May 21, 1932, when television
images were for the first time in history received
in an airplane. The receiver and system in general,
are based on his patents. The equipment and prin-
ciples involved are a departure from those of other
television investigators and represent the Don Lee
Broadcasting System's contribution to the progress
of the art.

The receiver consists of the cathode-ray tube
unit; two scanning sources; the television receiver
proper, and the power supply. The television re-
ceiver proper serves to convert the television ether
waves into electrical pulsations which are properly
reproduced on the cathode-ray tube screen with the
co-action of the scanning sources. Only four knobs
appear on the front panel.

The images are composed of 300 lines and are
repeated 24 times per second. This is a far cry from
the 45, 60, or 80 line television of the past.

The television demonstrations have been avail-
able to the public since their inception. In order to
control the size of groups witnessing each demon-
stration, attendance is now, however, restricted to
holders of tickets which may be had for the asking
at the Information Desk of KHJ, second floor of the
Don Lee Building at Seventh and Bixel Streets. Out
of town residents or those who cannot conveniently
call at the Don Lee Building, may secure tickets by
addressing a stamped, self-addressed envelope to
The Television Division, Don Lee Broadcasting Sys-
tem, 1076 West Seventh Street, Los Angeles, Cali-
fornia.

During the course of these demonstrations, show-
ings were conducted for many special groups. First,
naturally, radio editors of newspapers in Los An-
geles and vicinity were invited guests. Subsequent-
ly, Bernard Linden, inspector in charge of the Los

HARRY R.
LUBCKE

Angeles office of the Federal Communications Com-
mission; delegations from every major motion pic-
ture studio; managing editors, and city editors of
local newspapers viewed the images. Visiting
scientists, some of international repute, were also
accommodated.

While revealing that ready-made television re-
ceivers are not yet available for the reception of
any television broadcast in the United States, Mr.
Lubcke had encouraging words for the skilled ama-
teur constructor. Instructions as to how to construct
a receiver for seeing the images broadcast by
W6XAO, the Don Lee television station, are made
available to those who manifest an interest at the
demonstration, or who send a stamped, self-ad-
dressed envelope to the Television Division. A
resume of this information follows:

The Don Lee television transmitter W6XAO oper-
ates on the ultra-high frequency of 45,000 kilocycles
(6 2/3 meters) daily, except Sundays and holidays,
starting at 3:00 P.M. and at 6:30 P.M. Voice an-
nouncements concerning the broadcast are made at
the beginning and end of each transmission.

For receiving the voice announcements of
W6XAO and for preliminary experiments, any type
of receiver which will tune to 6 2/3 meters may be
used. Receivers designed for 5 meter amateur work
are suitable when provided with larger coils. In-
stall coils with 50 per cent more turns and remove
one turn at a time while tuning for W6XAO. A
simple line image of constant intensity is broadcast
for a short period of each schedule, and an appre-
ciable change in its strength after a change in the
circuit or operation of a receiver is a direct measure
of the effect of the change.

The image broadcast is a 300 line, sequentially
scanned picture, with a frame frequency of 24 per
second. For receiving these images the receiver
must tune very broadly and should be of the super-
heterodyne type, with band-pass intermediate fre-
quency transformers arranged to operate on an in-
termediate frequency of approximately 8,000 kilo-
cycles. The RCA 954 or 955 "acorn" tubes are
recommended for use in circuits carrying ultra-high
frequency radio energy, except for the first detector
of a superheterodyne receiver, where the metal tube

(Concluded on Page 23)

SACRIFICE!

Variable area single system sound camera complete^
all accessories— perfect condition. Write, wire or cable
lor prices and particulars.

MOTION PICTURE CAMERA SUPPLY Inc.

723 Seventh Ave. New York City
Cable: CINECAMERA

Eight

The INTERNATIONAL PHOTOGRAPHER

September, 1936

Science Steps Into Optics

By Earl Theisen

Associate Editor, International Photographer

Honorary Curator Museum Los Angeles

384-322 B. C. — Aristotle knew of the phemonema
of light rays involved in the camera obscura.

100 A. D. — Pliny recorded the atmospheric influ-
ence on metallic silver.

1214-1294 — Roger Bacon described in his "Per-
spectiva" (1267) what may have been the images of
a camera obscura.14

1452-1519 — Leonardo da Vinci described the cam-
era obscura, not making any claim to the invention.
(The camera obscura is a darkened chamber having
a small hole (pin hole) through which rays of light
are admitted to a suitable surface for receiving the
image.1)

1521 — Caesarino, in a manuscript of this date,
mentions the camera obscura in which he gave
credit for its invention to a Benedictine monk named
Don Papruito.

1521 — Mauroiycus, a mathematician of Messina,
in a manuscript written in 1521, but published in
1611, described the subject of the camera obscura
mathematically.

1556 — Georgius Fabricus recorded that crude
horn silver darkened in sunlight after bringing from
a mine.

1540-1615 — Battista della Porta described the cam-
era obscura in his "Magia Naturalis" (1558) as his
own inveniton. In his second edition (1591) he de-
scribed the camera obscura using a lens.

1568-— Daniello Barbaro published in "La Prac-
tica della Prospectivo" an account of a camera ob-
scura having a lens and using stops. This is thought
to be the first published account of a camera with a
Plans-convex lens.

1585 — Giovanni Benedictti refers to a camera
obscura with a lens.

1591 — Porta published a second edition of "Magia
Naturalis" describing the use of a lens on a camera
obscura, evidently believing it his own invention.
"If you put a small lenticular crystal glass to the
hole you shall presently see all things clearer, the
countenances of men walking, the colours, garments
and all things as if you stood hard by; you shall see
them with so much pleasure that those that see it
can never enough admire it."2

1611 — Johann Kepler, the astronomer, in his
"Dioptrice," dealt with the optics of a camera and
suggested in a letter to Sir Francis Bacon the use of
the camera obscura as an implement for tracing
landscapes. This was suggested also in the earlier
works of Porta and Barbaro. Many of the early art-
ists used this means to obtain outline sketches.
Records of Light Chemical Reaction

1727 — Johann Schulze by chance discovered the
action of light upon a solution of silver nitrate (the
photo-chemical medium today). His discovery fol-

lowed experiments in making a phosphorescent sub-
stance. He cut out stencils of words and wrapped
these around bottles of the nitrate solution and put
them in the light. The light passing through the cut-
outs reacted on the silver and turned it black, result-
ing in a liquid photographic impression. Of course,
these liquid images would not make a permanent
record.3

1763 — Dr. William Lewis repeated the Schulze ex-
periments and coated ivory and wood with silver
nitrate in an attempt to make a photographic image.
He also discovered that mercury solutions were sen-
sitive to light.

1777 — Carl Wilhelm Scheele exposed a prepared
silver chloride surface to a solar spectrum and found
that various colors had different actinic qualities.
The violet darkened in fifteen seconds, while the
green required thirty-seven seconds. He discovered
the formation of metallic silver in the photo-chemical
reaction.

1790 — Thomas Wedgwood is generally believed
to have started his photographic experiments and
obtained results in photo-printing on sensitized pa-
per. There is a link between Wedgwood's work and
that of Lewis because Wedgwood had a series of
notebooks written by Lewis covering his experi-
ments. In 1802 Wedgwood published his process
of recording objects by the action of light in the
Journal of the Royal Institution in collaboration with
Sir Humphrey Davy. He described a method of
photo-printing by coating various materials and the
formation of the image. He also mentions in the
paper that no successful method of fixing the image
had been found, although they tried washing and
varnishing, which, of course, was not successful be-
cause it did not destroy the sensitiveness of the
medium.4

1800 — Herschell discovered the heat rays beyond
the visible red.

1801 — Ritter discovered by photographic means
the ultra-violet beyond the visible spectrum.

Deviation from Evolution of True Photography

Having Indirect Influence on the

Progress of the Art

1814 — Joseph Nicephore de Niepce (1765-1833)
made images with bitumen on metal plates. Al-
though successful images were made, these experi-

DUPLICATES OF KODACHROME

Silent — or sound can be added.

The only laboratory in the country duplicating Koda-

chrome Film. ... ..

Write for prices.

STITH— NOBLE CORPORATION, LTD.

645 No. Martel Ave. Hollywood, Calif.

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Nine

merits are to be classified in the evolution of print-
ing processes and not in the true lineage of photo-
graphic processes. His idea was to make prints as
in photo mechanical printing processes.

1824 — Louis Jacques Mande Daguerre (1787-1851)
began experimenting in fixing camera images, using
polished silver plates. His successful Daguerreotypes
of 1839-54 did much to popularize photography. In
January, 1839, he discovered the Latent Image, and
announced his results through the press on January
7 and 14, 1839, but kept his process secret. On June
15, 1839, his process was announced through the
French Chamber of Deputies.

The Daguerre process had the disadvantage of
being able to make only one picture with each ex-
posure. This method consisted of exposing an
iodized silver plate and developing the latent image
with mercury vapor.5

1833— First Photographs. Fox Talbot (1800-1877)
commenced his photographic experiments and in
1835 had successful pictures fixed with salt (sodium
chloride). His first pictures were of leaves and ferns
made by laying them on sensitized paper. In Au-
gust, 1835, he photographed his home, Lacock
Abbey, copies of which can be seen in his "Pencil
of Nature." His first experiments were conducted
independently of the published processes of earlier
attempts of others, of which he later became aware.
On January 25, 1839, Talbot's "Sun Pictures" were
exhibited by Michael Faraday at the Royal Institu-
tion. On January 31, 1839, he sent a paper describ-
ing his methods to the Royal Society on Photogenic
Drawing. On February 8, 1841, he patented the
"Calotype" (Beautiful Pictures) process, also known
as Talbotype, after having discovered the latent
image in September, 1840. The discovery of the
latent image decreased the exposure a "full hundred
times."

In 1844 the words, "positive" and "negative,"
were used by Fox Talbot for the first time in connec-
tion with photography in his "Pencil of Nature." He
found the dry sensitized paper not as sensitive as
when moistened.

1837 — On June 24 Bayard worked out a direct
positive system, using silver nitrate and fixing with
potassium bromide.

1840— On March 31 J. W. Draper took the first
portrait (by Daguerreotype) now in existence; prob-
ably earlier ones were taken but none preserved.'1

1840 — Sir John Herschell flowed a silver salt on
glass, but did not use a sustaining emulsion support.
He also introduced "hypo" for fixing and was the
first to use the word "photography."

1841 — Voigtlander introduced the famous Petzval
portrait lens.

1848 — Niepce de Saint-Victor, a nephew of

GOERZ

FOOTBALL and other SPORTS

KINO-HYPAR

f/2.7 and f/3 Long Focus Lenses
3 and 4" Focal Lengths

Ideal for purposes of Sport and Travel cinematography and for
the interesting closeups that races and games afford. A Kino-
Hypar Long Focus Lens is the Distance Eye of your camera,
portraying the remote object in clear and accurate detail.
Catalog P-9 on reguest.

C. P. GOERZ AMERICAN OPTICAL CO.

317 East 34th Street

New York

Niepce, first used a film of albumen emulsion on a
glass support on which he brushed his sensitive
salts.

1848 — Frederick Scott Archer experimented with
a wet collodion process. He published his process
of sensitizing iodized collodion and exposing wet in
"The Chemist" in 1851. This process was popular
until about 1860 as the "wet-plate" process when
albumen emulsion replaced the collodion. Gelatine
gradually replaced the albumen from 1880 until its
entire elimination in 1890.

1853 — Introduction of many forms of collodion
positives backed by varnished surfaces or velvet
known as "Ambro-Types."7' 8

1854 — Gaudin attempted to use plate in dry state.

1854 — Spencer and Mehuich patented a daylight
loading roll holder of sensitized paper bands.

1855 — Poitevin patented a chromatized gelatine
printing process to which pigments had been added
(in 1839 Ponton had discovered the action of light on
bichromate).

1855-— Taupenot introduced a method of iodizing
albumen which could be dried and still retain sensi-
tiveness.

1856 — Parkes patented a transparent celluloid
support for a sensitive photographic coating.

1868 — W. H. Harrison published his results of
making silver bromide emulsion in gelatine. He
used an alkaline developer.9

1871 — Dr. R. L. Maddox published a formula for
preparing a dry plate of gelatine emulsion senstized
with silver bromide.

1873— William Willis, Jr., took out the first patent
on a platinum printing process.

1874 — Liverpool Dry Plate Company introduced
the first paper coated with silver bromide for positive
printing. Many others followed after 1880.

1877 — J. W. Swann placed dry plates on the mar-
ket. (In 1846 Swan had introduced the carbon print-
ing tissue and in 1874 Sawyer introduced a flexible
support for the carbon process.)

1878 — Charles Bennett introduced a process of
cooking gelatine to increase its sensitivity.

1879 — Monckhoven perfected the cold ammonia
process for increasing sensitiveness of the photo-
graphic emulsion.

1880 — George Eastman commercially introduced
dry plates in the United States.

1884 — John Carbutt coated thick sheets of cellu-
loid with photographic emulsion.

1884 — A. L. Henderson demonstrated to the So-
ciety of Amateur Photographers a process of mak-
ing gelatine bromide emulsion.1"

1889 — George Eastman introduced sensitized gel-
atine on a thin celluloid support.12 In 1891 he sub-
mitted a daylight loading system using celluloid
rolls similar to the present. In 1903 the Eastman non-
curling gelatine coated back was introduced.13

1893 — Alfred Watkins introduced the factorial de-
velopment system.

1893 — First gaslight paper introduced by the Nep-
era Chemical Company from the formula of Leo
Baekeland.

1895 — In August, Eastman introduced the first
motion picture positive raw stock in 100-foot lengths.
Prior to this time the motion picture experimenters
used the negative stock for both positives and nega-
tives which had been patented by Eastman in 1889.

1905 — Thomas Manly introduced the Ozotype
process.

(Turn to Page 24)

Ten

The INTERNATIONAL PHOTOGRAPHER

September, 1936

IN EFFECT SEPT. 1. '36

RESEARCH COUNCIL STANDARD 2000'

RELEASE REEL FOR 35 MM. MOTION

PICTURE FILM

Subject

These specifications describe the construction of
a release reel to provide suitable mounting, during
shipment and projection, for 2000 feet of standard
35 mm. motion picture film. The attached Research
Council Drawing entitled "Standard 2000 Foot Re-
lease Reel for 35 MM. Motion Picture Film" shall be
considered a part of these specifications.

Size

The reel shall have an outside diameter of IAV2
inches, a hub diameter of 4 inches, and an inside
clear width of 1 V2 inches. The center bushing shall
be of such size as to provide an easy fit on all stand-
ard 5/16 inch diameter rewind and projection ma-
chine spindles, and shall have a Va by Va inch key-
way.

Construction

The reel shall be constructed of No. 24 USS gage
[.025"] (except the hub which shall be constructed
of No. 20 USS gage [.0375"]) with rib heights and
rolled edges of dimensions as shown on the drawing
except that thinner gages and slightly greater rib
heights may be used for economy of construction,
provided such design makes up into a reel of equiv-
alent stiffness in the flanges to the one of specified
dimensions. A thin gage which might permit denting
of the ribs during use but which at the same time
would maintain the essential working dimensions of
the reel would be acceptable.

An access hole for threading shall be provided
in each flange adjacent to the film slot, having a
minimum diameter of 3 inches, and located as shown
on the drawing. The number, size and position of
lightening holes in flanges is not specified other than
that they must be of such number and position to

CAMERAMEN
STUDIOS

provide an acceptable running balance.

The reel shall be entirely free from raw edges on
all portions which come in contact with film or the
hands. The edges of all hand openings shall be
turned and flattened and the outer edge of flanges
shall be rolled. Flanges shall have an embossed
spot near the periphery, opposite the opening adja-
cent to the threading slot, as shown at "A" on the
drawing.

Reel flanges shall have a sufficient area of flat
contact surfaces on the inside to provide ample bear-
ing for the edges of the film. Rib heights shall be
slightly less than the height of the peripheral rolled
edge to allow for stacking. All flanges shall be free
from warping or buckling after assembly and shall
run true with 1/32 inch when the reel is spun on a
5/16 inch shaft.

Center bushing shall fit solidly into side flanges
without looseness when assembled, and shall be of
sufficient strength to withstand the wear and tear of
usage. Clinching ears shall fit tightly and shall be
pressed down firmly so as to make a solid assembly
of the reel and to insure at all times a 1/16 inch slot
for threading the film end into the hub.
Materials and Finish
Material shall be steel with anti-corrosive plating
or coating, or non-corrosive alloy. Finish shall be
suitable to protect against the wear of use and
against the corrosion of ordinary atmospheric influ-
ences.

Tolerances
To allow for the utmost freedom in design of the
reel, maximum and minimum dimensions are indi-
cated on the drawing wherever possible but where
such values are not shown, the specific dimensions
shall be strictly adhered to within the limits of good
practice.

Cost
The total weight of the reel and its cost price must
be closely comparable to two first
class reels of 1000 feet film capa-
city Any cheapness in the reel
made possible by weak construc-
tion shall be deemed unsatisfac-
tory.

it9s here
far sale
far rent

In our display rooms you will
find New and Used Cameras, Ac-
cessories, Lighting Equipment,
immediately available. Phone,
write or wire.

Everything is thoroughly guaranteed.

Our experienced engineers, work-
ing in our own machine shop,
can repair any make of camera,
quickly, at low cost.

MOTION PICTURE CAMERA

SUPPLY, Inc.
723 Seventh Ave. New York City

Telephone It It , ., ,,1 9-7755

Cable Address: Cinecamera

Undesirable Features

Any concentric grooving in the
flanges which will permit layers of
film to shift laterally shall be con-
sidered unsatisfactory.

Enamel or paint finishes are not
recommended and unless they
offer exceptional resistance to
wear and chipping shall be con-
sidered unsatisfactory.

Any reel on which the plating or
dipped finish cracks during form-
ing or assembling shall be consid-
ered unsatisfactory.

Note

Manufacturers preparing stand-
ard reels meeting these specifica-
tions should take whatever precau-
tions may be necessary to assure
themselves that they are not in-
fringing any existing patents which
cover the features suggested in
the specifications.

September, 1936 The INTERNATIONAL PHOTOGRAPHER Eleven

We Point With Pride

to the fact that

EASTMAN Super X

Pa n ch rom a tic Nega tive is
enjoying a degree of success
practically without parallel
in the history of motion
picture film. We are proud of
our role as its distributor to
the industry... and we shall
be proud to supply it to you
for your next production.

J. E. BRULATOUR, INC.

FORT LEE • NEW YORK • CHICAGO • HOLLYWOOD

Twelve

The INTERNATIONAL PHOTOGRAPHER

September, 1936

There Are Cameras and
Cameras

By Karl A. Barleben, Jr., F.R.P.S.

[Dean, New York Photographic Institute)

|AVE you got the photo bug? Seriously, I
mean. If you have, you will appreciate the
torments its victims are subjected to every
time they see or hear of a new camera. I
know, being possibly one of its most easily influ-
enced victims, and I wish now that I had the money
I have during the past twenty years spent on buying
new cameras, trading in old ones for new ones and
making swaps of all kinds. It is no exaggeration
to say that I've owned practically every kind and
type of camera available in the United States.
Everything from the smallest, such as the Coronet,
to the biggest such as 8x10 view outfit. It seems
that I shall never learn, for as the years pass, I
can't seem to overcome the itch to possess the new
models which make their appearance from time to
time. I have partially curbed the germ of camera
possession, but not completely. Perhaps by the time
I grow a long, white beard and have to get around
in a wheel-chair, I may come to the point of quitting
this insane mania for owning new models.

I've had my fling at motion picture work, news
work, teaching and more lately, miniature camera
photography, as many of you know. In the course
of years I have been swept by the tides of photo-
graphic fashion. I've lived through the intense
miniature camera craze, the home movie period and
many others. Today I feel more settled, for I have
gathered bits of knowledge from each as I've trav-
eled down the road of photography. Should I make
so bold as to predict that the trend is today towards
slightly larger than miniature camera sized nega-
tives? Personally, I now seem to favor negative
sizes from 2Vix3Vi and up to 4x5 inches. The in-
dustry will support my personal convictions, for it,
too, will tell you that the small, true miniature sizes
are slowly giving way to the somewhat larger sizes.
There are many reasons for this, but we shan't go
into them here. Suffice it to say that we have all
learned a lot from miniature camera technique, and
now, when working with larger sizes, we secure
better results than ever before, all because we com-
bine miniature technique with larger materials. A
grand combination.

The point in question at the moment is: "What
sort of camera most nearly suits the average require-
ments of the amateur photographer?" Whether you
are yet to own your first camera or whether you
are a bug like I am, makes but little difference.
The result must be the same. As was previously in-
dicated, the fashionable negatives of the present are
roughly 2V4x3 Va or 31/4x4V/4 inches. We will assume,
then, that a camera using this size negative mate-
rial will be sought. The next consideration is one
of cash. How much are you willing to invest in a
camera? You can get cameras from a few dollars

to a few hundred dollars, and while it may seem
economical to get inexpensive equipment, you will
find out that, in the long run, it pays to invest in
a high-quality outfit which will not only give greater
flexibility but last ever so much longer.

The recently introduced import duty and taxes
has increased the imported class cameras consider-
ably, and you may not feel justified in spending
what they cost at the moment. The next course is
to investigate domestic outfits, and, sad as it may
seem, the fact is that very few are what we can
call high-quality. There are, of course, a few, about
which more later.

Next on the list of considerations is the kind of
work intended — upon this consideration depends
everything if you wish to be happy with your new
camera. In short, it must be of a type which will
perform most of your work satisfactorily and easily.
This is difficult, for as is well-known, no one camera
can be said to be truly universal in its applications.
Each camera is designed to excel in one or more
specific types of work. Just as the miniature camera
with a speed lens cannot be beat for straight can-
did work, the aerial camera has no peer when it
comes to air conditions and the studio camera is
best for studio portrait work, so with every other
camera. True, all may be used after a fashion for
practically everything, but not saying anything
about the impracticability and inconvenience in-
volved. So it is first necessary to determine roughly
the type of photography to be done. Then the
camera should be matched to the work, and all
will be well.

From personal experience, I am prompted to re-
mark that the Graflex and Speed Graphic cameras,
as offered by the Folmer Graflex Corp., stand quite
alone as far as versatility and accomplishment are
concerned. These domestic cameras are, when com-
pared to imported makes, most reasonable in price.
They offer perhaps more value, dollar for dollar,
than most outfits. If you're interested, let's examine
the facts.

These cameras have been in use for more than
twenty years. In fact some which left the factory

i r VARIABLE AREA RECORDERS'

W~ PATENT NO. 1985584. OTHERS PENDING
ALSO

^^ 35 mm to 16 mm ^^

L« reduction sound printer 1

^ SOUND EQUIPMENT ^

l «

^/ Cable address CRSCO ^J

1 '

* C.R. SKINNER MFG. Co.

290 TURK STREET. PHONE OROWAY 6909

h. l San Francisco. California U. S. A. j

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirteen

fifteen, eighteen and twenty years ago are still in
active duty. This seems that they "have what it
takes." Their background is of the best. You know
of course that newspaper photography is, without
question, the most trying and difficult type of pho-
tography. It demands satisfactory results regard-
less of conditions. It is interesting to note that about
ninety per cent of all staff news cameramen use
Speed Graphics of the 4x5 size. The others use
Graflexes, also of 4x5 size. This fact should serve
to conclusively indicate that where a sturdy, work-
able camera is wanted, the Graphic and Graflex
cannot be beaten. Some years back, the news boys
took over a popular 4x6 folding camera of excellent
make. While it served most of their purposes, it
was found to be lacking in ruggedness among other
things. Back they went to the Graphic, and from
all appearances, they'll stay with it henceforth.

But ruggedness is not the only qualifcation de-
manded by the serious photographer of today. He
wants precision, quality and flexibility. Here again
I can only point to these two fine cameras as ex-
amples which embody the needed requirements.
Ever since the Folmer Graflex Corporation issued
the Speed Graphic in the 31/4x4V4 size, the demand
for it has been startling. Surely this means that
this size negative is one of the most popular. Pic-
torialists, scientific workers, news cameramen and
amateurs are now using the small 31/4x41/4 Speed
Graphic for the bulk of their work, while the news
boys and amateurs who require a larger size, use
the 4x5 Graphic. One interesting advantage the
4x5 negative has, is that it takes only a two times
enlargement to make an 8x10 print.

The Graflex, of course, has always been popular
with photographers of all kinds. Its ability to focus
right up to the moment of exposure makes it ideal
in all cases where the subject is moving about —
such as when photographing children at play, pets
and the like. The reason some people don't like
it is due to its bulk and weight which are of neces-
sity involved to house the reflecting mirror focusing
arrangement. To those where bulk is unimportant,
it makes an ideal outfit. The Graphic of course
is small and compact, and is therefore the choice
of many, especially when traveling or where lug-
gage must be carried by hand, as in mountain
climbing.

No camera can claim to be truly universal unless

it offers a great range of shutter speeds. Take the
Speed Graphic, for instance. The focal plane shut-
ter gives speeds from 1 to 1/1,000 second exposure.
If this range is not enough, a Compur shutter can
be installed with the lens. The customary auto-
matic shutter speeds of the Compur are then avail-
able in addition to the speeds of the focal plane
shutter. Most news cameramen have both types of
shutters on their Graphics for while the one serves
for some purposes, the other serves for a new set
of purposes, thus practically anything can be suc-
cessfully coped with when using the two types of
shutters.

With all due respect to range finders, many still
prefer the old-fashioned ground glass screen to not
only focus, but compose the subject. The Graflex
offers this means of focusing ideally, and the
Graphic gives the convenience of ground glass fo-
cusing with the ease of a view camera, but without
the inconvenience of the bulk of the latter. This is
a revelation, for with most hand-cameras, it is neces-
sary to completely remove the ground glass back
before the plate holder can be inserted. The Graphic
focusing back merely is pushed backward and the
holder inserted, as with view and similar cameras.

In serious work, it often becomes necessary to
change lenses at will — and with the minimum of
effort and lost time. Both the Graflex and Speed
Graphic permit this with the greatest of ease. Last
but not least, they are available in several sizes,
making it possible to enjoy the popular features in
a variety of negative sizes. Most popular, as has
been noted, are the 3V/4x41/4 and 4x5 sizes. These
are small enough to be economical, yet large enough
to produce first class quality work of a professional
order. Then, too, the negatives permit any local
alteration to be done on them, such as retouching,
etc., without making a day's work out of it.

Now that I have confessed my weakness for
good cameras, it is only fitting that I conclude by
saying that in the past I've had two Speed Graphics
and three Graflexes. Today, among my collection,
stands a 4x5 Speed Graphic. In short, I've com-
pleted the cycle of photography, and have come
back eventually to the equipment which years of
experience and common sense tells me is about
the best all-around outfit for my varied photographic
activities.

ArtReeves

ArtReeves''

FILM TESTED EQUIPMENT
LABORATORY EQUIPMENT

AND

SOUND RECORDING EQUIPMENT

]-[olry^vood

Motion PicTure/cquipmemTQi |Td.

6*5 NORTH MARTEL AVE-

CABLE ADDRESS ARTREEVES

HOLLYWOOD, CALIFORNIA, US A

Fourteen

The INTERNATIONAL PHOTOGRAPHER

September, 1936

Newsreelers Live Ten Days on Salt!

By Frank W. Vail,
Local 659, I.A.T.S.E.

Left to right, standing: John Olson, Fox; Joe Rucker, Paramount;

). McHenry, Universal; Frank Vail, Pathe. Seated, left to right:

Frank Lowery, Paramount; Captain George Eyston.

JUITE a diet, even though the salt was not
taken as food. With a nice "two" day
assignment to cover the auto speed runs
of Captain George Eyston, British speed
ace, on the salt flats at Bonneville, Utah, the news-
hawks arrive — but, not alone.

Old Man Weather, an uninvited guest, blows in.
Five days of assorted storms, including rain (light,
medium and heavy), a salt storm (just like dust with
a sand blast finish), a plague of "Mormon" crickets
(every male cricket had at least two million wives),
a hurricane (which brought thunder and lightning),
a miniature aurora borealis (a beautiful prelude to
the finale which consisted of, a cloudburst (generous
size helping).

During the above described demonstration, Eys-
ton's tent at the pit — a huge affair — was blown
down and re-erected with true British determination
at least twice daily. Nice cut-in shots but monoto-
nous with repetition. Our evenings were spent at
the State Line Hotel — good food — and a nice $30,000
Diesel-powered lighting plant (cunningly hidden be-
neath the cameramen's quarters) purred us to slum-
ber— after about three nights of no sleep.

Reminded us of another story — "the Army's 400
planes in the air at one time"; noisy till one got
used to it. But, back to our speed yarn. After
Mother Nature had restored some sense of stability
to the weather, there still remained the small item
of an inland sea covering the course with three
inches of water. Evaporate? Not for weeks. Soak
in? Not for months. What to do!

In desperation Captain Eyston's crew broke out
a flock of brooms and commenced the herculean
effort of drying the track by muscle power. "Time
Marches On," but the track stayed wet. Eight days
had passed and the patience of a newsreel gang
was tried. Then, the masterful idea was born. A
car carrying Jack McHenry, of Universal, and Frank
Vail, of Pathe, streaks across the salt and dis-
appears.

In three hours they are back with a fourteen-foot
length of six-inch diameter steam hose, swiped from

a roundhouse. Joe Rucker and Frank Lowery, of
Paramount, catch on quick, and rush across the salt
flats dragging two huge timbers, accompanied in
true W. P. A. fashion by Johnny Olsen, of Fox,
carrying the inevitable red flag. The hose is split
in two lengthwise and nailed to the boards.

English mechanics stand aghast. The camera-
men's patent is complete — a giant squeegee! A
moment of anxiety as it is hooked onto a fast truck,
will it work? The truck gets up speed, 20, 40, 60
miles per hour — a great fan of water is thrown far
to the side.

Round and round she goes and in four hours
the track is dry and ready. Radio Station KSL puts
its short-wave station on the air; Captain Eyston
steps to the mike and a nation-wide network car-
ries his story of the "Cameramen's Patent." The
rest of our tale has been told, over 60 world's rec-
ords smashed, New York has our negative — just
another story has been "covered" by the newsreel
men!

The irrepressible Merle La Voy, war news-reeler
on seven fronts, traveller in all parts of the earth
and at presenl shooting backgrounds throughout
Africa, is still among the lost on the Dark Continent,
but his friends fully expect him to appear soon with
an elephant under one arm, a lion under the other
and followed by a thousand or more backgrounds —
alive!

FOR THE

Unusual

LOCATION

CINE
LITES

Mole-Richardson, Inc*

941 North Sycamore Avenue
Hollywood, California

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Fifteen

A Forty Million Dollar Show

Official newsreel cameramen of the San Fran- Fair on the Exposition Island, lying directly between
cisco Bay region are laying plans for their first as- the world's two largest bridges, spanning San Fran-
signment on the ground-breaking ceremony for the cisco Bay.

'-6V&e<:y '

Golden Gate International Exposition, to be held on
a man-made island in the center of San Francisco
Bay in 1939.

Civic leaders, representatives of foreign nations
and exposition officials gathered August 21, to start
the construction program for the $40,000,000 World's

Newsreel representatives of the first Exposition
job include Frank Lowrie, of Paramount News;
George Lyng, of Hearst Metrotone; Eric Mayell, of
Fox Movietone; Frank Vail, of Pathe, and Jack Mc-
Henry, of Universal News.

The De Kay Continuous Movement

Bv Walter Bluemel

LMOST since the beginning of motion pic-
tures, engineers and mechanics have been
trying to develop a successful continuous
movement for motion picture cameras and
projectors, but the fact that at present there is on the
general market no film movement which takes or
projects steady pictures while the film is in contin-
uous, non-intermittent motion indicates the difficulty
of this problem. The advantage of such a movement
may at first not seem sufficient to warrant any great
effort and expense to perfect one, but that recently
developed by Robert De Kay will show where these
advantages lie.

In all continuous motion picture machines, whether
camera or projector, it is necessary to photograph or
project each single picture while the film is in unin-
terrupted motion. Since the lens must naturally be
stationary, this can be accomplished successfully
by oscillating like a balance a mirror or prism in
such a way that, in the projector, the mirror reflects
each illuminated frame while it is moving down a
space of two frames, then returns to pick up the next
frame to continue the cycle. The same procedure is

followed in the case of the camera, except that the
direction of the light is reversed, so the projector will
serve here as an explanatory illustration. The speed
of oscillation of the mirror must be such that the re-
flected light is absolutely steady and can be pro-
jected through a lens.

If the oscillation is not in perfect synchronization
with the movement of the film, a blurred image will
result on the screen. It is obvious, therefore, that the
essential feature of this type of continuous movement
is the mirror and the way it is oscillated. It takes the
place of the pull-down mechanism of intermittent
machines, but since the mirror is only a little larger
than a standard motion picture frame and vibrates in
a small arc, less power is needed to operate it, and
the wear on the movement and film (there being also
no registration pins) is considerably less. Since wear
means noise, this type of movement is quieter, de-
pending, however, on the construction of the move-
ment.

In the De Kay movement practically all the diffi-
(Turn to Page 28)

Sixteen

The INTERNATIONAL PHOTOGRAPHER

September, 1936

(INTERNATIONAL PHOTOGRAPHER desires to
increasingly serve the professional photographer as
his TECHNICAL CLEARING HOUSE, as it were. This
magazine also desires to be of practical service to
the amateur photographer, art lovers and to all those
aspiring to some branch of the motion picture indus-
try, including actors. Hence, from time to time au-
thoritative articles directed to this end will be pre-
sented.

Due to the interest aroused by the article in last
month's issue entitled, "Into Pictures — Through Pic-
tures," by the new screen character actor, John Van
Pelt, INTERNATIONAL PHOTOGRAPHER has again
asked him for a statement, drawing on his early ex-
perience in the entertainment field as character im-
personator and singer, which was followed by a
business career as community builder and now
again as actor.

Since the coming of talking pictures the motion
picture actor's tendency has been to increasingly
rely on voice and less on pantomime. The following
article stresses the much neded study of the face in
all photography.

For the purpose of illustration these four studies
of Mr. Van Pelt have been taken of one of his re-
cent characters, Will Bannister, in "Island Captives."
To study the eye expression separately it is sug-
gested that the reader cover the lower half of the face
in each picture. — Editor's note.)

THE EYE:

]HAT is this thing we call personality? It's
like trying to define God or Love. We feel
the force, but can't touch nor see it. It is
not enough to say it is the sum total of indi-
vidual characteristics, intensity, vitality and tech-
nique. What is it? That nameless something which
attracts or repels; is it mental force, sex, appear-
ance, or a combination; is it accidental, can it de-
velop, is it constant?

To what degree does photography reveal true
and complete personality? Have you developed a
technique for finding it? Are you the most likeable
and effective personality yourself?

WANTED: ARTISTS SEEING GOOD IN
CONTEMPORARIES

We use the word personality in many ways,
general and specific. It is an element we all have
to some degree, though our technique may be good,
bad, or minus. It is a relative factor. Why do some
individuals tower mountain-like above their fellow-
men? Is it brains only?

Personality includes the qualities of RESPON-
SIVENESS, INTEREST and CONVICTION. It may
be divided into the following types, or their oppo-
sites, according to which one of these elements
predominate:

(1) The Fine Personality — responsive, sensitive,
fine grained.

(2) The Charming Personality — likeable, show-
ing sincere interest in you and creating your interest.

(3) The Forceful Personality — having the cour-
age of his convictions.

(4) The Great Personality — including all of the
above qualities in large degree. The great per-
sonality should be one's goal.

We inherit traits which largely stamp us as to
personality type. However, it takes plenty of liv-
ing for personality to "blossom." Effective person-
alities do not happen — they grow, and with life's
events become more vital in proportion to capacity.

Effective screen personalities often remain hidden

(Ocular Expr
By]

e c

or subdued for some cause. This is the studio talent
scout's job to find them and they search far and
wide. The greener pasture, the enchantment of dis-
tance or New York glamour is inclined to dim the
fact that talented personalities by the hundreds have
been sent from over the world and are here at the
studio doors waiting for opportunity.

Like moths in the night they come by the
thousands each year to the bright lights. Their
great number, each demanding attention, makes
selection all the more confusing.

John Van Pelt as Wi

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeen

1AVE IT

Personality)

'ELT

The puzzle is to discover those few out of the
thousands who are worth investing in; those who
have talent or effective screen personality; those
who photograph; who have sufficient physical en-
durance, ambition, sincerity and character.

My sympathy is with the casting directors who
have the responsibility to solve the puzzle, to cast
truly in spite of the numerous handicaps. The pub-
lic holds the final verdict.

There is what one might call PERSONALITY
TECHNIQUE — which is intelligent, permissible, nec-

Island Captives."

JOHN STILLMAN

essary and applicable — to be able consistently to
interest and inspire an audience. It goes far be-
yond the label of "stage tricks." IT IS THE TECH-
NIQUE OF KNOWING WHAT THE FACE AND
BODY ARE DOING, NOT MERELY LEAVING IT TO
FEELING OR INSPIRATION. To learn this the look-
ing glass is the greatest teacher. One must be able
to know just how he looks from the feel of his face
and body muscles. This takes hours each day be-
fore the mirror until mastered.

In a sense we should not trust our facial ex-
pression to our feelings, but rather to knowing what
the face is doing — for the professional should not
feel in the sense that a beginner does.

I know there are those who would refute this,
but would it not be awful for a man to come into
a murder scene every night, feeling murder in his
heart? We don't feel only. We act from technique and
the principle that we use is our facial expression
of which the eyes are the dominant factor.

One says, "We have the person with the ex-
pressive face" — what does that mean? It means
that the expressive face is following every emotion,
not only the person himself, but also of the person
who is singing or speaking. Would you expect
your audience to use facial expression when you
do not use it?

We read the emotions of people by watching
the expression of their eyes. When we are uncon-
scious of ourselves, it is almost impossible to con-
trol the eyes to keep them from expressing our
emotions.

The mother illustrates this when she says: "Now,
look me right in the eye, Johnny; are you telling
me the truth?" She knows that the boy is not suf-
ficiently skilled to conceal the truth from his ocular
expression.

If I want to find out what a man is thinking,
I look him in the eye. In acting I must make my
eyes learn to express the same thing they do in
private life. I must, therefore, study and find out
how I use my eyes in everyday life and must use
them the same way on the stage and screen and,
unless I do, I can never hope to get over an emotion.

This is what we call intensity and vitality and
we must take the word of the greatest dramatic
critic, the late Charles Frohman, for it, that vitality
is the greatest asset an actor can have.

Unless the actor controls his eyes perfectly he
spoils the mental picture which is the object of his
art. It is not done by any inspiration, but by the
technique of knowing what the eyes are doing. This
is one of the things that makes for success in any
work, especially when our friends are not around
to tell us how great we are.

Edwin Booth, John McCullough, Joe Jefferson, all
have known the value of eye control, as do the
great actors of the present time. You tell a narra-
tive with your eyes, you give your characterizations
with your eyes. When it comes to the part the eyes
play in facial expression, it may be said that if you
control your eyes the rest of the face will follow.

Associated with facial expression and eye con-
trol is the big word POISE, toward which relaxation
is the first step. In order to hold and sustain
scenes, to influence, to inspire your audience or
client with the confidence that you know your busi-
ness, you must have absolute control of every
muscle of your body.

Poise does not mean inaction or passivity, nor

does it mean paralysis through drink or dope, which

is the false poise whereby many are handicapped

and at untold cost to studio companies, as well as

(Turn to Page 24)

Eighteen

The INTERNATIONAL PHOTOGRAPHER

September, 1936

^lERHAPS the greatest incentive to the aver-
age filmer, for getting his movie camera
1 into action, is the film scenic. Each year
there comes that two weeks' restful pause,
in the busy affairs of everyday life, when the whole
family can be together and are able to get away
for an automobile trip. It is the one time in all the
year when Dad can make a film of which he has
long dreamed.

In making preliminary plans for cinematography
on the motor trip, a great deal will depend on the
time allotted for vacation; that part of the country
which will be visited; and the approximate footage
one desires to devote to the movie scenic. Some
planning beforehand is essential, if best results are
desired, although naturally enough it will be tem-
pered by individual requisites.

For the sake of simplicity, we shall say the scenic
will necessitate in final screen form, including titles,
about two reels. This means about 800 feet of 16
mm. film; or in the case of 8 mm. filmers, 400 feet.
However, since you are to be away from a familiar
source of film supply, it is most desirable in plan-
ning the movie to allow for unforeseen use of addi-
tional footage, as well as to allow for a certain per-
centage of mis-shots. For this reason, it is the better
part of wisdom to take along some extra rolls of
film.

While considering film, decide on the type you
will use while away. Again it is a matter of per-
sonal choice, dictated more or less by the family
budget, as to what type should be purchased. For
consistently even results, irrespective of the film
chosen, it is best procedure to standardize on and
use only one type of emulsion. Jumping from ortho-
chromatic to panchromatic, to super panchromatic
and back again causes confusion for the family
cameraman and will not make for consistent results.
Since the film you are about to make will be im-
proved by fades, and if you do not care to take
along additional accessories to make them, users
of the negative-positive film system will find it a
simple matter to introduce fades at proper sequences
after the negative has been processed. Those choos-
ing reversal film should include a fade-glass, mak-
ing the fades as the scenes are taken.

The simpler the equipment, it is most often found,
the better will be the results. Aside from making
fades, a great deal of trick accessories only add

MOVIE SCENIC

By F. Hamilton Riddel

to the cameraman's labors — and remember, he's on
vacation! The main idea is to come back with
good pictures, properly exposed and picturesquely
photographed. Only a selection of filters is really
needed. Filters take up little room and are simple
to use, yet they improve many shots materially by
adding additional beauty to your scenic.

Perhaps the most often used means for disclos-
ing the progress of an auto trip, on the screen, is the
animated road map. This medium for placing your
action is most convenient, however, and plus the
liberal use of road signs, interspersed between
scenes, such inserts will add to your completed
movie scenic. While you are at it, obtain two copies
of the road map. The one which you will use on
the "location" trip will become too worn from fre-
quent use to be of practical photographic value
when later you prepare your animated map. The
latter requires spotless copy, of course, and can be
made conveniently in the many handy titlers that
are available.

A good mental continuity will help you to obtain
an interesting picture. We say "mental" continuity
advisedly, for there will be many changes made
before your movie scenic is finally completed, which
renders a written continuity valueless. It is well
to shoot an impersonal continuity, including only
enough of the family for human interest, but not
enough to make it a "family affair." Later, when
you come to editing your film, the wisdom of this
advice will become apparent.

In your opening scenes, do not dwell too long
on preparations for departure. A long shot, pictur-
ing the parked car, with a few significant close-
ups, is sufficient. As the car moves away from
the curb, a tripod-pam shot follows it to the center
of the thoroughfare and on down the street into the
distance . . . into a slow fade-out.

Once on your way, it is up to the cameraman
to keep eyes peeled for interesting bits of action
and for shots of beauty. En route, various close-
ups can be taken inside the car; preferably when
it is not in motion, to avoid camera jiggles. Close-
up action will include turning on the car radio; close
views of the occupants; hands at the wheel; refer-
ences being made to the road map, and so forth.
While you are zooming down a smooth highway,
when there is a minimum of bumps, you can catch
a few close shots of the speedometer. It is well to
include several readings of the speedometer; such
close-ups may come in handy later on when you're
editing. Don't attempt right angle shots of the coun-
tryside from the moving car, as they will appear
blurred on the screen. Very occasionally you can
shoot straight ahead through the windshield (better
ii H is ODened), employing your variable speed of
)2 frames per second. Only a few shots taken ii
his manner, however, should appear in your final
film assembly.

ai filming the natural beauty encountered on

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Nineteen

the trip, concentrate on the old rule: Go from lone*
shot to close-ups giving particular details. A film
consisting entirely of long shots is not pleasing, nor
interesting. Vary your camera set-ups, including
angles that will enhance the pictures. Remember,
that in long shots, a sense of depth is imparted h\
foreground framing. This can be accomplished b^
the placement of long shadows in the foreground
or with tree branches which serve to frame the shot.
If no such accommodating tree branches are at
hand, a member of your family can hold a branch

both human and animal. In some instances when
obtaining views of people, you may have to resort
to candid camera practice. Common as is the ama-
teur movie camera today, its appearance never fails
to invoke an unpleasant "posed" expression on sub-
jects. The artful filmer will do well to avoid this,
if possible.

The lure of cool, flowing water is always a re-
freshing subject. Filmed first in long shot, with
subsequent use of various angle close-ups, the
swirling water will paint its own inimitable patterns.

Left: Long shadows in the foreground. Center: The lure of cool flowing water. Right: Tree branches which serve to frame the shot.

a few feet in front of your camera, which will give
the same effect.

When you come across beautiful skylines with
soft clouds, don't fail to slip on your filter. It's the
only means of securing breath-taking beautiful shots
for the screen.

On the trip you will run across some amusing
situations which, deftly pictured in a few well-
chosen medium and close-up shots, will tell the story
quickly and humorously. The recreational side of
the trip should also be pictured. This may include
swimming, diving, sailing, canoeing and horseback
riding. The more agile the cameraman is in choos-
ing camera set-ups, the more pleasing will be the
variety of the shots.

Include inhabitants of the area which you visit,

Action, action, action is what you are after, there-
fore contrive to have it in every scene you make.

When the trip is over and all the rolls of it have
been processed, then is the time to sit down and do
a good editing job. Retain your original estimate
of having the picture run two reels . . . and cut,
cut, cut. Bolster continuity by proper scene timing
and satisfactory titles, animated road map and road
signs. Treat your film to a special art main title,
and one for the end. Hold your sub-titles down to
a maximum footage of ten per cent. Prooaory less
title footage than this amount will be required, us
the close-ups of road signs, plus the animated map,
will do the job nicely. Tailored by proper editing
and titlting, your movie scenic will prove a pleas-
ing picture, fit for the most discriminating audience.

CINEMA-TIDINGS

By F. Hamilton Riddel

Amateur Motion Picture News
Eastman Exhibit at Texas Exposition

HE Eastman Exhibit at the Texas Centennial
Central Exposition, located in the Hall of
Electricity, has been attracting a large num-
ber of visitors since the Exposition opened
The exhibit is devoted primarily to the inter-
file amateur photographer, whose number
the visitors seems to be legion. Cameras,
movie or still, are admitted free to the Exposition and
picture-making is encouraged.

The exhibit shows a complete Eastman amateur
line of cameras, accessories and photographic sup-
plies. Many visitors are attracted as well by a
salon of amateur photographs, which have won
prizes in various competitions because of their hu-

June 6.
ests of

among

man interest appeal. Here are also shown many
examples of fine portrait and commercial photog-
raphy. Many visitors also go into the air-conditioned
theatre to see the daily presentations of motion pic-
tures in black and white and in Kodachrome. Edu-
cational movies are shown in the main exhibit, sup-
plementary to the theatre presentation. An ex-
perienced staff is on hand to demonstrate equipment
to visitors and to show them how to make better
pictures.

Kodachrome Announcement
Kodachrome film, popular with home movie fans,
is now available for natural-color still pictures used
in miniature cameras.

T unity

The INTERNATIONAL PHOTOGRAPHER

September, 1936

For the time being, according to announcement,
Kodachrome for stills is limited to two sizes. Size
No. K828 (8 exposures) is made especially for the
recently introduced Kodak Bantam Special camera
with fast F.2.0 Ektar lens; (see August, 1936, INTER-
NATIONAL PHOTOGRAPHER, page 19). K828
Kodachrome film is not suitable for use in the F.6.3

Kodak adjustable film tank.

and Doublet models of the Kodak Bantam, it is
said, because the lens apertures of these cameras
are not sufficient to give the exposure required in
making snapshots. The other size, K135 (18 ex-
posures) is ready for Kodak Retina and similar
cameras.

Kodachrome provides natural-color transparen-
cies with the ease of ordinary black and white snap-
shots. The full color transparencies can either be
viewed in their original size by transmitted light,
or projected in large form on a screen. For project-
ing, transparencies should be mounted in a 2"x2"
glass slide. Glass slides, special works and varied
colored binding tape are made available, also a
card mount for hand viewing. If desired, the trans-
parencies may be mounted in a 3Vi"x4" slide. Spe-
cial masks are also available for this purpose.

In preparation, and timed for early announce-
ment, is a series of Eastman projectors especially
designed for home or lecture showing of the trans-
parencies.

8 mm. and IB mm. Accessory Catalog

An interesting cattlog on accessories for 8 mm.
and 16 mm. Filmo motion picture cameras and
projectors has been issued by Bell & Howell Com-
pany, Chicago.

Profusely illustrated, the 60-page catalog does not
stop with description of equipment offered for sale;
it also tells what various classes of equipment con-
tribute to the movie user's art, and how they should
be used for best effect.

As indicated by the table of contents, many new
accessories are revealed in the catalog. The book-
let is arranged in sections, each devoted to a related
group of units. Fully 500 separate accessory items
are listed.

A copy of the catalog may be had without charge
by request to Bell <S Howell Co., 1801 Larchmont
Ave., Chicago, Illinois.

Kodak Adjustable Film Tank

Eastman Kodak Company has just announced
the new Kodak Adjustable Film Tank for amateur
use. In the dark-room exposed film is loaded into
the tank, and thereafter the balance of the develop-
ing process may be carried on in complete daylight.

The most popular film sizes may be accommo-
dated: 616, 116, 620, 120, 127, 828 and 135. The

change from one film size to another is accomplished
by a simple shift of the upper flange from one notch
in the flexible steel core to another. The tank is
one-piece, stainless, acid-resistant steel and has a
developer capacity of 32 ounces. For narrower
width films, only 16 ounces of developer is required.

The tank cover and reel flanges are of durable
molded material. The cover is designed so that
the necessary solutions or rinsing water may be
poured in or out through a light-trapped opening
without removing the cover itself.
8 mm. Exclusively

The Film Specialties, El Monte, California, deal-
ing exclusively in 8 mm. motion picture equipment,
has announced a new series of film stocks. Intro-
duction of various type emulsions is said to greatly
increase the scope of 8 mm. movie making. Fol-
lowing is a partial list of 8 mm. films which Film
Specialties is handling:

For use in double 8 cameras: 25 ft, with 30-inch
leaders. On daylight-loading spools; processing and
return postage included: (1) New Palomatic — non-
halation, regular panchromatic stock, with Weston
Rating of 12. (2) Palomar New Super Sensitive Pan-
chromatic— non-halation, having all the best quali-
ties of fast film, with Weston Rating of 24. (3) Palo-
mar Positive — for making titles.

For straight 8 cameras only, using pre-split film:
33-ffot lengths. Processing and return postage in-
cluded. Following stock is not on a spool, but in-
structions are furnished for easy spooling. (1) Palo-
mar Regular Panchromatic, with Weston Rating of
12. (2) Palomar Super Sensitive Panchromatic, Wes-
ton Rating 24. (3) Dufaycolor Film for natural color
movies.

Other 8 mm. emulsions, including reversal and
negative-positive film systems, are listed in Film
Specialties' catalog, copy of which may be secured
by addressing the company.

8 mm. Rental Subjects

Owners of 8 mm. movie equipment will be inter-
ested in seeing the new fifth edition Kodascope
Libraries, Inc., film rental catalog, entitled "Koda-
scope Eight Library Motion Pictures." This 52-page
booklet, with many pictures, describes the comedies,
cartoon and features available for rental on 8 mm.
film.

Featured in Kodascope 8 mm. pictures are such
well-known stars as Wallace Beery, Mary Brian,
Charlie Chaplin, Charlie Chase, Ricardo Cortez,
Aesop's Fables, Felix the Cat, Laurel and Hardy,
Harold Lloyd, Our Gang, Will Rogers and Lewis
Stone. And that famous film of the West, "The
Covered Wagon," is available for any 8 mm. pro-
jector.

Branches of Kodascope Libraries, Inc., are located
in the principal cities of America, from which are
obtainable these Kodascope 8 mm. library flms. A
copy of "Kodascope Eight Library Motion Pictures"
can be had by addressing a request to: Kodascope
Libraries, Inc., 33 West 42nd St., New York City.
Eyemos at Olympic Games

Bell & Howell reports the shipment of four port-
able 35 mm. Eyemo cameras to the 1936 Olympic
Games, filling a rush order from the official Ger-
man Government photographers. Accompany the
cameras was a complete equipment of Eyemo lenses
and special accessories. Two of the Eyemos shipped
were custom-built jobs, equipped with 400-foot maga-
zines and electric motors. All four cameras were
special high-speed instruments, capable of slowing
down, for clear observation, the action of events
so photographed .

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

IN GRATEFUL RECOGNITION

On the anniversary of Sunday, August 30, 1936,
at seven o'clock, in the evening, a testimonial din-
ner was given to Edward O. Blackburn, vice-presi-
dent and general manager of J E. Brulatour, Inc.,
of Hollywood, the occasion being the tenth anni-
versary of Mr. Blackburn's association with that
great firm of film distributors.

Mr. Blackburn (Eddie) to cameramen, producers,
laboratory men and technicians alike, was the guest
of honor of a large number of representative cine-
matographers, of Hollywood, at the Vendome Cafe,
6666 Sunset Boulevard, Merritt Gerstad, one of the
ace cinematographers of the industry, being chair-
man of the informal-stag notable gathering.

The Sponsor Committee was composed of Charles
Lang, Victor Milner, Hal Mohr, John Arnold and the
Entertainment Committee was made up of Arthur
Edeson, Tony Gaudio, Fred Jackman and Peverall
Marley.

The invitations stated that the occasion was in
celebration of the constructive and valuable services
Mr. Blackburn had rendered to all cinematographers
individually and collectively during the decade just
passed and it was evident from the enthusiastic
welcome accorded him that the assembled donors
of the unequaled feast there served were doing some-
thing from the bottom of their hearts.

There was no set program — just impromptu
speeches — one by Hal Mohr tendering a glorious
token of regard in the form of a wrist watch — and
a heartfelt response by Mr. Blackburn as he re-
ceived it and paid grateful tribute to the members
of his personal staff.

All in all the occasion was unusual, even for

Hollywood, and long to be remembered by every-
one.

S*l

QUESTIONS and ANSWERS

By F. Hamilton Riddel

1. Can backward-motion be taken with 8

mm. cameras?

Yes, but there are precautions to be observed,
due to 8 mm. film having only one side of perfora-
tion. This will require that when a backward-motion
scene is cut from an 8 mm. processed roll, reversed
end for end, it will be necessary to thread the 8
mm. film emulsion side towards the lamphouse in
the projector. When shooting 8 mm. backward-
motion scenes, avoid backgrounds which contain
any reading matter, such as a sign, as in projection
the wording will appear reversed. Other than ob-
serving these two precautions, 8 m.. backward-
motion is photographed in the same way as with
16 mm.; that is, with the camera held upside-down
in making exposures.

2. What choice of projection lamps are

available for the Model E Eastman pro-
jector, 16 mm.?

There are three choices: 400-, 500-, and 750-watt.

3. Is there an advantage in using super fast
film for outdoor work?

Yes. When you are using an emulsion that is
faster than ordinary film, a smaller diaphragm may
be used to secure proper exposure. And because
you are using a smaller stop, you get increased
depth to your picture, always a desirable quality in
movie making.

4. Are library subjects, on a rental basis,
available in 8 mm.?

Yes. Many of the subjects found in 16 mm.
size film are also to be had in 8 mm.

5. Can tinted cellophane be used for filters?

( Turn to Page 24-)

MAX FACTOR'S

N EW

■Satin- <Smo<ytk

LIQUID FOUNDATION

A REVELATION IN FACIAL MAKE-UP

Twenty-two

The INTERNATIONAL PHOTOGRAPHER

September, 1936

MOTION PICTURE SOUND RECORDING

(Continued from Page 5)

that may be used in conjunction with the basic
amplifier to increase greatly its effective output.

For sound motion picture recording, the basic
amplifier has sufficient power output, although if
more than one recording device is to be operated
from the amplifier, individual bridging amplifiers
should be provided for each recording device to iso-
late them.

If the basic amplifier is to be used as a speech
amplifier for a large size public address system, or
as a speech amplifier for a radiotelephone or broad-
cast radio transmitter, a power amplifier must be
used in conjunction with it. This power amplifier
must have sufficient power to operate a number of
loud speakers (in the case of public address work),
or to modulate a high-power radio-frequency ampli-
fier if it is to be used with a radio broadcast trans-
mitter. In the latter case, this final amplifier is
called a modulator.

p r-3 :ii & s

■-3&-Y

f f

O B +

Fig. 3. Diagram explaining the functioning of cathode biasing.

Since this final amplifier operates at a high elec-
trical level and has comparatively small gain — be-
ing solely a power amplifier — it may be operated
from an alternating current source as long as the
current is rectified and fairly well filtered. Battery
supply cannot be considered for this stage because
of the high voltage and current requirements.

Design of the Output Amplifier

Two type 845 tubes are used in push-pull in this
amplifier; and the individual power supply foi it
employs two type 866 mercury-vapor rectifier tubes
in a full-wave power supply that is filtered by a
choke-input filter system. This power supply should
be designed to provide ample voltage, with free-
dom from hum or fluctuation under even the heaviest
load conditions. The circuit diagram is shown in
Figure 4.

The amplifier operates Class A and is capable
of delivering fifty watts of undistorted power if it is
coupled in its input circuit to an amplifier providing
five watts or more of undistorted power output. The
basic amplifier thus furnishes more than sufficient
driving power for this amplifier.

The input transformer for the power amplifier
should have an input impedance of 500 ohms to
match the output impedance of the basic amplifier,
if only one of these power amplifiers is to be used.
Since the connecting line is of low impedance (500
ohms), the power amplifier may be located a num-
ber of feet from the basic amplifier without any
harmful effect being introduced.

The output transformer of this amplifier is a push-
pull tube to line transformer having a secondary im-
pedance of 500 ohms. If the amplifier is to be con-
nected always to the same loud speakers, an out-
put transformer may be used that will provide ex-

actly the correct output impedance to match the
amplifier to these speakers.

Time Delay Requirement

It is extremely important that a means be pro-
vided for turning on the filaments of the rectifier and
amplifier tubes before the high plate voltage is ap-
plied to the tubes. The tubes should be permitted
to warm up for about a minute before high voltage
is applied. This prevents damage to the tubes re-
sulting from the application of high voltage before
an electron path has been formed from the filament
to the plate to carry the current. Such a delay is
of paramount importance when mercury-vapor recti-
fier tubes are used.

A simple way to provide this protection is to use
separate filament and plate transformers and
switches, wired in the manner of switches A and B
in Figure 4. It will be seen that plate voltage can-
not be applied until the filaments have been turned
on, nor is it possible to turn off the filaments and
not the high voltage.

Switch A should be closed first when turning on
the amplifier, and then after a wait of at least a
minute, switch B may be closed. In turning it off,
both switches must be opened. A much more satis-
factory and safer method is to use a time-delay re-
lay, set for a delay of about a minute, in place of
switch B. A time-delay relay eliminates any possi-
bility that the operator will become careless or for-
get to provide the one-minute delay. But on the
other hand, such a relay is rather expensive — but
then so are tubes expensive.

The Output Amplifier as a Bridging Amplifier

When several power amplifiers of the type shown
in Figure 4 are to be operated from the output of
the basic amplifier, as when a number of loud

20,000 OHns &A-5

I O WA TTf

g rSOG u I >»->.*••• LfAfll

iO H!n«yS - iSo n*

.-=3

Tnm — prrsar-i — r

zfo.oe* ohms

I j«d7 z<-

I iooo V. I S <-*

\ I I Mmn

Tim C-OCLAT *£i-AY

6 A Sw-TCrf A

FUSES
110 V A.C

Fig. 4. Circuit of the high-power output amplifier.

speakers are to be supplied with speech current in
a large public address installation, the power ampli-
fiers are "bridged" across the output of the basic
amplifier. Because of this form of connection, the

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-three

amplifiers are called "bridging amplifiers."

There is no change in the circuits of either the
basic amplifier or the power amplifiers, the only
alteration being the substitution of high-impedance
input transformers for the normal 500-ohm input
transformers of the power amplifiers. The bridging
input transformers should have an input impedance
in the order of 20,000 ohms.

The power amplifiers with their high input im-
pedances are bridged across the basic amplifier
output in the manner shown in Figure 5. A 500-ohm
non-inductive resistance must be connected across
the output of the basic amplifier when this bridging
arrangement is used, in order to provide an im-
pedance match for the basic amplifier and to fur-
nish the necessary load for it.

The Bridging Bus

With this bridging circuit, these bridging ampli-
fiers have little effect on the circuit and may be

t BASIC
MMPurifn

BR'DblMb

BOS —

. SRiPbINO
DOWER

A^ftlfEU

■ tr 5oo - OHM

! wo^-IWOlICT-Vf

' OES'STA^CE

1MPUT

3 BA

. BRiooiNt,

POWER
AMPLIFIER

Fig. 5. Manner in which power amplifiers are "bridged" across
the output of the basic amplifier.

connected and disconnected at will from the basic
amplifier without appreciably affecting the imped-
ance match at this point. Likewise, any change in
the load on their output will not be reflected back to
the basic amplifier and cause losses and distortion
due to impedance mismatching.

The outputs of these bridging amplifiers must
match their terminating impedances, or loads, for the
most satisfactory transference of energy, just as in
the case of any other amplifier.

The point where these bridging amplifiers con-
nect to the basic amplifier is known as the "bridging
bus." The 500-ohm load resistor across this bridg-
ing bus must not be disconnected, as its omission
would cause the introduction of reflection losses and
distortion in the amplified speech or music. A pair
of high-resistance headphones (2000 ohms or higher)
may be connected across the bridging bus for check-
ing purposes and monitoring with no material effect
on the system.

This concludes the chapters on the basic ampli-
fier and its associated equipment. The next chapter
of this series, appearing next month will consider
the very important matter of gain and loss in com-
munication circuits, their relation and measurement,
and that most important factor in communication en-
gineering— the decibel.

DON LEE HOLDS DEMONSTRATION

(Continued from Page 7)

6L7 is recommended.

The receiver "audio" channel must be resistance
coupled and capable of substantially uniform re-
sponse over a range of from 24 cycles to 800 kilo-
cycles or more, in order to reproduce faithfully the

high-definition picture that is broadcast. A cathode-
ray tube must be used as the image reproduction
device, since it is practically impossible to construct
a scanning disc of sufficient accuracy.

The high-frequency receiver scanning source
should produce a saw-tooth waveshape of a fre-
quency of 7200 cycles. This is applied to the pair
of deflection plates in the cathode-ray tube which
produces a horizontal deflection. The low-frequency
scanning source should also produce a saw-tooth
wave shape, and of a frequency of 24 cycles. This
is applied to the pair of deflection plates which pro-
duces a vertical deflection. If the image appears
upside-down, reverse the connections to the low-
frequency deflection plates; if printing reads back-
wards, to the high-frequency plates.

A negative image is radiated from the transmit-
ter. In the particular receiver constructed, if the
image shown on the cathode-ray tube is a "nega-
tive" (white objects reproduced black and vice versa)
one more or less, stage of "audio" frequency ampli-
fication (following the second detector) will give the
proper "positive."

Synchronizing pulses are transmitted at the end
of each line and at the end of each complete image
for keeping the receiver scanning sources in step
at the 7200 and 24 cycle frequencies, respectively.
A small amount of image signal should be supplied
to the grids of the gas triode tubes to synchronize
the sources.

Extensive data on television reception is given
in the December, 1933; November, 1934; and March,
1936, issues of "The Proceedings of the Institute of
Radio Engineers." This publication can be con-
sulted at public libraries, or obtained from the In-
stitute of Radio Engineers, 33 West 39th Street, New
York City, at $1.00 per copy. For modern practice
in ultra-high frequency receiver design, refer to "The
Radio Amateur's Handbook," 1936 edition, chapters
13, 6 and 7, obtainable from the American Radio
Relay League, West Hartford, Conn., or large radio
stores, at $1.00 per copy.

Reports on reception results are requested. Please
give the date, time, signal clarity and strength,
amount and nature of interference, your address,
location of nearby hills and large buildings, type of
receiving antenna and its height above ground, type
of receiver, and your signature. Standardized recep-
tion report forms may be had from the Television
Division of the Don Lee Broadcasting System, Sev-
enth and Bixel Streets, Los Angeles, upon the re-
ceipt of a stamped, self-addressed envelope.

This information is furnished free by the Don Lee
Broadcasting System without assuming any obliga-
tion whatsoever.

Technical inquiries should be directed to the
attention of Mr. Wilbur E. Thorp, Assistant Director
of Television.

in Utarld-OOids Use

prc<dcic;e OOccnli^br anA (vicjnr
Effects in Daytrm^-Fc/cj Scenes-
bif fused. Fccus.and many ^mer effects
With any Camera " In any Ulimat-*:
Georcje H. ScHeibe

ORIGINATOR OF EFFECT FILTERS

1927 WEST 78th ST.

LOS ANGELES. CAL.

Twenty-four

The INTERNATIONAL PHOTOGRAPHER

September, 1936

PHOTOGRAPHY

(Continued from Page 9)

1907 — Welbourne Piper developed the Bromoil
process.11

1923 — In January, Eastman introduced the 16 mm
reversal film and apparatus for amateur movies.
References

'Neblette, C. B.: "Photography, Its Principles and Practices,"
Van Nostrand & Co., 1927, page 2, in which Leonardo da Vinci is
quoted.

;Neblette, C. B.: "Photography, Its Principles and Practices,"
Van Nostrand & Co., New York, 1927.

'"'Photographic Journal," 1898, page 53.

4"Photo Miniature," No. 60, Tennant & Ward, New York, 1903.

""Lessons from the Daguerreotype," Photographic Journal, 1898,
38, 45; 1899, 39, 60.

"British Journal Photography, 1920, page 420.

'Journal Photographic Society of London (R. P. S.), May, 1855.

8British Journal Photography, Sept. 9, 1864; Jan. 16, 1874.

"British Journal Photography, Jan. 17, 1868.

'"Harrison, "History of Photography," 1887.

""Photographic News," 1907, page 229.

"U. S. Patent No. 578,249.

"Ackerman, C. W.: "George Eastman," Houghton, Mifflin Co.,
New York, 1930.

14Blackie & Son, "Photography as a Scientific Implement,"
1924, page 2.

THE EYES HAVE IT

(Continued from Page 17)

to individuals. Americans who can't learn how to
drink had better quit; otherwise, it's a sure way
to lose jobs and standing.

Again, THE EYES HAVE IT— that "morning after"
look, resulting in inefficiency in varying degree. The
candid camera eye, as with the human eye, is not
to be fooled; it see life as it is.

Poise means controlled action — a mentally con-
scious control.

Poise forms part of the actor's equipment and is
necessary to any permanent success.

The candid camera picks up stills when the sub-
ject is not pose-conscious, often with amazing re-
sults and more often the motion picture picks up,
in the actor's eye, character traits the casting direc-
tor did not discover.

The eyes reveal subtle, fine, fleeting, as well as
strong emotion. They reveal life's gamut from child-
ish innocence to blase sophistication, from ignorance
to intelligence, living to dying, hating to loving, sor-
row to joy, blasphemy to worship, sleep to surprise,
indifference to enthusiasm, no sex to all sex, and
the one hundred degrees of each. Again "The eyes

have it," and remember, the mirror is the greatest
teacher.

Talent, good voices and looks are cheap, but the
ability to grasp and put into use the many fine
points of technique is the rarity, and this technique
permits personality to work to advantage.

Most of us are not willing to pay the work price,
to go through the grind which makes for artistry
that makes one worth money to the public. You
stand in front of a mirror eight or nine hours a day
for a time, no matter what public work you do, and
maybe some day you will be able to compete
with others who have become proficient.

People often do things in front of a mirror and
get splendid effects, not knowing if they could do
the same things on the stage they would be con-
sidered artists, other things being equal.

We look for no inspiration, we relegate that
word to the ash heap; there is no inspiration in
business and this is business. One must inspire an
audience against its will. It is not done by meta-
physics, but by technique, which points up screen
personality and makes it effective.

QUESTIONS AND ANSWERS

(Continued from Page 21)

Such procedure is to be discouraged, as results
in most cases will be poor. Tinted cellophane is
not selected for its photographic value. Moreover,
you will encounter difficulty in preventing wrinkles
in the cellophane, which will give uneven screen re-
sults. It is most advisable, therefore, to use only
glass and gelatine filters as are supplied by photo-
graphic manufacturers.

6. What is the minimum length of time for
exposing a title?

Always keep your camera in operation, in mak-
ing titles, at least for three seconds. This minimum
is equivalent to 48 frames (at normal speed), whether
you are using 35 mm., 16 mm., or 8 mm. film. It is
always best when shooting one-word titles to over-
shoot them, as the tendency among amateurs is
to secure insufficient footage. Any excess footage
can always be deleted later, if necessary.

7. Can I splice 8 mm. film on my regular
16 mm. Gr is wold splicing machine?

This splicer readily adapts itself to 8 mm. splicing.
It is best practice, however, to use a regulation
8 mm. splicer for any considerable patching work
with 8 mm. or a combination-size splicer. In using
your 16 mm. Griswold on 8 mm., care should be
taken to lock the film in the jaws of the machine,
so a perfectly parallel splice will obtain.

Note: As a service to amateur movie makers,
we extend a cordial invitation to write in questions
which will be answered in this column. Address all
such letters to:

Questions and Answers Column,

THE INTERNATIONAL PHOTOGRAPHER,

506 Taft Building,

Hollywood, California

Paul Perry, 659, pioneer color cinematographer
of the Far East, is said to be in India on color busi-

ness.

Robert (Bob) Miller, 659, celebrated steamship
photographer, has been in Hawaii several months
promoting novelties in connection with that great
institution the Hula dance. His purpose is to teach

and perpetuate this poetic dance which appears to
have a world-wide appeal.

Cameraman Jack Smith, for several years asso-
ciated with the King of Siam, elephant hunter with
both gun and camera, and all around newsreeler of
the Orient, has temporarily laid aside his guns and
lenses for the dark room and the lab.

September, 1936 The INTERNATIONAL PHOTOGRAPHER Tzvcnty-fivc

SUPREME

SUPER X Panchromatic Negative delivers
surpassing photographic quality to the
screen. Nothing else could have won the
unparalleled acceptance which Super X en-
joys in the industry. It stands as the su-
preme film medium for interpreting the
art of the motion picture to a world public.
Eastman Kodak Company, Rochester,
N. Y. (J. E. Brulatour, Inc., Distributors,
Fort Lee, New York, Chicago, Hollywood.)

EASTMAN SUPER X

PANCHROMATIC NEGATIVE

Twenty-six The INTERNATIONAL PHOTOGRAPHER

Cinelighting the Steel-Mills

By Hal Mohr

September, 1936

RIGHTING a set a quarter of a mile long is a
problem in its own right. When you add
to it all sorts of additional difficulties such
as sooty black walls, the glare of molten
steel, and a strict taboo against placing your lamps,
cables or camera where they might interfere with
the activities of a busy plant, you've raised the
problem to really respectable dimensions. Finally,
"top" the situation by allowing yourself a battery
of only twenty-three relatively small lamps — and
you'll have as difficult a problem in lighting as any-
one cares to side-step. Both your luck and your

upon which moved an almost constant stream of
cars filled with ore, scrap-iron and molten metal,
while overhead great cranes juggled huge ladles
carrying hundreds of tons of liquid steel.

Common courtesy dictated that we should avoid
as far as possible doing anything to interfere with
that stream, especially since the mill officials co-
operated so generously with us. So the conven-
tional method — bringing in a big generator outfit,
parallels, and several score bulky Sun Arcs — was
impossible. Our lighting system had to be capable
of working from whatever source of power the plant

Ross Hoffman, Hal Mohr and Scotty Beal on the charging floor of the open-hearth building.

lamps must be more than ordinarily potent if you
are to bring back anything!

That was one of the major problems I encoun-
tered a few weeks ago when the Universal Studio
sent me on location in the plant of the Republic
Steel Corporation in Cleveland, to bring back atmos-
pheric scenes, backgrounds and Montage shots for
a forthcoming picture. Many of our most important
shots had to be made in the vast building that
housed a battery of fourteen huge open-hearth steel
furnaces.

The building itself was over 1,200 feet long. In
the center were ranged the huge furnaces, with the
wall of the building about 60 feet back from them.
But there was precious little of that sixty-foot cable
stretch between walls and furnaces available for
placing lights; it was a maze of railroad trackage

supplied; it had to be compact and portable; and
with all that, it had to be extremely efficient not
only in covering a large area, but in penetrating
power.

The answer was found in Mole-Richardson's
"Cinelites," which were designed especially for loca-
tion and industrial photography. They are "Inkies,"
of course, but instead of using ordinary globes, they
use the No. 4 Photoflood, which produces more light
than a conventional 2,500-watt Mazda. Since these
globes are of the over-volted type, their light is
much whiter than the light of a conventional Mazda,
and consequently of much greater penetrating
power.

The reflector of the "Cinelite" is a bowl-shaped
aluminum spinning which throws a beautifully even
light over a spread of about 60 degrees. The globe

Sefitjmber, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

fits in a socket which is clipped over the edge of
the bowl, and held in place by a simple thumb-
screw. Another thumb-screw holds the socket as-
sembly to the top of a conventional telescoping
pedestal Finally, the three caster-equipped legs
of the pedestal may be removed by unscrewing a
Tee handle in the base.

By simply loosening these three screws, the
entire lamp may be knocked down in a minute or
two. The bowl-reflectors "nest"; the pedestals may
be tied together like so many lengths of metal tub-
ing. Our 23 "Cinelites," complete with cables, plug-
ging-boxes, etc., were packed in two ordinary trunks.

On the job, those 23 lamps were more than equal
to twice as many "Rifles." The lamps themselves
proved, for the work we were doing, quite as efficient
as the average "Rifle," while the whiter, more pene-
trative light of the big "Photoflood" globes, in addi-
tion to having about two and one-half times the in-
tensity of the standard 1,000- watt Mazdas generally
used in "Rifles," was much better for our purposes,
as it carried farther, and had a higher actinic value.
Yet each of the globes, while considerably outdoing
an ordinary 2,500-watt unit, drew but a kilowatt!

In addition, the "Cinelites" were infinitely more
portable than "Rifles" — and weighed less than half
as much.

When we reached the steel mill we found that
the only suitable power line supplied D. C. at 240
volts. We brought this down to a point where our
lamps could handle it by the simple trick of connect-
ing the lamps in series, two-and-two. In this connec-
tion I'd like to extend my compliments to the elec-
tricians from Cleveland Local 27, I. A. T. S. E., who
handled our lamps. Competent stage electricians,
this was their first experience with motion picture
electrical problems, and for men suddenly thrust into
intimate contact with a new and highly specialized
task, they acquitted themselves nobly

We had a remarkably large crew. From Holly-
wood came Production Manager Scotty Beal, Opera-
tive Stanley Cortez and Assistant Ross Hoffman. In
Cleveland, Irving Smith, one of Universal Newsreel's
aces, joined us to make Akeley shots. Finally, in
addition to our own electricians, the Mill assigned to
us a group of contact men, electricians and laborers,
which rounded out our crew to fifteen or more.

Generally, either Cortez or I operated the Mitch-
ell, while Smith ground away with his Akeley on

TECHNICOLOR

3 COLOR CARTOON

CAMERA STAND

Like New

To Be Sacrificed for Quick Sale Outfit Consists of:

Camera stand with motor zoom and pan table

1— Bell & Howell Camera No. 759

1 — 75 mm. F.2 Speed Panchro Lens

1 — Filter Sliding Mechanism

6 — Baby Spot Lights

1 — Frame Optical Glass

1 — Stop Motor Device with DC Motor and

Automatic Clutch Photographing Three-Color

Separation Frames
2— Bell & Howell 400 ft. Magazines

Price Only $2000 Complete, F.O.B. New York

Without B. & H. Camera, Lens and Magazine, $1200
Photographs on Request

MOTION PICTURE CAMERA SUPPLY, INC.

723 SEVENTH AVE., NEW YORK CITY

action a studio camera wasn't suited to getting; and
often Cortez would busy himself at candid cinematics
with an Eyemo. When you add to these three outfits
the necessary magazine cases, battery boxes, and
the 23 lamps with their cables, globes and plugging
boxes it would seem as though we must have needed
a good-sized trunk to carry our equipment about.
But there are no roads other than railroad tracks in
the square mile of ground covered by the Mill. The
"Cinelites' " knock-down design solved that problem,
however; we were able to load our complete photo-
graphic and lighting outfit on an ordinary railroad
push-car which could be trundled around by man-
power, and lifted bodily from the track whenever we
stopped to make pictures, or when a trainload of ore
or pig-iron had to go by.

Until one has actually worked in a big steel mill,
one can have no conception of the vast scale on
which the plant and buildings are laid out.

When you try to light such a scene for cinema-
tography, you really begin to appreciate both the
size and the efficiency of modern lamps and film.
The huge building is normally as dark as night, with
only the incandescent glare from the furnaces and
molten metal as an occasional, blinding illumination.
The walls and floor are covered — sometimes inches
deep — with a greasy black soot that simply swal-
lows your light.

On one side of the building — to the rear of the
furnaces — the sand floor is honeycombed with molds
into which the glowing metal is poured to cool into
ingots. In the rolling mills a continuous ribbon of
glowing steel passes through a maze of machines
which roll it into railroad rails, structural forms, and
the like, finally shearing the tough metal into rela-
tively short lengths — twenty feet or so — like so much
dough.

It is manifestly impossible to build the lighting-
level up to anything remotely balanced with the
glare of the molten metal. And with the restrictions
imposed on us by the relatively few units we could
use, the need for portability, etc., I frankly did not
expect a particularly high average of successful
shots. That actually over four-fifths of the 40,000 feet
of film we exposed under these difficult conditions
proved usable is due, I believe, entirely to the re-
markable efficiency of the Mole-Richardson "Cine-
lites" we used. Without these unique lamps I feel
confident that not one scene in ten would have been
printable

This demonstration convinced me that the "Cine-
lite" is the ideal lamp for location use. Dan Clark's
successful use of them in photographing the Dionne
Quintuplets is another indication of their versatility,
for there he had to provide an ample exposure-level
over a relatively large area without injuring the
babies' eyes. And their success on such extraordi-
nary locations should prove their value for ordinary
locations.

Using these compact, portable and efficient light-
ing units for location lighting, for "booster" lighting,
and even for ordinary night exterior scenes, would
simplify not only lighting, but many other related
problems. Smaller generators would be necessary;
fewer and smaller trucks for transportation; and the
work could be done easier and quicker than with
heavy conventional equipment. Who, I wonder, will
be the first to throw overboard the traditions of
weight, bulk and amperage, and rely for location
and "booster" illumination on modern, lightweight,
high-efficiency units like these?

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

September, 1936

fc^ 'm.

Jn Hfomnrtum

Since INTERNATIONAL PHOTOGRAPHER
for August took its place in the long procession
of our magazines, two beloved and well known
members of Local 659 have passed "to that
mysterious realm where each shall take his
chamber in the silent halls of death" — Henry
Kohler and Fred Eldredge, friends in life,
brothers in their long pilgrimage.

Each was a long respected first cameraman
of great experience and fine achievement, both
in the east and in Hollywood, and popular
among their fellows.

The line into the sunset grows longer, but
to those who mourn these two noble men, there
are the consolations of hope and faith and the
love of many friends. To these the members
of Local 659 and the INTERNATIONAL PHO-
TOGRAPHER add their heartfelt sympathy.

THE DE KAY CONTINUOUS MOVEMENT

(Continued from Page 15)

culties which have confronted others have been over-
come. Perhaps the answer is in its simplicity, for,
whereas other patents show complicated mechanism
and a number of reflecting surfaces, the De Kay pro-
jector (Mr. De Kay has not yet applied his movement
to a camera, but has plans for doing so) has a move-
ment which is as simple as most intermittent move-
ments, and has only two surface reflecting mirrors,
one of which is stationary and serves merely to
change the direction of the light reflected from the
oscillating mirror. It is chiefly in the mechanism
used to oscillate the mirror that the De Kay move-
ment differs from other continuous movements. Be-
sides its simplicity and minimum wear, it has a
micromatic adjustment for changing the oscillation
of the mirror so that it can easily be synchronized
with the film, and can as easily be adjusted for 16
mm. and 8 mm. film, in which case it is merely nec-
essary to change the sprockets and aperture plate
to accommodate the smaller film. The projector is
therefore interchangeable for any size film, which
would necessitate only one projector for showing in-
dustrial and educational films of various sizes. The
projected picture is perfectly steady at any magnifi-
cation, whether new or shrunk film is used, the
shrinkage being taken care of by adjustment of the
mirror movement. The downward tilting of the oscil-
lating mirror is constant, instead of harmonic as in
many continuous movement patents, and the return
movement is practically instantaneous, which per-
mits a wider shutter opening.

The film aperture is two frames high and frames
only the sides of the picture, the horizontal framing
being accomplished by a special shutter running
close to the film and following the downward move-

ment of each frame. Because of the steady pull on
the film it is necessary to have only a slight pressure
on each side of the film. No part of the projector
touches the picture portion of the film and the danger
of scratching is minimum. The easy, steady pull on
the film further prevents breaking and consequently
fire hazards. The fireproof cellophane film which re-
cently has been tried in France can be run through
this projector any number of times without damage
to the film. Since it is only one-third as thick as
ordinary positive film, an entire six-reel picture can
be put on one 2,000-foot reel, thus cutting down the
cost of handling, as well as the cost of the film itself.

One of the shortcomings of all present-day projec-
tors is the keystoning of a picture projected on a ver-
tical screen from a point higher than the screen. This
can be compensated only by masking the picture to
make the sides parallel, but this does not correct the
distortion. In the De Kay projector, however, this is
overcome by adjusting the mirrors to produce a
counteracting keystone. The projector, in addition,
creates a pseudo-stereoptic effect.

The difference in focus resulting from the chang-
ing position of each frame with relation to the oscil-
lating mirror is corrected by shaping the aperture so
this type of movement is more quiet, depending,
however, on the construction of the movement.

Although Mr. De Kay's projector is at present
only an experimental model upon which he still in-
tends to make some improvements, a demonstration
indicates that it is the furthest advance in continuous
movement projection to date and the successful use
of the movement in a camera is only a matter of
time.

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-nine

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 OR RENT— CAMERAS

MOTION PICTURE CAMERA SUPPLY. INC.
723 SEVENTH AVE., NEW YORK CITY
CABLE: "CINECAMERA"

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 variety of
16 mm. and still cameras and projectors. B & H Cameras with old type
shuttles silenced $150. Bipack magazines and adaptors for color. Every-
thing photographic bought, sold, rented and repaired. Send for our bar-
gain catalogue. Hollywood Camera Exchange, 1600 Cahuenga Blvd.
Phone HO. 3651. Cable, Hocamex.

FOR SALF< — Completely equipped wooden cased professional model
DeBrie — 4 extra magazines automatic fades — 4 lenses — tripod. Make
offer. R. Biddy, 17561 Roselawn, Detroit.

FEAR MOTOR FOR BELL & HOWELL CAMERA. Pulls 1,000
feet of film. Price $125. CAMERA SUPPLY CO., 1515 Cahuenga
Ave., Hollywood.

SILENCED MITCHELL CAMERA, 40, 50 & 75mm. Astro F2.5
Lenses, Upright Mitchell Finder, Mitchell Matt Box and Sunshade, two
1000 ft. Magazines, Friction Tripod Head and Legs, complete equipment
with Carrying Cases, $2600.00. Camera S-upply Co., Ltd., 1515 No.
Cahuenga Blvd., Hollywood. Calif.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

LIKE NEW BELL & HOWELL 5-way Sound Printers and Sound
Moviolas. Reasonable price. HOLLYWOOD CAMERA EXCHANGE,
1600 Cahuenga Blvd., Hollywood, Calif.

ART REEVES, latest model 1935, double system sound recording in-
stallation, factory guaranteed, Automatic Speed Control Motor, Twin
Fidelity Optical Unit, Bomb microphone, the only genuine, modern,
workable ArtReeves equipment for sale in Hollywood outside factory.
CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga Blvd.,
Hollywood.

POSITION WANTED

FRENCH CAMERAMAN speaking English would be interested in
shooting transparencies' and stock shots, covering Europe. Als. Militon,
228. R. Vaugirard, Paris 15e, France.

Fully Guaranteed

USED 35 MM.
EQUIPMENT

•• •

Mitchell, Bell & Howell, Akeley, DeBrie,
Universal, Pathe Cameras.

Portable Sound Recording Outfits.

B&H Eyemo, 400 ft. Magazine, Motor
driven.

Holmes Projectors, Sound and Silent.

DeVry Suit Case Model Projectors.

We buy, sell and rent anything Photo-
graphic.

•• •

CAMERA SUPPLY CO. LTD.

1515 No. Cahuenga Blvd.

Cable Address:

Hollywood, Calif.
CAMERAS.

WANTED TO BUY

WANTED — 16 mm. Turrett Camera, also Eymo or Turrett Eymo with
lenses. Irving Browning. 110 West 40th St., New York City.

CAMERA REPAIRING

BELL & HOWELL cameras with old type shuttles silenced, $150.
Hollywood Motion Picture Equipment Co., 645 No. Martel Ave.,
Hollywood.

MISCELLANEOUS

WANTED — To know of the wnereabouts 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.

8 MM. AND 16 MM.

8MM PALOMATIC, $1.50; Panchromatic, $1.70; S. S. Panchromatic,
$2.10; Dufaycolor, $2.75; on daylight loading spools, with processing.
Economic titling film. Home titling data reversible negative ; processing,
etc. 8MM equipment and accessories, card for catalogue. Prizes given
with purchases. "Camera Trails Through the Southwest," 112 pages, 33
illustrations, 75c. Film Specialties, Box 111-N, El Monte, California.

16MM DUFAYCOLOR FILM on 50 foot rolls, furnished without pro-
cessing, instructions if wanted, closing out all 16mm stock. While they
iast only $2.85 per roll postpaid. Exchange, Box 607, El Monte, Calif.

Thirty

The INTERNATIONAL PHOTOGRAPHER

September, 1936

A Revolution In Lighting?

By A. C. Jenking

Description of an Entirely New System
Complete Brilliancy with Perfect Diffusion

Verna Wayne, by Stillman

Charlotte Boener, by Stillman

N the last decade, while great advances
have been made in the lens and sensitized
surfaces little has been done about light
and lighting and nothing about light quality.
We have never been able to even approximate the
north light, with its beautiful softness, penetration
and soft brilliancy.

This new Vitachrome Difusionlite system has
been developed and perfected so that we now have
practically the north light produced artifcially and
available when you want it in the quantity you
need.

Diffusion is defnitely complete without detracting
from the brilliancy of the beam. Actinically and in
color separation the projected light upon the image
has been greatly increased — photographically.

The light projected by the "Difusionlite" is en-
tirely free of any specular images of the filament.
It is as devoid of these as is daylight and throws an
even quality of light over the surface of the image
without hot spots, rings or shadows.

To quote Harry B. Wills, we now have what we
have been seeking for years: Great brilliancy with-
out burning up or flat lighting; getting the depth
desired in all photography. To illustrate this the
photograph here reproduced was taken with a very
high light at the back of the head and a low light
in front This gives beautifully soft, transparent
shadows enhancing the value of the portrait.

A description of the lights used in the Vitachrome
Difusionlite system is herewith presented:

The light source is a special incandescent bulb.
On this bulb is a front surface mirror of great bril-
liancy, with a co-efficient of 89. The diameter of
this mirror has been very carefully calculated to ob-
tain the results desired.

The bulb is installed in the "Difusionlite" with the
mirror between the light (filament) and the object
to be illuminated. This shields the subject from any
filament glare, as it is impossible for any direct rays
to be projected from the "Difusionlite." The mirror
throws all direct rays back on the "Difusionlite" de-
flector at the rear. This deflector is electrolytically
treated to a very precise granular formation. The
size, shape and curve of the deflector has been
carefully calculated for a maximum efficiency and
the position of the light source. It is so designed
as to project all of the light.

By turning all of the light to the diffusion sur-
face with its myriads of brilliant facets the resulting
light is perfectly diffused without having to pass
through any sort of screen or condenser and with-
out sacrificing any clarity or speed of light.

This system definitely adds greatly to the actinic
value, as is shown in the accompanying tests of
Gordon Chambers of the Eastman Kodak Company.

The elimination of screens increases photographic

September, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

depth, doing away with the flatness that most
screens cause.

Built in the "Difusionlite" is a dialed rheostat or
dimmer operated from the rear of the light-head,
enabling the operator to control the light intensity

Vitachrome Difusionlite — Side view. Front view. Position of
mirror on globe and clutch assembly.

from one to twelve, or, in terms of watts, from one
hundred to two thousand. Thus giving any quantity
of light desired.

The light head is removable from the extension
column and can be detached from the base, making
it easily transportable. While the "Difusionlite" is
sturdily built, it is not heavy nor clumsy and weighs,
complete, only 22 pounds.

By the elimination of flat lighting, tests show that
there is a saving of over 60 per cent on retouching.
For copy work, this makes a perfect light, having
no center.

With the "Difusionlite" in position and turned on
the subject, introduction of any opaque object like
an arm or shoulder immediately in front of the light,
will give no definite shadow on the screen As
you advance toward the screen a shadow will form
very slowly, but at no time will it be sharp and
the edges of the shadow will always be soft. This
particular test is an interesting demonstration of the
perfect diffusion obtained by the "Difusionlite" sys-
tem.

Film stars who have had to sit for stills under
the old methods of lighting often remark that they
are unconscious of any strain when posing under
"Difusionlites." Many of the stars in motion pictures
have commented as to the ease of these lights on
facial expression. An example of this effect can
be seen by studying the pictures shown in the article
in this issue by John Van Pelt, entitled, "The Eyes
Have It." All of these close-ups were taken with
the "Difusionlite" system, by Stillman, of Hollywood.

There is also a noticeable absence of heat from
these lights, owing to the fact that the light is not

projected in a solid beam. They are also positively
noiseless in operation.

"Difusionlites" are invaluable to the commercial
man for shooting glossy or highly-polished surfaces
such as glassware and chromium-plated articles.
Polarity is reduced to a minimum as there is a total
absence of direct rays. This factor is also respon-
sible for the remarkable results in obtaining detail
such as the grain of woods in furniture, textures in
fabrics, outline drawings, etc.

The discovery of this system is a certain advance
in all fields of photography, and the writer suggests
reading the article in the August issue of this pub-

PI
w

■ r

MNMMMMMMpi

|U_1

irnfl lil

IU0M

s a m

|t|

n n
u u

g m

M 1'W

n . . n

u u U

ItfliB'k+f

n n

HJ'H

1 i|

■ i

■5M5M 9 1

Spectrum of color bands.

lication, entitled: "More About Lighting," by Lewis
W. Physioc. In that article it is suggested that the
element most inimical to good photography is flat
lighting — and this "Vitachrome Difusionlite" system
eliminates it.

After a year of travel abroad, Mr. and Mrs.
George Mitchell have returned to Hollywood where
the famous builder of the famous Mitchell motion
picture camera, will devote his time henceforth to
research along new and original lines of camera
construction.

Dan Clarke who won fame and great praise for
his cinematographic work in connection with the
famous five babies of Callender, Canada, has once
more been called to the same duty by the produ-
cers. Looks like a perpetual job.

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

September, 1936

CINEMACARONI

(With Sauce for Those Who Like It)

By Robert Tobey

HOLLYWOOD HONEYMOON
or, The Loves of Lili Liverblossom
By R. THRITIS
Synopsis of preceding chapters:

Perriwether Murgle, press-agent extraordinary,
has just been rescued from the lair of a Great
Bald Eagle named

Willy Nilly. Willy and his wife

Nelly Nilly, were holding Perri captive. How-
ever,

Lili Liverblossom, beautiful star of Flamboyant
Films, Ltd., has enlisted the aid of a ghost called

Potty, in order to rescue Perri, her press-agent.
As we pick up the thread of the story, Lili, Perri,
and Potty have escaped from Willy Nilly and are
headed for Lili's apartment. Enroute Lili and
Murgle quarrel over Potty, and the three fly the
rest of theway to Lili's apartment in icy silence.

CHAPTER XXIII. HOME AGAIN. SO WHAT?

It was pretty late by the time our little party
arrived in the vicinity of Lili's apartment. The
ghost didn't bat an eye but hove right through
the apatrment house wall, neat as you please,
with Lili in his arms. Murgle, not far behind,
was a little startled but decided in favor of trying
anything once. Needless to say he didn't go
through the wall. In fact he nearly knocked him-
self out against the side of the building. Prob-
ably 'would have, too, except for the fortunate
coincidence that the bricks at that particular spot
were unusually soft. Painfully pulling himself up
on the window ledge, Perriwether let himself in
through the window. The ghost was busy trying
to rub Lili's wrists, which were pretty cold due
to the icy silence they'd been traveling in; but
he wasn't making much headway. Perri took
over the job.

In a few minutes Lili felt better, and rose and
went to a mirror to Jook herself over. She yawned
audibly.

"If you boys den't mind," she said, "I think
I'll turn in, I look tired." She turned to the ghost
curiously. "Do you sleep," she asked, "or isn't
it necessary?"

"Oh yes," he answered in his slow, hollow
voice. "I'm getting very tired, too."

"But how can you sleep"" asked Lili. "I should
think you -would fall right through anything you
lay down on."

"The only way I can sleep is in a dark closet,"
said Potty. "It's a bit hard to explain," he added,
"but you see since I can't be seen in pitch dark-
ness I really don't exist and therefore I can't fall
through anything and don't have to keep holding
myself up. So I manage to sleep quite comfort-
ably. I do hope that's not too confusing," he
added hopefully.

"It is a little," picked up Perri. "If you don't
exist, I don't see how you can get any sleep —
not any that exists at any rate."

"If you don't mind I'd like to drop the subject,"
said Potty coldly. He turned to Lili. "Do you
mind if I sleep in your closet, Miss Liverblossom?"
he inquired politely.

Lili hesitated.

Perri started to remark that perhaps it would
be more fitting if the ghost slept in his closet.
Just then Lili remembered the ease with which
Potty had acquired that mink coat, and she hesi-
tated no longer. No telling how handy a creature
like that could be. She never missed a bet, that
Liverblossom.

"Okay, toots," she answered. "Help yourself.
Don't sleep on my best slippers, though, will you
— there's a dear."

"Is there?" inquired Potty naively. "Well, if
you have everything you want out of the closet,
I'll retire."

And without bothering to open the door, Potty
slipped noiselessly into the closet off Lili's bed-
room. There was a slight rustle as of silk, a
clanking of bracelets, and then all was quiet.
Perri turned slowly toward Lili, unsmiling, his
eyes narrowed.

(What is Perri going to do? And what will
happen to Lili, with a ghost in her closet ? Do
you really think so? See next month's installment
of the super-serial, -HOLLYWOOD HONEY-
MOON.")

Into the Frying Pan

Dixie Dunbar and Tony Martin

Gail Patrick and William Bakewell

Eleanor Whitney and Johnny Downs

June Clayworth and Bob Cobb

Virginia Bruce and James Stewart

Into the Fire

Gene Raymond and Jeannette MacDonald
(or arc they?)

Out of the Fire

George Raft and wife.

KNEECAP REVIEWS
(No space left on my thumbnails)

"SUZY," with Jean Harlow, Franchot Tone, Cary
Grant, and Benita Hume in the cast, struggles
to the death with dialogue — and loses. This
would have been splendid stuff if it had been
done in the silent days. It is packed full of love,
hate, war, intrigue, self-sacrifice, and practically
every action and emotion on the books.

Sound is the downfall of the picture. Harlow,
though lovely as ever, is entirely unconvincing
in her dialogue. Tone has so much trouble bal-
ancing an Irish brogue on the end of his tongue
(and he's no juggler) that he forgets •what a fine
restrained actor he was, and chews up the
scenery. Cary Grant does the best he can to
reconcile his Londonish face and accent with his
role of the very French war ace. Inez Courtney
is far from up to par. Much of the dialogue is
funny in -ways that were not intended. Strange,
too, considering that the scenario was the pro-
duct of four excellent M-G-M writers. Perhaps
they all worked on the story without knowing
the plot.

Only Lew Stone and Benita Hume contribute
good acting, and there are two songs in the pic-
tuer that are excellent — "Did I Remember" and
"Take My Love."

Direction was by George Fitzmaurice and ex-
cellent photography by Ray June.

"WE WENT TO COLLEGE," a tale of what
not to do when you return to the old alma mater
for an alumni reunion and to garner a big brick
contract. Pretty inane, but clocks a surprising
number of chuckles. The thing is distressingly
full of comics, all of whom are capable of better
things — Una Merkel, Hugh Herbert, Charles But-
terworth, and Walter Catlctt, to name 'em out
loud. Walter Abel and Edith Atwater uphold the
love intecrst. Lester White photographed.

"MARY OF SCOTLAND" with Katharine Hep-
burn and Frederic March heading a list of 42
names that RKO ieels worthy of listing on the
credit sheets. 4 March chalks up the highest score
in this Scottish saga of queenly quirks and whim-
sies.

The film boasts of many beautiful and impres.
sive scenes, and a few histrionic high points.
While it may or may not be an accurate account
of the life of Mary Queen of Scots, it defintely
falls short in its role of pure entertainment. The
courtroom scene, where Mary is tried, with the
verdict foreordained by the English High Court,
is the one masterpiece of direction and acting.

Florence Eldridge contributes an excellent, al-
though somewhat peevish. Queen Elizabeth. John
Carradine is in his element as the luckless Rizzio,
and Ian Keithe and Moroni Olsen do well with
their parts as the knave Moray and the fanatic
John Knox. Direction is by John Ford, and cine-
matography by Joseph August.

"STAR FOR A NIGHT." First starring vehicle
for blonde Claire Trevor, this story of a great
white lie is studded also with the names of Arline
Judge, Evelyn Venable, Jane Darwell, J. Edward
Bromberg, Dean Jagger, Alan Dinenart, Astrid
Allwyn, and others. In the part of the little
chorine who skimps and saves and lies to help
her blind mother, Trevor gets her first crack at
a real role, and handles it like a trouper, giving
promise of greater things.

Picture itself is a fair human-interest yarn, suf-
ficiently true to life to nauseate you at times. A
mild vehicle, it seems to bulge 'with the strong
performances of its cast. J. Edward Bromberg is
so prominent in the sea of talent that he should
be earmarked for topnotch character roles. Arline
Judge is always captivating. Evelyn Venable is
so quietly restrained in this as in previous roles,
as to lead one to believe this is the one quality
that will keep her from the pinnacle of screen
success. Astrid Allwyn, with her customary feline
excellence, is the menace of the play.

Presentable but uninspired direction is by Lev/
Seiler. The film gives you "Down Around Malibu
Way," catchy tune sung and danced by the little
Trevor. Photography is by Ernest Palmer.
* * *

Interesting to see some of the pictures of a few
years back that are having a revival vogue. An .
'especial pleasure is "ONE WAY PASSAGE,"
which stacks up in every respect with my recollec-
tion of its admirable qualities. It can stand un-
abashed beside any picture today. Lovely Kay
Francis has never since looked more beautiful than
she does here under the photographic ministrations
of the late Robert Kurrle, nor has she ever per-
formed any more creditably. William Powell sur-
passed his own future, and a priceless cast was
completed by Aline MacMahon, Frank McHugh,
Warren Hymer, and Roscoe Karns. Tay Garnett
was responsible for the smooth, sparkling, and
sophisticated direction.

Another worthwhile revival, of somewhat more
recent vintage is "OF HUMAN BONDAGE."
This is the picture that placed Bette Davis unques-
tionably among the top names of pictures. Her
delineation of the central character, the tawdry,
soulless, completely selfish waitress Mildred, was
a work of art, as clear-cut as the finest of crystal.
Leslie Howard's portrayal of the cripple ran a
close second. Frances Dee, though thoroughly
lovely, had little to do. Neatly turned bits came
from Kay Johnson, Reginald Denny, and Alan
Hale. How much of the excellence of the produc-
tion was due to the understanding direction of
John Cromwell can be surmised. Henry Gerrard
is credited with the first-rate photography.

A new rule for motion picture extras is that
they must all wear rubber heels when called for
work on pictures. Signs posted in all studios state
that those extras reporting for work with hard
heels will have their calls cancelled. No more
clumping about during scenes, it seems.

This is certainly the machine age.

They're making rubber stamps out of all of us.

THE MOHR UNIVERSAL FOCUS LENS MOUNT

After a year of research and several months of
testing, the Mohr Universal Focus Lens Mount has en-
tered upon the stage of the motion picture industry
as one of the most important technical contributions
to the ocular department of the cine.

This contribution is the invention of Mr. Hal Mohr,
one of the most prominent of the directors of pho-
tography in Hollywood and a cameraman of rare
inventive mind.

This lens mount enables the user to film the clear
image of objects within two feet of the camera and
still show them clearly far away in the background.

Nothing like this has ever been seen in Holly-

wood and yet it is simple in construction and
manipulation. The inventor, when asked about it,
replied: "Once I had stumbled upon the idea the
rest was easy."

The new lens mount has been used with marked
success in photographing important scenes for "The
Green Pastures" and patents for the invention have
been applied for.

In the past year Mr. Mohr has directed photog-
raphy on "Captain Blood," "Midsummer Night's
Dream" and "The Green Pastures," and developed
the lens mount to bring out backgrounds on such
motion picture classics.

PERFECT BALANCE

Scene from Pioneer Pictures'
romantic comedy, "Dancing
Pirate," an RKO release. De-
signed in color by Robert
Edmund Jones. Directed by
Lloyd Corrigan. Photographed
by William Skall.

Perfect Color Balance makes the carbon arc the ideal light for full color productions.
This same quality makes it a better, faster light for black and white photography.

NATIONAL MOTION PICTURE STUDIO CARBONS

are designed for the specific needs of motion picture photography. They provide lighting
that is balanced to the color sensitivity of modern, high speed, photographic emulsions.

NATIONAL

PHOTOGRAPHIC

•CARBONS

• NO NEED FOR SPEED ABSORBING FILTERS

• NO DETERIORATION WITH AGE

• NO UNTIMELY OUTAGES

provide the maximum of COOL photographic light, BALANCED AT
THE SOURCE for the requirements of the camera.

PROVE FOR YOURSELF THE ADVANTAGE OF CARBON ARC LIGHTING

NATIONAL CARBON COMPANY, INC.

Carbon Sales Division, Cleveland, Ohio

Unit of Union Carbide I'HH and Carbon Corporation
BRANCH SALES OFFICES: New York- - Pittsburgh - Chicago - San Francisco

35 MM. FILM

VJOOD photography has saved many an otherwise
mediocre production. And one of the things that makes
for good photography is fineness of grain. SUPERPAN
possesses unequalled fineness of grain . . . plus wider
latitude, supersensitive speed, and unparalleled emulsion
quality. Made by Agfa Ansco Corporation in Bingham-
ton, New York.

C. KING CHARNEY, Incorporated

HOLLYWOOD

6372 Santa Monica Blvd.

Tel. Hollywood 2918-2919

NEW YORK

245 West 5 5th Street

New York City

INTERNATIONAL
7 HOTOGRAPHER

[TH YEAR

HOLLYWOOD

OCTOBER, 1936

VOL. 8

No. 9

CENTS
A COPY

Ray Fernstrom
This tree and cloud effect picture was caught one day by Artist Fernstrom while cruising about in the
new camera car of Fernstrom Dunning, "Color Travelogue Photography." Artist Fernstrom likes to get
beauty in 'em — as note the great dove of cloud floating in the heavens.

MOTION PICTURE ARTS AND CRAFTS

PROGRESS -SPEED WITH SAFETY

. -.Mtitrltt'*"'-''.

ijiiiti'"" '"

;».« ■—■ .---.-fe

77*2 Queen Mary — Speed Queen of the Atlantic

Like this famous Ship — Du Pont
Superior Panchromatic Negative
is Fast and Dependable - —

DU PONT FILM MANUFACTURING CORPORATION

35 WEST 45th STREET

NEW YORK CITY

PLANT . . . PARLIN, N. J.

SMITH & ALLER, LTD.

6656 .. SANTA MONICA BLVD.
HOLLYWOOD, CAL.

One of the most wonderful natural theatres in California — this picture of Director Clarence Badger's

rancho at Lone Pine. Ranch House in the foreground. Some day it may all be covered with green

things — good to eat. A shot by Bert Longworth of the Warner studios.

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol. 8

HOLLYWOOD, OCTOBER, 1936

No. 9

Publisher's Agent, Herbert Aller

Silas Edgar Snyder, Editor-in-Chief

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerberg, Technical Editors

John Corydon Hill, Art Editor

Helen Boyce, Business Manager

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.

CONTENTS

Front Cover by Ray Fernstrom
Frontispiece by Bert Longworth

SOME OBSERVATIONS ABOUT LIGHT 4&5

By William V. Draper

IMPROVING DAYLIGHT AND OUTDOOR PHOTOGRAPHY 6 & 7
By Karl A. Barleben, Jr., F.R.P.S.
Dean, Neiv York Institute of Photography

BEHIND THE GROUND GLASS ------- g&9

By John Van Pelt, Actor

HOLLYWOOD— YE OLD TEK-NIK TOWNE - - - - -10
By R. D. Songster
{Written for International Photographer)

DON LEE TELEVISION PASSES ANOTHER MILESTONE - 12
By Harry R. Lubcke

ARTIFICIAL SUNLIGHT SIMPLIFIES TECHNICOLOR

EXTERIORS ----------- 14

By William I'. Skalt

A NEW SYSTEM OF PERSPECTIVE - - - 16, 17, 18, 19 & 29
By Lewis W. Physioc

AMATEUR MOTION PICTURE DEPARTMENT:

Behind the Scenes in a Film Library ------- 20

By Theodore F. Comstock

Right Off the Reel - - - - - - 21

Questions and Answers ---------- 22

By F. Hamilton Riddel

Cinema Tidings:

Amateur Motion Picture News ------- 23

HOLLYWOOD OFFSTAGE ---------- 28

By Earl Theisen, Associate Editor

CLASSIFIED ADVERTISING - - - 30

NEW APPARATUS, PHOTOGRAPHS SOFT TISSUES OF THE

BODY -------- 3i

By Associated Press

CINEMACARONI ------------ 32

By Robert Tobey

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles,
California, under the act of March 3, 1879.

and Canada

Office of publication: 506 Taft Building, Hollywood, California

Hillside 7221

James J. Finn, 580 Fifth Ave., New York, Eastern Representative

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

Subscription Rates — United States, $2.50 ; Canada and Foreign $3.00 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

8o-^rf>gtr^-

SERVICE ENGRAVING CO

PERSPECTIVE

This article from the facile
and learned pen of the Techni-
cal Editor, Mr. Lewis W. Phys-
ioc, will be found on page 16 of
this issue, and its importance is
so great to all interested in the
subject that special attention is
directed to it and to the article
to follow.

It is a masterful composition,
well worthy Mr. Physioc as an
artist, writer and one skilled in
the art and science of motion
picture fabrication; doubtless,
therefore, it will become the
authoritative work of its kind,
not only in America, but wher-
ever there is use for the em-
ployment of that illusory thing
called Perspective. Not in a
single article nor in several can
the true Perspective of art be
presented; it requires a "sys-
tem" to properly be placed be-
fore the understanding. The
genius of Mr. Physioc is evi-
denced in this, for he marshals
his facts like a general marshals
his soldiers.

Therefore, in the succeeding
installments of the subject of
Perspective, the new system
will be proven for the benefit
of those who understand the
older methods. Also the appli-
cation of the new system to the
various studio problems will be
worked out.

t^°°*'

\**

16MM.-
35 MM.

$1.00

At Your Dealers

October, 1936

The INTERNATIONAL PHOTOGRAPHER

Three

England Wants to Know What's Wrong
With Studio Technique

By Fred Westerberg,
Technical Editor International Photographer

| HE movie industry over in Merry England is
having trouble, it seems, in maintaining
satisfactory technical quality in the face of
rapidly increasing production.

The Kinematograph Weekly, in its issue of July
23, raises the question, "What is wrong with studio
technique?"

The article undertakes to answer the question
by pointing out the apparent lack of information on
the subject of illumination and suggests that "a me-
dium of balance between all phases of photographic
endeavor in an illuminating engineering laboratory
capable of handling scientifically all studio lighting
problems."

"Someone," the articles continues, "should be
supremely responsible in each studio for 'yes' and
'no' of correct illumination levels with their related
factors. Of a certainty it is not the cameraman,
'Sparks' (Hi, Sparky!) or the studio administration,
but a fully qualified illuminating engineer.

"He alone can wipe out the 'Art' fallacy about
film production, substituting 75 per cent scientific
facts and what is more important, make everyone
work to them. He can prove his worth as well as

supplying answers to the dissentients, with his densi-
tometers, gradation photometers, photo-electric light
meters, reflection factors (for color photography),
lamp statistics and other scientific data. . . . Here
is the remedy. What is your reply?"

Well, brothers, our reply is this: Don't under-
value your cinematographers. Give them every
opportunity to develop. Train them right and when
they are ready give them responsibility and author-
ity. Let them sit at your council tables; give them
your confidence and you can forget all about the
little Caesars from the illuminating engineering
laboratory.

"Ye Compleat Cinematographer" is a many-
sided individual. Only one of his numerous quali-
fications is that he must be in effect an Illuminating
Engineer. He must understand the nature of light
and how to judge it. It is one of his tools.

The Cinematographer is the one man that can
and should have the authority to deal with all de-
partments whose work affects the quality of the
photographic image.

To leave it otherwise is to invite chaos.

Wonderlite Dufaycolor Lamps

By T. Thorne Baker,

Director, Research Laboratory

IHESE lamps enable natural color photo-
graphs to be taken in any studio or home
by incandescent light, with Dufaycolor film
used in any camera without any filter on
the lens. These lamps are of the photoflood type,
giving a very high amount of illumination for the
current used, and it is claimed they have the long
life of six hours. Spectroscopic tests made in the
Dufaycolor Research Laboratory have shown that
the spectral energy distribution of the lamps remains
constant throughout the life of the lamp; in other
words, the color rendition should be faithful during
the entire useful life of the lamps.

The glass of which the Dufaycolor Wonderlite
lamps are made is specially colored to give the
same filtering effect as our standard 1A filter.

In using a Weston, or other photo-electric meter,
it must be noted that a difference in the reading will

have to be made for the following simple reason:
Where a filter (such as the Dufaycolor 1A) is used
on the lens of the camera, the Weston meter "sees"
the white light of the photoflood lamps as it is re-
flected from the subject being photographed. But
when taking a picture with Dufaycolor Wonderlite
lamps, the light of which is deep blue, the Weston
meter "sees" merely this blue light reflected from
the subject.

The effect of the blue light on the meter is only
about one-fourth the effect of white light on it. Hence
the Weston factor must be multiplied by four. Thus,
the Weston speed of Dufaycolor film used in photo-
flood light being three, it must be taken as four times
three, or twelve, when estimating the exposure in
the blue light of Wonderlite lamps. This will auto-
matically correct the very low response of the
Weston meter obtained in blue light.

THE GREATEST CAMERAMAN ON EARTH

James B. Shackelford, renowned cameraman of
the Gobi Desert expeditions of Roy Chapman An-
drews, and who left Hollywood for a year's cruise
around the world must be somewhere near the Fiji
Islands and the Great Barrier judging by the demand
for used safety razor blades. It works like this:

The native loves a cutting edge with which he
may make various and sundry implements. Every
white man has razor blades to throw away and no
place to throw 'em.

Cameraman Shackelford before starting on his
present expedition was smart enough to advertise in
the INTERNATIONAL PHOTOGRAPHER for dis-
carded razor blades. He got several millions of them
and traded them to natives of the South Sea islands
for tapa cloth.

The rumor that the natives had decided to erect
a monument to Mr. Shackelford as the greatest man
in the world has been revived.

Four

The INTERNATIONAL PHOTOGRAPHER

October, 1936

Some Observations About Light

By William V. Draper

|HE usual definition of a cameraman is: "An
artist who paints with light." It is very true
that a cameraman paints with light, but is
he necessarily an artist? Art is a very in-
tangible something which practically amounts to
someone's personal opinion.

Could it not be said that a cameraman is a scien-
tist who controls time? A preserver of NOW? A
file clerk of eternity? A disciple of light? True, he
is primarily concerned with making a beautiful pic-
ture, but "The eye is not filled with seeing." It is
something much more important which he does.

To begin with, he takes a bit of action at a speed
of 12. It is projected at a speed of 24. The action
transpires in half the time it took originally. Inten-
tionally or otherwise the cameraman has made it
possible for millions of people to witness a phe-
nomenon that could not be witnessed otherwise un-
less the observer was able to approach the inci-
dent in question at a speed of 93,000 miles per sec-
ond or some such impossible speed It would be
necessary for him to meet the light that bore wit-
ness of the incident in half the time it took the inci-
dent to occur.

If the cameraman took the picture fast and pro-
jected it slow the reverse would be true. He would
have to recede from the incident at some fraction of
the speed of light, and if he should run the picture
backwards an observer would have to overtake
time, which is to say, he would have to outdistance
light in order to review the incident as the camera-
man is able to show it to you. These statements
may be verified in Russell's "A. B, C's of Relativity."
If the cameraman by accident is able to illustrate
the theories of Einstein, leans and Millikan it would
seem to prove that he deals with a scientific me-
dium.

"A preserver of NOW." Possibly very few peo-
ple bother to reason what this thing called NOW, is.
NOW is the stuff eternity is made of So you don't
have to wait for eternity. It is NOW NOW is the
only time that ever was or ever will be. It was
NOW when everything happened that ever has hap-
pened. It will be NOW when anything happens that
ever will happen. One may say, "I'M going to
Frisco the 30th of August," but when the 30th of
August arrives it is NOW. You say, "I fell down
stairs yesterday," but when you were falling it was
NOW. So it seems reasonable to say that since
a cameraman records incidents which could only
happen at a time called NOW that he is preserving
NOW for future reference. In other words, he pre-
serves the eternal NOW so that we can review what
was NOW, right NOW or at any future NOW.

"A disciple of light." A disciple is a student. If

a cameraman is not a student of light he is not
much of a cameraman. It is his stock in trade. This
being admitted it may be said that a cameraman's
stock in trade is the stuff the universe is made of.

The statement can be explained by reducing all
things to their elements, the elements to electrons
and the electrons to photons which is light accord-
ing to material concepts and indicates, at least in
theory, that those particles which appraise of the
universe around us, are the ultimate in the division
of matter and consequently the basis of everything
material. A trick of photography will help to illus-
trate the point. We have all seen the news-reel of
the' explosion printed in reverse with all the pieces
going back into place again. The point is this: That
which was thrown out by the explosion had first to
be put in. Not the way the camera did it, but in
some way. It could not have thrown out what it
did not contain within itself.

At some stage of chemical reaction all things
give off light, which is to say, they turn back into
light. The sun is turning back into light and wasting
away at a rate of millions of tons per second. All
things that we know of are capable of turning into
light .therefore, everything must be basically light.

It is very helpful in dealing with material reason-
ing to remember that everything is based on theory.
Scientists very bluntly state that they know no abso-
lute truth outside of mathematics and incidentally
mathematics are strictly mental so it is safe to say
that they know no material truth. Since the world
looks hopefully to these scientists for an answer to
their woes, and these scientists reply: "We can only
guess," it is not surprising that the confused wcrld
wrings its hands in despair and cry, "Truth, truth,
there is no truth." There is lots of truth. Mind is
made of truth, just as the universe is made of light
and time is made of NOW, but you cannot find this
truth by looking for it in that which is most unlike
truth. Mind is infinite. Unlimited. Matter is defi-
nitely limited. Limited as to place, quantity, quality,
stability, durability, etc.

Let us see what material (limited) theories and
mortal (limited man) concepts, have to say about
vision or understanding. We say: "I looked across
the valley and saw mountains." Let's see if we
did.

There was a time, according to scientists, when
light was a wave motion in the ether. Ether was
the stuff in which the universe was hung. Ether
was much stronger than steel and 600 billion times
lighter than air. Ether was needed to hold up the
universe. No ether. No universe. Then something
happened. Ether, which had been so essential, was
suddenly not essential at all. It was dumped over-
board and the universe left hanging on nothing. One

DUPLICATES OF KODACHROME

Silent — or sound can be added.

The only laboratory in the country duplicating Koda-

chrome Film. .., .. ,

Write for prices.

STITH— NOBLE CORPORATION, LTD.

645 No. Martel Ave. Hollywood, Calif.

This charming lady is not mentioned by Mr.
Draper, but we are introducing her in this
fashion to demonstrate how our old friend
and contributor, F. M. Steadman, can mani-
pulate this thing called light — in a room
with a single window — to produce such out-
standing results.

might imagine that such a tremendous change as
this would cause a great deal of confusion, but
strange as it seems, most people didn't even know
anything had happened.

After this change light became a photon. A pho-
ton, roughly, is energy released through the dis-
integration of the atom. The result of a change in
the orbit of a negative electron. As the standard
speed of electrons is 186,000 miles per second the
photon starts its journey at that lively little clip.
If it hits anything it either bounces off at a like
speed or is absorbed.

Sir James Jeans explains in one of his book that
it is impossible to know anything about a photon
because it is either a part of something else, in which
case it does not exist, or it is expanding or traveling
at a speed of 186,000 miles per second which makes
it a bit difficult to see or even locate, especially if
it happens to be traveling across cameras, or it
strikes something and is again absorbed, in which
case it does not exist again. In other words, with
all the paraphernalia of science they cannot find it.
They cannot see it and still it is the medium that
is supposed to supply us with information about the
universe. Here is how it does it.

The photon leaves its source and either hits you
directly in the eye in which case you are conscious
of witnessing the source of light, or it is reflected to
your eye by some obstruction. If the photons are
completely absorbed, that is, if the obstruction com-
pletely cuts off the source of light, you experience
what you know as black or darkness or to be more
exact, nothing happens. You didn't even get hit.
If a portion of the light is absorbed you are hit only
by the remaining portion which gives the illusion
which we know as COLOR. If all the light is re-
flected you experience what is called white or we
experience the pain of having our optics knocked
about by a great many full grown photons and
which we have learned to interpret as sight. In any
event it can be readily seen that you don't look
anywhere. You just stand there and get hit and
you don't see anything except the source of light
in varying degrees which according to the material
scientists themselves, is completely unseeable. The
object which you have always thought you saw has
no way of becoming visible unless by some chemi-
cal action it is reduced to light which again you
can't see because, well, because it just simply don't
exist. This then, is what you are forced to conclude
if you ask matter how we see.

Suppose for the novelty of it mind should be
asked to explain this phenomenon. The word nov-
elty is used because people rarely think of asking
anything, but non-intelligent matter to answer their
questions. Mind's answer would be unlimited be-
cause mind is infinite. Mind's answer would be
absolute because it does not have to conform
to a mortal concept. Mind would say: "Light is the
understanding we have about the infinite universe
of things that we have in our consciousness. If we
have a consciousness of millions of people, billions
of stars, unnumbered things and places, then these
must all be in our consciousness. And if our con-
sciousness can contain all these things then con-

sciousness must be infinitely bigger than the uni-
verse it contains. Certainly there is no crowded
feeling when you take a new galaxy of a few mil-
lion stars into consciousness. Consciousness will
easily include anything the mind is able to con-
ceive of.

Mind would say that the very best way to pro-
vide mind which is capable of conceiving of light,
with light is to say, "Let there be light," and not
make it dependent upon a limited concept, because
ultimately it acts and reacts strictly in accord with
mind's capacity to recognize or shall we say realize
it. To make it real.

If this reasoning be true, if it be logical then look-
ing to matter for evidence upon which to formulate
the fictitious laws governing light (and when so tre-
mendous a thing as ether can be dispensed with
one may rest assured that all conclusions masque-
rading as laws are fictitious) only limits the useful-
ness of light. When we meet a man who does with
light what we cannot it simply means that he has
meditated until he has gained an enlarged concept
of light. Unconsciously we gradually absorb his
enlarged concept and light does better things for
us, but it is always because we have an improved
way of thinking about light — never because matter
has made light any different than it has been for
eternity.

SACRIFICE!

Variable area simple system sound eaniera complete —
all accessories — perfect condition. Write, wire or cable
for prices and particulars.

MOTION PICTURE CAMERA SUPPLY Inc.

723 Seventh Ave. New York City

Cable: CINECAMERA

Six

The INTERNATIONAL PHOTOGRAPHER

October, 1936

Improving Daylight and Outdoor

Photography

By Karl A. Barlebex, Jr., F.R.P.S.

Dean : Neiv York Institute of Photography

j.AVE you ever wondered at the marvelous
outdoor effects often seen in the movies?
Have you ever tried to duplicate them with
your still camera — and failed miserably?
Have you ever tried to figure out why, under iden-
tical conditions, the professional movie shots are so
rounded and evenly illuminated while your own
pictures were flat and interesting? If so, the follow-
ing will be of interest and — I hope — some value.

While outdoor photography is regarded by most
amateurs and beginners as easier than indoor work
with artificial illumination, the fact remains that this
is not quite so. Those who think sunlight work eas-
ier are unmindful of the lighting conditions. As we
all know, daylight is most difficult to work with in
photography because it changes not only from sea-
son to season, month to month, week to week, and
day to day but also hour to hour. What may have
been the correct exposure this morning at 1 1 o'clock
for any given subject out of doors would in all prob-
ability not be the right one at 12, 1, 2 or 3 o'clock.
The intensity of sunlight is extremely variable. Ad-
ditionally, the quality changes.

Then, too, there is the problem of placing the light
exactly where it is wanted at any given time of the
day. The time which may be most convenient to
the photographer may be most inopportune with res-
pect to the lighting of the subject to be photographed.
When doing interior work with artificial light, com-
plete control is available. Not only can the intensity
of the light be changed to suit conditions, but the
direction can be made to serve the best purpose in
mind for illuminating the subject. Thus the sub-
ject can be made to have depth, roundness, solidity
and tonal quality. Out of doors it requires patience
and good luck to secure just the effect wanted, using
Old Sol for illumination.

Coming back to the professional motion pictures,
it may or may not be general knowledge that those
beautiful outdoor scenes which simply can't seem to
be duplicated by the amateur are made, not as
would appear to be the case, with daylight alone,
but by the judicious combining of daylight and arti-
ficial light! Sounds silly, doesn't it — needing arti-
ficial light when working in full sunlight, yet the
producers know their photography as is evidenced
by the work turned out. Years ago they used huge
reflectors coated with silver or gold foil to reflect
back some of the light into the deep shadow areas
of outdoor sets. Even now these reflectors are used
to a limited extent, but the modern treatment con-
sists of sending out huge trucks equipped with gen-
erators and powerful lighting units. The latter pro-
vide the proper quantity and quality of light in the
shaded area, giving true redition to all detail. This
technique is particularly helpful in backlighted

scenes where shadows can be a nuisance and result
in mere black blobs of nothingness. It is well known,
of course, that a successful picture is one in which
details can be seen in the shadow or dark portions,
and it is this very quality where the greatest per-
centage of amateurs fall down in their work.

It is not only a matter of under-exposure. Im-
proper lighting is probably mainly responsible. On
the other hand, it is quite impossible to do anything
about it with just a camera. And who cares to bur-
den himself with bulky reflectors? It seems that the
motion picture companies are one up on still pho-
tographers when it comes to producing brilliant,
faithful scenes as the eye sees them. We have,
through force of necessity and habit, come to regard
certain photographic failures as quite normal be-
cause nothing better has been done or seen. As we
see salon prints at exhibits, we subconsciously make
allowances for the defects which we have learned
must of necessity exist in photography. In short, the
photograph does not always present a true record
of the scene depicted because of the limitations of
photography, technically and artistically.

However, the old ways are gradually being put
aside for new methods, because we are now learn-
ing new techniques which in a measure help to
overcome photography's so-called limitations. In
order to duplicate those movie scenes which are so
natural and life-like, it becomes only necessary to
fit a speed gun — Synchronized Photoflash unit to
you — to your still camera. That is all there is to it.
Briefly, the speed gun lights the shadow areas and
thus permits a true, faithful record of the scene to
be captured on the emulsion. Many may think this
is a radical departure from the customary technique,
but as a matter of fact, news photographers have
for years been using speed guns on their Graphic
cameras for many difficult outdoor shots. Strange, it
was not until the Kalart Company brought to the at-
tention of the amateur photographer the wonders of
using a speed gun in the open that the technique
became more or less generally known in photogra-
phic circles.

The new technique offers marvelous possibilities
in practically all forms of outdoor work. It has been
hailed as a boon to the long suffering amateur who
had about given up hope of ever being able to pro-
duce a true daylight picture on the negative in the
camera and without resorting to hand work on either
the negative or print. The small Photoflash lamp,
reflector and synchronizer is small enough to be con-
sidered truly compact, and contrasted to a few large
sheets of reflector material, certainly offers a most
attractive difference in what has to be carried about.
Again, the small speed gun, as attached to the cam-

October, 1936

The INTERNATIONAL PHOTOGRAPHER

Seven

era — any camera — forms an integral part of the
camera and thus means very little extra bulk and
weight.

So, while the still photography enthusiast cannot
take with him a number of "booster trucks" (the gen-
erator and lamp eauipped trucks used by the motion
picture companies), he can provide himself with a
small, compact "booster" of his own — a speed gun.
The technique is simple enough. The chief distin-
guishing feature of synchro-sunlight photography —

exposure meter, preferably one of the photoelectric
type, will enable the correct exposure to be deter-
mined. The flash light should be judged by the dis-
tance existing between the speed gun and the sub-
ject to be illuminated by it. In some cases, the flash
lamp itself will not be directly at the camera, exten-
sion cords making it possible to fire it remotely.
When a filter is used, as to record the sky in its true
tonal values, the filter factor will of course be reck-
oned with in determining the exposure. A yellow

• Courtesy KalartCompany
Left — A synchro-sunlight photograph, made on a June afternoon using 1 standard Photoflash lamp. The exposure was 1 /50th second at
f:8, K2 filter on Eastman Panatomic film using a Speed Graphic camera. Upper — A synchro-sunlight photograph. Exposure: 1 /50th sec-
ond at f:8, Eastman Panatomic film, K2 filter, Speed Graphic camera. Lower center — A synchro-sunlight photograph made in the woods on
a June morning. Exposure: I /200th second at f:8 on Eastman Panatomic film. The standard Photoflash lamp was fired at 15 feet from the
center of the swing by means of an extension cord attached to the socket in the battery case. Eastman Panatomic film and Speed Graphic
camera used. Right — A synchro-sunlight photograph. Exposure: 1 standard Photoflash lamp, l/50th second shutter speed, f:8, K2 yellow

filter, Eastman Panatomic film. Speed Graphic camera used.

which is the new name for this modern method —
is the use of sunlight for strong back and top lighting
while the speed gun preserves full detail in the dark
foreground and front of the subject. Cloud detail in
all its glory is, of course, preserved by means of a
suitable filter. Another feature of this type of pho-
tography is the absence of distracting detail in the
background and the manner in which distant objects
are silhouetted against a perfectly rendered sky.

A brand new range of lighting effects are thus
made available to the amateur and professional
photographer by merely using a speed gun out of
doors in sunlight. To use an open flash, in which
the shutter is opened, the flash fired and the shutter
then closed might appear to be capable of produc-
ing similar results, but such is not the case, as will
be noted on thinking about the matter. The sky and
background are liable to be over-exposed during the
relatively long exposure time the shutter is open.
By using a synchronized flash, this evil is completely
eliminated.

The position of the sun can be ignored, although
care should be taken to prevent it from entering the
lens directly. In this work, as is all others, a gen-
erous sunshade (lens shade) should be used. This
will effectively prevent any danger of flare or fog
when shooting against the sun. The use of a reliable

filter, such as the K2 or its equivalent, is usually
used. A so-called sky filter in which half the area
is clear and half yellow also makes an ideal filter
because it does not increase the exposure in the
foreground.

While on the matter of exposure, the following
table will be of some value:

Speed Flash Exposure Table Using 1 Standard
Photoflash Lamp

For exposures on ortho "chrome type" emulsions
such as Agfa Plenachrome and Eastman Veri-
chrome.

Distance:
Lamp to Subject Lens Diaphragm Stop

6 feet — f : 1 6 for standard flash — f : 1 1 for baby flash
10 feet — f : 1 1 for standard flash — f:8 for baby flash
15 feet — f:8 for standard flash — f:6.3 for baby flash
20 feet— f:6.3 for standard flash— f:4.5 for baby flash
25 feet — f:4.5 for standard flash — f:3.5 for baby flash

One lens stop smaller may be used for exposures
on supersensitive panchromatic films such as Agfa
Superpan, DuPont Superior, Eastman Super-X, De-
fender X-F, etc.

When making synchro-sunlight pictures, adjust

the shutter speed for the distant portion of the picture

in which detail is to> be preserved. The exposure

meter will aid materially in this. The illumination

(Turn to Page 26)

Eight

The INTERNATIONAL PHOTOGRAPHER

Behind the Ground Glass

October, 1936

(No. 3 of the Instructional Series)

By John Van Pelt, Actor

Collaborating ivith Still/nan, Photographer of Hollywood

We have asked Mr. Stillman to collaborate with Mr. Van Pelt
in interest of character portraiture. Mr. Stillman is one of our best
qualified artists, he having made a specialty of this branch of pho-
tography.

AN OFFER

Up to December 1, 1936, if the reader will send his print and
the negative from which the print was made, to the Stillman Studios,
6548 Vi Hollywood Boulevard, Hollywood, California, Mr. Stillman at
no charge offers to give constructive criticism of same from the taking

|HE following article dealing with the tech-
nique of photographing character studies,
was written primarily for the young pro-
fessional or amateur among actors and
photographers.

Character studies may be of three general classes
commonly known as:

1. Straights — Photographs of an individual as
he ordinarily appears called Portraits.

2. Characters — Portrayals of different charac-
ters by one person.

3. Stills — Usually group characterizations taken
at the end of an action scene in motion pictures.

Prior to the taking of any pictures — characters or
portraits — the photographer should arrange for the
opportunity, through conversation to study the sub-
ject for types, expressions, best views and variety
of characters, according to what use will be made
of the pictures. In the process of taking one picture,
other suggestions of character, pose or angle of shot
should present themselves. Another objective of
this prior interview should be to put the subject at
ease.

With Straights or Portraits, the main object of
course is to photograph the person to best advan-
tage, expressing his most pleasing personality. Al-
ways keeping in mind that the portrait must be nat-
ural and unposed.

Realism and Vitality Are Objectives

With many persons the facial expression reveal-
ing that certain phase of personality you desire to
show, comes and goes in a matter of seconds. With
this in mind, it should always be the endeavor to
have the mechanics so timed that you do not miss
this high point in the subjects truest being, nor wear
him out, causing him to go stale or become con-
fused with your manipulation of gadgets.

Think through your plan of lighting the subject
to accentuate his best features, leaving the mini-
mum of experimenting in light adjustment for those
moments after the subject has taken position for the
pose. Have your camera in readiness — focus set —
film in place.

Do the bulk of your experimenting in lighting on
studio objects or members of your family — not on
the public. There is a wealth of informative reading
matter of invaluable worth in this and other photo-
graphic magazines on the very important and never
ending subject of lighting.

One of the newest developments in lighting is
described in last month's issue under title, "A Revo-
lution in Lighting" called "Difusionlite," manufac-
tured by Vitachrome Inc., 421 East 6th St., Los An-

to the printing. This offer applies to portraits and character studies
only — not snap shots. For this service please enclose return post-
age.— Editor's Note.

geles. This system was used in taking the four il-
lustrations of the picture actress Myra Marsh for this
article.

These lights should be of especial interest to be-
ginners in photography as they symplify several of
the common lighting problems. The actor is inter-
ested as there is a decided betterment in the
matter of eye strain, relieving the urge to squint, a
fact which adds to realism and flexibility in charac-
terization. The lights also permit faster adjustment,
which means greater efficiency and lower costs.

Having the mechanics adjusted, you are ready
to concentrate on expression. Through conversation
and suggestion the foremost aim is to direct the sub-
jects' mind into some theme to which his face will
react through his thinking. This should apply to all
types of studies including portraiture.

The photographer's request: "Now look pleasant"
is usually all he gets — if he gets that.

Truest character comes from thinking — another
latent art, otherwise the camera picks up a jumble
of contradictory reactions. The rub here is to find
those capable of thought, which statistics report is
confined to 2% of us. This is the insurmountable
obstacle in photography. It results in Expression No.
1 — and only.

There is however a mild form of thinking of which
most of us are guilty — a repeating of what we've
heard or read — a sort of circular thought process
which the photographer should be sure is functioning
in his subject to insure contemporary reaction.

Any picture should be a cross section of life — not
"Blah." You should feel the subject is engaged in
conversation — just about to say something, which
makes him vital.

When this is achieved, you have automatically
accomplished another important thing. You have
led the subject's mind away from the camera.

Being set and ready, you are now alert for that
desired instant when the subject is right. Should
you miss your opportunity, do not force the issue —
relax — back up — start over — give the subject the

October, 1936

The INTERNATIONAL PHOTOGRAPHER

Nine

opportunity again, through his mental processes to
grow into the character you are after.

There can be no fixed rules for bringing the sub-
ject to a true expression. Some minds react best to

MYRA MARSH, SCREEN ACTRESS

take to anticipate the picture taking as an ordeal.
If such is the case it will take an unnecessarily long
time for the photographer to relieve the tension —
which is common.

^^^^r^wf

^^v:%i3i

I 'vSlM

(7\

Sfettt Vr3

Br \ ™

fg- ~ ^«»

These character studies were taken at one setting by Stillman of Hollywood

just ordinary conversation, others require music,
compliments, joking, serious discussion, description
or absolute quiet — depending entirely on the temper-
ament of the subject.

There must be no feeling of haste or strain, as
the two most important factors in a picture are ease
and naturalness.

No photographer can count his minutes. The sub-
ject may be pliable, have an expressive face and
creative mind requiring only thirty minutes to take
twelve good portraits — with another it may require
two hours. A subject should not have pictures taken
when under the influence of some worry. It is a mis-

Often a person will walk into the studio to make
an appointment for a sitting and state that it is the
first time ever, or in years that he has had a picture
made, other than snapshots. Right then is the time
to put his mind at ease, to get over without saying
in so many words, that the experience is going to be
a pleasure, not an irritation.

It is most unwise for the subject to have a mem-
ber of his family or a friend present in the posing
room. This applies to all other than very small
children. There is no factor which so contributes to
self-consciousness as the presence of some one
looking on who is ordinarily close to the subject

Ten

The INTERNATIONAL PHOTOGRAPHER

October, 1936

Hollywood— Ye Old Tek-Nik Towne

Manufacturing in Los Angeles District Affiliated
with Motion Picture Production

By R. D. Sangster,

Manager Industrial Department, Los Angeles
Chamber of Commerce

(Written for International Photographer)

||N addition to the 16,000 persons employed
by the film studios of Los Angeles County
and who receive upwards of $65,000,000
per year, there is another very large group which
gains its livelihood here in connection with the
making of motion pictures.

There is a long list of affiliated firms, most of
them exclusively employed in making equipment,
supplies, etc., for the studios. Most of these fall
under the headings of developing and color labora-
tories, transcriptions and other sound recording, cos-
tumes, properties, sound and photographic labora-
tory equipment, cameras and equipment for same,
lamps and miscellaneous lighting apparatus, wigs,
make-up and cosmetics generally, photographic
chemicals, etc.

Then there is a great number of suppliers, deal-
ers and agents providing every kind of material,
from raw film, onward.

It is believed that in addition to the 16,000 em-
ployees of the studios, there are enough more to
bring the total list up to at least 30,000 workers
earning a living here through motion picture pro-
duction.

Instances of industrial activities of the district
in some of these affiliated lines are:

Consolidated Film Industries, Inc., employing 150
persons doing developing and processing of films
for the various studios.

Technicolor Corp., already employing 300, is to
double the size and capacity of its color laboratories.

In sound recording, the leading firms in the
United States have Hollywood plants which assist
the studios in making records as well as in many
other directions.

As to producing costumes, several large estab-
lishments, such as United Costumers, Inc., and West-
ern Costume Co., keep extensive staffs employed
and have tremendous stocks of uniforms and stock
costumes on hand constantly.

The list of properties and supplies, as made here
or stocked and held available for rent or sale, is
almost endless, some 75 pages in a specialized di-
rectory being devoted to that purpose.

Many of these are for special use for a particular

picture, to illustrate, miniatures, "break-ways," etc.,
are not used over again. Others appear repeatedly.

The most vital instrument in the business, the
motion picture camera, is made in Hollywood, as
the Mitchell and also the Fearless. Many camera
accessories, lenses, cases, silencers, booms, etc., are
made here.

Bell <S Howell of Chicago have a local branch
plant. They make projectors, printers, splicers, per-
forators and other laboratory equipment, and of
course are important makers of cameras.

Lamps and lighting equipment have long been
important items of manufacture here, with designs
adapted directly to cinema needs. Otto K. Olesen
Illuminating Co., Mole-Richardson, Inc., and several
others are actively producing such lighting facilities.

The making of cosmetics, make-up and wigs has
become of considerable importance. Max Factor's
studio is the concern with largest sales and widest
distribution, but there are eighty other cosmetic
makers here.

Sales of photographic chemicals made locally
have naturally grown in volume; for example, Braun
Corp., Los Angeles Chemical Co., and A. R. Maas
Chemical Company, and others being notably
active.

An interesting development is Horn Jeffrey Co.,
utilizing scrap film reclaiming of silver from old
film.

Another active manufacturing plant is that of the
Universal Microphone Co., Ltd. They are success-
ful makers of microphones and stands, of recording
machines, discs, needles, transformers, etc.

In addition to these few firms mentioned, there
are many other plants with employees ranging from
a few up to thirty or forty each, which design and
make machinery, parts, fittings, accessories, mostly
mechanical or electrical, to order.

The technique of picture-making is steadily be-
ing improved, and experts of the studios and affili-
ated plants are constantly trying out new gadgets
and having experimental devices made to try to
improve, quicken or otherwise better the current
method. This experimental work alone is of large
volume.

"COMPOSITION AND COLOR PHOTOGRA-
PHY," by Avenir Le Heart. If one doesn't make
more artistic pictures after reading this little book
it will be because instructions were not followed.
Line and balance are well described with profuse
illustrations of what constitutes composition. The
book deals not only with outdoor photography, but
with portraiture as well. Bound in art paper cover,
published in Hollywood.

"THE AMERICAN ANNUAL OF PHOTOGRA-
PHY" for 1937, publication date September 29, 1937.
The least that can be said is that this annual is even
better than it has been. It contains everything from
making a pin hole camera to photography by polar-
ized light and that's not saying a thing about all the
good things sandwiched in between. There's even
a fine chapter about Civil War Photographers, and
it's all beautifully illustrated. Published by Ameri-
can Photographic Publishing Company.

October, 1936 The INTERNATIONAL PHOTOGRAPHER Eleven

SUPER X STAKS

EASTMAN Super X helps the cameraman
as no other film has ever helped before . . .
to enhance his artistry ... to solve difficult
situations. It helps the exhibitor, too, by
delivering photographic quality that un-
deniably heightens box-office appeal. In
this dual role, Super X stars in the fullest
sense of the word. Eastman Kodak Com-
pany, Rochester, N. Y. (J. E. Brulatour, Inc.,
Distributors, Fort Lee, New York, Chicago,
Hollywood.)

EASTMAN SUPER X

PANCHROMATIC NEGATIVE

Twelve

The INTERNATIONAL PHOTOGRAPHER

October, 1936

Don Lee Television Passes
Another Milestone

CTIVITIES of the Television Division of the
Don Lee Broadcasting System reached an-

H other mile-post of noteworthy achievement
when, for the first time, the "sound" phase
of a newsreel was broadcast over KHJ, the "sight"
portion over W6XAO, simultaneously, and the united
sight-and-sound picked up at a private residence,
3V2 miles removed from both transmitters.

The demonstration was given on the night of
September 1, 1936, as a feature of a special joint
meeting of the Los Angeles sections of the Institute
of Radio Engineers and the American Institute of
Electrical Engineers.

The location of the television receiver at 2441 W.
Silver Lake Drive, 3l/z miles from the Don Lee Build-
ing at 7th and Bixel streets, where both transmitters
are located, is especially significant.

"It is notable in that the receiver location is be-

HARRY R.
LUBCKE

a truck down a narrow alley designed to be wide
enough only to pass bicycles."

Television History Made As KHJ Inaugurates
Regular Television "Sound" Broadcasts

Another progress-ful chapter in American tele-
vision history was written Wednesday evening, Sep-
tember 9, when, from 7:30 to 7:45 p. m., PST, the Don
Lee Broadcasting System station in Los Angeles,
KHJ, inaugurated a series of weekly television

Right — One of the two hills in line of sight between the Don Lee Television broadcasting station W6XAO and the pri-
vate residence. The camera was in the line of sight, this photograph having been taken part way up the hill looking toward
the transmitter, which is directly "through" the hill. Center — Croup of persons looking at Don Lee television images
being sent from W6XAO, three and a half miles away and behind two hills. First reception in a private home in Los
Angeles of high definition television. Left — Private home in Los Angeles where Don Lee television transmissions are re-
ceived, sight via W6XAO, sound via KHJ. The antenna for the television can be seen at the rear of the house.

hind two hills, as viewed from the transmitter," said
Harry R. Lubcke, Director of Television. "This is an
'unfavorable' television location," he continued,
"because of the straight-line propagation character-
istic of ultra-short television waves, and is equiva-
lent to a more accessible location at two or three
times the distance."

Of exceptional interest to the assembled engi-
neers was Lubcke's emphatic statement that, "It will
not be possible to receive sound and television on
the present radio receivers. They are capable of re-
ceiving only sound and can never be adapted to
receive television. Television reguires wide fre-
guency bands; sound radio does not. Just as a truck
reguires a large width of road for its passage, and
a bicycle does not, so it would be impossible to drive

"sound" broadcasts, synchronized with the broad-
cast of television images from W6XAO, the Don Lee
television station. Announcement of this latest for-
ward step of the Television Division of the Don Lee
Broadcasting System was made by Harry R. Lubcke,
Director of Television for the network.

The event marked another "first time" achieve-
ment by the Television Division inasmuch as a
broadcasting station and a modern high-definition
television station, such as W6XAO, had never been
united until the successful proving experiment of the
previous week.

The sound can be received on any radio capable
of receiving KHJ, and the station will operate on its
usual frequency of 900 kilocycles. To receive the
IMAGE, however, a new television receiver must be

October, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirteen

employed.

"Particularly notable in this event was that two
hills intervened in the path between transmitter and
receiver, making the test equivalent to one con-
ducted at two or three times the distance," stated Di-
rector Lubcke.

The preview further demonstrated that the some-
what "obstinate" ultra-high frequency waves, which
must be used for television, will "bend" over hills
and provide a satisfactory service area behind them.

For those who are without television receivers,
there is a measure of sport in visualizing the compo-
sition of the visual scenes by listening to the "sound"
part of the program, only.

Admission of limited groups to the sight-sound
broadcasts is granted by tickets obtainable by ad-
dressing a stamped, self-addressed envelope to the
address given below.

Data on the requirements of the television re-
ceiver required for the reception of W6XAO, and
how one may be constructed are similarly obtain-
able by addressing a stamped, self-addressed en-
velope to: Television Division, Don Lee Broadcasting

System, 7th <S Bixel Streets, Los Angeles, California.

Group From Academy of Motion Picture Arts and

Sciences To Witness Synchronization of Sound

via KHJ With Television Images Released by

W6XAO

Returning a courtesy of one year ago when he
was asked to speak before their organization, Harry
R. Lubcke, Director of the Television Division of the
Don Lee Broadcasting System, played host to mem-
bers of the Research Council of the Academy of
Motion Picture Arts and Sciences on the night of
Wednesday, September 16.

Then, as a year ago, Director Lubcke declared
that "Television holds a promise, not a threat, to
motion pictures."

In support of this statement, he points out that
television would logically become an exceedingly
valuable customer of the motion picture industry.

"Film is a satisfactory program vehicle," says the
Don Lee television expert, "and, when especially
produced, may supply much of the future commer-
cial television programs."

TENTATIVE PROGRAM FOR SMPE CONVENTION
ANNOUNCED

Before the coming of sound motion picture engi-
neering was a comparatively simple matter. Today
the industry is forced more and more to become elec-
trically and mechanically minded as is evidenced
by the wide variety of engineering matters to be dis-
cussed before the fall meeting of the Society of Mo-
tion Picture Engineers to be held at the Sagamore
Hotel, Rochester, New York, October 12 to 15.

Meeting in Rochester for the first time since Oc-
tober 1922 members of the Society will be enter-
tained by Eastman Kodak and Bausch and Lomb
Optical Companies during its four day meeting. On
the second day of the convention the Kodak Park
Plant of the Eastman Kodak Company will play host
to the members with a special invitation luncheon
to be given at the Kodak Park Plant. The day follow-
ing Bausch and Lomb will hold a similar luncheon
for members. Inspection tours of plants are planned
for the members by each of these organizations.

The semi-annual banquet will be held on Wed-
nesday evening, October 14, at the Oak Hill Country
Club at which time presentation of the SMPE Jour-

nal Award and the Progress Medal will be made.
Recipients of these awards have already been se-
lected by the Board of Governors but their identity
will not be announced prior to the banquet.

Announcement of the election of officers will be
made at the first meeting to be held Monday morn-
ing, October 12. This meeting will be followed by an
informal luncheon, when Charles Stanton, Mayor of
Rochester, will welcome the delegates to the Kodak
City.

Outstanding among the papers are three to be
delivered by Dr. C. E. Kenneth Mees, Vice President
and Director of Research of the Eastman Kodak Com-
pany. Dr. Mees' papers are, "The Development of
the Art and Science of Photography in the Twentieth
Century"; "Color Photography (with demonstrations
and motion pictures)"; and "The Kodak Research
Laboratories." C. G. Weber and J. R. Hill will repre-
sent the National Bureau of Standards, Washington,
D. O, with two papers. A number of papers will be
delivered by West Coast members of the Society as
well as those from Chicago, Rochester and New
York.

ArtReeves"

FILM TESTED EQUIPMENT
LABORATORY EQUIPMENT

AND

SOUND RECORDING EQUIPMENT

Art Reeves

MOTION PICTURE EQUIPMENT

645 North Mattel Avenue Cable Address ARTREEVE

Hollywood, California, U. S. A.

fourteen

The INTERNATIONAL PHOTOGRAPHER

October, 1936

Artificial Sunlight Simplifies Technicolor

Exteriors

By William V. Skall

[HEN we made "Dancing Pirate," we filmed
all of our exterior scenes on a studio stage,
where every factor of lighting was com-
pletely under control. When we made
"Ramona," it was decided that virtually all of the
scenes were to be filmed on the natural, outdoor
locations. None the less, the lighting must be as

tensity of the light; one is working with familiar
tools, and can work as fast and as surely as would
be possible in the studio. But — the light from your
"boosters" must be a virtually perfect match for the
color of natural light, or the result on the screen
will not be natural.

Fortunately, this problem had been taken care

A Screen overhead diffuses the sunlight, reflectors provide backlight, and a "H. I Arc" the frontlight, as Cameraman Skall
Technicolors dolly-shot for "Ramona." Right — Using side Arcs and "H-l Arcs" to supplement sunlight in Technicoloring

"Ramona."

completely controllable as though we were working
on a stage. Modern dramatic cinematography de-
mands a high standard of portrait lighting no mat-
ter where the scene is filmed; and when, as in
"Ramona," the production is filmed in Technicolor,
this is of additional importance, for the relative new-
ness of the color medium attracts the attention of
critics who otherwise take photography so com-
pletely as a matter of course that they rarely men-
tion the cameraman.

In making "Ramona" we had two alternatives in
lighting our exteriors. First, of course, was the time-
honored expedient of using reflectors to supplement
natural sunlight. Second, was the more modern
method of using artificial "booster" lights for the
same purpose.

The first method had many disadvantages, and
but one possible advantage. Reflectors are much
slower to use; they must be readjusted constantly,
to keep pace with the changing angle of the sun;
and they do not permit accurate control of the re-
flected light. On the other hand, reflecting the sun's
rays back into the picture from a silver or lead re-
flector, one can be confident that the color of the
direct and the reflected light will be consistently the
same — an undeniable advantage in natural-color
photography.

Using artificial "booster" lighting, one has al-
most perfect control of the angle, spread and in-

of long before "Ramona" went into production. From
the start, the Technicolor engineers have standard-
ized their process with the color-distribution of nat-
ural sunlight as the normal in lighting. Following
this lead, the Mole-Richardson engineers, in design-
ing the modern arc-lamps used in lighting all Tech-
nicolor pictures, have developed lamps which pro-
duce light that is an almost perfect match for nat-
ural sunlight. The "Side Arcs," which are used for
general floodlighting purposes, produce light that
needs almost no modification to double for sunlight.
The high-intensity "H. I. Arc" and "Ultra-H. I. Arc"
spotlights, while their higher intensity produces a
slight excess of bluish radiation, need only a very
light straw-colored gelatin filter to make them match
both the "Side Arc" and the sun. And these new-
day spotlights, with their "Morinc-lens" optical sys-
tems, allow a far more precise control of light than
any previous units, for they are free from both the
element-shadows of the old mirror-type Sun Arcs,
and the dark centers and "hot circles" of ordinary
reflecting spotlights.

Naturally, then, we decided that for all of the
more intimate scenes in "Ramona" we would use
this man-made sunlight for "booster" lighting. The
results, I think, have proven the wisdom of this
course.

Only in the extreme long-shots did we use re-
(Turn to Page 24)

October, 1936

The INTERNATIONAL PHOTOGRAPHER

Fifteen

STATEMENT OF THE OWNERSHIP, MANAGEMENT, CIRCULATION, ETC., REQUIRED
BY THE ACTS OF CONGRESS OF AUGUST 24, 1912, AND MARCH 3, 1933

Of International Photographer, published monthly at Los Angeles,
California, for October, 1936.

State of California, County of Los Angeles, ss.

Before me, a Notary Public in and for the State and County
aforesaid, personally appeared Silas Edgar Snyder, 'who, having been
duly sworn according to law, deposes and says that he 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 owner-
ship, management! and if a daily paper, the circulation), etc., of the
aforesaid publication for the date shown in the above caption, re-
quired by the Act of August 24, 1912, as amended by the Act of
March 3, 1933, embodied in section 537, Postal Laws and Regulations,
printed on the reverse side 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, Calif.
Editor — Silas Edgar Snyder, Los Angeles, Calif.
Managing Editor — Silas Edgar Snyder, Los Angeles, Calif.
Business Manager — Helen Boyce, Los Angeles, Calif.

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 address, 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 United States and Canada, 501 Taft Bldg., Hollywood, Calif.
Harland Holmden, Vice President.

3. That the known bondholders, mortgagees, and other security
holders owning or holding 1 per cent or more of 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 stockholders or
security holders appears upon the books of the company as trustee
or in any other fiduciary relation, the name of the person or cor-
poration for whom such trustee is acting, is given; also that the said
two paragraphs contain statements embracing affiant's full knowledge
and belief as to the circumstances and conditions under which 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 said stock, bonds, or other securities than
as so stated by him.

5. That the average number of copies of each issue of this pub-
lication sold or distributed through the mails or other-wise, to paid
subscribers during the twelve months preceding the date shown above
is (This information is required from daily publica-
tions only.)

SILAS EDGAR SNYDER. Editor.

1936.

Sworn to and subscribed before me this 22nd day of September,

HAROLD W. SMITH.

(My commission expires March 7, 1937.)

LEWIS W. PHYSIOC GOES TO U. S. C.

The many friends of Lewis W. Physioc, Technical
Editor of International Photographer, will learn with
pleasure that the well known artist has accepted
an appointment from University of Southern Cali-
fornia, as Instructor of Motion Picture Technique and
Photography.

Mr. Physioc has for several years acted as one
of the Technical Editors of this magazine and he
needs no introduction to the Motion Picture Industry
both in America and the Orient. He is an artist as
well as a writer and technician.

A Panoram Dolly sim-
plifies and speeds up
production. Order one
from us today. We are

Eastern Representatives

MITCHELL

CAMERA CORP.

FEARLESS PRODUCTS

HARRISON FILTERS

MOVIOLAS

BURCI CONTNER

Action!

That's what youTl get
from Panoram Dollys
and us!

We sell and rent every type of
new and used professional
camera and studio equipment
. . . from Mitchell's newest
cameras down to lenses and
filters.

Most important . . . everything
you may require is right here
on display. Save time and
money by getting what you
want when you want it. Phone,
write or wire today . . . you
will get action and satisfaction.

FRANK C. ZUCKER

MOTION

723 Seventh Ave

PICTURE CAMERA

Inc.

Telephone IlKyant 9-7755

SUPPLY,

New York City

Cable Address: Cinecamera

FOLMER CRAFLEX CORPORATION

Outstanding prints from Graflex users the
world over are now being exhibited in the
newly completed display room of the For-
mer Graflex Corporation at Rochester, N. Y.
A great number of Graflex owners have
voluntarily sent in prints whose excellence
has won them places in this photographic
salon.

Because of the many fine prints received
from owners of Graflex and Graphic cam-
eras, the company plans the inauguration
of a series of traveling salons for exhibi-
tion in various metropolitan cities through-
out the country, using the main salon at
Rochester, N. Y., as the source of supply
for these traveling exhibits.

Folmer Graflex Corporation extends an
invitation to all Graflex and Graphic users,
whether nationally known or not, to send
in prints which in their estimation might
have sufficient photographic worth to hang
in the main salon and then in one of the
traveling salons.

"We believe that many an amateur pho-
tographer would like to see his best prints
receive national recognition," states a
Graflex Corporation spokesman ."Our main
salon and the several traveling exhibits
which we contemplate, afford admirable
opportunities for these camera enthusiasts
to receive such recognition. We will wel-
come the receipt of outstanding prints from
any Graflex or Graphic user and will be
more than glad to carry a credit line be-
neath each one selected for these exhibits."

"Prints should be mounted on 100 or
120 point board, the mounts to be 15 inches
wide by 20 inches high. Or, unmounted
prints of a size to fit these dimensions may
be submitted, in which case we shall have
them mounted ourselves. Complete data
for each picture will be welcome."

Sixteen

The INTERNATIONAL PHOTOGRAPHER

October, 1936

A NEW SYSTI

FOR MOTION PICTURE ARTISTS, ARCHITECTS AND BUILDERS

(AUTHOR'S NOTE. — Every day's experience in the art department of a motion picture studio discloses the impoina
uncertain in their understanding of the subject, and who would like a little more information, we disclose wt w

the building or settin to

I HE director, the art director and the sketch
artist agree on a suitable angle from which
the subject is to be seen or photographed.
This they do by drawing the angle of lens
(or angle of vision) on the ground plan. For conveni-
ence, they use celluloid triangles cut to conform to
the various lens angles, with the vertical angles
ruled inside the outside angle, together with cross

Koie

rulings of the popular scale of Vi in equals 1 foot.
The artist, knowing something about perspective,
starts to lay out his sketch. He soon finds that one
of the vanishing points is somewhere over on his
neighbor's table, and the measuring points are away
down under the table back of him.

He soon becomes disgusted with these mathe-
matical requirements and begins to "fake" the per-
spective. He sketches a
few of the receding lines,
erases them and tries
again. His judgement tells
him that one set of lines
vanishes too acutely and
the other set not quite
enough — the building ap-
pears twisted and distort-
ed. He makes more eras-
ures, and so on, until he
is satisfied with the sug-
gestion of perspective. If
the plans call for any de-
gree of elaboration, he
finds several hours, or
perhaps a day, must be
devoted to just the per-
spective lines and pro-
portions, before he is
ready to execute the more
pictorial elements of the
sketch.

When the sketch is fin-
ished, it is pretty to look
at, and is satisfactory in
many ways: but the direc-
tor complains that it looks
too far away, or too close,
too large, too small or
whatnot. The architec-
tural draftsman complains
that it does not suggest
the actual measurements
of the plans and gives a
false impression of the di-
mensions of the set. It
must be done again.

Let us see how it can
be done easily, quickly
and accurately.

This new system de-
pends upon employing
the angles of the lens (or
eye) and one of the hori-
zontal planes. The acute-
ness or obtuseness of the
angle controls the appar-
ent distance of objects and
the degree of perspective
influence, i.e., a close shot
makes the lines vanish
more acutely, and vice
versa. So that if a direc-
tor wishes to see the effect

Plate i.

October, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeen

of PERSPECTIVE

By Lewis W. Physioc

erspective, especially in the various process departments, — matte shots, glass shots, miniatures, etc. For the benefit of those who are a little
a new system. In order fully to inculcate the principles of the system, we select a simple block figure which we assume to be the plans of
Let us review the procedure as it frequently occurs.)

of a close shot the set must not be drawn to appear
too far away.

The plan, as shown in Plate 1, represents the
desired angle, the amount of foreground to be shown
and how the set is to be placed in the picture.

Process: Extend the angles of the lens (or eye)
to the desired width of the sketch to be made and
establish the base line of the frame. Extend these
points upwards to the pro-
portional dimensions — in
the present case, we use
the motion picture propor-
tions, 1 X 3/4.

Having established the
size of the sketch, extend
the points a, b, c, d, (as
shown on the ground plan)
to the base line of the
sketch and continue them
vertically to the top of the
sketch, as shown at A, B,
C, D. The next step is to
determine the horizon.

The horizon depends
upon the height of the lens
(or eye). To the left of the
horizontal angle, construct
the vertical, elevation an-
gle. This is done by lay-
ing the celluloid triangle
on the drawing with the
axis parallel to the hori-
zontal plan, and pointing
off the inside angle which
represents three-fourths of
the horizontal angle. If no
prepared triangle is avail-
able, the various angles
are made from their res-
pective focal length lenses
and the dimensions of the
motion picture frame.

The height of the hori-
zon is a matter of artistic
taste or special require-
ments of the director. On
exteriors, it usually is con-
sidered as the height of
the eye of a standing per-
son: on interiors, it may
be any height but usually
is about four feet from the
floor, as in our present ex-
ample. When the camera
is set level, the axis of the
picture forms the horizon.

On measuring the fore-
ground line of the plan,
the distance is found to be
10' 6"; the base line of the
sketch, then, is its equiva-
lent, enlarged. By point-
ing off one foot on the fore-

ground line of the plan and extending it to the base
of the sketch we get the proper scale of one foot.
As the horizon is four feet from the floor, four times
this ticked off scale, above the base line, will estab-
lish the horizon.

We must now find points a', b', c', d', as shown
in the sketch.

Take the T square and extend, horizontally, points

PLATZ 2.

Eighteen

The INTERNATIONAL PHOTOGRAPHER

October, 1936

a, b, c, d, to A', B', C, D', at the top of the vertical
angle.

It will be seen that the distance between the
upper vertical angle and the horizon increases
with the distance from the lens (or eye); and that
the apparent dimensions of objects decrease in
the same ratio. Consequently, a point four feet
below the horizon, at C will appear less than the
same distance will appear at B'.

If we place the Vi-inch scale on the line C, we
find the distance between C and the horizon is
12' 3". Consequently, the distance between the
same points in the sketch (line C, at the top) is the
equivalent on an enlarged scale, and is the farth-
est point of the set. By dividing this distance, be-
tween C and the horizon, into 12 and 3/ 12th parts,

we get the perspective scale of feet at that distance,

and one foot is indicated by the tick-off, at C. As
everything below the horizon is four feet, four times
down, from the horizon, of this tick-off, gives this
farthest point in perspective, as shown at c.

As B, b, and b' represent the nearest point of the
set, the apparent dimensions at that position appear
greater; and when measured, the distance between
B' and the horizon is 8' 0". The same space on the
B line of the sketch, representing the same distance,
is divided into eight parts and one part gives the
scale of one foot for that position, as ticked off at B.
This tick-off four times down from the horizon gives
the perspective position for the nearest point of the
set. The other points are secured in the same man-
ner, the proper scale of one foot being shown at the
respective points — A and D» at the top of the sketch.

By connecting the points a', b', c', d', we get the
plan of the set in perspective, with all the lines van-
ishing properly to the horizon.

The elevation plan shows the block (or set) to be
eleven feet high — in other words, everything above
the horizon must be seven feet. Having determined
the scale of one foot for every vertical line, we meas-
ure up from the horizon seven of those parts for the
respective line and establish the top of the block
(or set) at that particular point, e, f, g, h. By connect-
ing (e, f); (e, g); (f, h); and g, h), we get all the hori-
zontal lines properly vanishing to the horizon.

We now have a perfect representation of the
block (or set) in perspective, corresponding accur-
ately with the plan and elevation, and properly sug-

gested as to distance, proportion and effect. This,
too has been accomplished without going beyond
the confines of the sketch for vanishing or measuring
points.

The student, who desires, may prove the problem
by extending the lines and the horizon (if he has
room on his drawing board) and he will find they
meet at the proper points. If there are any errors,
they will be due to discrepancies in the thickness
of pencil points, inaccurate measurements with divi-
ders, ect.; but the errors will be too slight to notice.

Plate 2 — Descending Perspective

In this problem, we have something more compli-
cated. The camera is no longer level; the lens (or
eye) is deliberately directed downward and all the
vertical lines vanish to a point away below — but
where?

View cameras have been made with a swing-
back in order to straighten the vertical lines. But the
motion picture camera (or the eye) has no swing-
back. It is questionable, too, whether the vertical
lines should be straightened, for the "goofy" effect
of the exaggerated perspective is dramatic and much
to be desired.

The director now comes with the plans of a build-
ing and wants an idea of what the effect will be
shooting downwards from the second story of a
house across the street.

The angle is selected as shown in the horizontal
angle, Plate 2.

In this problem, we have two horizons — the nat-

October, 1936

The INTERNATIONAL PHOTOGRAPHER

Nineteen

ural horizon, which we place at twenty feet above
the ground; and the axis of the picture, which is di-
rected downward. The lower vertical angle of vision
cuts the groundline, as shown in the plan and ele-
vation, and forms the base line of the picture.

Extend the horizontal angle and establish the pro-
portions and dimensions, as in Plate 1 . Next, extend
by the dotted lines, the points a, b, c, d, on the heav-
ily lined plan, to A, B, C, D, at the base of the sketch;
then the same points a, b, c, d, across to A', B', C,
D', onto the elevation angle.

It will be noted that the upper angle is consider-
ably below the natural horizon, so we will now use
the distance between the upper angle and the axis
of the picture to secure the diminishing scales. The
distance between these points on the line C is thir-
teen feet, and between the axis and the groundline
is six inches — the farthest point. The relative dis-
tances on the line B' are 8' 6" and 7' 3" — the near-
est point; the other, A' and D' is correspondingly
found.

On the dotted lines A, B, C, D, on the base of the
sketch, we have the same diminished scales as in
Plate 1, but, in this instance, measured from the up-
per vertical angle to the axis. The equivalent of one
foot at each diminished distance is ticked off as
shown at the top of the sketch near each respective
line.

At point c", (in the sketch) we measure down
from the axis 6", as shown on line C of the vertical
angle: at point d", 3', 6" down, as shown on line D'
of the vertical angle: a" is 4', 0" down: b" is 7', 3"
down. Connecting these points, in the sketch, fur-
nishes the ground plan in perspective.

Now, the question arises: what is the dotted line
plan e, f, g, h?

It will be observed that the camera (or eye) be-
ing directed downward, the base of the building is
farther from the camera (or eye) than the part cut
by the upper angle; and that the difference is equal
to the distance between the points where the visual
angles touch the ground, at the bottom, and the
point where it touches the building at the top, as
shown by the arc drawn from the upper point on B',
to the ground line, with the lens (or eye) as the radial
point. Consequently, the plan of the building, at that
upper point, will be so much closer to the camera
and proportionately enlarged. By extending the
points e, f, g, h, by the dotted lines, to e', f, g', h',
onto the base of the sketch, we get the degree of
spreading of the lines at the top of the picture and
the degree of vanishing of those lines at the base
of the building.

It will be noted that, this building having no top
or roof plan, the other horizontal vanishing lines
may be secured by measuring up from the bottom of
the building any equal number of feet, using the
respective scale of each line — A, B, C, D, the inside
dotted lines, at this upper plan, show the perspective
difference between the top and bottom of the build-
ing as seen from such an angle.

Again, we have secured these complicated van-
ishing and measuring points without going off the
confines of the sketch.

Having the dimensions on the plan and eleva-
tions, and having secured the vanishing scales, the
accepted rules of perspective will enable the artist
to put in all the details in their proper proportions
and positions.

Plate 3 — Ascending Perspective
Here we have a little more complicated prob-
lem, because the angle is shooting upward. As

shown in the elevated layout, no sort of plan, neither
of the ground nor roof, is shown in the sketch. The
camera is set low — two feet above the ground, and
the lower visual angle is considerably above the
natural horizon.

The question now arises: having no ground plan
showing in the sketch, as in Plates 1 & 2, how are
we to establish any vanishing lines? We can do
so by assuming an imaginary ceiling line projected
horizontally from the front where the upper angle
touches the building.

After getting the frame of the sketch, as before
shown, extend the points a, b, c, d, by the dotted
lines to points A, B, C, D, onto the base line of the
sketch. The next step is to find how the lines vanish
upwards. A study of the elevation angle will show
that the point where the upper angle touches the
building is farther from the lens (or eye) than the
lower point; and the distance between these two
points is shown by the solid line arc: So that we
represent this imaginary upper plan in perspective
on the horizontal angle, as shown by the dotted line
plan e, f, g, h.

By extending the points e, f, g, h, to e', f, g', h',
on the base line of the sketch, we get the upward
diminishing degree of the verticals A, B, C, D.

We must now find the vanishing degrees of the
horizontal lines. The ground line and the natural
horizon both being out of the picture, the only hori-
zontal plane we can use is the imaginary line we
have assumed as shown on the vertical angle. By
extending the points a, b, c, d, to A', B', C, D', we
establish the lines upon which to secure our meas-
urements.

From C to the axis we find to be eighteen feet
and the division of the distance on the C line of the
sketch gives the diminished scale of one foot, shown
near the C line at the top of the sketch. The other
measurements on D', A', B', respectively, are 15' 6",
15' 0", and their respective scales shown at the top
of the sketch.

Going back to the imaginary ceiling line, at C,
we find the distance between these two points to be
14' 6". Using its scale at C, on the sketch, and meas-
uring down fourteen and one half of such spaces,
we establish the farthest perspective point; g": e"
and h" are similarly found. It will be seen that B
and f" being intersected by the edges of the pic-
ture, no measurements are here needed. By con-
necting points (f" - e"), (f" - h"), (e" - g") and (g"-h")
we secure a set of horizontal vanishing lines that
represent the plan of the building in perspective at
that particular position, i. e., the imaginary line.

But this one set of lines is not sufficient; we must
find others — there may be a series of mouldings, cor-
nices, windows, etc., to be shown in the sketch in
their proper proportions and positions, and we need
their respective perspective lines.

We find that in all perspective work, diagonals
are indispensable in making divisions. Within the
sketch, we have three points from which we may
construct such diagonals — B, f" and e". Intersecting
from B to e" is simple but we must yet find that from
f" to the lower extension of the line e" and A. To
secure this, we determine the center of the building
by extending this center from the ground plans; the
point within the circle furnishes the intersection for
the other diagonal from f" down through e'. The
lower vanishing line is apparent by the dotted line
below the base of the sketch.

Along the top of the sketch, we show a well
known method of dividing spaces in perspective.
(Turn to Page 29)

Twenty

The INTERNATIONAL PHOTOGRAPHER

October, 1936

AMATEUR MOTION PICTURE DEPARTMENT

Behind the Scenes In a Film

Library

By Theodore F. Comstock

(Editor's Note: Theodore F. Comstock, of Kodascope Libraries,
Inc. of New York City, in the following article has written most
interestingly on the subject of 8mm and 16mm library films. Familiar
as he is with the problems of a Film Librarian, we believe Mr. Corn-
stock's enlightening remarks will go far in bringing about better
understanding and closer co-operation between film libraries and
amateur movie enthusiasts.)

jHEN a customer, having read the enticing
descriptions in the film catalogue, makes
g| his selection and rents the pictures which
he decides are suitable for a particular oc-
casion, he naturally assumes that those films will
have been properly inspected and will be in fit con-
dition to show. There is, however, a vast difference
in the quality of the inspection and careful mainte-
nance in different libraries, and unless one is deal-
ing with a library in which film maintenance is prop-
erly stressed, he may be greatly disappointed.

Anyone who has ever attempted to entertain an
audience with movies and has had the entertain-
ment constantly interrupted by film breakages, or
marred by jumpy pictures due to strained perfora-
tions, or has subjected his audience to the aggrava-
tion of excessive scratches; dirty, oily film; obvious-
ly missing sequences; titles too short to be read
throughout, and the numerous other annoyances that
can be caused by inadequate inspection and main-
tenance, will realize that such entertainment does
not please.

Assuming that his projector was not out of ad-
justment, just why was it he had so much difficulty
and disappointment in the showing of those films?
The obvious answer is that they were not in fit pro-
jection condition when he rented them, and the
probability is that although his use of them has
added to their defects, they will be sent out to the
next customer in just their same poor condition.

From this it will be seen that the proper inspec-
tion of films is an important consideration to the
renters of films, and it occurs to the writer that film
renters may be interested in the methods we employ
to maintain the good condition of the films in our
library.

In the first place, all new films received from
the laboratory are first inspected manually and then
projected, to make sure that they are in perfect con-
dition, free from mislights, in proper continuity, and
with proper length titles, etc. In the case of sound
films, this inspection also checks the sound for clear-
ness, volume and proper synchronization.

Only after the films have passed this inspection,
are they accepted for Library use. A considerable
number are rejected for cause.

Upon the return of the films from each user, they
are inspected and rewound at the same time. Film

users are requested not to rewind films after projec-
tion. This saves both them and the library trouble,
for if the customer does rewind, the library has to
unwind the film again before making its inspection.

The inspection process consists in rewinding the
film, holding it edgewise between the fingers of an
expert inspector, in such a manner that the fingers
do not touch the emulsion picture surface or the
sound track, but do feel both outside edges of the
film to check for cuts or partial breaks.

During the rewinding and inspection, a sharp
lookout is also kept for scratches or oil on the film.
Oil or dirt is removed at once by running the film
through a special cleaning machine, which first im-
merses it in a bath of carbon-tetrachloride dissolving
all grease and dirt, and then mechanically polishes
both the emulsion and back of the film against soft,
clean, flannel-covered rollers. Scratches, if serious,
or strained perforations, call for a replacement of
the affected portion of the film. This is ordered from
the laboratory and the print is held out of use until
the replacement has been made. In case of damage,
the customer is notified and in aggravated cases a
charge is made.

The inspectors insert an inspection slip into the
container with each reel of film, and make a dailv

Typical Home Movie Show

October, 19' 3 6

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

report of all films inspected. Such a thorough inspec-
tion system adds to the cost of operating a film
library, but any user who has been subjected to the
embarrassment of endeavoring to project less care-
fully maintained film before a critical audience, will
feel that this slight extra cost is more than justified.

All library films are made directly from nega-
tives, just the same as all films used in the theatres.
They are not made by the reversal process like
amateur movies, and have not the same tendency
to become brittle and need humidifcation. Durabil-
ity tests made on library films over a period of many
years show no apparent deterioration. All films are
kept in dust-proof, though not air-tight, containers.
A clip or band is put around each film on its reel,
so that the outside layers do not become loose in
the can and thus become marred in shipping.

With the best of care and inspection, splices will
occasionally come apart during projection. There
seems to be no human possibility of avoiding an
occasional break, even in the best theatre showings.
When one does occur, it is not advisable for the
operator to stop to join the ends of the film together,
since it can be run by rethreading at the break and
lapping the end of the rethreaded portion under-
neath a turn or two of the previously projected film
on the lower reel. This will enable the rest of the
program to be shown. Unless a customer plans to
run the film a second time, it is better not to attempt
a repair at all. On inspecting the subject, the library
will find and repair the break.

If, however, customers prefer to join the ends to-
gether, it is best to use a small piece of adhesive
tape which should secure one end to the other with
the perforations exactly together, and is without any
subsequent danger to the hands of the film inspector.
Under no circumstances use a paper-clip or a pin.
Either can do serious harm to the projector, and the
pin has been known to badly lacerate the hand of a
film inspector when passed rapidly between the
fingers.

So much for the care of the films by the rental
library. As to their care by users, I would mention
first the necessity of maintaining the projector in
proper adjustment. Beyond that I cannot do better
than quote the "Film Prayer" by A. P. Hollis:

The Film Prayer

I am film, not steel, O user, have mercy. I front
dangers whenever I travel the whirring wheels of
mechanism. Over the sprocket wheels, held tight by
the idlers, I am forced by the motor's might. If a
careless hand misthreads me, I have no alternative
but to go to my death. If the pull on the take-up reel
is too violent, I am torn to shreds. If dirt collects
in the aperture, my film of beauty is streaked and

Showing Amateur Film Exchange

marred, and I must face my beholders — a thing
ashamed and bespoiled. Please, if I break, never
fasten me with pins which lacerate the fingers of my
inspectors. Don't rewind me — my owner wants that
privilege, so that he may examine me, heal my
wounds, and send me rejuvenated upon a fresh
mission.

I travel many miles in tin cans. I am tossed on
heavy trucks, sideways and upside down. Please
see that my first few coils do not slip loose in my
shipping case, and become bruised and wounded
beyond the power to heal. Put me in my own can.
Scrape off all old labels on my shipping case so I
will not go astray.

Speed me on my way. Others are waiting to see
me. The next day is the last day I should be held.
Have a heart for the other fellow who is waiting,
and for my owner who will get the blame.

I am a delicate ribbon of film — misuse me and I
disappoint thousands; cherish me, and I delight and
instruct the world.

RIGHT OFF THE REEL

By F. Hamilton Riddel

Kodachrome Haze Filter: Color filming should al-
ways be practiced with exactitude. And there are
photographic conditions, encountered in filming cer-
tain shots, which should be observed by movie mak-
ers in order to obtain best color renditions. We quote
the following from the Kodachrome instruction book:
"Ultra-violet light records in the Kodachrome process
as violet; therefore when there is an excess of ultra-
violet, which may occur in extremely distant scenes,
snow scenes and those taken at high altitudes, the
Kodachrome Haze Filter improves color rendition.

Furthermore, on a gray day and in the shade the
light is colder in tone, and the Haze Filter imparts a
warmer tone to the colors." The Kodachrome Haze
Filter is colorless, is available in mounts to fit vari-
ous lenses, and causes no change in exposure.

Negative: Movie makers using the negative-posi-
tive film system are often tempted, for one reason or
another, to project their negatives. The careful cine
worker will never do this. Since a negative is your
original record of an event that in most cases can
not be retaken, it is foolish indeed to project nega-

Twenty-two

The INTERNATIONAL PHOTOGRAPHER

October, 1936

tive film. Examination of negative film, for editorial
purposes and so forth, can be had by the use of a
film-viewer, an accessory which will not cause dam-
age or possible scratches. Temptation to project
negative is best avoided by immediately coiling all
negative film on a wooden core, and not onto a pro-
jection reel!

Processing Drum Note: Amateur movie makers,
who contemplate processing their own films with
home-made apparatus, will do well to give particular
attention to correct construction of a film drum. To
withstand laboratory service, such a drum must
have very rigid construction. The cross-slats, on
which the film is wound, must have rounded cor-
ners. Sharp corners cause annoying creases in film
which, in the case of negative, interfere with good
printing contact; or with prints, cause poor out-of-
focus pictures.

Film Chamois: The best quality chamois obtain-
able is never too good for use with motion picture
film. In cleaning and removing excess moisture
from a movie film which has just been processed, it

is very easy to mar the delicate, moist emulsion.
Only a good quality chamois will give satisfactory
results. Such can be obtained for about $1.50. Don't
allow yourself to be tempted into purchasing cheap
chamois imitations, or inferior quality, as it is false
economy and will very likely result in much ruined
film.

Hallowe'en Filming: That good, old night when
Spooks abound and do their tricks — Hallowe'en — is
also a night for the cine camera to do its tricks, too!
And that's not all. It's the occasion to try your hand
at making silhouettes. Regular black and white film
is best suited for silhouettes and will do nicely for
your animation or stop motion work. All sorts of
camera tricks can be tried out, with eager assistance
from the family youngsters as your stooges. After-
wards, when you continue photographing the Hal-
lowe'en party, change to color film for your
"straight" shots. For the ambitious cine experi-
menter, Hallowe'en is a three-in-one night: anima-
tion, silhouettes and color work being accomplished
at an apt time.

Questions and Answers

By F. Hamilton Riddel

1. How many individual frames are there in 100
feet of 16mm film?

Since there are 40 individual frames to each foot
of 16mm film, 100 feet contains 4,000 separate views.

2. At what speed does Light travel?

Light travels at a velocity of 186,000 miles per
second, traveling at a much greater speed than
sound. This is evidenced by the fact that we always
see a flash of lightning before we hear a crash of
thunder.

3. What is halation?

Halation, the sworn enemy of every movie maker,
can be defined as a halo of light seen around the
image of a bright object in a motion picture print. It
is scattered light, most often met in photographing
interior scenes; and white buildings, etc., in exterior
work. Modern films have special non-halation coat-
ings to minimize the effect of halation, which are
most efficent. But this does not mean that one can
be careless, for example, in allowing the rays of a
photoflood bulb to shine directly into a camera lens.
Interior camera set-ups must always be arranged
carefully to avoid halation.

4. What is the base of safety film made of?
The base of 8 mm., 16mm., and other size safety

films, is cellulose acetate. This is a non-inflammable
material.

5. I contemplate doing some animation work
with toy animals and circus clowns — how can real-
istic movement be obtained?

Animation is one of the most interesting types of
movie making, but it must be painstakingly done to
be effective. Action is obtained by moving the min-
iature figures slightly between each frame exposure.
For successful animation, it is necessary to study
and analyze motion. This can best be done by
studying, in a film viewer, a strip of regular film; or
better yet, a cartoon subject, in order to determine
the correct amount of change of action in each frame.
Animation shooting takes time — only a compara-
tively few feet of film per hour can be taken — but
the screen results are very worthwhile.

6. Why do my pictures appear "jerky" on the
screen?

Assuming your projector to be in perfect order,
your pictures appear "jerky" because you did not
hold the camera steady while making the picture.
This is so often a common fault witnessed in ama-
teur movies. During the entire time of exposure,
great care must be exercised to hold the camera
steady!

7. I have some very old 16mm film, not in the
best of condition, which I should like duplicated. Is
this possible?

If your original film will run through a projector,
yes. However, the duplicate will carry the transferred
scars and mars of your original. This cannot be pre-
vented, but its effect can be minimized by carefully
preparing your original for the duplication process.
That is, by cleaning the film and removing any sus-
picious looking perforations.

Note: As a service to amateur movie makers,
we extend a cordial invitation to write in questions
which will be answered in this column. Address all
such letters to:

Questions and Answers Column

THE INTERNATIONAL PHOTOGRAPHER

506 Taft Building

Hollywood, California

ICTER^

rWnli^bV anA COi^br
i Daytime ~Fv^ Scenes-
Diffused. Fccus.arcd many ^rber «Ff«crs
UMb any Camera - In any Climat-e
Gcorcje H. Scheibe

ORIGINATOR OF EFFECT FILTERS
1927 WEST 78™ ST. LOS ANGELES. CAL.

October. 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-three

CINEMA TIDINGS

Amateur Motion Picture News

New Line of 16mm Keystones: Keystone Manu-
facturing Company has recently announced a new
and improved line of 16mm amateur motion picture
equipment, together with important price reductions.

Two basic camera models are now offered ama-
teur movie makers, designated as Keystone A-3 and
A-7. The model A-3 is a three-speed instrument, in-
cluding 8, 16 and slow motion, and is available
either with an F 3.5 or F 1.5 lens. The Keystone A-7
camera has even a greater range of variable speeds
— 8, 16, and intermediate speeds all the way up to
and including slow motion. The A-7 is available
with a standard F 2.7 lens or an F 1.5 speed lens.

Three new Keystone projector models are offered
which, according to announcement, will satisfy the
needs of family use or requirements of schools,
churches, lodges and average size indoor gatherings.
The Keystone model A-72 projector is equipped with
an F 2.5 projection lens and 300-watt lamp. The
A-75, with F 2.5 lens, uses the more powerful 500-
watt lamp. And the deluxe model A-81, featuring a
large aperture F 1.6 auditorium projection lens, is
equipped with a brilliant 750-watt lamp. With the
latter model, it is claimed, a 14-foot width picture
can be obtained at a throw of 75 feet. Each of the
three Keystone projectors is equipped with a 2-claw
film movement, which grips two sprocket holes in-
stead of one. All of the projectors are attractively
finished in baked brown wrinkle enamel.

Copies of folders, illustrating and describing in
detail the new line of 16mm Keystone equipment,
can be obtained by addressing a request to Key-
stone Mfg. Co., 288 A Street, Boston, Mass.

New Kodascope Libraries Catalog: Just off the
press is the new Fifth Edition 16mm Kodascope
sound film Catalog, an up-to-date listing of quality
library films which are available on a nominal rental
basis from Kodascope Libraries, Inc. The new cata-
log has been enlarged, over former editions, to 79
pages and is profusely illustrated.

The Fifth Edition lists many new talking-film sub-
jects, which have been added to the library, on
travel, adventure and sports; animated cartoons and
comedies; as well as dramas and features, many of
which are exclusive Kodascope Libraries subjects.
Among the latter are Walt Disney's famous "Mickey

Mouse" and "Silly Symphonies" cartoons in sound.
16mm sound projector users can receive a copy
of the new Fifth Edition Kodascope Talking Film Li-
brary Catalog, by addressing Kodascope Libraries,
Inc., 33 West 42nd St., New York City.

B & H Professional Printers: Of interest to the ad-
vanced movie-maker is the current announcement,

Model A81
Keystone
Projector

in connection with 35mm professional films, that a
large order of automatic sound and picture printers
is now being shipped from the Chicago factory of
Bell and Howell Company to the West Coast studios
of Paramount and Columbia.

Both the picture and sound track are automatic-
ally reproduced on these machines at one opera-
tion, retaining it is said all of the depth and defini-
tion of the original film and without loss of the full
range of the recorded sound, formerly encountered.
As a result, pictures can be released which combine
photographic excellence and faithful sound repro-
duction.

Unlike the printers formerly used, these automatic
machines are entirely independent of the skill of the
operator. Although running at higher speeds, these
printers are equipped with interlocking controls and
safety devices which it is stated makes them entirely
foolproof. They will stop instantly and automatically
in case of film breakage, lamp burn-outs, power-line
variations, or failure of the air and vacuum-supply
lines which vacuum-clean the film while it is being
run.

"ELEMENTARY PHOTOGRAPHY," by C. B. Neb-
lette, F.R.P.S.; Frederick W. Brehm and Everett L.
Priest, B.S., MA. This is one of the best little vol-
umes for the amateur, whether for club or home,
that has appeared in a long time. This book is

chock full of practical suggestions on how to make
good pictures, how to develop and print them; it
tells about lenses, lantern slides, making enlarge-
ments— and in fact just everything that would be of
interest to the amateur.

pgpnnn

MAX FACTOR'S

N EW

LIQUID FOUNDATIO

A REVELATION IN FACIAL AAAKE-UI

Twenty-four

The INTERNATIONAL PHOTOGRAPHER

October, 1936

ARTIFICIAL SUNLIGHT SIMPLIFIES TECHNICOLOR EXTERIORS

(Continued from Page 14)

flectors. For all of the other scenes, we diffused the
direct sunlight with overhead scrims, and modeled
the faces and forms of the players with "H. I. Arcs,"
filling in the shadows with a soft flood of light from
the "Side Arcs." Almost always, the scrim over-
head was of at least double thickness; sometimes,
even, we used a triple or quadruple layer of netting.
For the ordinary, intimate shots the scrims used were
of ordinary, small size. But on the larger shots we
used what is, I believe, the largest scrim ever flown
on location: two, and sometimes three thicknesses
of the dark netting, and measuring 50x60 feet in
size. Underneath, we could work almost as freely
as though we were on a studio stage, and with
vastly more precision — thanks to the flexibility of the
"H. I. Arcs" — than we could have hoped to do with
reflectors.

Occasionally we found it advisable to use reflec-
tors for an outlining back-light. In these shots, we
had a real chance to prove whether or not the lamp-
designers had been over-confident in saying their
lamps matched the color of sunlight. The general
illumination of the shot was heavily diffused natural
sunlight. The back-lighting was strong, reflected
sunlight. The "fill-in" light came from "Side Arcs,"
usually diffused with one or two silks. And the
modeling-light came from "H. I. Arcs" fitted with
their straw-colored filters. If any of these sources
departed from the chromatic standards of natural
daylight, it would certainly show up on the screen,
for Technicolor, like most color-processes, is sensi-
tive to difference in the color of light which would
escape the eye. But on the screen, nothing in these
scenes reveals that some of the sunlight was natural
and some artificial.

As we made these scenes, we found another,
rather unexpected advantage to using arc-boosters.
This was the fact that the players found them easier
on their eyes. After all, it is far from easy to look
natural while facing a battery of blinding silvery
reflectors. In "Ramona" we found this especially
noticeable, for the star, Loretta Young, has eyes that
are very sensitive to strong light, while the leading
man, Don Ameche, was fresh from radio, and was
totally unaccustomed to keeping his eyes open in a
strongly glaring light. Both of them, I think, had
been rather terrified by the wild rumors they had
heard of the strong lights needed for color. Certainly
it was a visible effort for both of them to keep their
eyes natural when we used reflectors. But both of
them were quite comfortable when we used the arcs.

Working outdoors, as we did, brought another
problem in lighting when one important sequence—
that of a fiesta — called for night-effect lightings on
a large set. Working on a stage, we could have
done as we did in "Dancing Pirate": simply used
a lower key of light, with the high-intensity spot-
lights "raw" — that is, without the filters that cor-
rected their light to match daylight — and with here
and there a lamp or two fitted with a blue gelatin
filter to give a hint of moonlight blue in the back-
lighting. Obviously, we could not do that under
these circumstances. So we kept to our normal
style of lighting with diffused sunlight and arcs, and
produced a slightly bluish cast overall by using a
blue filter on the lens of the camera. Where the
warmer note of lamplight or candle-light was re-
quired, it was produced by using the over-volted

"Movieflood" Mazda globes in Junior and Senior
"Solarspots."

In mentioning all these things which combined
to make "Ramona" what the critics have called a
finer example of what natural-color cinematography
can be than were its predecessors, the usually un-
heralded achievements of the Technicolor engineers
and laboratory experts must not be overlooked. The
Technicolor process of today is by no means what it
was a few years ago, when the three-color system
was first introduced. In those days the cameraman
was severely restricted in his lightings. Today he
can shoot color with almost the same freedom he
would black-and-white. Every phase of the process
has gained in flexibility.

With all these improvements the laboratory gives
us, not merely as good a print as the older require-
ments permitted, but a much better print. For this,
J. A. Ball, Gerald Rackett, and the others in the
research and processing plants deserve a world of
credit. In fact, the real heroes of this steady im-
provement between one Techicolor release and the
next are these men in the laboratory, and the engi-
neers who, like Peter Mole and Elmer Richardson,
give us better tools to use on the set What these
men do, makes it possible for each Technicolor
cameraman to do his bit in proving to the world that
not only is color a more expressive medium than
monochrome, but it is also one as easily and effi-
ciently worked, once its fundamental technique is
learned. And as each Technicolor production is
released, it is better than those that went before.
"Ramona" is, I hope, a superior example of color-
technique and color-artistry than were its predeces-
sors. The next color release, and the next, and
the next, will undoubtedly surpass it, just as it sur-
passed the others. So it will go until the engineers,
laboratorians and the cinematographers together
have made perfected color more than a press-agent's
phrase, and color-filming itself as familiar — and as
widespread — as is today's black-and-white.

Subscription to the
NTERNATIONAL PHOTOGRAPHER
$2.50 per Year
There Is No Better Value

October, 1936 The INTERNATIONAL PHOTOGRAPHER Twenty- five

We Point With Pride

to the fact that

EASTMAN Super X

Panchromatic Negative is
enjoying a degree of success
practically without parallel
in the history of motion
pic ture film . We are pro udof
our role as its distributor to
the industry ... and we shall
be proud to supply it to you
for your next production.

J. E. BRULATOUR, INC

FORT LEE • NEW YORK • CHICAGO • HOLLYWOOD

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

October, 1936

IMPROVING DAYLIGHT AND OUTDOOR PHOTOGRAPHY

(Continued from Page 7 )

of the flash, as previously noted, should be gauged
by the distance existing between the lamp and sub-
ject. The foreground is relieved of under-exposure
by the flash, and by arranging the flash reflector, a
variety of lighting arrangements can be secured. A
relatively small lens opening will be necessary to
assure depth of focus, but of course this depends a
great deal upon the nature of the scene or subject
to be photographed. In synchro-sunlight photogra-
phy, the foreground is often the principal subject
matter, hence new creations can be evolved which
will result in unusual and beautiful photographs.

There is hardly any subject or scene which can-
not be improved by using a speed gun. Thousands

of new effects will come to mind. Naturally it is not
suggesetd that the synchro-sunlight technique be
used on all exposures. Like everything else, it has
its place and purpose, but it can be abused and
wasted, too. On dull days, for snow scenes, beach
and landscape scenes, for the placement of long
shadows where they are wanted and for many other
purposes, the new technique will be found stimu-
lating and practical. Try this new form of photog-
raphy— it gives a sense of freedom from ordinary
photographic difficulties which is highly satisfying.
A lot of credit should be accorded the Kalart
Company of New York City for bringing this new
photographic method to the general public.

BEHIND THE GROUND GLASS

(Continued from Page 9)

(the photographer is sufficient; he's the original nec-
essary evil).

Much of the above applies to all types of pho-
tography covering pictures of individuals and briefly
describes character study procedure. Each photog-
rapher, being as individual as his subjects, eventu-
ally assembles his own particular technique, though
all agree on fundamentals.

Characters

This branch of photography is a highly special-
ized one. Here there are many new factors to be
considered. For instance — Types and the series of
characters the subject may portray governed by his
ability and appearance; unusual features of dra-
matic lighting; lighting effects around the subject;
trueness of characters; authenticity of period cos-
tuming; setting; make-up; age and nationality of
each character. All of which contribute to correct
atmosphere which in turn assists the artist in his
characterization.

Here is where the photographer's capacity comes
into play. He must be director, costumer, property
man, electrician, and even dialogue director as he
must lead the subject into the different characters.

The photographer's creative sense is challenged,
as others can often visualize characters the actor
can portray, better than the actor can himself. Again
it is perspective. One of the greatest assistants in
this is to be a close student of characters in life, as
well as of the portrayals by great actors of stage and
screen, with the special objective of later seeing
your photographic subject in similar characters and
in wide variety.

The special significance to exploring for all pos-
sible characters has been proven. A widely diver-
sified series of character studies is the best possible
insurance against that much dreaded form of the-
atrical suicide known as being typed. A condition
resulting usually from an actor's permitting himself
to be cast in several successive parts of one type
only. It is inevitable for some, whose mold of face
and general characteristics invite typing — yet other
actors deserve a wider range of activity.

Stillman states that the proper procedure in tak-
ing character studies was explained in the article in
the August issue of The International Photographer
entitled, "Into Pictures — Through Pictures," which,
in brief, is to confine your taking to not over three

different types of character studies at one sitting.
This permits the subject the necessary time to get
properly into charcater. The results will justify the
means. Various actors are doing likewise with their
respective photographers.

Several private enterprises are developing a plan
for the actor to own his own 35mm screen tests,
made under satisfactory conditions, which he may
have reviewed by casting directors. Having char-
acter study stills available representing the charac-
ter in the screen test will result in better cooperation
by casting directors.

In the four character studies presented of the
screen actress, Myra Marsh, we show how a beauti-
ful woman may be photographed from a "Straight",
to extreme yet con vicing characters. These char-
acters are accomplished entirely by lighting effects,
setting, costuming and expression, with practically
no make-up other than a little cold cream applied to
enhance highlights.

Let it be understood that studies of an individual,
portraying characters of this type require consider-
able skill on the part of both actor and photogra-
pher and are far more difficult to accomplish when
the subject is sitting in front of a still camera with-
out any thought continuity emanating from a play or
motion picture script and without the helping hand
of the director.

Stills

The difficulties for taking adequate stills on
the motion picture set are proverbial. However,
there is a marked improvement in the major studios
and on the more important pictures. Motion picture
companies are coming to realize that the "still" has
too direct an influence on the box office to continue
to permit the confusion and noise which invariably
follow a motion picture action scene. Yet this is the
time the still-man is requested to "move up for a
still." The characters, setting and lights being prac-
tically set the operation requires only a few mo-
ments— if unhampered. The question is not — "Can
it be taken?" but rather, "What are you getting?"

The motion picture companies which give their
still-man the same cooperation as given the motion
picture cameraman, invariably receive more effec-
tive stills. The still-man should be given silence and
right-of-way for the few moments reguired. The ac-
tors also work to better davantage. As a result fewer
stills are lost, thus resulting in time saved in the

October, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

long run. Time on the set is another word for money.
Time lost is the largest single expense item. But
whether it takes more or less time to do it right, it
must be remembered that the still is an important
link which holds a motion picture's ultimate success
at stake as it is used to sell the picture both to the
theatre and the public.

The negative for photographs is commonly over
retouched — a pencil and knife process ordinarily to
remove face lines and blemishes, which also often
eliminates personality. Retouching is prompted of
course by the common desire to be flatteringly good
looking.

This policing or face cleaning, this wart and mole
clipping, or shall we say mild cheating, can be for-
given if used within reason when the photographs
are to be used primarily for social purposes. Custom
here has decreed that good looks is the objective
be it entirely natural or not.

Even though requested, it is a grave injustice to
the actor, as well as being unethical, to perform
photographic surgery — changing contour of face or
body beyond the point that costume and make-up
will not cover. The human eye or motion picture
camera will later detect and expose such practice.

Nothing can so injure an actor with a casting
director as the discovery or suspicion that other than
with make-up, the subject has been made over
through so-called retouching.

Proper lighting and posing will overcome the
necessity for a great amount of retouching. Remem-
ber that every subject has a best view.

The manner of printing a picture is next in im-
portance to the taking. Be sure you have all the
detail in your print contained in the negative. Ordi-

narily moderate difusion should be confined to por-
traiture not to characters or stills, as defined.

Should you desire heavier printing for a portion
of the print, it is possible to give extra counts in ex-
posure of a certain area, by blocking out the remain-
ing area.

By printing a given negative on the several dif-
ferent qualities of printing stock, it is possible by
comparative study to learn which stock to use for
certain pictures.

In conclusion and summary: Remember that
realism in character studies results from the entire
characterization, of which the face is just a part.
The expression in both face and body must result
from thinking the desired situation.

"Behind the Ground Glass" could be expanded
to book length, however, in the attempt to hit the high
spots in photographing character studies, if we are
guilty of some glaring omittance, we hope our con-
temporaries will prompt us.

The public is yearly becoming more discriminat-
ing in what is good photography and motion pictures
can be given the major credit. We are favored in and
about the Hollywood area with having a goodly
number of excellent and reliable photographic
studios, and although we have our share of "Camp
Followers" who would take all and give nothing,
we believe the general trend of standards and ethics
in all departments, including motion pictures is def-
initely on the up grade.

The camera is not quite a mind reader — yet. But
with new camera inventions, sharper lenses and
new lighting discoveries coming on continually,
photography is increasingly responsive to the build-
ing of technique for recording true character.

Ramona —

— Garden of Allah —
— God's Country and the Woman —

Color Lighting Simplified by

H. I. ARC LAMPS

MOLE-RICHARDSON, Inc.

941 North Sycamore Avenue Hollywood, California

M. P. Lighting &

Mole-Richardson

Bombay

H. Nassibian

Equipment Co.

(England), Ltd.

Radio Co.

CAIRO,

NEW YORK

LONDON

BOMBAY

EGYPT

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

October, 1936

JACK of the scenes of the Holly wood Glamour
Factories is a story. Into every romantic
movie scene goes the sweat of scores of
k— — «^* men and women who work with tools and
things and who are the real heroes in getting the
millions of miles of film to the screen.

There is a story in these technicians, carpenters,
blacksmiths, dressmakers, the actors when not be-
fore the camera, and the other laborers because they
do the job, not so much for the Saturday paycheck,
as the satisfaction and fun of seeing the show go on
and seeing their work take shape under their hands.

I do not know why it is so in the movie industry
more than elsewhere that people really work for the
fun of it and the fact that they are paid for the efforts
seems secondary. So many things seem contrary
behind the studio walls.

When I was asked to bring out the story of these
unsung heroes and tell of the new equipment, the
new developments, the behind the scene anecdotes,
I was pleased.

Hollywood Offstage

By EARL THEISEN, Associate Editor

Honorary Curator Museum Los Angeles

sweat because of heavy costumes she had to wear
in the winter scenes of "Camille." So our unsung
heroes invented a portable ice box for the hot Garbo.
The refrigerator called the "Garbo-Cooler" is eight
feet square and on top of it is loaded about a truck
load of ice. (The publicity department says 2,000
pounds, which a Robert Taylor fan says is not ex-
cessive if the Taylor, also appearing in Camille gets
in there with his winter clothes). Anyway, an elec-
tric fan sucks the cooled air off the ice into the ice
box. It is set on steel rollers and a yes-man who
never gets any publicity on his perspiration pushes
it around.

C. B. (that's De Mille) said one day during the
filming of his current film, "The Plainsman", that:
"The audience never realizes how much is done for
the film. Even with mob scenes where all seems
confusion, it is not disorder at all, but what may be
called intelligent confusion where everyone knows
exactly what he is doing." That is the motion pic-
ture; they seem nuts at times, but the results, well,
the results.

Jack Dawn, the makeup boss at M. G. M. has
evolved what he calls the "makeup blues." Work-
ing on panchromatic makeup he has hit on the idea
of applying the makeup under blue neon light. He
claims this gives a coloration to the makeup that is
similar to the way it will photograph. The blue neon
illuminates the makeup application in a mono-
chrome similar to that of the black and white of the
photographic emulsion.

Blacksmiths are scarce. In filming "Hopalong
Cassidy Returns", a man who could shoe the horses
on the location trip in the high Sierras was needed,
and one had to be located. Two hundred miles away
one was found hid away in a backwoods; a truck
picked up his anvil which was pitted and hollowed
from wear during the "good old days" before the
auto. His bellows, forges, and hammer which was
no longer shiny from use, and what was left of the
oldster himself was loaded on the truck, carte
blanche in accepted movie fashion, and he was in
the movies.

The technicians at M. G. M. were put in a dither
the other day when the romantic Garbo went into a

In order to give more elbow room for an exten-
sive film program, Warner Brothers Studio is ex-
panding. Two new sound stages, number 19 which
will be 135 by 160 feet and number 20 which will
be 315 feet long by 120 wide will be constructed. You
could get lost in a building like that. Plans are laid
for a new office building constructed in a U-shape,
and housing seventy offices, new dressing rooms,
technical and research buildings, new camera de-
partment, crafts building, new prop rooms and truck
docks, new nursery building entirely glass enclosed,
wherein will be grown exotic tropical orchids and
sunflowers and such things. Not to be overlooked
is the addition to the restaurant for larger food cook-
ing vats and more elbow room in the "green room,"
dining room.

By the way, from 12 to 1 or thereabouts is the most
important time of Hollywood's day, not because it's
time for lunch or relaxation, but because that is the
time when the course of movie history is determined.
That is when movie decisions are made, films are
cast; that is the time for the columnists to gather their
pearls of wisdom and the news for the world gath-
ered.

In reality the lunch rooms are conference rooms.
At one table C.B. will be laying out plans for the
afternoon's shooting, at another King Vidor will be
talking and planning with his editor, at another an
extra will be planning which bills to pay or how to

TECHNICOLOR

3 COLOR CARTOON

CAMERA STAND

Like New

To Be Sacrificed for Quick Sale — Outfit Consists of:

Camera stand with motor zoom and pan table

1— Bell & Howell Camera No. 759

1 — 75 mm. F.2 Speed Panchro Lens

1 — Filter Sliding Mechanism

6 — Baby Spot Lights

1 — Frame Optical Glass

1 — Stop Motor Device with DC Motor and

Automatic Clutch Photographing Three-Color

Separation Frames
2— Bell & Howell 400 ft. Magazines

Price Only $2000 Complete, F.O.B. New York

Stand without B. £r H. Camera, Lens and Magazine, $1200
Photographs on Request

MOTION PICTURE CAMERA SUPPLY, INC.

723 SEVENTH AVE., NEW YORK CITY

October, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-nine

get in the director's eye; the star will be looking with
an horizon eye while planning, no doubt, a better
way to deliver some dialogue "business" while the
hurrying laborer and office boy hastily dart in and
grab a sandwich. All mix and elbow each other
whether high or low. The lunch room is no place
for glamour and names in lights do not mean so
much.

A check of "call Sheets" indicates the movie stars
get up and report for work before the world believes
they get home from the mythical Hollywood party.
Claudette Colbert got up on this day at 5:30 o'clock;
Glenda Farrell at 6:30, and so forth, and there is no
luxurious arrival at nine or ten with a fanfare as the
fans love to believe. When the movie star first gets
to the studio she reports to the makeup department
when for anywhere for half to three hours she sits
to get the makeup applied. Then she must get into
costume, then the hairdresser, and then here and
then there. All the while they are studying a script.
She quits about six o'clock and many, many times,
if things go wrong they work all night. (Of course,
some lowly fellow whose name never hits the credit
title must get there ahead of her to unlock the doors,
while the makeup artists, lunch counter guy, and so
forth have been getting things polished for the ar-
rival.)

With Hollywood going into a cycle of costume
films, the Wig Department of Max Factor has had
to go without lunch and take up its belt another
notch or two in order to get the thousands of wigs
ready on time. The many recent costume films have
each required a special type of wig made to fill both
the camera needs as well as the historic authenticity.
One camera need that was solved recently was the
Technicolor wig. All grey hair when filmed in Tech-
nicolor photographed with a bluish cast, and of
course, that would not do. So the collective heads
of the Max Factor wig department turned grey to
find out that a slight off color would photograph
right.

The hairlace wig that photographs like real hair
and the line at the edge of the wig is not picked up
by the camera was also developed by them for the
movies. Into a lace is tied each individual hair.
The workers in making the lace wigs earn their pay-
check by spending the hours fixing and knotting hair
after hair into a piece of lace. In doing this their

hands do a quick twisting motion and there the hair
is all neatly tied into place. I tried to count the hair
one of the girls tied in a hour but when I got around
200, I became tired. To me the work seemed like
monotonous drudgery, but they hum and sing at it.

Bell & Howell is shipping on order, a $200,000
order mind you, of motion picture printers to Holly-
wood. This is the largest order of movie apparatus
of any one shipment, and it is for sixteen automatic
sound and picture printers which are going to the
Paramount and Columbia film laboratories. M. G. M.
is already using a battery of ten of these printers.

These new printers which print the sound and the
picture at one operation without loss of detail and
definition of picture quality, operate at higher speeds,
are automatic, and equipped with foolproof devices
and eliminate manual control. They clean the films
and so forth while the printer may take a nap.

Five years and a cost of $300,000 were spent in
the development of the apparatus.

About a new movie theater. Glen Duerfeldt, vis-
iting here from Nemaha, Nebraska, told me about
a novel way of getting the films to the public. The
merchants in this small town which is too small to
sport a theater get together and chip in a couple
dollars each for a free Saturday night show. The
county officials furnish rough planks which are used
for seats and the money collected from the mer-
chants goes to hire a travelling showman to run his
films, which are not too old. On Saturday night the
farmers come to town early to visit and stand around
and "chaw" until showtime when they migrate en
masse to the free open air show. Of course while
visiting and the waiting is going on they spend the
nickels with the merchants. Before the free show
idea came along, the farmers went some miles to a
neighboring town that had a show. Glen, who told
me this also told me he had to buy twenty gallons
of gas when he was here in order to find the home
of Bing Crosby because his wife is a Crosby fan. He
thought her fandom was o.k. because it gave her
something besides waving corntassels to think about.

School has opened and the world's smallest

school at Columbia Studios with its two pupils also

started the fall semester. One pupil, Edith Fellows,

thirteen years old, and second, tiny five year old

(Turn to Page 30)

A NEW SYSTEM OF PERSPECTIVE

(Continued from Page 19)

By taking a convenient point on the horizon (in this
instance the horizon is eight feet below the base of
the sketch) extend a line from this point through e"
until it intersects the line at the top of the sketch:
Knowing, from the plans and elevations, the dimen-
sions between f" and e" are twenty feet, so must
the distance between 0 and 20 be the same measure-
ment. Divide this space into any desired divisions —
1, 2, 3, 4, 5—10—15 and 20 feet. By converging all
these divisions to the point on the horizon and tick-
ing off the intersections on the vanishing line e" f",
gives the proper diminishing of these spaces. By
connecting various other diagonals (only partly
shown in the sketch) any number of vanishing lines
and measurements may be had.

By measuring the spaces between the horizontal
vanishing lines, from the bottom to the top of the
sketch, we see that these spaces diminish properly
in the ascending perspective, and prove that the

building is correctly fore-shortened, as the result of
shooting upwards.

We may here offer the objection that this system
may be well enough for projecting a perspective
rendering from ground plans; but what if we have to
design a sketch without a plan?

The answer is simple. Practise shows that in exe-
cuting a perspective sketch we must either resort to
the accepted rules of perspective or start out by fak-
ing. It is simple enough to secure that first vanish-
ing point, but the second point must be accurately
established in order to give a perfect illusion. Fak-
ing means a great deal of juggling of lines, many
erasures with an accompanying loss of time.

TV takes but a few minutes to layout a simple plan of
the proposed sketch, establish the various points of that
plan, in perspective , after which the rest is comparatively
simple.

Thirl v

7 /,

INTERNATIONAL PHOTOGRAPHER

October, 1936

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 OR RENT— CAMERAS

LARGEST STOCK FIRST CLASS UFVTO-DATE CAMERA
EQUIPMENT IN THE WORLD

Rebuilt silenced and Standard Bell & Howell 170° Cameras — Hi-Speed
gear boxes — Hi-Speed check pawl shuttles. New Fearless shuttle for
Bell & Howell. DeBrie Model M, with 3 lenses, automatic dissolver com-
plete outfit. Silent Moviola Model D. Two single System cameras complete
with sound equipment. Bell & Howell rebuilt Splicers as new. Portable
blimp with follow focus for Mitchell Camera. Used Holmes 35 mm.
Sound-on-Film Projector complete. Precision, DeBrie and Bell & Howell
pan and tilt tripods. Bell & Howell 1000 ft., 400 ft. magazines. Motors,
sunshades, finders, lenses and all accessories. Write, wire or cable.

MOTION PICTURE CAMERA SUPPLY. INC.
723 SEVENTH AVE., NEW YORK CITY
CABLE: "CINECAMERA"

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 variety of
16 mm. and still cameras and projectors. B & H Cameras with old type
shuttles silenced $150. Bipack magazines and adaptors for color. Every-
thing photographic bought, sold, rented and repaired. Send for our bar-
gain catalogue. Hollywood Camera Exchange, 1600 Cahuenga Blvd.
Phone HO. 3651. Cable, Hocamex.

FEAR MOTOR FOR BELL & HOWELL CAMERA. Pulls 1,000
feet of film. Price $125. CAMERA SUPPLY CO., 1515 Cahuenga
Ave., Hollywood.

Fully Guaranteed

USED 35 MM.
EQUIPMENT

Mitchell, Bell & Howell, Akeley, DeBrie,
Universal, Pathe Cameras.

Portable Sound Recording Outfits.

B & H Eyemo, 400 ft. Magazine, Motor
driven.

Holmes Projectors, Sound and Silent.

DeVry Suit Case Model Projectors.

We buy, sell and rent anything Photo-
graphic.

•• •

CAMERA SUPPLY CO. LTD.

1515 No. Cahuenga Blvd. Hollywood, Calif.

Cable Address: CAMERAS.

WANTED TO BUY

1 STANDARD UNIT "I" SHUTTLE for B. & H. 170° Camera.
Also, 400 ft. Mitchell Magazines. Motion Picture Camera Supply, Inc.,
723 7th Avenue, New York City.

CAMERA REPAIRING

SILENCED MITCHELL CAMERA, 40, 50 & 75mm. Astro F2.5
Lenses, Upright Mitchell Finder, Mitchell Matt Box and Sunshade, two
1000 ft. Magazines, Friction Tripod Head and Legs, complete equipment
with Carrying Cases, $2600.00. Camera S-upply Co., Ltd., 1515 No.
Cahuenga Blvd., Hollywood. Calif.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

LIKE NEW BELL & HOWELL 5-way Sound Printers and Sound
Moviolas. Reasonable price. HOLLYWOOD CAMERA EXCHANGE,
A600 Cahuenga Blvd., Hollywood, Calif.

ART REEVES, latest model 1935, double system sound recording in-
stallation, factory guaranteed, Automatic Speed Control Motor, Twin
Fidelity Optical Unit, Bomb microphone, the only genuine, modern,
workable ArtReeves equipment for sale in Hollywood outside factory.
CAMERA SUPPLY COMPANY, LTD., 1515 No. Cahuenga Blvd.,
Hollywood.

POSITION WANTED

FRENCH CAMERAMAN speaking English would be interested in
shooting transparencies and stock shots, covering Europe. Als. Militon,
228. R. Vaugirard, Paris 15e, France.

BELL & HOAVELL cameras with old type shuttles silenced, $150.
Hollywood Motion Picture Equipment Co., 645 No. Martel Ave.,
Hollywood.

MISCELLANEOUS

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 L. Finn Publishing Corp., 580 Fifth Ave., New York.

HOLLYWOOD OFF STAGE

(Continued from Page 29)

Patsy O'Connor and Gertrude Vizard, the one
woman faculty. Each of the studios must maintain
instruction for youthful contract players.

Old "Dinah", a seventeen year old mule has
been kicking up a lot of fun for the Hal Roach com-
edies and has been before the camera for fifteen
years. She appeared in the first "Our Gang" com-
edies.

About 1500 flash globes were used by Hollywood
photographers in obtaining pictures of Dick Powell
and Joan Blondell during the week preceding their
marriage. Those photos flashed to all corners of the
world.

For the film "Crack-up" at 20th Century Fox, the
studio is spending $25,000 to make a working dupli-
cate of the Amelia Earhart "flying laboratory." The
airplane, like Miss Earhart's, will be equipped with
all the latest aviation instruments, just for movie
authenticity.

October. 1936

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

New Apparatus, Photographs Soft Tissues

of Body

HOLLYWOOD PHYSICIAN PATENTS AMAZING DISCOVERY— INTERNAL ORGANS PICTURED

(Is this a New tield for Cameramen?)
By the Associated Press

(Dr. Ruth B. Drown, of Drown Laboratory of Radio
Therapy, Los Angeles, has just returned from a so-
journ in Washington, D. C. where she went for the
purpose of demonstrating to the United States Patent
Office her latest invention — The Drown All-wave
Radio Therapy Instruments.

Doctor Drown was accompanied on the trip by
her friend, Mrs. Lois Weber, famous motion picture
director, who is interested with Doctor Drown in the
organization of the corporation to manufacture and
exploit the inventor's instruments.

The Drown All-wave Radio Therapy instruments
attracted great attention at the National Capital, but
International Photographer will let the Associated
Press tell the story of the marvelous achievement of
a Hollywood woman who can take pictures of the

instrument is far from being fully understood even
by Dr. Drown, she concedes.

Essentially it is a compact radio receiving set,
sensitive to practically all radio waves, connected
to a photo-electric cell, which transforms electrical
variations into light variations.

To photograph a muscle in almost any organ, Dr.
Drown tunes the receiving set to a frequency, or
wave-length, of 30 kilocycles per second. A small
wire running from the set is then touched to the skin
approximately over the tissue to be photographed
and held there for about two minutes. To photograph
the skin a frequency of only 10 kilocycles is used
while to photograph bones, 70 kilocycles are re-
quired.

According to Dr. Drown's theory of the instru-

Left — Pylonic end of stomach and duodenum which has been diseased. This picture was made without light or lens, by
vibration only. Right — Picture of human lung, showing portions of bronchial tube and healed and open abscesses in lung.

soft tissues of the interior of the human body with
only "unseen light" and without a camera. — Editor's
Note.)

Washington, D. C. Post. — A new method of pho-
tographing the soft tissues in any part of the body
by the touch of a wire to the skin was demonstrated
yesterday before officials of the Patent Office by Dr.
Ruth B. Drown, of Los Angeles.

Based on the principle that each tissue of the
body — such as heart, lungs, nerves, intestines and
brain — has its own individual electro-magnetic vi-
bration and that these can be tuned in to record
themselves on photographic negatives, the new in-
strument was declared by Dr. Drown to produce
cross-sectional or whole pictures of tissues and or-
gans within a few minutes. No lights are used in
making them.

Pictures exhibited by Dr. Drown in support of her
application for a patent revealed that the instrument
goes beyond the X-ray in making possible photo-
graphs of tissues which do not record through the
X-ray. She said that the instrument was intended to
supplement the X-ray, not to replace it.
Still a Mystery

Mysterious in its action and almost uncanny in
the way it reveals the inner secrets of the body, the

ment's action, the natural vibration or frequency of
the tissue is picked up in the radio set through the
wire, is amplified and passed into the photo-electric
cell.

"It is an invisible light which acts upon the photo-
electric cell, instead of a beam of visible light which
the cell ordinarily receives," she explained. "This
invisible light is caught and focused on sensitive
photographic film.

"Sometimes, for some unknown reason, tremend-
ous magnifications of the tissue photographed result,
and then it is possible to study the living cell struc-
ture of it," she said.

"I am a physician, not a physicist, and I cannot
explain technically how the instrument works. I do
know that it does work and we have used it in the
diagnosis of about 100 cases to date, even though it
is still in the experimental stage."

The only soft tissues which have thus far resisted
the specific probing of the instrument are the veins,
which because of the blue color showing through
them, fail to record themselves on the film. This fail-
ure to record is due to the blue insensitivity of the
photo-electric cell used.

"Since this story was written, Dr. Drown has organized as Drown
Laboratories, Incorporated, under the laws of California.

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

October, 1936

CINEMACARONI

(With Sauce for Those Who Like It)

By Robert Tobey

HOLLYWOOD HONEYMOON
or
The Loves of Lili Liverblossom
by
CHAPTER XXIV (Censored)
CHAPTER XXV (Censored)
CHAPTER XXVI (Censored)
Shucks! Things have conic to a pretty pass. It's
getting so you can't get a thing past the censors.
And the above three chapters of our thrilling serial
were some of the juiciest bits, too. But arc we
daunted? H-e-c-k, no! Your editors are working
feverishly to find a way to get around the stran-
gling grasp of the censor octopus. See next month
for startling developments. The public must — in
fact -will — be served!

COOKERY DEPT.

INTO THE FIRE

Joan Blondell and Dick Powell
OUT OF THE FIRE

Binnie Barnes and Samuel Joseph

KNEECAP REVIEWS

(No space left on my thumb-nails)

"GREEN PASTURES."' This is so good an
offering from the Related Warner boys that I'll
stand for three more of their musicals with Busby
Berkeley ensembles. Written by Marc Connolly,
this picturization of his successful play was also
directed by him in collaboration with William
Kciyhly.

Here is a quaint story told with a simple direct-
ness and with as complete an absence of affectation
as an over-zealous Warner Brothers trick depart-
ment would allow. Using this negro folk-story as
a smoke screen, astute Mr. Connolly with an enter-
taining naivete and completely disarming mode of
attack, dissects the biblical fables of Genesis.

The portrayal of "De Lawd" by negro actor Rex
Ingram is of such high caliber that it's sad there's
so little motion picture call for his fine talent.
From the splendid supporting cast stand out Oscar
Polk as tnc angel Gabriel and Eddie Anderson as
Noah.

Photography was in the hands of Hal Mohr.
Should I gild the lily?

"STAGE STRUCK," starring recently-spliced-but-
they-weren't then Dick Powell and Joan Blondell,
and directed by the flighty Mr. Busby Berkeley.
Ah, me — I wrote the above review of "Green Pas-
tures" before seeing "Stage Struck," so I guess
I'll have to overlook the fact that Dick Powell
and Jeanne Madden break into a song and dance
skit in the middle of the Natural History Museum.
And that the Yacht Club Boys without a yacht
club break into rhyme without reason on the
back steps accompanied by an argufying radio,
and go into Keystone Comedy routines in private
offices. It makes me want to turn in my badge.

But don't let this make you stay away from the
picture, which is full of laughs. Powell is prob-
ably better than ever before and Blondell is up
to her usual antics. Film introduces Jeanne
Madden, who isn't hard to take. Warren Wil-
liam, Frank McHugh and Hobart Cavanaugh do
their stuff well. Byron Haskin was responsible
for the first-rate photography.

"YELLOWSTONE," a story of murder in Uncle
Sam's playground. Interesting as this is, it falls
far short of its splendid possibilities and bogs
itself down with the weight of its own complica-
tions. The theme has novelty and suspense in
abundance, but there are just too many crooks to
kill off, requiring quite too much coincidence.

Henry Hunter as the young ranger of the story
is a handsome lad and should go far. Judith
Barrett, playing the unsuspectinq daughter of a
bank-robbing father, presents an unconventional
type of beauty and gives promise of developing
into a unique personality.

Ralph Morgan, as the father, performs with
quiet conviction. Others are Andy Devine, Alan
Hale and Raymond Hatton. Direction by Arthur
Lubin keeps up the rapid pace of the piece.
Milton Krasner has photographed well through-
out, contributing some unusual scenic shots.

"DRAEGERMAN COURAGE," with Jean Muir,
Barton MacLane, Henry O'Neill, and Robert Bar-
ratt, and directed by Louis King. The only thing
needed to make this complete is the giddy touch
of Busby Berkeley. If you are rabidly fond of
seeing miners digging frantically underground
for hours on end to rescue other miners, then by
all means don't miss this earthworm epic.

Jean Muir and Barton MacLane are head and
shoulders above the story, which really isn't so
bad except for hammy dialogue and too much

digging. Effective photography is by Gilbert
Warrenton.

"RHYTHM ON THE RANGE" is excellent film
fare. Just what the title implies, this singing cow-
boy story gives you Bing Crosby crooning to a
liorse of another color. Besides that if you care
for it, you are given just a little too much of the
very funny Martha Raye, an introduction to de-
lectable Frances Farmer, and don't bazooka-way
and you'll see Bob Burns. Lucille Gleason, War-
ren Hymer, and George E. Stone are in the thing
too and don't deserve such slight mention.

Norman Taurog directed with a hilarious touch,
and probably no "western" has had more capable
camera treatment than this one in the hands of
Karl Struss.

"THE GORGEOUS HUSSY," in which Joan
Crawford is gorgeous but very little the hussy
and -rogresses to better looks, better acting, and
four leading men.

This patch-work tale of adventure in the An-
drew Jackson era is so full of separate and com-
plete episodes as to be capable of rendering it
incoherent, yet these are so skillfully blended by
story, acting, and the expert direction of Clarence
Brown that there is no feeling of periodicity.

The one continuous thread of the tale is the
love life of the "Gorgeous Hussy." Joan Craw-
ford in this part gives her best performance in
quite too long a time and forsakes at last the
highly artificial mouth make-up and abnormal
eyelashes that have oreviously been her trade-
mark. As her first husband, Robert Taylor is as
handsome as ever, but is characterless in his
acting, possibly due to the restraint of period
costumes. Franchot Tone has little opportunity
to be other than innocuously pleasing, and James
Stewart's role affords scarcely more histrionic
play. Melvyn Douglas, however, has a role that
he can really set his teeth into, and set them he
does, biting himself off by far the juiciest bit of
acting in the picture. This far from handsome
but strangely compelling actor paints with strong,
sure strokes his picture of the inflexible idealist
who lets not even his love for the Gorgeous
Hussy alter an unswerving course toward the
goal of State's Rights.

Lionel Barrymore as Andrew Jackson has a
part that is in accord -with his capabilities.
Beulah Bondi's work as Rachel Jackson is mar-
velous, and Alison Skipworth is fine in a small
role.

Photography by George Folsey creates a per-
fect setting for this commendable production.

"MY MAN GODFREY," a Gregory La Cava
production starring William Powell and Carole
Lombard. The apt, amusing, and novel main
title is followed by a picture possessed of the
same gualities maintained in superlative. You'd
be a fool to miss this unless you're sure you
have no sense of humor whatsoever. How mad,
but how charming, infectious, and relaxing is
this gay film cannot be conveyed in the telling.
The effervescent Miss Lombard outdoes herself
in her portrayal of the beautiful, dumb, and un-
trammelled Irene Bullock. Mr. William Powell's
performance is of the best. Unforgettable is the
scene where in rags and tatters and a great
growth of beard he saunters in utter superiority
through the doors of the Waldorf.

More than excellent characterizations are con-
tributed by Alice Brady, Gail Patrick, Eugene
F'jllette, Mischa Auer, Jean Dixon and Alan
Mowbray.

Directed and produced by Gregory La Cava
from the novel by Eric Hatch, and photographed
as only Teddy Tetzlaff can do it, the production
is an achievement that is a feather in the caps
of all concerned.

When "The Devil is a Sissy" is released in
England, the title will be altered to "The Devil
is a Softy." It seems "sissy" is not a polite
■word in the Isles.

* * *

Them Britishers better not be too snooty. Some
of their own little nifties don't stand up any too
well here in Uncle Sam's Alphabet Land.

An Englishman is at a pretty serious disadvan-
tage if he comes over here and tries to get collo-
quial about keeping your courage up.

Addison Randall; and Dr. Herbert Gaillard. * * *
Mary Brian attended unattended by Cary Grant.

* * * Lorena Layson was there with supersoap
magnate Danny Danker (of whom this is the
missis). * * * Hugh Herbert was there with the
hiccups, but Herb Gaillard soon cured that — not
until after Hugh had tried seventeen home-pre-
scribed remedies ranging from holding the breath
until exhausted to standing on the head and
drinking a glass of water. * * Harriet Parsons
was there — and so were Barton MacLane, Eadie
Adams, Howard Lang, Mecca Graham — and, of
course, Glenda Farrell! *

Looks as if Southern Calif ornians will soon have
a zvay to burn their money all year round. With
two new race tracks besides Santa Anita in pro-
ject, plans are already arranged to stagger the
racing seasons so that the ponies will never quit
going round and round so the money can go in
there. Just a few weeks ago, the cornerstone was
laid for the new track at Del Mar, tzcenty miles
north of San Diego. Bing Crosby, who owns a
nearby Rancho and is a big investor in the track,
was on hand to see that there was nothing crooked
about the way the c. s. was put in. John Gallaudct
and Elizabeth Russell were also on hand to tee
Governor Mcrriam dedicate the spot. * * * iijss
Russell, who is a sister of Rosalind Russell's, is
breaking into pictures via Paramount. * * * Best ■
bet of the month — Janice Jarratt, New York "maga-
zine-cover" girl, just signed and brought out to
the Gilt Coast by Universal. The girl has beauty,
charm, grace, intelligence — and what is most im-
portant, complete lack of camera-consciousness.

* * * Frank Shields talked Errol Flynn into enter-
ing the Pacific Southwest Tennis Tournament. So
Errol entered with Elmer Griffin as partner — and
the two drew as first opponents, Shields paired with
Fred Perry, champion of the world! * * * Little
Jane Withers 'was made Honorary Chief Steward-
ess of the American Airlines at the recent christen-
ing of the new flagship "California," first of a
fleet of transcontinental sleeper planes. Marjorie
Gage flezv in to see the christening in her own
little red monoplane — which can nestle under one
wing of the giant twin-motored Douglas. * * *
Arline Judge at a recent party invited practically
everyone there to ride home in her new limousine,
she was that proud of it. She'd have been em-
barrassed if they had all accepted, for it isn't
THAT big. * * * Maybe the industry is missing a
bet in not making more serials. When a group of
stars visited Olvera Street recently, the one the
kids all recognized first and mobbed for auto-
graphs was nevertheless probably the least famous
of the group — Jean Rogers, the "Dale Arden" of
Universal' s "Flash Gordon" series. * * * The fifty
school girls who were standing the other day on
the corner of Hollywood Boulevard and Highland
Avenue would be terribly chagrined to know that
Clark Gable, wearing a beret and an old leather
jacket, Massed within a few feet of them and wasn't
recognized. Or "were they all blase? * * *

This year the annual motion pictures Fathers-
and-Sons Convention 'was held on director Al
Green's ranch in Puente. * * Each year, you
know, the boys treat their dads to a picnic and
as much gentle ribbing as possible. * Of

course, Sol Lesser and his son Bud were on hand,
since Bud is the chief instigator of the affair.
" * Charlie Irwin -was master of ceremonies.

* * Little Bobby Breen brought both of his
dads — his radio pop, Eddie Cantor, and his real
father, Hyman Breen. * * The three Ritz
brothers had trouble getting in, as they only
brought one dad among them. * * He's screwy
too. * Chic Sale turned Lincoln's "Gettysburg
Address" into a political speech. * * * Groucho
Marx had to leave early because his son was
playing in a tennis tournament. * * * After
eats and spiels, there was such a baseball game
as you've never seen. * * *

A novelty of last month was a gay "Nickel-
odeon Party" at which were revived the dear
dead days when the nickel was king. * * * Pat
O'Brien arrived in a horse-drawn hansom that
had the very latest self-opening doors. *
And a surrey drove up and out jumped Pat
Ellis, Paula Stone and Wayne Morris. * '
Among others arriving in old-fashioned garb were
Jeannette MacDonald and Gene Raymond — Jean-
nette in her costume from "San Francisco" —
Eleanor Whitney with Tom Brown and Henry
Willson, Glenda Farrell charminq decollette, Fred
Stone, Mr. and Mrs. Walter Brooks III (Jacqueline
Wells), Mr. and Mrs. Donald Woods, Marjorie
Gateson, Evangeline Russell, Commodore J. Stu-
art Blackton, John Bryan, and Inez Courtney.

* * * Helen Ferguson masqueraded as a Salva-
tion Army lass and picked up a penny here and
there. * * * After the nickels had been collected,
sequences from several old-time celluloid thrill-
ers wer run by Commodore Blackton, and then
a Fred Stone vehicle of 1918, called "Johnny Get
Your Gun," in which Fred did every stunt in the
cataloque, was run amid the cheers and cat-
calls of his friends. * * *

HOLLYWOODCUTS, by the Shovel Boys (They
dish the dirt) * " Everybody gives parties to
celebrate occasions. So Glenda Farrell had a
party to celebrate the occasion. Except perhaps
the institution of Saturday night parties. And
quite a cortege of Glenda's boy friends -were
there — Drew Eberson, her current heart-throb;

Hi. siser! Wanta get into pictures?

If you are an artist, an architect or a cine-
matographer, don't fail to read Lewis W. Phy-
sioc's article on PERSPECTIVE, page 16, this
issue.

35 MM. NEGATIVE
AND POSITIVE FILM

lGFA'S new, improved SUPERPAN is the finer-grained
film. And with this unequalled fineness of grain it combines
everything you ask for in the ideal supersensitive panchro-
matic negative . . . wider latitude . . . supersensitive speed
. . . and highly, evenly balanced sensitivity. Made by Agfa
Ansco Corporation in Binghamton, New York.

C. KING CHARNEY, Incorporated

HOLLYWOOD

6372 Santa Monica Blvd.
Tel. Hollywood 2918-2919

NEW YORK

245 West 5 5th Street
New York City

<oH5 MAKTt-L ST., NO.,
HOLLYWCO?, CALIF.

(favVUil SlecUU AtohAUtoC&S

A LINE OF

G-E MAZDA LAMPS f» TECHNICOLOR

10 EW. G-96 CP
about 1/8 size

5 EW. G-64 CP
about 1/6 size

2 EW. G-48 CP
about 1/5 size

2 EW. MOVIEFLOOD CP

about 1/6 size

which offers these definite advantages:

1. Improved quality of pictures . . .

A. These new lamps give a whiter light than do
regular MAZDA lamps. All operate at the higher
efficiency of the G-E MAZDA Movieflood lamp.

B. Used with suitable filters, which are readily
available, the light of these new lamps mixes with
daylight or arcs. Studio tests show highest fidelity
in reproduction of colors, including "whites".

C. Their flexibility gives the cameraman tools to
express his artistry. They give accurate and easy
control of light in a wide variety of equipments.
And these equipments are compact, which permits
lighting effects to be secured in space too cramped
for other light sources. Result: better photography.

2. Improved working conditions on the set

A. With these new G-E MAZDA lamps there is
no loss of time for retrimming.

B. There is no annoyance or delay from smoke or noise.

C. Sets are no warmer than with arcs . . . thanks
to the higher efficiency of these lamps and the
heat absorption by the glass filters.

D. Hence these lamps reduce the number of retakes
and interruptions of the production schedule. Ob-
viously, this promotes better morale on the part
of actors, directors, technicians, and other per-
sonnel . . . which is reflected in better pictures.

3. Lower production costs on pictures . . .

A. These new lamps are readily used in equipment
you have. This means no investment to make in
new equipment, except for inexpensive filters;
no new rentals to pay.

B. There is no mechanism to maintain.

C. With these lamps fewer men are needed to handle
lighting equipment.

D. Less time is necessary for rigging or striking a set
because the equipment is light in weight, com-
pact and easily moved.

Try these new G-E MAZDA lamps when you use Technicolor. You will
find them helpful. General Electric Company, Nela Park, Cleveland, Ohio.

GENERAL (gg) ELECTRIC

MAZDA LAMPS

NTERNATIONAL
7 HOTOGRAPHER

TH YEAR

HOLLYWOOD

NOVEMBER, 1936

VOL. 8

NO. 10

WILFRID CLINE

_,_. A Thanksgiving eve on the broad waters of the Pacific, between Honolulu and Tokyo, Japan. Note

CENTS the horizon-wide sun-path on sky and sea and the deep shadows on the deck of the Japanese ship.

A COPY A shot by wil,ria Cline of Local 659, I.A.T.S.E. and M.P.M.O. Mr. Cline is now associated with

Technicolor.

HOTION PICTURE ARTS AND CRAFTS

THECffllDTRADE MARK HAS NEVER BEEN PLACED ON AN INFERIOR PRODUCT

In BRIGHT SUNSHINE or DEEP SHADOW
Under INCANDESCENT or ARC LIGHT

*EG.U. S.PAT. OF?

PANCHROMATIC

will give better results than
are otherwise obtainable

SMITH b ALLER, LTD.

6656 Santa Monica Blvd. HOIIywood 5147

HOLLYWOOD, CALIFORNIA

PACIFIC COAST DISTRIBUTORS FOR

Du PONT FILM MFC. CORP.

35 West 45th Street, New York City

Edward H. Kemp, of San Francisco, is the artist responsible for this remarkable photograph. The shot is

a view of Hermit Peak, in the Grand Canyon of the Colorado, or of Arizona, as the viewer may like.

Get some idea of the vastness of the canyon by the contrast of the Peak and the Canyon walls with

the people in the left foreground and with the village or camp at the foot of the peak.

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol. 8

HOLLYWOOD, NOVEMBER, 1936

No. 10

Publisher's Agent, Herbert Aller

Silas Edgar Snyder, Editor-in-Chief

Helen Boyce, Business Manager

Earl Theisen 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.

CONTENTS

Front Cover by Wilfrid Cline
Frontispiece by Edward H. Kemp

THE DeBRIE CAMERA - - 3

PERSPECTIVE 4 & 5

By Lewis IV. Physioc
APPLAUSE FOR THE NEWS LENS MEN - - - - - 6&7

By Karl A. Barleben, Jr., F.R.P.S.

Dean, New York Institute of Photography
SOCIETY OF MOTION PICTURE ENGINEERS,

FALL CONVENTION, 1936 -------- 8&9

INTRODUCING DUNNINGCOLOR 10

By_Ray Fcrnstrom _ _

MOTION PICTURE SOUND RECORDING, Chapter 28 - • 12 & 13

By Charles Felstead, Associate Editor
HOLLYWOOD OFF STAGE - - 14 & 15

By Earl Theisen
"SHOOTING AT FIVE PAST TWO" ----- 16, 17 & 29

By Roy Tash
AMATEUR MOTION PICTURE DEPARTMENT - 18, 19, 20 & 21

Cinema Tidings

Questions and Answers
By F. Hamilton Riddel

Right Off the Reel

By F. Hamilton Riddel

"I Prefer a Simple Outfit"

As related to F. Hamilton Riddel

A SHORT STORY ABOUT COLOR 22

Contributed

THE LAND OF THE LAPP - - - - 23

By hen H. Roos, F.R.P.S.

COLUMBIA HIGH SPEED MOTOR DRIVE ... - 24&2S
By Alfred S. Keller

BIPACK PHOTOGRAPHY 26, 27 & 28

By Howard C. Brown

CLASSIFIED ADVERTISING 30

CINEMACARONI ----- 32

By Robert Tobey

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles,
California, under the act of March 3, 1879.

and Canada

Office of publication: 506 Taft Building, Hollywood, California

Hillside 7221

James J. Finn, 580 Fifth Ave., New York, Eastern Representative

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

Subscription Rates — United States, $2.50; Canada and Foreign $3.00 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

SERVICE ENGRAVING CO

PERSPECTIVE

THE
NEW SYSTEM

By LEWIS W. PHYSIOC

[The student should be im-
pressed with the fact that the
series of studies in Perspective
mean nothing as mere reading
matter. They cannot be thor-
oughly understood without the
drawing board, upon which the
figures should be reproduced,
point by point, as described in
the text. — Author's Note.]

November, 1936

The INTERNATIONAL PHOTOGRAPHER

Thre

"he Miracle "hat Is a Debrie Camera

A "CHARLIE CHAN AT THE OPERA" — Fourteenth in the series depicting the adventures of Earl Derr Bigger's
famous fictional detective, gets under way with the first scene appropriately a close-up of Warner Oland as Mr.
Chan. Beneath the camera can be seen H. Bruce Humberstone. director and to the left Cameraman Lucien Andriot.
Eddie Fitzgerald is second cameraman and Eddie Collins, assistant. The camera, new even to Hollywood, weighs
one-third of the present day equipment. Standing next to Oland is actor William Damarest. Boris Karloff is
Warner Oland's chief menace in the new film.

The Debrie Parvo Arrives in Hollywood

When this latest type Debrie camera was put on the set,
at Fox Studios, the director asked the operative cameraman:
"What is that you have there?"

The cameraman replied: "Why, that's a radio."

"Get it off here. We don't want any radios on the set."

The operator then explained that it was a new camera and
the director asked where the finder was. The cameraman re-
plied: "Oh, you could throw the finder away and still shoot the
picture, as you can look right through the film."

The finder was taken off and the picture shot without it.

Four

The INTERNATIONAL PHOTOGRAPHER

November, 1936

PERSPECTIVE

By Lewis W. Physioc

(Continued from October 1936)

|HE work of the scenic artist, sketch artist
and draughtsman, in the motion pictures,
represents a great variety of subject matter.
We cannot be surprised, then, if as many
difficult problems present themselves.

It must be mentioned, also, that the scale, com-
pared even to painting for the stage, is sometimes
gigantic — huge drops and backings, cycloramas and
miniatures that entirely occupy one of the large
studio stages.

A single artist, working on a sketch of such
dimensions as 15x30 inches, may imagine the dif-
ficulties of the scenic director supervising the paint-
ing of one of those "big jobs." First, there is that
enormous spread of canvas a couple of hundreds
of feet long and fifty feet high. Next, there are many
artists, each with his individual temperament, ideas
and technique; yet the completed job must "hang
together" (in the parlance of the scenic artist) and
appear as the work of a single man.

Likewise, the artist working on an easel job,
with his vanishing points at least somewhere within
the confines of the room in which he is working,
may imagine some of the perspective problems of
one of those great spreads of canvas.

The masters of perspective, probably knowing
nothing of these specific problems of the modern
movie studios, have not yet come to the aid of the
scenic artist. He must, therefore, formulate for him-
self the solution of these problems.

Before proceeding with a study of some of these
difficulties, we should compare the new system
shown in Plates 1, 2 and 3 with the older, long ac-
cepted rules of perspective.

The student, no doubt, may ask the question:
This new system appears to be okey, but how do
I know but what it's some "phoney idea" that will
not check up mathematically?

We know that the average artistic mind has an
aversion for anything mathematical. He need have
little worry about this, for the writer, himself is a
poor mathematician, and is unable to present or
expound any complicated problems in geometry or
trigonometry.

But there is a beautiful agreement between the
rules of perspective and mathematics that easily
may be perceived and pointed out. We attempt
to show this in Plate 4.

Figure 1. (Plate 4) represents the principles long
practiced. The horizon (between the two vanishing
points) represents the hypothenuse of a right-angle
triangle, the dimensions of which are governed by
the axis, i. e., the distance between the eye of the
observer and the object to be rendered. The angles
A-A', B-B', and the distances between the vanish-
ing points and the intersection of the axis with the
horizon depend upon the inclination of the ground
plan of the building (or other object). Therefore,
lines drawn from the eye to the vanishing points

are parallel to the plan of the sides of the building.

And further, any variation in the inclination of the
plan of the building relatively changes the angles
of the triangle; and also relatively varies the dis-
tances between the vanishing points and the inter-
section of the axis at the horizon. As angles A A',
B B' are equal, so will these areas be of equal angles
in any change in inclination of the plan.

It will be seen that the Measuring Points (MP)
are secured by describing arcs from the point of
sight (eye) with the vanishing points completing the
radii. The vanishing point for all diagonal lines is
formed by equally dividing the entire triangle within
the area of the eye and the two vanishing points.
The Measuring Points will be described at the
proper time.

Figure 2. Merely is an additional illustration of
the fact that the entire perspective scheme is based
on the classic Forty-seventh Problem of Euclid.
Therefore, we may deduce the simple rule that:

First: The perspective layout is an inverted
right-angle triangle.

Second: The axis represents the altitude of this
inverted triangle, and is perpendicular to the hori-
zon, or base: the length of the axis determines the
dimensions.

Third: As the square of the hypothenuse is equal
to the sum of the squares of the other sides, so may
the other combinations be calculated, thus:

(A A')2 = (A B )'-' + (B A')2
(B A')2 = (C A')2 + (C B )2
(A B )2 = (A C )2 + (B C ) : and so on.

The practical application may be found in the
following proposition:

Suppose the confines of the proposed drop (or
sketch) enables the artist to establish one of the
vanishing points at A', distant from C, for example,
12 feet (or 12 inches). These two known points to-
gether with B, i. e., the known distance of the eye
(or camera) form the 30° angle BCA', which being
subtracted from the full 90° angle leave the angle
of 60° BCA. Therefore:

CA' : BCA' :: ? : BCA
12 feet is to 30 as ? is to 60:or
12x60

= 24 feet (or inches) =

30
the second vanishing point to be found.

Now, let us try and prove that the new system
will conform to these principles.

DUPLICATES OF KODACHROME

Silent — or sound can be added.

The only laboratory in the country duplicating Koda-

chrome Film. ... ..

Write tor prices.

STITH— NOBLE CORPORATION, LTD.

645 No. Martel Ave. Hollywood, Calif.

November, 1936

The INTERNATIONAL PHOTOGRAPHER

Five

Without accepting the layout as shown in Figure
3, the student may, himself prove it. Reconstruct the
layout as given in Plate 1 (October issue Interna-
tional Photographer), and follow the directions set
forth in Figure 3 (Plate 4).

Extend the lines A B, A C, D E, and D F, to the
horizon, thus establishing indisputable vanishing
points. Connect these two VPs with the point rep-
resenting the position of the eye. It will be seen
that these lines form the right-angle triangle, and
that these lines are parallel with their respective
lines of the ground plan, agreeing with the findings
of the older system, as shown in Figures 1 and 2.
And further, that the vanishing lines of the per-

the EYE to the nearest corner of the ground plan
to be 17 feet. By subdividing the perspective scale,
we secure the 17 foot point, i. e., the perspective
point of the nearest corner at D: showing that the
new and simpler system perfectly agrees with the
older.

We will now check the farther corner. Having
obtained the perspective scale of 4 feet, at points
D and 17, and knowing from the plan that the build-
ing is 20 feet long, extend a horizontal line from D
and tick off 5 times 4 feet = 20 feet. Extend a
line from this 20' 0" point to MP (right) and where
this line intersects line VP (left) and D, proves the
perspective position of the far corner. Prove fur-

QTSOVUD
T>IAM

Plate 4.

V. V = VANISHING POINT
M.~P.= MEASURING POINT
D.V.P = THZ DIAGONAL VAN/5 ff/NC POINT

spective sketch must be correct in order to produce
the perfect right-angle triangle.

Now, let us see how the perspective scale and
all the measurements check up.

Find the measuring points, as shown in Figure 1.

We have shown in Plate 1, that the horizon is
four feet above the base line of the sketch (or above
the groundline); and that the base-line of the sketch
is 10 feet and one-half (or reduced to a scale of
inches: 1 foot Vi inch).

Four of these units are ticked off in the lower
left-hand corner of the sketch, as a measuring scale.
Extend these points to the MP (at the right). These
lines diminish the scale in proper perspective.

Extend a line from O (lower right corner) to the
MP (left) on the horizon. Where this line intersects
the line 4 of the perspective scale gives the per-
spective diminishing of four feet receding into the
distance. The other points, 8, 12, 16, are similarly
found by connecting 4 (on the side of the sketch)
with same MP, and so on, with 8 and 16.

Now, by measuring with the scale rule (in this
instance, 1 foot=1/8 inch) we find the distance from

ther by extending the base-line of the sketch, using
the scale of that plane, 1, 2, 3, 4 (beginning at 4),
and so on to 20' 0". It will be observed that the
line running from MP (right) through E properly in-
tersects the 20 foot point of both the near and far
scale.

We are now justified in comparing the two sys-
tems, as to simplicity as well as accuracy.

We have seen that the older system requires a
large area on the average drawing board to exe-
cute even a small sketch. And, further, that the
matter of scale and measurement require consider-
able study, application and practice to master the
subject. And that all these features are greatly
complicated when applied to some of the enormous
layouts imposed on the motion picture artists.

In the new system, we are shown that very little
mathematics is employed, other than the use of the
scale rule and the dividers.

However, the application to large scale work is
still embarrassing but, in succeeding installments,
we will endeavor to show some short cuts and
simple devices.

Six

The INTERNATIONAL PHOTOGRAPHER

November, 1936

Applause For the News
Lens Men

By Karl A. Barleben, Jr., F.R.P.S.

Dean New York Institute of Photography

IEWSPAPER camera reporting is one of the
most difficult rackets, yet thousands of bud-
ding camera toters seek positions with the
■^ papers. It would appear that there is no
dearth of talent in this tough and thankless work.
We should, however, take off our hats to the boys
who present the news to us daily in picture form.
Did you ever give them a thought as you glanced
at their work?

Whatever news cameramen may be, you have
to give them credit for carrying on under adverse
circumstances. Not many average people could
cope with their daily problems and come out on top
as a regular thing. It must be remembered that
when the editor gives an assignment, regardless of
how difficult, or even impossible, it may be, he ex-
pects— and gets — results.

It is the unwritten code in news offices that the
cameraman must come back with something on his
plates — or else! Rain or shine, winter or summer,
night or day — it is all the same to the lens man. He
must get his pictures in spite of all. This would be
bad enough occasionally, but he is faced with the
problem daily.

The average newspaper cameraman must of ne-
cessity be made of stern stuff. He must be able to
fight his way to good pictures, for it is not often that
the path is made easy for him. Sometimes he has
everybody against him. The stories that could be
told would make fascinating reading. Some can be
found in Price's "News Photography" and Kinkaid's
"Press Photography" is equally illuminating. The
life in general hardens the boys so that in time they
are not exactly lilies, nor even gentlemen. But with
a little understanding of their work, their gruffness
is easily excused. Some of the old-timers are holy-
terrors, but the more recent crop is generally better.

Most of the youngsters hail from college, and as
time goes on, many predict that the future news
photographer will be not only well educated and
polished, but expert at camera-handling, too. Most
lens hounds of today couldn't take any prizes at
photographic exhibits, and for this reason the public
may regard them with lifted eyebrow. Yet when it
comes to getting honest-to-goodness news pictures
they have no peer.

After all, no one man can successfully qualify for
several different types of photography. Why expect
the news man to be proficient in pictorialism when
the pictorialist cannot even attempt picture news
reporting? In their line, the news boys are good,
as a general thing, and are serious in the ambition
to turn out better material as they go along. Their
trouble is chiefly that their routine work on the
papers doesn't permit much time to dabble and ex-
periment with the so-called higher aspects of pho-

tography as can the well-known amateurs and pro-
fessionals.

Stanley Walker, in his book, "City Editor," gives
a grand chapter to the news cameramen. He ex-
plains the past and present status and predicts what
we may expect in the future. It's good reading for
those interested.

During the past five years much has been said
about news cameras being made smaller and more
compact. That we may eventually see such a
change may well be, but the fact remains that the
boys still stick to their 4x5 outfits in spite of what
may be said about smaller and miniature cameras
to the contrary. They had a splendid chance to go
to smaller sizes not so long ago when the Folmer
Graf lex Corporation offered the 3lAxAV4 Speed Gra-
phic on the market. Here was a job identical with
the 4x5 outfits they had been using for years, but
smaller in size.

Did the boys go for it? Very few. Today the
vast majority cling to their 4x5s. The 3V4X4V4 Speed
Graphic, however, seems to have been adopted by
amateurs as an ideal all-around camera. Experi-
ments have been made with the idea of installing
miniature cameras in the offices of progressive news-
papers, and while today these cameras are used
occasionally, there is no denying that the vast ma-
jority of news photos are the products of 4x5 Speed
Graphics and Graflexes. About all they use minia-
ture cameras for is candid photography, in which
field, of course, it stands supreme.

It must be recognized that in order to change the
existence of things as they now stand, the entire
darkrooms and working procedures would have to
be altered to accommodate the new size chosen.
This would involve an investment of more than the
officials feel justified in considering, hence the mat-
ter stands at the moment as it is. Free-lance photo-
graphers are at liberty to use any kind and size of
camera they see fit, because they are not bound by
the routine the staff men must adhere to.

Staff news cameramen sometimes own their own
equipment, and sometimes they use that owned by
the newspaper. Most of the boys prefer using their
own cameras, it seems, for then they have greater
confidence in their work. Special cameras, such as
the "magic eye," are used for sports events, and are,
of course, owned by the papers. The magic eye is
a new type of camera, not unlike a motion picture
camera. It is capable of making a series of ex-
posures in rapid succession, thus making it pos-
sible for the editor to select choice negatives of swift
action and the like.

Also for sports work are the "big Berthas," usu-
ally 5x7 Graflex cameras fitted with enormous tele-
photo lenses, sometimes of considerable speed.
These are used at fights, games and races, for like
as not the press box is so far away from the scene
of action that it requires "heavy telephotoing" to get
reasonably sized images on the negatives. Some of
these big Berthas cost in excess of a thousand dol-
lars.

November, 1936

The INTERNATIONAL PHOTOGRAPHER

Seven

Syndicates function much like newspapers, ex-
cept that their coverage is usually world-wide. Their
representatives are located in key cities all over the
world. Syndicates feed the press with news and
photos which the local newspapers are unable to

for not more than five, place the wet negative in
the enlarger and make a perfectly satisfactory 8x10
or 11x14 print in short order is quite a revelation.
However, the negatives, unless given special after
treatment, such as more complete fixing and wash-

Richard St j tile . formerly of Associated Press and now with
Keystone Press Agency.

get themselves. In turn, syndicates use considerable
newspaper material from different localities. News-
papers subscribe to syndicate services, paying so
much for the use of whatever news items and pho-
tos they use.

One of the most recent and important advances
in news picture gathering is the transmitting of pho-
tographs by "wirephoto" from one country to an-
other, thousands of miles away, in the space of a
few minutes. This has keyed up the entire news-
paper field, no end, and it is indeed a slow sheet
that does not present the foreign news in pictures
the same day it occurred. Scoops still exist, how-
ever, locally, and it is still a race to see which paper
comes out with the news or pictures first.

It is not uncommon for a photographer to make an
exposure at two in the afternoon and present a print
to the editor an hour later. Fast working developers,
hypo solutions and short water rinses make this
possible. To be able to develop a negative in two

^ Variable area recorders'

^^ PATENT NO. I98S584. OTHERS PENDING
X ALSO

^^ 35 mm to 16 mm ^^
^ C REDUCTI0N SOUND PRINTER IT.

D and 3

M ^ SOUND EQUIPMENT ^
T ^/ Cable address CRSCO ^J

♦ C.R. SKINNER MFG. Co.

i 290 TURK STREET. PHONE OROUlfly 6909

A. ^ San Francisco. California U. S. A. j

Press photographers covering a Hollywood event. — Courtesy
S. Mendelsohn.

or three minutes, fix is about the same time, wash
ing, deteriorate quickly. After the picture has ap-
peared in the paper it is of no special value any-
way, so no care is taken to keep the negative in
good condition. Sometimes negatives or prints will
be kept for the "morgue," in which event a little
more care is taken in their handling.

In some offices the cameraman carries his own
work through the darkroom, but more often he mere-
ly turns over his plate holders and goes out after
new assignments, leaving the darkroom crew to
carry on where he left off. In any case, the work
is hard, swift and in most cases thankless.

During the past few years the candid cameraman
has come upon the scene. At one time he came
close to putting the regular staff man out of business
with his little camera. But today the attitude seems
to be to use the best offered by both staff and candid
men. While average staff news men are rarely
known, candid cameramen seem to have been lifted
up and presented to the public on a platter. No
question but that they are worthy of it, but it does
seem strange that men who have been gathering
news pictures for years should be unknown, while
a youngster with a small camera steps in and be-
comes nothing short of famous in a short while. It
is probably the spectacular work that has brought
the candid man fame. Amateur photography, too,
has publicized the candid photographers through the
close connection between them and amateurs in that
they use the same kind of cameras.

(Turn to Page 25)

Eight

The INTERNATIONAL PHOTOGRAPHER

November, 1936

Society of

Motion Picture

Engineers

FALL CONVENTION 1936

The Society of Motion Picture Engineers, at the
first session of its fall meeting in Rochester, October
12, announced the election of S. K. Wolf as president
of the society. Mr. Wolf succeeds Homer G. Tasker,
who held the office for the past two consecutive
years. Mr. Wolf is elected for a two year term.

Mr. Wolf was graduated from the Louisiana State
University in 1922; Sheffield Scientific School, Yale
University in 1926, employed by the Westinghouse
Electric and Manufacturing Company during the
years of 1922 and 1923; served on the faculty of the
Sheffield Scientific School, Yale University, 1923 to
1928.

He entered Electrical Research Products, Inc., as
installation engineer in 1928; became acoustic en-
gineer in 1929 and later became manager of the
acoustic consulting department, serving in that ca-
pacity until January 1, 1936.

In 1932 Mr. Wolf was selected to represent Amer-
ican acoustical engineers at the International Elec-
trical Congress in Paris. Again in 1936 Mr. Wolf
was sent to Budapest as representative of the Society
of Motion Picture Engineers and the American Stan-
dards at the International Standards Association
Meeting held in that city. He is now a member of
the Board of Edison Foundation.

Mr. Wolf is at present connected with Erpi Pic-
ture Consultants, subsidiary of Electrical Research
Products, and is engaged in the production, distribu-
tion of instructional sound films produced by this

organization.

* * *

S.M.P.E. AWARD OF ANNUAL PROGRESS MEDAL TO

DR. C. E. K. MEES AND JOURNAL AWARD TO

E. W. KELLOGG OF R. C. A.

At Rochester, N. Y., on October 14, the "progress
medal," by which the Society of Motion Picture En-
gineers recognizes work resulting "in a significant
advance in the development of motion picture tech-
nology," was presented to Dr. C. E. Kenneth Mees,
vice-president of the Eastman Kodak Company, in
charge of research and development. The occasion
was the society's semi-annual banquet, at the Oak
Hill Country Club.

At the same time, Edward W. Kellogg, of the RCA
Manufacturing Company, received the "Journal
award" for the best technical paper published in the
society's journal in 1935. The paper for which he
won the certificate was entitled: "A Comparison of
Variable Density and Variable Width Systems."

The progress medal was presented to Dr. Mees,
not for any single development, but in recognition of
his contributions to motion picture technology over
a period of 35 years. During that time, Dr. Mees has
been actively engaged in research and the direction
of research work in photography.
* * *

Dr. Mees commenced his study of photography
only a few years after the classical researches of
F. Hurter and V. C. Driffield had laid the foundation
for quantitative methods of investigation of the theory
of photography. During the period of more than one-
third of a century since then, Dr. Mees has published
more than 80 scientific papers dealing with many
aspects of the science of photography.

Perhaps his most outstanding researches have
been concerned with the preparation and specifica-
tion of light-filters and of safe-lights for darkroom
use, the preparation of various types of panchro-
matic emulsions, the measurement of the "resolving
power" of photographic plates, and studies on the
chemical properties of developers.

Besides his technical papers, Dr. Mees is the
author of six books and has edited six monographs
on the theory of photography. A monthly bulletin
abstracting published photographic information was
begun under his guidance and has been continued
for 21 years under his supervision.

Dr. Mees received the Bachelor of Science de-
gree from University College, London, in 1903, his
thesis dealing with photographic sensitometry. In
1906, he was granted the Doctor of Science in chem-
istry by the same university. The thesis for this
degree, published in collaboration with Dr. Samuel
E. Sheppard, who is assistant director of the Kodak
Research Laboratories, was entitled "Investigations
on the Theory of the Photographic Process." Dr.
Mees was given the honorary Doctor of Science de-
gree by the University of Rochester in 1921.

He joined the firm of Wratten <S Wainwright, dry-
plate manufacturers, at Croydon, England, in 1906,
as joint managing director. While he was there he
initiated research in light-filters and made possible
the commercial introduction of a group of light-filters
that has since grown to a list of more than 100, which
are recognized as standard for photographic work
throughout the world. In 1906 he introduced the
well known Wratten Panchromatic Plates.

In 1912 Dr. Mees was engaged by George East-
man to join the Eastman Kodak Company and to
organize a research laboratory in Rochester for the
study of photographic problems. Since that date, Dr.
Mees and his colleagues have published more than
600 scientific and technical papers dealing with most
of the aspects of theoretical and practical photogra-
phy.

Two great branches, especially, of photographic
theory have been investigated extensively: (1) the
theory of emulsion-making and the nature of sensi-
tivity of photographic materials; and (2) the theory
of photographic tone-reproduction.

Another group of important researches begun by
Dr. Mees in 1909, and carried on to a successful
conclusion since in the Kodak Research Laboratories,
is that on the structure of the photographic image,
involving sharpness, resolving power, distortion, and

November, 1936

INTERNATIONAL PHOTOGRAPHER

Nine

use of the image as a measuring medium in astron-
omy and spectroscopy.

Besides these contributions to the theoretical side
of photography, Dr. Mees has directed and encour-
aged extensive research in the development of num-
erous commercial applications of photography.

Notable among these developments was the in-
troduction in 1923 of a process and equipment for
amateur motion-picture photography, known as the

paration of new sensitizing dyes, the chemistry of
photographic solutions, recovery of silver from
waste solutions, duplication of motion-picture nega-
tives, and general research on photographic emul-
sions and film base.

Shortly after our nation's entry into the World
War, Mr. Kellogg forsook academic pursuits after

S. K. Way

E. W. Kellogg

Dr. C. E. K. Mees

16-millimeter Cine-Kodak reversal process. This pro-
cess has had a world-wide commercial application.

Since the year 1913, he has had members of his
staff devoting their energies to developing and per-
fecting a color motion-picture process. One method,
a two-color subtractive process, introduced about
1915, was used on an experimental scale for more
than 10 years. A three-color additive process, Koda-
color, based on several French patents, was devel-
oped and adapted for amateur use in 1928.

In 1935, a new three-color subtractive process of
amateur cinematography, known as the Kodachrome
process, was introduced.

Other fields of development which have been
stimulated by his interest and direction are the pre-

several years of teaching electrical engineering and
joined the Research Laboratory of the General Elec-
tric Company, of Schenectady, to assist in submar-
ine-detection work. Thus, the exigencies of war re-
sulted in the beginning of a career of industrial re-
search and engineering notable not only for import-
ance of accomplishments — most of them directly or
indirectly related to the sound-motion-picture art —
but also for versatility.

Radio broadcasting advanced with the marketing
in 1925 of an all a-c operated receiver incorporating
a dynamic-cone loudspeaker and an amplifier with
adequate power to drive it, as a result of the funda-
mental researches of Mr. Kellogg and his associate,
C. W. Rice.

New York Institute of Photography Starts
Winter Lecture Schedule

The winter lecture-demonstration schedule at the
New York Institute of Photography, 10 West 33rd
Street, New York City, will be inaugurated on Thurs-
day evening, October 29th, in the studios of the
Institute, when Morris Schwartz of the Kalart Com-
pany gives a practical demonstration and lecture
on the subject of synchro-sunlight and general Photo-
flash photography.

The use of Photoflash outfits for daylight pictures
is becoming increasingly popular for many types of
outdoor photography, and in its aim to keep its stu-
dents advised on the latest photographic develop-
ments, the New York Institute of Photography has ar-
ranged this special lecture. Mr. Schwartz is a recog-
nized expert in Photoflash and speed gun practice,
hence the students hearing this talk will secure first
hand knowledge of this new method of photography.

Students at the New York Institute of Photography

are thus assured of up-to-date and practical infor-
mation, for not only are the latest methods taught in
the regular classes, but special lecturers are secured
to impart their specialty to the students on certain
evenings during the winter months. By this practice,
which has been in existence at the Institute for a
number of years, the students are given a broad
fund of photographic knowledge. Impartially, their
information comes to them from various sources and
thus enables them to better adapt themselves to the
field of photography in which they wish to specialize.
Other demonstration-lectures, scheduled for early
dates, include those of Pat Terry, chief photographer
for News Week magazine, and Harold Dumont of
the Defender Photo Supply Co. For full particulars
about any of the New York Institute courses, write
to the New York Institute of Photography, 10 West
33rd Street, New York City.

Ten

The INTERNATIONAL PHOTOGRAPHER

November, 1936

INTRODUCING DUNNINCCOLOR

By Ray Fernstrom

ilinJOST of the people who talk optimistically

about the "trend toward color" overlook
one very important fact. That is that so far
color production has been concentrated at
the extreme ends of the production scale: short-sub-
jects— cartoons, travelogues and novelties — at one
end, and a handful of "super-special" features at the
other end. In between these extremes lies the bulk
of production — program features, Westerns, inde-
pendent productions, "quickies" and the growing
class of commercial and industrial films. Almost
without exception, these have been made in black-
and-white; until they begin to turn colorward, all
this talk about "trends toward color" is wasted
breath.

There's a reason for this condition. The short-
subjects have to have color; the super-productions
can afford to use intricate and expensive color-
processes. But the vast field of in-between releases
haven't been able to find color they could use to
commercial advantage: In general, really good
color meant expense; economical color meant cheap,
inferior results.

I have just finished photographing two produc-
tions in a color process aimed squarely to fill this
need. The process is "Dunningcolor," and it is the
creation of Carroll and Dodge Dunning. It gives re-
markably good results. It is easy to photograph. It
can be worked successfully under the hurried condi-
tions of program and independent production. And
it does not force the producer to gamble a six-figure
sum for the luxury of color. In other words, it is
practical, not only as a matter of photographic tech-
nique, but as a commercial proposition.

In order to assure the greatest possible simplicity,
the Dunningcolor process is at present a two-color
method. But it has refined considerably beyond the
general conception of a two-color process. The out-
standing faults of most two-color systems have been
eliminated, and the tonal range has been extended
until it very closely approaches three-color results.

The Dunning color process is emphatically not
a bi-pack process, nor does it depend on such optical
abominations as reduced-size images on a single
film, multiple lenses, and the like. These ideas may
have their individual good points, but they also have
disadvantages that cannot be overlooked. In a con-
ventional bi-pack, for instance, the back-negative
image (the blue printer, which keys definition) is
almost invariably slightly out of focus. Consequently,
the resulting color-print is out of focus, or, to put it
more correctly, lacks definition. At the same time,
since two different emulsions are used, there is a con-
siderable differential in contrast between the two neg-
atives; no matter how the printings are juggled, this
remains, and the result is that the resulting print
loses in the neutral tones. In reduced-frame methods,
this, at least, is corrected, but the problems of reg-
ister, printing, and the like are disproportionately in-
creased. The multiple-lens systems naturally run
afoul of parallax, fringe and printing troubles.

The Dunningcolor negatives are made in a spe-
cially-built Dunning camera, on two separate films,
both standard Eastman Super-X Panchromatic.
These films run side by side through a twin move-
ment, and receive absolutely normal, full-frame-sized
images. The lens is a standard type — a modified

Bausch & Lomb Raytar — fitted with a special "Multi-
chrome" optical unit devised by Hartley Harrison
which divides the lens image in two, and filters each
appropriately. At present, the lenses fitted include
the standard 50mm, 75mm and 35mm lengths: The
35mm is a genuine 35, rather than a longer focal
length fitted with a supplementary glass to widen
the angle without supplying such other important
characteristics of a true 35 as depth of field, etc.
Since ample room exists between the lens-turret and
aperture of the Dunning camera, it is probable that
ultimately even a normal 24mm lens will be avail-
able— the first time such an objective has been avail-
able in a color camera.

The camera itself is essentially similar to a sil-
enced Bell & Howell movement, except that there
are two films passing through two apertures placed
side by side, and driven from a common shaft. The
sprockets, pilot-pins, shuttles, etc., are naturally in
duplicate.

The magazine is of the standard type, but double
width, to accommodate two 1,000-foot rolls of nega-
tive film side by side. The twin take-up is driven
through a simple automatic clutch which allows each
film to be taken up independently.

Focusing is done in the usual manner, by means
of a throw-over movement, a ground glass and a
magnifying optical system.

One of the most unique features of the camera
is the color-control system which is built in. It allows
the cameraman to balance up his filters — and conse-
quently his color-cendition — for every shot. Looking
through the focusing finder, the image his seen repro-
duced exactly as the filters and printing will re-
create it. If the filter-balance is not right for the scene
or the light, a simple twist of the filter-control dial
will re-balance the system. For instance, suppose it
is late in the day, and the light is growing pretty
red. This can be seen on the ground glass: A simple
twist of the dial, and the image cools down to nor-
mal— the whites change from yellow to white. Shoot-
ing the scene with this setting, the negatives and the
final print capture exactly the effect seen in the
finder. The same control can also be of value in
overcorrecting for any desired color-effect, such as
night-effects and the like.

This control makes it easy to balance the camera
for any type of lighting — sunlight, arcs or incandes-
cents. On interiors, a cameraman can use incandes-
mately his normal lighting balance, but it is natur-
ally necessary to increase the intensity of the light
enough to offset the absorption of the filters and the
beam-splitting optical system. Theoretically, this in-
crease should be considerable; actually I have found

(Turn to Page 28)

PREPARE YOURSELF

FOR STUDIO ART WORK

LEARN:

COLORING PHOTOGRAPHS— in oil and water colors

PAINTING MINIATURES — COLOR HARMONY

COMPOSITION — NOVELTIES

PERSONAL INSTRUCTIONS BY

AVENIR LE HEART

1 428 V2 NO. SERRANO AVE. HEmsfead 6747

HOLLYWOOD

OVER and OVER

• ••

...Under every conceivable condition,
EASTMAN SUPER-X has justified
its reputation as the greatest of
negative films. The fame of its
versatility and photographic quality
is fully deserved. You can do no
better than to entrust the cinematic
problems of your next picture to
SUPER-X.

J. E. BRULATOUR, INC.

FORT LEE • NEW YORK • CHICAGO • HOLLYWOOD

Twelve

The INTERNATIONAL PHOTOGPAPHER

November, 1936

Motion Picture Sound Recording

Chapter XXVIII

NE of the great bugaboos of motion picture
sound recording in the early days was the
presence of "ground noise," or "background
noise," and the difficulty of maintaining this
noise at so low a level that it would not interfere
with the reproduced sound to an extent great enough
to reduce the intelligibility of recorded dialogue and
the quality of music.

Background Noise

This appellation "ground noise" was given by
sound engineers to the sputtering, grinding, gritty
noise that was present to a greater or lesser extent —
depending on the care exerted by the recording engi-

BRlDUf
Pt.' 3

BRIDOlNfa
AMPLIFIER

LIGHT A
VALVE T

IMClSfc
R LOUOI OK
AMPLIFIER.

NOISE
REOUCTiOrf
CONTROL

+ Llil.lJ - 1-2 VOLT

SAT TCP Y

Figure 1. Block schematic diagram of connection of noise reduction
equipment.

neers — in the reproduced sound of all earlier sound
pictures. It is an interfering sound analogous to the
static that is encountered in radio reception. By tak-
ing extreme care in all steps of the process of record-
ing sound, the engineers generally were able to keep
the ground noise below the point where it would be
annoying during dialogue or music; but during those
portions of the picture where there was no recorded
sound, the noise often became very noticeable —
even objectionable — and prevented the audience's
full enjoyment of these silent sequences.

Whether or not the auditor was consciously
aware of this ground noise did not particularly mat-
ter: the ever-present noise beating against his ear-
drums served to irritate and make him restless, pre-
venting his full enjoyment of the picture; and even
though he was unconscious of the presence of the
noise, he was constantly straining his ears to hear
the voices of me actors and to catch the words as
they rose out of this steady blanket of noise. Because
this ground noise drowned out all faint sounds, just
as a low blanket of fog covers up all objects near
the surface of the earth leaving only the taller ob-
jects showing clear, it served to place a limit on the
lower end of the range of sound volume that might
be recorded safely, and thereby materially reduced
the volume range that would have been possible if
ground noise were not present.

Ground Noise Conquered

Then, through the genius of engineers working
on the Western Electric and RCA sound recording
systems, inventions were made that, when connected
with the sound recording devices of these two sys-
tems, provided for the almost complete elimination
of background noise during the silent passages of
the films. During all other intervals when sound is
accompanying the picture, the ground noise is held
to an extremely low level with relation to the inten-
sity of the sound. As a result, the ground noise is no
longer even noticeable.

The first tests of the Western Electric noise reduc-
tion equipment were made at the Paramount Studio
in 1930 during the shooting of the picture, "The Right
to Love"; and it proved so successful that it resulted
in the development of the Western Electric Noiseless
Recording System and the rebuilding of all Western
Electric sound recording systems to accommodate
this development.

The Noise Reduction Equipment

In the Western Electric installation, the noise re-
duction equipment consists of a Noise Reduction Am-
plifier and a Noise Reduction Control Unit. The
Amplifier is a two-stage transformer-coupled-Ampli-
fier with a push-pull second stage. The output of this
amplifier is fed to the Control Unit, where it passes
through a repeat coil and is rectified by a bridge-
connected copper-oxide rectifier. The pulsating di-
rect current output of the rectifier after passing
through other apparatus is applied to the strings of
the light valve along with the output of the bridging
amplifier that supplies the amplified speech current
to the light valve. This arrangement will be made
apparent by the block-schematic diagram of Figure 1.

Since the Noise Reduction Amplifier receives its
input energy from the output of the same bridging
amplifier that feeds the light valve, the amplified
output of the N. R. Amplifier is directly proportional
to the speech energy fed to the light valve. Likewise
the output of the rectifier in the N. R. Control Unit is
directly proportional to the speech energy supplied
to the recording light valve.

A twelve-volt battery is connected to apply a
steady direct current to the strings of the light valve.
This direct current from the battery causes the strings
of the light valve to be drawn so close together that
they almost touch. As a result practically no light
passes between the strings and reaches the moving
film in the recording machine. Since there is no ex-
posure of the sound track, there is no ground noise
introduced in the sound track. This, of course, is
when no speech current is coming from the bridging
amplifier to the light valve.

Functioning When Sound Is Being Recorded

When the microphone on the sound stage is
picking up sounds, the bridging amplifier provides
an equivalent electrical output. This output passes

November, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirteen

through the N. R. Amplifier and after amplification
is rectified by the N. R. Control Unit. The rectified
speech current bucks the current from the twelve-volt
battery and reduces it by an amount proportional
to the amplitude of the speech current. As a result,
the strings of the light valve are allowed to separate
just far enough to handle the vibrations produced by
the speech current from the bridging amplifier. The
opening between the strings is only great enough so
that they will not touch during vibration.

If a louder sound is picked up by the microphone,
a greater speech current will be developed by the
bridging amplifier, the N. R. Amplifier will have a
greater output, and so the rectified current in the
N. R. Control Unit will have a higher value. This
will result in a greater bucking and cancellation of
the current from the twelve-volt battery, and the rib-
bons of the light valve will be allowed to separate
wider to handle the greater vibration produced by
the increased^, speech current.

In every case, the separation of the light valve
strings will be just great enough to permit the vibra-
tion of the strings without their touching. The result
is that no more light reaches the sound track space
on the motion picture film than is absolutely neces-
sary to permit the recording of the vibratory move-
ment of the strings. The reduction in the amount of
exposure of the sound track reduces proportionately
the amount of ground noise. Only during maximum
sound intensities does the noise reach a maximum
and it is not noticeable during those periods because
of the high volume of recorded sound.

Extension of the Volume Range

Previous to the development of the noise reduc-
tion equipment the volume range of the Western
Electric recording system was estimated to be ap-
proximately thirty to forty decibels, the exact range
depending on certain recording conditions; but the
addition of the noise reduction equipment extended
the recording range some six to ten decibels down-
ward by almost totally eliminating the ground noise.
The volume range of any sound recording and re-

CHARLES

FELSTEAD

ASSOCIATE

EDITOR

producing system is limited on the lower end by the
point where the dialogue and music become so faint
that they are covered up, or "masked," by the
ground noise; and the volume range is bounded at
the upper end by the point at which the recording
or reproducing system of the film overloads.

By driving the ground noise to a much lower
electrical level, the N. R. equipment acts to increase
the volume range of the recording system.

With noise reduction equipment, even the faintest
of whispers may be recorded and become clearly
audible in the reproduction; and directors and sound
men are able to obtain sound effects that formerly
were impossible because of the blanketing of all
faint sounds by the ever-present ground noise. Now
when silence is required on the screen, the repro-
ducing horns are really quiet, the attention of the
audience is not distracted by extraneous popping
and hissing sounds, and the dramatic effect is enor-
mously heightened. This results directly in greater
enjoyment of the picture by the audience because
the ratio of recorded sound to ground noise has been
vastly increased.

FRANK ZUCKER ANNOUNCES

Frank Zucker announces that in order to expand
his activities in the photographic sales and rental
line a new company has been formed under the
name of Camera Equipment, Incorporated. Offices

TECHNICOLOR

3 COLOR CARTOON

CAMERA STAND

Like New
To Be Sacrificed for Quick Sale — Outfit Consists of:

Camera stand with motor zoom and pan table

1— Bell & Howell Camera No. 759

1 — 75 mm. F.2 Speed Panchro Lens

1 — Filter Sliding Mechanism

6 — Baby Spot Lights

1 — Frame Optical Glass

1 — Stop Motor Device with DC Motor and

Automatic Clutch Photographing Three-Color

Separation Frames
2 — Bell & Howell 400 ft. Magazines

Price Only $2000 Complete, F.O.B. New York

Stand without B. & H. Camera, Lens and Magazine, $1200
Photographs on Request

CAMERA EQUIPMENT, INC.

1600 Broadway New York City

and show rooms are located at 1600 Broadway, New
York City.

In the show rooms, the largest and most suit-
able to be found in the heart of the city, are dis-
played all types and makes of professional cameras,
accessories such as blimps, tripods, filters, panoram
dollies, film cutting and editing equipment, and
portable sound projectors.

Directed by skilled technicians, the service and
repair department will specialize in Mitchell, B <S H
cameras and similar studio maintenance operations.

THE ACADEMY EXPANDS

Major Nathan Levinson was re-elected Chairman
of the Academy Technicians Branch for the fifth
consecutive term at the first meeting of the Executive
Committee held October 13.

In addition to choosing the new Branch Chairman,
the Committee approved 49 technicians who have
the necessary qualifications for Branch membership,
all of whom will be issued invitations to join the
organization within the next few days.

During the past year the Branch membership has
been increased by 102 technicians, there now being
a total membership of 327 enrolled in the Branch
(83 in the Art Directors, 23 in the Equipment, 36 in the
Film Editors, 31 in the Photographic, and 94 in the
Sound Sections).

Fourteen

The INTERNATIONAL PHOTOGRAPHER

November, 1936

Hollywood Offstage

By EARL THEISEN, Associate Editor

^ wiEOPLE who live in glass houses — are right
H ™&M in style! Glass bricks, a recent innovation
4 in the art of home building, are being used
in the construction of the ultra-modern
apartment set in Columbia's "Theodora Goes Wild,"
starring Irene Dunne with Melvyn Douglas.

The new type bricks, Stephen Gooson, Art Di-
rector at Columbia Studios, points out, are finding
favor among building engineers because the bricks
permit light and healthful sun rays to enter but not
the neighbor's eyes.

Four different sound systems are being used to
record Grace Moore's singing in the forthcoming
Columbia Studio film (tentatively) titled "Interlude."
With the introduction of new sound systems and the
recent improvements in sound recording, Co-direc-
tors Robert Riskin and Harry Lachman have decided
to record in all systems and then select the best
"takes." The four systems to be used are the West-
ern Electric Variable Density, the FRPI "push and
pull," the RCA Ultra Violet System, and the RCA
"hill and dale" recording made on gold plated
records. This last named system was used in film-
ing Grace Moore's "One Night of Love," but the
film recording was found to be more adaptable to
the present method of cutting and distribution.

Metro-Goldwyn-Mayer Studios now have a
"mike" boom made of duralumin that balances itself
as the boom slides in and out to carry the micro-
phone over the heads of the players during "travel-
ing shots." A counterweight moves backward and
forward, keeping the boom in constant automatic
balance which eliminates any jerks during move-
ment of the microphone.

It's odd, but most of the male Warner Brothers'
stock players were educated for the ministry while
the women intended to be teachers.

Many quirks are introduced into the contracts
of film players. Edward Ellis, character actor at
Paramount Studios, has a clause which he insists
must be. His housekeeper must accompany him
to fix his dinner on all extended location trips.
In Gladys Swarthout's contract, duly attested be-
fore a notary, her husband, Frank Chapman,
who is also her manager, is not permitted on the
sets where the wife is engaged in love scenes.
Marsha Hunt specifies that she need not be required
to take "leg art" which newspapers love so much,
or do they?

studio, what is conceded the record in character
roles. This youngster is to be made up to represent
an 85-year old man in Rudyard Kipling's "Kim."

And talking about disguises, at Hal Roach Studio,
the prop department tried to create something edible
that looked like excelsior which "Ollie," the 17-year
old comic mule, could eat with a certain gusto for
a gag in "Way Out West." Well, the situation
went on for days and the burro would not eat the
fabrications; finally the problem was solved when
it was found the burro would eat excelsior.

A piece of leather was made to look so much
like steak for another of the Roach gags that Oliver
Hardy made a sandwich out of it and palmed it
off on Rosina Lawrence. Now, the studies can make
prop steak and can make it out of leather so it
resembles the real thing; if they could make real
steak not look like leather some big chain restaurant
would probably pay a fancy sum for the formula.

They've succeeded in putting Mae West's walk
to music. Her swivel meander is to be glorified in
swing time music for her next film, "Go West,
Young Man."

Chico Marx explains between scenes during the
filming "A Day at the Races," some of the technical
terms used by soundmen. He says, "non-sync"
means an apartment without a wash-bowl; "ohm,"
an English 'ouse; "charger," a big white horse; "re-
sistance," a new girl; which mentions a few of his
new dictionary.

The average major studio in Hollywood has
about seventy different departments.

Eleven hairdressers have been hired to take care
of the wigs worn in Frank Lloyd's production,
"Maid of Salem."

Two hundred yards of drapery material, 54-inches
wide was used in the foyer scenes of Paramount's
"College Holiday."

The "Big Broadcast of 1937" will be shipped on
the 2000-foot reels which will permit this ten-reel

To Freddie Bartholomew falls, according to the

OVIOLA

FILM VIEWING and
REPRODUCING MACHINES

ALL MODELS ON DISPLAY— FOR SALE— FOR RENT
Illustrated Literature On Request

CAMERA EQUIPMENT, Ir¥C.

1600 Broadway New York City

November, 1936

The INTERNATIONAL PHOTOGRAPHER

fifteen

film to be handled in five reels. It is a saving in
time, labor, and now the projectionists will be able
to rest longer between reel changes.

Lance Baxter, technical director for Frank Lloyd
on "Maid of Salem," is wearing a tape plaster as
a result of his willingness to be a human guinea
pig. He broke some ribs after volunteering to fall
twelve feet out of a tree as a preliminary test for
Claudette Colbert, who was to do the tumble for
the camera. Miss Colbert later did the fall with
the cameras grinding, but was not hurt.

A caravan of trailer dressing rooms for use in
the filming of "Rainbow on the River," Bobby Breen's
starring musical for R.K.O. -Radio release, has been
bought. Sol Lesser, the producer of the film, says
that it is just a question of time until complete movie
studios will be placed on wheels which will be not
unlike a traveling city. The mobile studios will be
designed so the shooting unit may go to the location
with ease. Huge trailers and motor coaches will
house the technical crew and other workers, the
property department, electrical, wardrobe, and so
forth, will be used, according to Lesser. The studios
now have the sound units installed in trucks, and
it requires no great stretch of the imagination to see
the possibilities of a trailer studio for location trips.

Christmas spirit is beginning to reign in Holly-
wood. The cartoon studios are busy on Santa Claus
films. Other stars are picking up things, and the

gyp "parfume" salesmen who exchange hard cash
for colored water each year are planning their
foray. Carole Lombard has ordered 3500 Christmas
cards.

Now let's talk about the public's demand for
better pictures and their unwillingness to go into the
theatre after the better pictures are made. "Class"
films, such as "Romeo and Juliet," now playing at
the Carthay Circle, the road show theater in Los
Angeles, needs a special build-up to get the public
into the house. By special build-up, I mean a cam-
paign that puts the political elections in a back seat.
Special matinees for children, clergy, women's
clubs, educators, and others, luncheons for the dis-
cussion of the film, lecturers who traveled and talked
to groups interested in better films, the telephone,
mail, study guides, and a variety of things were
part of the campaign.

According to Rhyllis Hemington, director of Pub-
lic Relations of the Fox West Coast Theatres, "better
films will undoubtedly arrive some time, but the
public will not accept them without the aid of edu-
cators, ministers, and others who must educate the
theatre audience to want better films."

It is a long bridge that must be crossed by the
dinner bucket carriers before they will prefer to see
a "class" film of the type of "Romeo and Juliet,"
and the motion picture industry is to be commended
on its courage in continuing to make such films
when over and over they have proven poor money
makers.

Willoughby's Announces New Camera

By Karl A. Barleben, Jr., F.R.P.S.

NEW miniature camera costing only $25.00 has just
recently been introduced by the Willoughby Camera
Stores, Inc., 110 West 32nd St., New York City. It
is called the Wirgin Midget, and uses standard 35
mm. motion picture film in the same manner as the
Argus, Contax and Leica. Beautifully, strongly and finely fin-
ished, the Midget is certainly a bargain at the price. It is
fitted with a quality f:4.5 lens built into a smooth-working shutter
which gives speeds up to 1/ 100th second. As is common prac-
tice in miniature cameras, the Midget lens assembly snaps in
and out of the camera body so as to make it compact when
not in use.

The expensive miniature cameras are priced so high that
many thousands are deprived of owning them. The Midget
offers everyone a quality miniature camera at a price he can
easily afford. For casual snapshots, for candid photography
and for general all-purpose picture-making, the Midget offers
its services. It is expected that it will appeal especially to
those who own larger cameras, yet want a miniature outfit
for odds and ends of photography that ever so often turn up.
Some of the high-priced cameras involve too much of an invest-
ment for such work, whereas the Midget falls right in line as
the extra camera, ready at a moment's notice, at a low price.

All standard 35 mm. camera equipment, such as developing
tanks and enlargers, can be employed for the processing of
Midget films, hence no extras are required.

Why not get a Wirgin Midget and Eveready case and use
it as an auxiliary camera? Take it along with you whenever
you go out picture-taking, regardless of whether or not you
carry also your standard camera. You will find new delights
in picking up odd and stray shots which previously had to be
passed up with the larger camera.

But don't take my word for it. See the camera yourself
at your local photo dealer. Notice its beautiful appearance, its
sturdiness, its carefully made mechanism, its practical design.

If you prefer, you may request complete details by writing
to the Willoughby Camera Stores, Inc., 110 West 32nd St., New
York City.

Cathay Cinema Co.

PRODUCERS OF CHINESE TALKING PICTURES

CATHAY MANSIONS

Shanghai, China

Offers a specialized service to American motion picture producers re-
quiring ORIENTAL background shots, sound or silent. Scenes photo-
graphed in any of the following countries:

China — Manchuria — Siam — Siberia — Korea — Macao

— Straits Settlements — Philippine Islands — Ceylon —
India — Inner and Outer Mongolia — Turkey in Asia —
Egypt — Tibet — ■ Indo-China — Sumatra — Borneo —
Afghanistan — Baluchistan — Iran (Persia) — ■ Turkistan

— Iraq — Saudi Arabia — Northern and Eastern Africa.

Pictures will be shot in accordance with your written or telegraphed
instructions. Prefer part of script with order to properly fill require-
ments and avoid errors. Be sure to state amount of footage required
for each scene.

Price. U. S., $5.00 per foot for silent shots in amounts of

100 feet or less.
8x10 stills U. S., $2. 50 each for negative and one print.

These prices are for film shot anywhere in China. For film shot outside
of China an additional charge will be made for transportation to location
and return to Shanghai. For amounts of footage in excess of 100 feet
deduct 25 per cent of price quoted. As Government restrictions pro-
hibit undeveloped film from leaving the country, the negative will reach
you dveloped, plus the print. The import duty will be paid by the
consignee.

Price per foot includes Eastman negative stock, cost of necessary permits
to photograph scenes, camera work by an expert American cinematogra-
pher, negative developing, positive print, censorship fees, packing of
film, EXPORT DUTY, and transportation costs in China.
Your order must be accompanied by a check for approximately 50 per
cent of amount of order, plus cost of transportation if film is to be
made outside of China, balance COD. Satisfaction guaranteed or money
refunded. Allow four weeks for your letter to reach us by mail, one
week for shooting (in China) and four weeks for finished film to
reach you. Correspondence invited.

Sixteen

The INTERNATIONAL PHOTOGRAPHER

November, 19.16

SHOOTIN

Associated Screen
News Cameraman ,
Montreal, Canada

DON'T mean shooting at five minutes past
two; what I do mean is celluloiding five
3 famous babies who have attracted world-
wide interest since their birth over two years
ago, the DIONNE QUINTUPLETS.

In a previous article which I wrote especially for
the "International Photographer" I mentioned having
the distinction of being the motion picture camera-
man who was first responsible for putting the
"Quints" on the screen which I photographed exclu-
sively for Pathe News. Fred Davie of Toronto is
credited with making all the stills.

When the assignment is received at head office
to cover the "Quints" it usually means a hurried trip
by sound truck to "Quintupleland," a full day's drive
from Montreal (approximately 360 miles). Most of
the nursery shots are made in the early morning
around 7:30. That means being at the hospital
around 6 o'clock in order to get our paraphernalia
into readiness.

The reader might be interested in knowing just
what equipment and technique I use in shooting
these babies. Getting good baby pictures is by no
means an easy task; it is a problem, and that prob-
lem is in the hands of the man behind the camera.
Our most successful procedure is to set up our cam-
era and lights and then wait for the children to "do
their stuff."

All babies are natural actors as long as you let
them alone to do as they like. They cannot be
directed and a script is almost useless since you
seldom can adhere to it. It is very difficult to get
youngsters to do certain bits of action called for in
a scenario, since they cannot be depended upon.

I find from my past experience in shooting the
"Quintuplets" that the most natural pictures are
made when I leave them alone and let them do their
own acting undisturbed. Here is a very good exam-
ple of this: Recently we were at Callander, Ontario,
shooting more baby pictures. I always use a hand-
cranked Bell & Howell for most of my cut-in shots;
it is always set up in case of an emergency and as
a "stand-by" camera.

B\ Roy Tash

At one time we had all five kiddies gathered
around the Bell <S Howell, which was at a low angle
set-up, when one of the chidren took a sudden inter-
est in the camera. This action was shot with the
sound camera and all five were interested in one
part of the machine or another. One would peer
through the view-finder from the lens side, another
would be winding the pam crank and another would
be turning the film crank; so you see they were do-
ing their own acting naturally, because they were
left alone and undisturbed. The scenes seem to flow
into the magazine of the camera.

No matter what the children do, their action is
always appealing to the theatre audience. Many a
rare scene has been shot which could be prized as
a gem, possibly never to be duplicated again, just
because the camera was left running and we did not
disturb them in what they were doing. I would say
that making baby pictures is like shooting animals
and birds, you've got to be alert, undisturbing and
await your chance; by so doing you will be re-
warded in the end.

The "Quints" are born actresses and, as a gen-
eral rule, not hard to get along with, especially after
their morning bath and breakfast, when they are
always in a playful, natural mood. One can't pre-
dict what the babies are going to do; you must have
a great deal of patience with them. Like most chil-
dren, they sometimes become very stubborn. One
time it might be Marie kicking up a rumpus and the
next time it might be Yvonne, Emelie, Cecile or An-
nette; you never can tell; it all depends upon just
what mood they are in at the time. We have to work
deftly, swiftly and smoothly without attracting their
attention.

All scenes are made under the personal super-
vision and watchful eye of Dr. Dafoe, whom the chil-
dren idolize. He can coax them to do most any-
thing. In most cases we have the doctor just outside
our camera lines coaxing and clowning with them.
This puts them in a happy mood and at ease, mak-
ing them less conscious of the camera. Recently I
devised a black painted beaver board collapsible
screen measuring about six feet high and eight feet
wide, behind which I hide my camera and self.

This has an opening in front through which I
shoot; it is not unlike a Punch and Judy stage. The
reason we built this so-called contraption is because
the cameraman is least noticeable to the children
when they are being photographed. The "Quints"
are very conscious of the camera and always watch-
ing every move and turn we make. On shooting
our interiors we have to steal most of the shots in
order to get natural action.

They are at a curious age now and always ready
to investigate, or should we say "just being nosey"?
As a general rule, one child usually mocks the other.

November, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeen

KT FIVE PAST TWO

cir permission of Hon. David A. Croft, Chief Cuardian of the Quintuplets)
]ewman Colortours, Warner Bros. Jitaphone Release

Here are the "Quints," playtime over, and on their way to dinner. Four of them are interested in the one with her back to
Mr. Tash and his camera. You may name the others to suit yourself — you know them.

For example, if one baby were to roll a ball, the
other four are almost sure to follow.

A scene which I made recently proves this —
Mademoiselles Leroux and Noel, the "Quints' "
nurses, were teaching them the art of dancing. The
nurses would hold out their dresses and would turn
around and around slowly, and so would the chil-

dren follow suit. Then they would curtesy and the
children slowly and rhythmically would repeat their
action almost flawlessly.

Shooting a couple of thousand feet of negative in
the short space of 30 or 40 minutes is no cinch when
you have to change lenses for close-upping, etc., and
(Turn to Page 29)

Eighteen

The INTERNATIONAL PHOTOGRAPHER

November, 1936

AMATEUR MOTION PICTURE DEPARTMENT

I Prefer a Simple Outfit

WAS recently talking with an experienced
amateur movie maker who has this to say
about home-movies:

Just thirteen years ago, 'way back in
1923, the Home Movie Bug got me. From many
years of still picture taking as a hobby, the new
medium of motion in home pictures captured both
my imagination and all my spare time. In those
early days, there wasn't a great variety of 16 mm.
equipment but I bought all that was available. I
didn't stop with camera, projector and screen. I
invested in tripods, large and small; special re-
winds and attachments; with various cases for each
piece of equipment. As the industry broadened
out and more varied accessories were to be had, I
bought filters, all kinds and types; automatic fade
devices; special purpose lenses; and trick vignetters.
I was getting in deeper and deeper. Then came a
confusing array of trick gadgets and other movie
attachments too numerous to mention. I went in
for cumbersome projectors stands and cabinets;
miniature daylight screens; and so-called squint tube
exposure meters. The old type color processes were
introduced next, which involved a considerable ex-
penditure for a new camera with ultra fast lens and
a high powered projector, each fitted with special
filters, before I could even begin to take and show
color.

Well, pretty soon, I got fed up! After doing some
serious pondering, that pack of movie unneces-
saries was disposed of once and for all time. From
then on, so I made my decision, I'd shoot home-
movies with the simplest kind of outfit. And I've
never regretted my decision!

First of all, I bought a new modern camera, a
good one. Not one of the most expensive kind nor
one of the cheapest, but a good standard make. It
is a simple outfit, a compact one, equipped with a
fixed focus lens of F:2.9. This lens is entirely satis-
factory for my needs and obviates the necessity
of focusing each shot. In my opinion, most home-
movies turn out better if taken with a universal
focus lens. Have you ever tried focusing friends
with an adjustable lens only to have them move
up on you? You can't control friends like a pro-
fessional movie "stand-in"! A universal focus lens,
therefore, is plenty good enough for me.

Owning a spring driven camera, I have no need
for a tripod. For I've learned to heed that sterling
advice: hold the camera steady!

As Related to

F. Hamilton Riddell

I do have one or two filters but no longer do
I own an endless variety of them. In the old days,
I had so many I never did get time to learn their
characteristics. So the ones used now are of the
heavy type because whenever I must use a filter,
I prefer "over-correction."

My old screen, an average size, still serves well
enough. All the present craze for huge screen
images in the home, it appears to me, is too faddish
and unnecessary. A 30 by 40 inch screen will do
the job just as well for me.

My projector is a good one. It is the one unit
of any home-movie outfit that generally is used the
most; thus, it should be well-chosen. I saw to it
that my projector is equipped with a fast projection
lens and adequate wattage lamp. This results in
my movies being as brilliant as is necessary for
the home — and for best color pictures — yet giving
screenings which do not tire the eyes of spectators.

As to camera film. Although there remains a
large choice of black and white emulsions, I now
use only one — super pan. By so doing, my exposure
calculations are always the same and my filter fac-
tor remains constant. If the photographic light is
poor, I know that super pan will get the best pos-
sible pictures. If lighting is of the best, I can then
cut down my lens diaphragm for increased depth
in my movies. And whatever the conditions of light,
super pan will give the best, most lifelike monotone
rendition of any subject.

Now that natural color filming is really practical,
improved, and possible without a lot of bother and
special equipment, I find it fascinating new movie
work. But mind you, I only attempt color when
there's really a colorful subject in front of my camera
and when lighting conditions are ideal. Color on
the home-movie screen, of course, is always inter-
esting. But it is only truly beautiful when it has
been well-recorded. For this reason, amateur movie-
makers should give it their earnest attention and
exercise even greater care in making exposures and
so forth than they sometimes allot to regular black
and white pictures.

So much for my outfit and "taking" methods —
now for the "showing" apparatus.

Here is where I suppose I vary from usual pro-
jection procedure; and where if I desire any trick
effects in movies, I put them — while I'm projecting.
Attached to my projector there is a color wheel and
a fade-glass. With these two simple attachments,
I can add colorful tints to black and white movies;
and supply fades in any sequence of my film that
seem appropriate.

Every home movie maker, unlike the theatre pro-

November, 1936

INTERNATIONAL PHOTOGRAPHER

Nineteen

jectionist, knows "just what's coming" in each reel
of film. Therefore, it is a simple matter to vary the
color wheel to any desired tint as the scenes strike
the screen. It is for this reason, it seems to me,
that tinted stock is unnecessary; you can duplicate
its effect so easily, you needn't make it permanently
so, as with tinted base films.

And fades. What a lot of bother they can be
if attempted on the camera! You need a tripod;
a final sequencing of scenes; and more hands than
the good Lord gave you to set-up, shoot, keep your
subject in range of the lens, and at the same time
work your fading device. With the fade-glass on
the projector lens and the machine in operation —
all that has to be done is fade — in or out — when-
ever the film sequence demands it. And remem-
ber, because my film has been edited, the fades
will come at exactly the right spot. This cannot
always be anticipated in camera-made fades unless
one is shooting from a precise continuity, which is

not generally the case in average amateur movie
making.

To those who do not feel qualified to judge the
proper changes in tints or when to use the fade-
glass, a mark on a single frame near the end of
a sequence will act as a signal. This mark need
only be a pin-hole in the upper right-hand corner
of the frame. The signal is not unlike the "change-
over" dots in a professional feature.

As you have noted, my entire home-movie equip-
ment consists of but camera, two filters, screen, pro-
jector, color wheel, and fade-glass. Yet I can put
on a show that compares favorably with many
pictures having been made with fancy, special equip-
ment, which took unlimited time in production. And
for good measure, I can include some shots that are
as candid as the best miniature, which your loaded-
down-with-everything-camera outfits can't possibly
catch!

Yes, sir, I prefer a simple outfit!

CINEMA-TIDINGS

Amateur Motion Picture News

New Folder of Weston Film Speeds: Up-to-date
speed values for all films and plates in common
use, both for stills and motion pictures, are given
in a new folder just published by the Weston Elec-
trical Instrument Corporation, Newark, New Jersey,
manufacturers of the well-known Weston Photronic
Cell Exposure Meters.

The list of almost 200 Weston speed ratings in-
cludes the newer color films as well as black and
white emulsions of domestic and foreign manu-
facturers, with values for daylight and incandescent
light.

In addition to film speed ratings, the folder con-
tains suggestions for exposure of color films to aid
color fidelity within the more limited exposure range
of this type of film. Copies of the new folder are
being mailed, it is announced, to all registered
owners of Weston meters. Other Weston owners
whose names are not now on this list may obtain
copies by writing the manufacturer.

I sl-

NEW SUPER

CINEGLOW

THREE ELEMENT

Recording

Lamp

A true, high fidelity, ultra-
violet, modulating light
source.

• High Intensity Exposure

• Long Life

• Uniform Quality

Blue Seal
Sound Devices

Incorporated
723 Seventh Ave.
New York, N. Y.

Kodachrome Type A Announcement: When
Kodachrome Type A was announced for making 16
mm. indoor movies with Photoflood lamps without
the aid of a filter, the response was spontaneous
and the new full color film was acclaimed as one
of the greatest forward steps in home movies.

And now, Kodachrome Type A is announced
by the Eastman Kodak Company for indoor movies
in 8 mm.; and for "stills" with Kodak Bantam Spe-
cial; Kodak Retina and similar miniatures.

This new film is color balanced to compensate
for the quality of light supplied by Photofloods for
movies; and Photoflood or Photoflash lamps for
"stills." Consequently, no filter is necessary for in-
door pictures with such artifcial light.

Kodachrome Type A may be used in the day-
time too, by placing a Type A Kodachrome Filter
for daylight over the camera lens. Thus, this new
Kodachrome conquers new fields in amateur color
photography — movies and stills.

The list price of Kodachrome Type A 8 mm. rolls,
including processing, is $3.75 — same as regular 8
mm. Kodachrome. For "still" work, Kodak Bantam
Special rolls, K828A eight exposures, are priced at
$1.75. For Kodak Retina and similar 35 mm. minia-
ture cameras, the 18-exposure K135A rolls of Type A
Kodachrome retail at $3.50. These prices include
processing and return postage within the territorial
limits of the United States.

Bell & Howell 16 mm. Talkie Catalog: The rapid
progress being made in non-theatrical 16 mm. talk-
ing pictures may be gauged by the new 56-page
catalog of library films just issued by the Bell &
Howell Company. The book lists more than 300
reels of 16 mm. sound film, contains more than 40
illustrations, and offers interesting suggestions to
program chairmen and others on the selection and
arrangement of talking-picture entertainment and
education.

Among the features announced are "Don Quix-
ote, " starring Feodor Chaliapin; "William Tell,"
starring Conrad Veidt; "The Viking," "Tarzan,"
"Thunder Over Mexico," and many other outstand-
ing dramatic hits. Much longer is the list of adven-
ture, travel, nature, sports, historical, and musical

Twenty

The INTERNATIONAL PHOTOGRAPHER

November, 1936

films, and also the list of comedies and cartoons.

Recommendations as to audience suitability are
made in the form of a simple index key — indicating
whether the film is best suited for general entertain-
ment, home, school auditorium, classroom, or church
use. Only three films are keyed as intended pri-
marily for mature audiences.

Most of the releases, such as the productions of
Educational Film Corporation, Principal Pictures,
World-Wide Films, and other leading Hollywood and
foreign producers, are available on rental only. In
other cases where prints may be purchased outright,
this is indicated.

The book is priced at 15 cents per copy and
may be obtained from Filmosound Library Head-
quarters, 1801 Larchmont Avenue, Chicago, Illinois;
or from its branches throughout the country.

"Elementary Photography": We have just fin-
ished reading this Eastman publication, which will
prove a new and stimulating addition to anyone's
photographic library. "Elementary Photography" is
the combined work of C. B. Neblette, F.R.P.S.; Fred-
erick W. Brehm and Everett L. Priest, B.S., M.A.
While the authors deal primarily with the subject
of still-picture photography, the book contains so

much information that is of paramount importance
to movie makers also that it can be read with inter-
est and profit by both classes of amateur photog-
raphers.

With a short introduction, briefly tracing early
efforts at picture-making, Unit One of the book covers
general photographic practices. Instructions for the
making of an elementary pinhole camera are given.
Unit Two discusses the working of a camera and
its lenses and shutters. Units Three and Four are
concerned with laboratory procedure, including the
proper judging of the quality of negatives and prints.
The making of lantern slides, enlargements, and
mounting is not overlooked. Unit Five deals with
purposeful photography.

Helpful, practical suggestions for all kinds of pic-
ture taking, both interiors and exteriors, by natural
and artificial light, are given. Up-to-date exposure
tables and other data are contained in the volume,
and the qualities of modern film emulsions are made
most clear. All in all, "Elementary Photography"
is so well written and contains so much valuable
information that it will prove well worthwhile to
all amateur photographers.

QUESTIONS and ANSWERS

By F. Hamilton Riddell

1. In showing my personal movies the pic-
tures are steady and clear on the screen.
Yet when I run some professional reduc-
tion print (not all), they are "jumpy," flick-
ering and unclear. What is the matter?

Since your own personal pictures project satis-
factorily, we can assume your projector is in good
running order and that therefore the fault must lie
with certain of your reduction prints. It would ap-
pear that the trouble is caused by inferior laboratory
work, and a print has been released which should
never have left the lab, as it was not up to standard.
It is a good rule for amateur film buyers to insist
on having film subjects screened before buying
same. For while a print may seem all it should
be to the naked eye, a screening, in the last analy-
sis, is what tells the story.

2. Whenever I stop my projector for "stills."
the motor runs wild. Cutting down the
speed control is of no avail; the motor con-
tinues to race, sets up excessive vibration
which is transmitted to the screen, and is
very noisy. What can be done?

Your complaint is a common one from those
movie makers who make much use of "still" pro-
jection. It would be our suggestion that you in-
stall a separate motor switch, which will work inde-
pendently of your lamp-motor, one that you are now
equipped with. By means of this separate motor
switch, the motor can be shut off entirely when
viewing "stills"; and does away with the bother of
continually readjusting the speed control each time
the projector is stopped for "still" projection.

3. I have great trouble in obtaining steady
pictures, but do not wish to be burdened
with a tripod. What do you suggest?

We suppose, of course, that you have honestly
tried to hold the camera steady during exposure.

Many cineamateurs do not, as usual, give this im-
portant rule proper interpretation or thought. Fun-
damentally, a tripod is the best support in the world
for any camera, but if you do not desire to make
use of the best means, then it is suggested that you
invest in one of several substitutes. There is the
walking-stick which extends into a one-legged
camera support. Other similar devices include a
short camera support, resting on the belt of the
operator, and so forth. For those who cannot hold
a camera steady, these accessories are most con-
venient.

4. How long must a film remain under press-
ure in a splicing machine?

Probably the most common cause for inferior
splices is hurried application of pressure and re-
lease thereof, in splicing. Movie makers, having
heard now quickly film cement evaporates, conclude
incorrectly that it is only necessary to apply pressure
for a moment, then release same, and that the splice
has set. This is not so in the case of the great
majority of amateur splicing machines. It is good
practice to remove excess cement shortly after apply-
ing pressure, but this must be done quickly and
expertly, and pressure once again restored to the
splice. Sufficient time must be allowed for the
chemical weld to set. The splice, therefore, should
not be released from pressure in less than 10 sec-
onds; a little longer time is even better.

Note: As a service to amateur movie makers,
we extend a cordial invitation to write in questions
which will be answered in this column. Address
all such letters to:

Questions and Answers Column,

THE INTERNATIONAL PHOTOGRAPHER,

506 Taft Building,

Hollywood, California.

November, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

RIGHT OFF THE REEL

By F. Hamilton Riddell

8MM. Film Viewer: A film viewing machine,
attached to an editing board, can never be
more valuable than in assembling 8 mm.
film. Single frames of this narrow-gauge
film stock tax one's eyesight to the utmost. With
a film viewer each frame appears, enlarged, upon
a miniature ground-glass screen. Therefore, it is
only exercising good common sense, when buying
an 8 mm. outfit, to invest in a film viewer at once.

Increased Speed for Kodochrome: Kodachrome
Film, both 8 mm. and 16 mm., has been speeded
up and the improvement greatly increases the
picture-taking range of natural color work. Regular
Kodachrome because of this improvement should
now be "shot" at one stop smaller than the earlier
type. Kodachrome Type A, for indoor use, has also
been increased in speed; and it is so noted by a

Beautiful effects of an after-rainstorm shot.

label now pasted on the outside of each carton
calling this fact to the user's attention.

After a Storm: The accompanying illustration
shows the beautiful result that can be obtained by
amateurs who film right after a rainstorm. Angry
storm clouds, pierced by shafts of sunlight, make
an unusual effect. It is well to under-expose such
shots to secure the right effect.

Weston Ratings: The new Weston folder of film
speeds, for use in conjunction with Weston Meters,
is most timely. For it gives latest information on
exposure for all types of Kodachrome film used in
amateur movie making.

For the newly announced Kodachrome "still pic-
ture" emulsions (September, 1936, issue of "Inter-
national Photographer"), the Weston rating is eight

for daylight; and three for interiors with Photoflood
lighting.

Also listed in the folder is Agfa Ansco Corpora-
tion's newest 16 mm. panchromatic camera film —
Hypan. This latest Agfa film is rated by Weston at
20 for daylight; at eight for interior work.

Rainy, Fall Weather: The more or less inclement
fall weather need not deter cine workers from shoot-
ing exteriors. Fast film and fast lenses will assure
proper exposures. One word of caution, however,
when filming in rain or under extremely moist con-
ditions. Be careful that water does not come into
direct contact with the front surface of your camera
lens. This will cause blurred pictures. If water or
traces of moisture do get on the lens, wipe it away
carefully with a soft, lintless cloth. Many inter-
esting shots can be obtained in the rain, due to the
varied reflections caused by the wet weather.

Talking Turkey: As a prelude to your Thanks-
giving film, what could be more appropriate than
some shots of a turkey farm? A short spin to the
country will take you "on location," where you can
record the gobblers as they are being "gotten into
shape" for that fateful day, to Mr. Turkey, other-
wise known to humans as Thanksgiving Day.

Various speeds for Titles: With a variable speed
movie camera, there are several available exposure
speeds for making titles. Most movie makers shoot
titles at normal 16 speed, usually reading the title-
copy twice over for proper footage. Did it ever
occur to you that the use of some other speed
affords decided advantages not possessed by nor-
mal 16?

By selecting eight speed, for example, the title
board illumination may be cut down considerably.
Or if desired, the illumination may remain the same,
yet the lens diaphragm can be stopped down one
stop smaller, giving improved definition. Titles shot
at eight speed must be read over four times to ob-
tain the same footage as when photographing at
normal 16.

Perhaps for some, 24 speed is the happiest selec-
tion. With normal illumination, 24 speed only calls
for increasing the lens setting by one-half stop
larger; but the speed saves much time. It is only
necessary to read the title over once because the
film is being exposed at a faster rate than normal.
Thus it is that 24 speed not only provides sufficient
footage per title to provide for the reading idiosyn-
crasies of a mixed audience, but it also results in a
correct amount of footage for easier editing.

BH9)
mxJ*

. ■

tZZ^Zr-t'

y ^wtwwi,

!:■- 1

1 r o_ 1

f Ending powDfcj

MAX FACTOR'S

N EW

LIQUID FOUNDATIO

A REVELATION IN FACIAL AAAKE-UF

Twenty-two

The INTERNATIONAL PHOTOGRAPHER

November, 1936

A Short Story About Color

Contributed by a Cameraman

|0 the practical mind that is willing to grasp
a problem to determine its basic principle
there is no mystery about color.

To the intelligent Director of Photography
of well grounded practical experience there is no
more mystery about color than there is about any
other medium of photography.

Hollywood, is not a poor place to keep a secret.
No more so than New York, London, Berlin, Calcutta,
Bombay, Mexico City or any other center of motion
picture activity; in fact, many secrets of the trade
have been very well guarded until the time of their
release from those who might have otherwise
created damage with the knowledge could it have
been secured in advance; but, regarding color, there
are no mysterious secrets to baffle the intelligent
mind.

There are patents claimed and formulae of chem-
ical compounds cautiously and silently developed
and discussed, with much show of whispering, of
raising of eyebrows and of veneration that to the
practical mind surrounds the subject with a cloud of
mystery and momentarily sets up the question of the
successful application of color as a photographic
medium to be desired.

These same theorists, if suddenly called upon to
demonstrate the actual practicability of their abstract
principles almost always fail miserably or excuse
themselves out of the situation with a mighty man-
ner of assumed importance; thus, the application of
color, as applied by the several processes in use to-
day, by any of which satisfactory commercial re-
sults can be obtained, has created a mysticism that,
in reality, is really impotent.

That color can be successfully transferred to the
screen is demonstrated by the fact that both the East-
man and DuPont manufacturers of film have created
a successful medium of color-sensitive emulsion,
after vast research and expenditure of time and
money, a medium that need leave no doubt in the
mind of any practical, trained mind of experience of
the successful outcome of photography in color.

It is sad to contemplate the mariner in which this
mystery has confused the intellect of many bril-
liant producing minds when the same careful investi-
gation given to daily problems would reveal the
simplicity of operation and commercial possibilities
of a desired subject in color and the ability to "stand
up in the face of actual firing."

It is not intended to imply that a novice can achieve
a glamorous success any more than in any other
line of motion picture activity; the same care of oper-
ation is as necessary in color, as in any other pro-
cess of photography or the colors will clash and
fight among themselves since color is the contrast
of the subject. One of the main faults of color pro-
duction has been the emphatic splash and mad riot
of color by producers insisting on outdoing nature
and, in many instances, of trying to create a color
subject out of an uncolorful one. And, as such, the
vehicle of the story becomes so overburdened that
it makes for annoyance to the mind of the audience
instead of entertaining it.

The expenditure for color production needs be
but little more than any other process if carefully

and practically managed. The only increase need be
in the raw stock and laboratory process. The time
element can be as fast as the directorial staff is
practical and the accomplished result is always de-
sirable. Every color process has its basic principle
of operation which, if faithfully adhered to will pro-
duce its proper result. The method of production must
likewise be carefully planned and follow its basic
method for the result desired and then adhered to
constantly to the end, but where the method of pro-
duction is changed and broken down by experiment-
ing at different periods throughout production, only
a mixed result can be the reward.

The fundamental experimenting of the several
color processes has been finished, and where the
commercial minded producer accepts this fact and
will not permit himself to be led astray by the ex-
pression of abstract theory, can count on bringing
forth a success in color. There may be differences
of opinion, perhaps, but so is there in every other
creation of effort that pessimists get together to
criticize.

It is no more necessary to experiment with ex-
posure in color than in any other method of photog-
raphy. Exposure is governed by a known factor.
As in any other method of photography, a proper
amount of light is required to register the correct
exposure of the subject required, but no more.

A certain alertness is constantly necessary, but
is not such practice necessary of any worthy effort?
The matter of correct focus need not be approached
with fear. Since the camera used is a mechanical
instrument it can be properly adjusted to correctly
meet the requirements of focus by eye or mechanical
methods, enabling the operator to set the correct
focus under any condition that the camera will oper-
ate. It has been done.

It is erroneously stated that miniatures can not
be successfully done in color. Miniature scenes of
real worth have been accomplished in color where
the will and desire went to work together, both in
normal speed and high speed and equally well have
split-screen, double-exposure, dissolves and wipe
effects been satisfactorily accomplished.

If those wishing to use color commercially will
turn a deaf ear to the theorist and go to work with
the same hard practical sense that has created suc-
cess in other efforts that have been hedged about
with dark theory, color will advance to its proper
place in the industry along the several channels of
process now in effect, but practical studio-trained
minds must do the work; it will never be accom-
plished by the fear spreading, plodding theorists
who challenge every step of advancement before
the thought can be given a chance to rise.

OBITUARY

James Diamond, a member of Local 659, since its
inception, passed away on October 17. He was an
old timer in the business, starting with Norma Tal-
madge way back in the silent days. He was forty-
two years old. Deceased was a man of great popu-
larity in the studios and most successful in his work.
To his surviving sister, Regina Brown, the Interna-
tional Photographer extends its heatrfelt sympathy.

November, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-three

The Land of the Lapp

By Len H. Roos. F.R.P.S.

Right — A Lapp camp, north of Tromso northern Norway, north of the Polar Circle — Len H. Roos, F.R.P.S. Center — Christmas fish dry-
ing in a fishing village in Sweden. The fish are caught in the summer months and after a salt bath are hung up to dry daily until they
become as hard as a board. They are sold at Christmas time as a special delicacy. — Len H. Roos, F.R.P.S. Left — A Lapp looks interested
in the color camera in northern Norway. His home in summer is about 1200 miles from the North Pole. — Len H. Roos, F.R.P.S.

RAP on the door and a voice said: "It's
eleven thirty and the sun is shining"!

Getting out of bed was an effort. I lifted
the blind and looked out — the sun was shin-
ing all right; shining brightly at 11:30 at night.

I got the cameras out and worked until 2 a. m.
You can do this in Norway, north of the Arctic Cir-
cle, but if some Hollywood producers get the idea
from the above that they can work their cameramen
24 hours a day, over here, they had better check up
on the winter schedule of the sun before moving
over. For a long period in the winter it is dark all
day and all night.

For color photography the Lapps are ideal sub-
jects. They wear bright colored clothes and are a
very picturesque people. They have huge herds of
reindeer which they use to draw their sledges; sup-
ply them with food and milk; clothes, leather and
bone. They grunt like pigs (the reindeer, not the
Lapps) although the Lapps grunt a bit when catch-
ing the reindeer with a lasso.

Small in stature and with a Mongol cast of fea-

tures, they lead a nomadic life. In summer they live
in a skin tent that looks a great deal like an Amer-
ican Indian tepee, and a stick and earth house in
winter.

The Lapp is a fairly good actor and will do any-
thing for the camera if some coin changes hands. If
no coin is tendered, he disappears. This, no doubt,
is the origin of the term "Lapp Dissolve."

His costume consists of tight fitting breeches of
reindeer hide, leather shoe-packs turned up at the
toe, a bright blue coat, cut full in the back and
trimmed with orange, red and white (when new)
bands. His hat is usually blue with a large bright
red pom-pom of wool yarn.

Every Lapp home or Gumma that I saw was
equipped with a hand sewing machine and plenty
of dogs. Eight hours of flying brought me to the
Lapp country north of the Arctic Circle, and just
about 1,200 miles from the North Pole. I flew over
mountains, glaciers and fjords to get to this inter-
esting place — I've eaten fish until I never want to see
them again — I've been plenty cold on this trip — but
the pictures were worth it.

FILM TESTED EQUIPMENT
LABORATORY EQUIPMENT

AND

SOUND RECORDING EQUIPMENT

Art Reeves

MOTION PICTURE EQUIPMENT

645 North Martel Avenue Cable Address ARTREEVE

Hollywood, California, U. S. A.

Twenty-four

The INTERNATIONAL PHOTOGRAPHER

November, 1936

Columbia Hi-Speed Motor Drive

Bv Alfred S. Keller

I HE camera is cranked no more. The last
application of the camera crank — the hand-
driven gear box for slow motion photog-
raphy— has been supplemented by an elec-
tric motor. Just as definitely as the variable speed
motor superseded the crank as motive power a
decade ago, so now does the electric drive suc-
cessfully cause the obsolescence of the well-worn
gear box and its crank.

The gear box had many disadvantages. Chief
among these was the uneven application of power,
especially at higher speeds on long scenes, causing
fluctuations in exposure. The maximum film ca-
pacity of the magazines was about 400 feet, be-
cause the added load on the crank of a long roll
made operation impossible at higher speeds.

These 400 foot lengths, many times, were just
short enough to miss the important action. The ab-
sence of an automatic release to disengage the
drive in the event of one of those numerous buckles
was a mechanical oversight.

Also an operator always had to stand by the
camera to supply the energy. This was a decided
hazard in some instances, such as the photograph-
ing of explosions, etc. The camera was more or
less limited to static shots because of the small
horizontal and vertical arcs imposed by the sepa-
rately mounted gear box. The only exceptions were
when a not overly practical flexible shaft was used,
or when a tilt head was built upon which were both
camera and gear box — at best unsteady. Lastly,
the top speed of these gear boxes was approximate-
ly 128 frames/sec. or 5 1/3 times normal (24
frames/sec), as they were designed during the silent
picture era.

Considering the aforementioned drawbacks of

the gear box, it is evident that a motor drive could
correct all of these disadvantages. It would supply
even power; could be strong enough to pull a full
1000 foot-length of film; could have a buckle trip
to stop the motor in an emergency; could be re-
motely operated; would be mounted on camera
proper, giving unlimited freedom of pan and tilt; and
could be able to attain the speed of 192 frames/sec.
or eight times normal (maximum speed recom-
mended by camera manufacturers).

With these prerequisites in mind, several motor
drives were built by different organizations. While
they were all better than the gear-box, they fell
short of perfection because of new mechanical and
electrical problems involved, namely, vibration from
motor gear-drives and fluctuations in voltage from
the rheostat caused by overheating with incorrectly
measured resistances.

From these initial attempts, Mr. Emil Oster, head
of the Columbia Camera Department, and Mr. John
Durst, in charge of Columbia Precision Machine
Shop, collaborated on a perfected design for a
hi-speed motor drive. Taking into consideration the
fallacies of their predecessors, these two men con-
trived to make the camera as expedient at super-
speeds as at normal.

To start with they chose an 1 1 0-volt Universal
(AC or DC) series wound motor capable of 12,000
r.p.m., or 200 r.p.s. The rotor was set in ball-bear-
ings and connected directly to the camera. A tach-
ometer is copied to the rotor shaft with a gear drive
and is calibrated in TIMES NORMAL, FRAMES/SEC.
and FEET/MIN. A buckle switch is built on this
mounting plate and connects with the built-in camera
trip. The whole device is constructed in a dust-
(Concludrd on Opposite Page)

November, 1936

The INTERNATIONAL PHOTOGRAPHER

Tiventy-five

APPLAUSE FOR THE NEWS LENS MEN

(Continued from Page 7)

Today's news photographer who takes his work
seriously is equipped with, not one, but two and
sometimes three cameras. First he owns the old
reliable Speed Graphic of 4x5 size, with which he
does most of his work. Then he has a Graflex for
special sports and similar work where the reflecting
principle makes things easier. And finally, then,
there is the miniature camera, fitted with high speed
lenses, which sees service mainly in strictly candid
assignments such as in courtrooms, cafes, night
clubs, theatres, etc.

The news picture game is a hard one, but like
the stage, there is something about it that gets into
the blood, and once a man tastes the life, he is for-
ever after wedded to it. To youngsters who aspire
to enter the profession in the future I would say that
their first task is to become completely proficient in
photography. This means knowing the manipulation
of the camera thoroughly and sub-consciously.

Next, they should make a serious study of the
newspapers with particular reference to the illustra-
tions used. These will give the key as to what the
papers use — and why. The youngsters should dup-
licate, as far as possible, the technique evidenced in
such news pictures as they can. It will be often
noted that news photographs are not always pic-
torial, or even correct with regard to composition.
There is a reason for this, of course, and for the
sake of speed, difficulties or news angles, such at-
tempts at artistic thought cannot very well be at-
tended to.

Yes, news photography calls for quite a different
technique and the newspaper is the best place to

seek information on the matter. Excellent practice is
gained by engaging in free-lance news photography
— the making of pictures for newspapers and maga-
zines on a free-lance basis. This is profitable — for
those who understand what is needed and go after
the work intelligently.

Something new tor press photographers — an attachable

focusing range finder for Speed Graphic cameras.

Courtesy Kalart Co.

In any event, the news photographer has taken
it lying down too long. It is time he is accorded
some little recognition, so the next time you pick up
your paper, won't you give a thought to the men
who made the illustrations possible?

(Continued from Page 24)

proof housing with the gears run-
ning in grease.

The speed is varied with a rheo-
stat in series with the motor. The
correct resistance for the speed
ranges of the motor was measured
and the proper rheostat was se-
lected with the help of Mr. Enzo
Martinelli, Assistant Cameraman
and California Technology alum-
nus. Under the present arrange-
ment, the camera will run vibra-
tionless and without fluctuation
with a full load at any speed be-
tween 24 and 192 frames/sec. The
hi-speed camera now takes its
place with the normal speed cam-
era for simplicity and ease of oper-
ation.

Messrs. Oster and Durst deserve
no little credit for their splendid
contribution of cinemechanics, but
they would be the last ones to
claim it.

A Panoram Dolly sim-
plifies and speeds up
production. Order one
from us today. We are

Eastern Representatives

MITCHELL

CAMERA CORP.

FEARLESS PRODUCTS

HARRISON FILTERS

MOVIOLAS

Action!

That's what you'll get
from Panoram Dollys
and us!

We sell and rent every type of
new and used professional
camera and studio equipment
. . . from Mitchell's newest
cameras down to lenses and
filters.

MOTION

723 Seventh Ave

PICTURE CAMERA SUPPLY,

InC* New York City

Telephone BRyant 9-7755

Cable Address: Cinecamera

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

November, 1936

BIPACK PHOTOGRAPHY

By Howard C. Brown

ORE than ten years ago when the late E. J.
Wall was preparing his now famous books
on color photography, he made the follow-
ing statement: "If color rendering of any
particular object is not quite correct the audience
has no criterion, in the absence of the original,
whereby to judge this, hence there is considerable
latitude in the result."

Mr. Wall went on further to say: "That the re-
sults obtainable by a two-color process can never
be theoretically correct is unquestionable; but such
pictures, when examined by artificial light, are so
satisfactory as to delude even experts."

From the foregoing, it is apparent that ten years
ago the quality of two-color photography was quite
satisfactory, even though at that time the present
characteristics of high speed color sensitive emul-
sions were not available.

Color sensitivity of the emulsion is only one of
the many contributing factors to the success of a
color picture, and if Mr. Wall was writing his books
today there is no question but what in his reference
to two-color photography he would find it necessary
to write most effusively.

Practically all so-called two-color photography
that is being done today is made on a bipack com-
bination of negatives originated by the Du Pont Film
Mfg. Corp. and sold under their trade name of
"Dupac."

The front negative has a blue-green sensitive
emulsion and is exposed through the celluloid. Fil-
tering means are interposed between the two nega-
tives so that the rear film records only the orange-
red values in the subject material.

Early attempts to produce a front negative which
would contain the necessary filtering material were
along lines of incorporating filtering dyes in the
emulsion layer or of staining the surface of the emul-
sion with dyes which had limited penetration char-
acteristics.

Both methods had serious disadvantages. In the
former, the dye lowered the speed and contrast of
the emulsion excessively; in the latter, the dye
penetrated the emulsion unevenly, which caused
bad color fluctuations and also greatly reduced the
film's speed and latitude.

Convinced of the practical possibilities of the bi-
pack system of photography, Dr. V. B. Sease, Re-
search Director for Du Pont, and Hollis W. Moyse,
then on the Du Pont research staff, set about early
in 1928 to develop a front negative which would
have unimpaired photographic properties plus a fil-
tering medium which would be uniform in its trans-
mission, not only throughout the length of one roll
but through full emulsions.

After innumerable experiments, a procedure was
worked out wherein gelatin was prepared contain-
ing filtering dye in an insoluble form and then coated
over the surface of the active layer. No penetration
of dye into the active layer occurred, and the fin-
ished filter had the same high degree of uniformity
as the photographic layer of cine-negative mate-
rials. The photographic qualities of the underlying
emulsion were practically unaffected by the over-
coating.

The resulting glossy surface of the front negative

was found to be beneficial to the sharpness of the
rear image, as the contact between the films was
better than with the normal matte surface of ordi-
nary negative materials.

The thickness of the filtering layer is of the order
of one-ten thousandth of an inch and introduces no
appreciable loss of sharpness due to its separation
of the active layers.

There has been continuous improvement in Du-
pac from its initial appearance up to the present
time. The green sensitivity of the front negative and
the red sensitivity of the rear negative are many
fold greater with the present Dupac than they were
with the original product.

This film is marketed in the form of paired rolls.
This is to assure the cinematographer of the utmost
similarity in the physical properties of the two nega-
tives. Behind the pairing of the rolls lie such pre-
cautions as using celluloid of identical shrinkage
characteristics for both negatives, and of perforat-
ing them on the same perforator so as to get the
maximum similarity in their perforations. These pre-
cautions have done much to reduce registration
difficulties to a minimum.

From the foregoing, it would seem that the mo-
tion picture cinematographer has available a bipack
film highly perfected for the making of color separa-
tion negatives. Unfortunately, the improvement in
the use of this film has not kept pace with its in-
creasing perfection.

During the last six months, the writer has per-
sonally examined over 200 bipack negatives made
by many photographers on a variety of cameras.
Only about 20 per cent of the negatives thus in-
spected could truthfully be considered first vlass.

Many and varied were the faults and in all fair-
ness to the photographer it must be stated that the
majority of the imperfections were, perhaps, beyond
his personal control.

The negative defects, insofar as the printing
quality is concerned, and in the order of their mag-
nitude are as follows: Lack of register, lack of sharp-
ness in the rear negative, development, and ex-
posure.

Registration is strictly a mechanical defect and
is caused usually by a camera that requires me-
chanical adjustments to the film gate. Frequently
the pins are worn and therefore do not fit the per-
forations accurately. Many photographers using
one camera are switching back and forth from bi-
pack to black and white. While a camera that is
not running precisely may deliver excellent black
and white, in all probability the bipack will be out
of register with possible negative punching. Before
shooting bipack it is highly advantageous to take
the camera and have it tested for register.

It is in regard to poor definition in the rear
negative that the gretaest variance appears. The
rear film is used in the printing of the blue-green
record and as this impression gives the "drawing"
to the picture it is easy to see how important it is
that this rear film should be as sharp as possible.

When the camera is faultlessly focused and
operating perfectly there will be a slight amount of
softness in the rear element which is the result of
the diffusion caused by the front film. However,

November, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

in viewing the rear negative for sharpness one dis-
covers that the negative turned in by various
cameras and cameramen vary as much as 20 to 50
per cent from a normal rear negative. The aver-
age photographer who notices this lack of defini-
tion frequently blames the condition to the pressure
plate.

Generally, when using a Mitchell camera, the
photographer makes but few alterations when
adapting his camera for bipack work. These trans-
formations consist of the replacing of a two-roller
pressure plate with a four-roller pressure plate, and
the insertion of a slide in front of the ground glass,
in order to compensate for the extra thickness of
the film. A special marking is then put on to the
lens barrel to be used as a calibration point for
color.

There are also a few supplementary improve-
ments that some photographers have made to a
Mitchell outfit that will increase its workability for
bipack. Because double rolls of film are needed it
has been found advisable to enlarge the size of
the take-up pulleys on the magazine. One of the
new non-stretchable belts should be used and the
center drive wheel on the magazine extended until
it will take a regular 1000 foot belt.

If the above additions have been made on the
camera, the cinematographer feels that it is equipped
for bipack. In this respect he is frequently mis-
taken.

Merely adding a new pressure plate does not
actually mean that there will be the correct pressure
to bring the two films into optical contact, or that
air has been eliminated from between the two films.
Not does it necessarily mean that the ground glass

in its new position is in the exact plane that is re-
quired for perfect focus.

If a new camera were being used these changes
might be all that were compulsory from the me-
chanical angle, but with most cameras having had
considerable wear they should be mechanically in-
spected, for a variance of a very small fraction of
an inch will definitely affect the sharpness of the
rear negative. Some of this lack of definition can
be traced much farther than the mechanical opera-
tion of the camera.

With the introduction a few years ago of the
increased color sensitive emulsions, the lens manu-
facturers altered the chromatic value of their lenses
to meet the demands of this new film. As the
emulsion was extremely fast in the red end of the
spectrum, it was essential that the lenses used with
this type of film should bring both the blue and red
beams to an identical focus.

PPrior to this new color sensitive film, and back
to the days of orthochromatic emulsions, lenses were
constructed to bring the blue and green beams to
a common focus and the red beam was allowed to
tail off.

Therefore, and speaking generally, we find that
during the last twenty years most of the lenses
manufactured can be chromatically listed in two
classes: The first, or old type lens that focused the
blue-green beams, and the second or modern lens
that focused the blue-red range.

The average camera today is still equipped with
the old type lenses, which are called chromatically
correct, and for the purpose originally intended they
are, but for bipack photography they are not.

In using a lens that focuses only the blue-green

Three Famous Champions of Proven Worth

Ladies and Gentlemen:

In the corner at your left, the Cham-
pion of all automatic 35 mm. News Reel
Cameras — now operating at sound
speed, and now the hasis of the new
"Magic Eye" sports camera for both
movie and still shots.

And immediately at your right, the
DeVry "No. 60" 16 mm. movie camera
follows the design of its famous 35 mm.
predecessor — with the double spring
motor, and 100 foot capacity.

And still further to your right, the
DeVry 35 mm. Sound Recording Cam-
era for single and double recording,
and bi-pack color photography has
come through all tests unscathed and
can be pronounced unhesitatingly to be

the wonder sound
fessional world.

camera of the pro-

DeVry 35 mm. News Reel and "Magic Eye" Camera

DeVry No. 60 — 16 mm. Camera

DeVry Sound Recording Camera

HERMAN A. DEVRY INC., 1111 CENTER ST., CHICAGO

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

November, 1936

range what happens to the red beam that is so all-
important in bipack photography? In all probability
it will be found that there is a secondary image
caused by the chromatic aberration of the lens.

The modern lenses practically eliminate this
situation, providing the two films are mechanically
kept in optical contact, and if this is done, the chro-
matic correction of the lens helps to compensate for
the loss of definition in the rear negative.

So it is important before starting a bipack pro-
duction to ascertain the chromatic correction of the
lenses. Once this is done and accurate lenses are
chosen the next step should be to correlate their
calibration directly with the new position of the
ground glass and the film plane.

With a camera perfectly adjusted for bipack the
photographer should then give considerable thought
to the development of his negatives. As the de-
veloped negatives are to be used for the making
of color prints, there should be close cooperation
between the photographer and the laboratory.

In Hollywood, the Cinecolor Laboratory are spe-
cialists in the development of bipack film. With
the result of years of color work and close coopera-
tion with the photographer, they are able to bring
out the full color range. Many laboratories develop
bipack negatives as a side line because this color
film represents only a small portion of their total
volume of work and as a result they are not in
a position nor are they always desirous of giving
the development the attention it reauires. Some of
them try to balance the density of the two nega-
tives rather than develop to a definite gamma. And
even if they do develop to a specified gamma it
may be too high or too low. A specialized labora-
tory is best qualified for the development of color
negative.

A great many so-called experts claim that the
quantity of light must be greatly increased for bi-
pack photography. This is an erroneous and mis-
leading statement. No two black and white pho-
tographers use the same amount of illumination and
the variance between the photographer using low
key lighting and another flooding the set is as much
as 300 per cent. The only true comparison that can
be made with regard to the amount of light required
for bipack is entirely dependent upon each indi-
vidual photographer and no general percentage of
increase or decrease can be set.

The present Dupac film gives well balanced
negatives under normal studio lighting conditions.
Used on exteriors, the front negative is slightly
faster than the rear, but the majority of cameramen
find it unnecessary to employ filters. If it is de-
sired to use filters for density balancing purposes,
those which cut in the ultra violet and extreme vis-
ible violet are most useful since they have the least
effect on the color rendering of the subject material.

As correct exposure is a necessity in order to
obtain the full color value the photographer should
consult some technical adviser such as Mr. Alan
Gundelfinger of Cinecolor, who has spent several
years in studying the relation between exposure and
development as it affects the bipack negative. With
his assistance the photographer can calculate the
amount of exposure required for his (the photog-
rapher's) type of lighting in order to obtain the cor-
rect gamma of development. The Cinecolor organi-
zation maintains this gratis technical information for
those interested in the production af pictures in
color.

With the right exposure determined there are but

a few additional precautions to be taken while shoot-
ing.

Make-up, of course, should be used and although
the appearance of flesh tints is fortunately much
easier to control in bipack photography than in three
color work, advantage should be taken of Max Fac-
tor's new special Cinecolor make-up. However,
much depends upon the amount of light used by
the photographer. In this regard it is important
that there should be no hot spots, as they burn out
the color and are likely to cause bad halation on
the film.

From the photographer's angle there is nothing
complicated or intricate in connection with bipack
photography, providing that an intelligent approach
is undertaken and providing also that use is made
of the technical assistance which is available.

If this is done, and if the cinematographer in-
sists that his camera be correctly adjusted optically
and mechanically for bipack work, we shall then
see upon the screen a moderately priced color effort
that will delight in both quality of color and defi-
nition.

INTRODUCING DUNNINGCOLOR

(Continued from Page 10)

it to average about 65%, which seems to be about
the minimum for any succesful color work.

The two negatives are developed quite normally,
in any good black-and-white laboratory.

The color-prints are made on standard Eastman
positive film: On standard black-and-white single-
coated stock, not on duplitized (double-coated) film.
This is done by a special process in which the two
color-images are literally intermingled. The two neg-
atives are both perfectly sharp. Their respective
prints are not only sharp, but both lie in the same
plane. Consequently, the resulting color picture is
critically sharp on the screen.

So much for the technicalities of the process. How
about the dollars-and-cents angle: is it still a polite
Jesse James proposition?

In the first place, the actual shooting costs scarce-
ly more than black-and-white. The costs of film,
cameras and cameramen are pegged closely to es-
tablished black-and-white standards; of course,
where in black-and-white the camera would be load-
ed with one thousand-foot roll, in this it must be
loaded with two. But the differential is negligible
when compared to the cost of any production. It
would be a misstatement to say the cost of shooting
Dunningcolor was identical with that of monochrome,
but it is as nearly so as any color has yet come.

Up to this point, the producer has paid a bit extra
(Turn to Page 30)

November, 1936

The INTERNATIONAL PHOTOGRAPHER

Tzventy-nine

SHOOTING AT FIVE PAST TWO"

(Continued from Page 17)

at the same time move into different locations and
set-ups. One false step without looking in all four
directions would probably spell accident. It must be
remembered that the children are all over the nur-
sery floor tinkering with one thing or another. For
that reason we always place our "A" battery on the
outside veranda as a safeguard. The cable is
brought in through an opening in the window. We
never clutter up the room with unecessary equip-
ment, due to the limited space in the nursery. It's
great fun to shoot these five little charges, who have
attracted countless thousands from all parts of the
world to view them daily.

I use a Western Electric single system newsreel
camera for all my sound shots, seldom working with-
out a "blimp." All the cut-in shots are made with a
170° hand-cranked Bell & Howell and an Eyemo.
Our lighting equipment consists of four Mole-Rich-
ardson "Cinelites" mounted on the standard tripod
with rubber casters, using No. 4 Photoflood bulb.
This light of course is too intense for the babies'
eyes, since these No. 4 Photoflood bulbs are approx-
imately two and one-half times as strong as a stand-
ard 1,000-watt globe, so we screen them with No. 52
Cinema Daylight blue translucent gelatine diffusers;
we also silk them in order to avoid glare.

Our greatest difficulty is to keep the children all
into focus. It is a common occurrence to see one of
the children come as close into the camera as three
feet, while the others in a group are doing something
at 20 feet away. I sometimes build a barricade in
front of the camera just outside the picture lines in
order to keep them far enough back and in focus.
Oftentimes I use cribs for this purpose.

The children's nursery where most of the interior
shots are made is a room measuring approximately
20 by 17 feet. That is why we are compelled to use
compact lighting equipment. The walls are light-
colored cream and there are windows around two
sides of the room. On sunny days I usually draw
some of the window blinds in order to balance my
light. It is possible to make pictures inside the nur-
sery on bright days without the assistance of artifi-
cial light, provided I use a fast emulsion and a wide
aperture. I always avoid using long focus lenses
when making my shots in the nursery. In most cases
the lights are turned on before the children are
brought in on the set; by so doing the babies least
notice them.

I never make a habit of smothering these dark-
haired, blue-eyed youngsters with excessive light.
They seem to perform with better expressions when
top light is applied, since they least notice the glare.
Whenever possible, I try to light the children as best
suited to them. Now, take Marie, for instance. She
looks her best with a flat light, while Annette takes
a semi-back light. Not always can you adjust your
lights as you want them.

No artificial eyelashes or makeup is needed for
these miracle babies, since their olive complexion is
free from any imperfections. Very often everything
is set — camera, lights, sound — when all of a sudden
without the least bit of warning they walk away from
the camera and leave us flat. We try to coax them
back with a toy; sometimes it works and sometimes
it doesn't.

They take a particular interest in the microphone.
Unfortunately, we have to use a tripod, since a boom
would be useless in their outdoor playground, which
measures approximately 90 by 50 feet. They're all

over the place. Dex Harrison, my sound man, has
plenty to worry about; his gain is usually kept rather
high in order that he may get all natural sounds
made by the babies. We would say that the aver-
age yell made by the babies runs over 2,000 cycles,
so you can readily see just what we are up against.
Very often one of the children will knock at the
"mike" with her chubby hands, causing the ribbons
to break. All the baby sounds are judged by ear-
phone, since galvanometer reading would be out of
the question.

As time marches on, I am confident that these
normal, healthy five "wonders of the world," the off-
spring of 32-year-old Oliva Dionne and his 27-year-
old stout, shy, pretty-faced wife, Elzire, will survive
due to the capable attention of Dr. Allan R. Dafoe,
their physician, to whom all credit is due.

"TAU HERE ITI"

After living in the South Seas for many years and knowing
the natives and the islands so intimately, I feel there is not
a more beautiful title in all the languages of the world than the
one selected for my first South Sea book, "Tau Here Iti." It
means sweethearts in the South Seas. To the Polynesian it
means a good and beautiful sweetheart and to pronounce it
like the natives do we would have to spell it "Ta-oo har-ri e-te."
So it is "Tau Here Iti" to me for no other title would fit.

Tutu, the girl, lived on the beautiful island of Bora Bora,
a small high peaked verdure covered island -which rises to
the clouds like a great jewel from the center of a colorful lagoon
and an encircling snow white coral reef where untiring ceaseless
waves crash and tumble.

In the book, it was here that in 1856, a small boatload of
my imaginary characters who love and laugh and fight and
hate, survivors from the wrecked clipper ship "Norbert K."
worked their way through the opening in the foaming reef to
what destiny had in store for them.

Subscriptions are now being received for the first limited
autographed edition of "Tau Here Iti" illustrated profusely with
my pen and with my own beautiful pictures.

My publishers, Murray & Gee, will act as custodians of
all subscriptions received, and by arrangement with them, when
500 subscriptions are received the book will be printed and dis-
tributed. Numbers are being assigned in order of receipt of
subscriptions so send in your check or money order right away,
if you want a low number, payable to Murray & Gee, 320
Crocker Street, Los Angeles, California.

GLENN KERSHNER.

Fully Guaranteed

USED 35 MM.
EQUIPMENT

Mitchell, Bell & Howell, Akeley, Debrie,

Universal, Pathe Cameras.
B & H Eyemo and De Vry.
Portable Sound Recording Outfits.
Holmes Projectors, Sound and Silent.
De Vry Suit Case Model Projectors.
Bell & Howell 1000 ft. magazines at $50
each and Bi-pack adapters at $90 each.
We buy, sell and rent anything photographic.

•••

CAMERA SUPPLY CO., LTD.

1515 No. Cahuenga Blvd. Hollywood, Calif.

Cable address: CAMERAS.

Thirty

The INTERNATIONAL PHOTOGRAPHER

November, 1936

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 OR RENT— CAMERAS

LARGEST STOCK FIRST CLASS UP-TO-DATE CAMERA
EQUIPMENT IN THE WORLD

Wall single system sound camera with direct drive motor, new type
movement, variable area high fidelity galvanometer, microphone, amplifier,
lenses, tripod and accessories. Complete, ready for operation. Rebuilt
silenced and Standard Bell & Howell 170° Cameras — Hi-Speed gear
boxes. New Fearless shuttles for Bell & Howell. Silent Moviola Model
D. Portable blimp with follow focus for Mitchell Camera. Precision,
DeBrie and Bell & Howell pan and tilt tripods. Bell & Howell 1000
ft., 400 ft. magazines. Motors, sunshades, finders, lenses and all acces-
sories. Write, wire or cable.

MOTION PICTURE CAMERA SUPPLY, INC.

723 SEVENTH AVE., NEW YORK CITY

CABLE: '-CINECAMERA"

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 variety of
16 mm. and still cameras and projectors. B & H Cameras with old type
shuttles silenced $150. Bipack magazines and adaptors for color. Every-
thing photographic bought, sold, rented and repaired. Send for our bar-
gain catalogue. Hollywood Camera Exchange, 1600 Cahuenga Blvd.
Phone HO. 3651. Cable, Hocamex.

BELL & HOWELL CAMERA, Original B&H "I" Shuttle adapted
for single or Bi-Pac Negative. Complete with 40-50 and 75mm Hugo
Meyer f:1.5 or Bausch & Lomb f:2.7 Lenses. B&H standard Tripod,
large finder, matt box, magazines and carrying cases, $1,000.00. Same
equipment with Cunningham silenced shuttle. $1,150.00. Or equipped
with Hi-Speed movement. $1,600.00. For guaranteed equipment. Camera
Supply Co. Ltd., 1515 Cahuenga Blvd., Hollywood, Calif.

DEVELOPING OUTFITS

USED STINEMAN 35mm Studio Developing Outfit, three nesting
tanks, one 200 foot, two 100 foot reels, in case, complete $100.00. Also
Stineman 35mm Prii.ter, $45.00. Just the thing for an expedition.
Camera Supply Co., 1515 No. Cahuenga Blvd., Hollywood, Calif.

SEVERAL USED STINEMAN 16mm Developing Outfits, also 16mm
Stineman Step Printer. Camera Supply Co., 1515 No. Cahuenga Blvd.,
Hollywood, Calif.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

LIKE NEW BELL & HOWELL 5-way Sound Printers and Sound
Moviolas. Reasonable price. HOLLYWOOD CAMERA EXCHANGE,
1600 Cahuenga Blvd., Hollywood, Calif.

BELL AND HOWELL CAMERA silenced, adapted for color, with

variable area recording single system sound. Complete outfit like new,

ready to shoot. Price, $3000.00. Hollywood Camera Exchange, Ltd.,
1600 Cahuenga Blvd., Hollywood, Calif. Cable: Hocamex.

INTRODUCING DUNNINCCOLOR

(Continued from Page 28)
for color, but he has not lost his established black-
and-white value, for he has a perfectly commercial
black-and-white picture. The rushes are printed in
black-and-white, from the red-filter negative. This
gives a print that look about like standard black-
and-white shot through a filter a little lighter than a
23-A. This correction is a shade heavier than normal,
but not enough overcorrected to distort skin tones,
and the like.

Now if the producer doesn't want to gamble with
color, he doesn't have to. He can make perfectly
commercial black-and-white prints from this negative
and release them.

If, on the other hand, he wants to try color, he can
have the blue-filter negative cut, and make as many
color prints as he wants; he can issue all of his
releases in color, or part in color and part in black-
and-white. He can make his domestic release in
color, and his foreign release in black-and-white.
Or, through the George Humphries Laboratory in
England, which is affiliated with Dunning, he can
make all or part of his foreign release in color. The
same idea, too, works for the foreign producer, who
can use a Dunning camera from the Humphries
plant, with identical color-printing abroad or in
Hollywood.

From this viewpoint, the process certainly seems
practical; but what appeals even more strongly to
me, as a practical cameraman, is the way it stands
up under actual production. There's no useless mum-
mery about it. The first Dunningcolor pictlre I photo-
graphed— a four-reel feature for the California State
Highway Department — was made under conditions
that would keep a black-and-white unit plenty busy.
We covered 11,000 miles on the state highway sys-
tem, never getting farther from the road than our
battery-cables could stretch. We shuttled up and
down and across the state at high speed, on a sched-
ule as closely figured as that of a limited train. We
had no time to play around with the mysteries of
color: We get our scene the first take or not at all.
And we came back with a real picture!

When we started that job, the camera had been
finished exactly three days. We shot our tests, and
then started chasing scenery. A few weeks later, we
had put nearly 30,000 feet of film through that cam-
era, under every possible condition (most of them un-
favorable). In all that time we had but three buckles,
all of which came in one day and were caused by a
defective pulley, which was easily replaced. Aside
from those three shots, we had no retakes, and not a
single scratch. The filter-balance control worked per-
fectly; in fact it saved us several times when we had
to work under light conditions that would be bad
even for black-and-white. In other words, both the
camera and the process stood up under a thumping
no less severe than they would get making the
quickest sort of a quickie — and they kept on deliv-
ering good color through it all.

POSITION WANTED

FRENCH CAMERAMAN speaking English would be interested in
shooting transparencies and stock shots, covering Europe. Als. Militon,
288. R. Vaugirard. Paris 15e, France.

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 ot cameraman you want. INTER-
NATIONAL PHOTOGRAPHER, 1605 North Cahuenga Ave., Holly
wood.

ICTER^

In Wurld~(/0i*U Us*

cice O^O^^nliabr and OOv^nr

Effects in Daytime ~F*?^ 5cenes-

liif fused. F^cus.apJ many vm«r effects

With any Camera *" In any Ulimat-e

ORIGINATOR OF EFFECT FILTERS
1927 WEST 78th ST. LOS ANGELES. CAL.

Noz'cmbcr, 1936

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

Honors to John L. Herrmann

John Herrmann, director of cinematography of
the (second) Byrd Expedition to the Antarctic. The
charming lady is the good wife and Mr. Herrmann
is widely known as an ace newsreeler of Para-
mount.

John Herrmann was recently rewarded for his

heroism and efficiency by being voted the Con-
gressional Medal and was also voted the honors of
Fellow of the Royal Photographic Society of Great
Britain, the first honors of the kind conferred upon
newsreelers and no man ever merited them more
greatly than this upstanding American knight of the
motion camera.

SUPER PARVO CAMERAS

NOW IN USE AT

Twentieth-Century Fox Studios

cJAndre Debrie, Inc.

115 West 45th Street

New York

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

November, 1936

GINEMACABO

(With sauce for those who like it.)

Robert

Tobey

HOLLYWOOD HONEYMOON
or
The Loves of Lili Liverblossom
By
R. THRITIS
XOTE: Censorship reared its ugly head just
as we were coming to some of the most inter-
esting chapters of our talc of movie intrigue.
With a strict ban on the printing of Chapters
XXIV, XXV and XXVI, your editors worked
feverishly to find a way out of the strangling
grasp of the censor octopus, and the results of
their efforts are presented herewith. We have
succeeded in haz-ing the next three chapters of
this exciting story translated into German, and
we present the next chapter in that language in
order to elude the censors, as no censor is able
to understand two languages. If you don't under-
stand German yourself, an interpreter will be
supplied on request. Gesundheit .'

Chapter XXVII

BREAKFAST FOR ONE FOR TWO

As the ghost slipped noiselessly through the
door of Lili's bedroom closet, Perri, alone in
the room now -with La Liverblossom, turned
grimly toward the famous star.

"I don't think it's very good policy," he said,
"to have a ghost alone with you in your bed-
room."

"That's a lot of crepe," answered Lili. "He
has to sleep somewhere, and after the help he's
been to us, we can't turn him out now. You're
not going to be jealous of a ghost, are you?"
she finished haughtily.

Then, penitent, she added, "You're much hand-
somer than Potty, you know."

Perri walked over to where she was sitting
and kissed her on the edge of the bed.

"Now, go home like a good boy," pleaded Lili.
"I'm perfectly safe. The ghost can't do a thing
to me," she said in her S5,000-a-week contralto.
There was a note of regret in it.

As the door of her apartment clicked shut
on Perriwether Murgle, Lili stretched luxuriously
back on the special over-size pillows on her
special bed. Sleep came late upon Lili Liver-
blossom that night — late, and reluctantly.

The sun was well up when Lili awoke the
next morning. This was mostly because it was
10:30 A.M. Lili stretched her slender arms and
rubbed the sleep from her lovely eyes. Her
dark brown silk pajamas were in disarray, and
had fallen away from her swanlike throat and
the warm, bare, creamy shoulders above her
milky arms. Cream is always on top.

Lili looked around the room, and was amazed
to see breakfast waiting beside her bed. The
table was her own, but beyond that nothing
■was familiar to her. The silver service she had
never seen before — neither had a silversmith.
Each piece of cutlery said "C. R." on the handle.
Although you could hardly hear it.

"Giblets!" exclaimed Lili. "Where'd this come
from? I must have ordered breakfast in my
.sleep."

"I got it for you," answered a slow, sepulchral
voice coming from behind Lili, between her bed
and the wall, where there wasn't any space.

Lili looked in the direction of the voice. There
was nothing there. The skin on the back of
her neck began to crawl, but it was too tired
to go far.

"Come, come, Potty," said Lili, trying to be
brave, but her voice sounded thin and far away.
"Come now, Potty, I know your voice. Where
are you?"

"Right here," said the voice, from the very
spot 'where her eyes were focused. "I'm hard
to see in daylight, that's all. I knew you
were about to -wake up, so I got some break-
fast for you."

"How did you ever know exactly what I
wanted to eat?" exclaimed Lili in amazement,
looking over the orange juice, oatmeal, baked
apple, ham and egas, potatoes, griddle cakes
and coffee, her usual breakfast.

"I didn't," replied Potty. "It came that way."

"You mean it came up here by itself?" asked
Lili, to whom anything ■was possible after •what
she'd been dreaming.

"No. That was the way it was when the
waiter had it."

"The waiter," repeated Lili after him, vaguely.

"Exactly," said Potty. "I took it away from
him. The poor fellow jumped ten feet when he
saw his tray sailing through the air apparently
on its own." The ghost chuckled a sepulchral,
reminiscent chuckle.

Lili by this time had set the baked apple in
front of her, and was staring thoughtfully at it.
To her astonishment the apple stared right back
at her, with its one eye where the core had

been, all encrusted -with sugar as if it had been
asleep.

"You look half-baked," said Lili bitterly, as
she bit deeply with her spoon. Cut to the core,
the apple gave in.

There was an ominous knock at the door.

(Who is knocking at her door, and what will
the fair maiden do, with a ghost within and
godnosewhat without f Stick with us, and you'll
find out. J

KNEECAP REVIEWS
(Xo space left on my thumbnails)

"DODSWORTH," directed by William Wyler,
and with a superb cast headed by Walter Hus-
ton, Ruth Chatterton, Mary Astor, Paul Lukas
and David Niven. This Samuel Goldwyn presen-
tation of the Sinclair Lewis novel holds promise
of being a box-office smash, and in addition is
an artistic triumph — a combination too seldom
wed in the motion picture industry.

Walter Huston gives the greatest performance
of his career — it is one of the most genuine
characterizations ever to be immortalized on
celluloid. His very fibre is the fibre of the
soul of Dodsworth, eminent and forthright Ameri-
can automobile manufacturer. Ruth Chatterton,
as his wife who is ever in fear of advancing
old age, lets you see into the very soul of a
shallow, selfish neurotic willing to cast every-
thing to the winds to stay the hands of Time
for a little while.

Mary Astor, "with none too fat a role, steps
into a highlight of her career. In a part that
could easily have been made sappy, she fash-
ions a person of -winning comprehension and sym-
pathy. It was interesting to observe, on the
occasion of the "Dodsworth" preview, that Miss
Astor received more applause than anyone else
in the cast — applause that lasted all through her
first scene.

The rest of the cast deserves equal commen-
dation. Each part is meticulously delineated and
fits into the whole like a fine piece of mosaic.
Paul Lukas, David Niven, Gregory Gaye, Maria
Ouspenskaya, Spring Byington, Harlan Briggs,
Kathryn Marlowe, and John Payne are among
these players.

Splendid direction by William Wyler is, of
course, a tremendous factor in unity of tempo
and performance.

Photography by Rudolph Mate and mounting
of the picture are in keeping with the high
quality of the production. Sets and locales were
constructed or selected •with consummate artistry.

"GIRLS' DORMITORY," starring Ruth Chatterton
and Herbert Marshall, both of which are pro-
nounced Simone Simon. This story of one man's
problem — the story of his choice between the
girl he loves and the women he should have —
is partly a sympathetic and understanding tale
of the problems in a girls' school, but mostly
an unashamed and tender love story. It suffered
from severe treatment during parturition — the dis-
tortion attendent on its forced change from a
vehicle for Chatterton and Marshall to a builder-
upper for Simone — and from sporadic minor out-
bursts of mediocre cutting. These detract little
from its qeneral splendid qualities.

The little Simone is a fresh and saucy addition
to our screen ingenues. Ruth Chatterton and
"Bart" Marshall deliver the fine performances of
which they are sinqularly capable. There are
noteworthy contributions by J. Edward Bromberg,
Constance Collier, and Dixie Dunbar.

Direction by Irvinq Cummings, while not the
best of which this director is capable, is under-
standing and commendable. Camera work by
Merritt Garstad is good.

"THE MAGNIFICENT BRCTE." starring the
magnificent brute. Victor McLaglcn. If you want
large doses of brute strength, steel-mill sweat and
laughter, and Love-in-thc-Raw as much as it can
be without sex rearing its ugly head — step right
up, here it is. Though a little too melodramatic
for your reviewer' s tastes, it has plenty of merit
once the slow start is digested. As soon as
McLaglcn enters the picture, it moves right along.
Binnie Barnes and Jean Dixon, while struggling
manfully, nevertheless cannot quite drop them-
selves to the level of the parts they have to play.
William Hall, a bit crusty in his first big part.
gives rare promise. Billy Burrud does "well with
a hero<rorshipping youngster role.

Direction is by John BIystone and photography
by Merritt Gerstad.

"THE GIRL ON THE FRONT PAGE." This may
or may not have that authentic newspaper touch
— let the rags fight that out among themselves —
but it's one swell story. With no pretentions
as to top class, this ranks -with the biggies.

Its interest lies not so much in the story is in
the charm of the telling, so suffice it tc
that Edmund Lowe and Gloria Stuart are as
good as they're cracked up to be as the hard-
boiled city editor who won't work for any '
female" — and his unwitting boss. A as-; -.;
blackmailing servants headed by Reginald Ower.
provide the menace and the abundant comedy.
Harry Beaumont has directed with a sp-
touch, and photography by Milton Krasr

* "THE" GAY DESPERADO." Here is a four-star,
top-notch. Class A-l piece of entertainment.
Starting off with an excellent and refreshingly
different story, it holds its merit down through
direction, cast, photography, and all phases of
production. Leo Carillo, playing the part of a
Mexican Robin Hood who comes under the in.
fluence of American gangster methods and slang,
walks away with the picture under his arm. He
makes his farcical role abound with real comedy
and action. Nino Martini, presumably the star
of the piece, is much better than in his previous
film effort, but still has a hot potato in his
mouth when he tries to deliver punchy dialogue.
Time should take care of that. Ida Lupino is
quite lovely as the gal whom all the furse is
about. Harold Huber in the part of Carillo's
bandit lieutenant merits a cheer (where's he
been?) Mischa Auer has never had a better
part and rates a laugh for every appearance.
I know where's he's been — hidden out in a
hundred minor roles, waiting for someone to
realize his talents. James Blakely does well with
a thankless part.

Rouben Mamoulien has wrung the utmost from
his cast with his superb direction. Photography
by Lucien Andriot was on a par with the merit
of the production — superb.

COOKERY DEPT.

OUT OF THE FIRE
Richard Tucker and 'wife.

HOLLYWOODCUTS, by The Shovel Boys (they -
dig the dirt) * * * So that the name of Anita |
Stewart shall never die .there is now an Anita
Stewart Photo Publishing Company run by the '
lovely Anita and her husband, George Converse.
They print snapshot albums of your favorite :zr.i
and sell 'em all over the country. * * * If |
you think Robert Taylor isn't popular, just ask
George Converse. They sell more albums con- ;
taining Bob Taylor pictures than any of the
others. * * * And just in case you think Holly-
wood is immune to the star craze, Georg-
tell you that Woolworth's store sold 2,630 Bob
Taylor albumns in one month — more than any- .
where else in the country. * * * Clark Gable
is still holding his own, and Fred MacMurray
is well in the money in the Popularity Stakes.

The marriage last month of Evangeline Russell
and Commodore J. Stuart Blackton unite '■
of the pioneer families of filmdom. The bride's
father is John Lowell, quondam cowboy star, ■
and her mother L. Case Russell, famous as a
writer and first woman motion picture director, i
The Rev. Xeal Dodd officiated at the wedding,
and among the bridesmaids were Jane Novak,
Minta Durfee Arbuckle, Agnes Ayres, and Violet
Donnelly Russel. * * * A bunch of mo-vie celebs
chartered a bus for a dual-purpose trip to Po- ■
mona — to see the County Fair and to have pub-
licity pictures made. Among those on the trip
were Glenda Farrcll. Charles Quigley, Inez Court- ,
ney, Tom Brown, Barbara Pepper, Eadie Adams,
Victor Killian, Douglas Fowley, Jacqueline Wells.
and Mr. and Mrs. Donald Woods. The weather
was so bad that practically no pictures -were made.
Anyway, Tom Brown and Barbara Pepper struct
up an acquaintance, so maybe the trip ivasn't OU
lost. * * * Buck Jones and his wife and Victor
McLaglcn watching Jack Palmet do amazing card
tricks 6v the hour. And can he do 'cm!
Ask Cesar Romero -what he did with his forty-one
trout. Then run, do not walk, to the nearest
exit. * * * The Racquet Club in Palm Springs
opened last month and is twice as big this year.
Tennis is the thing, all right. * * *

The Pacific Southwest Tennis Tournaments drew
a bigger number of the movie elite this year
than ever before. * * * Clark Gable and Carole
Lombard were in attendance practically every
day. • * • Connie Bennett entertained the
Maharajah and Maharanee of Indore, both ten-
nis enthusiasts. * * * Tennis is the only sport
that brings out Fred Astaire, Myrna Loy, or
Ginger Rogers. All three were there this year.
• • * Willie Wyler alternated entertaining June
Travis and Simone Simon in his box — and tne
day of the finals brought both! * * #A°a Bob
Taylor attended two days. Alone. * * *

g# DAYLIGHT

Intensified lighting at the center of
interest and action, customary even
in outdoor scenes, demands a light
source of tremendous power to
compete with the brilliant daylight
of desert locations.

Only the Carbon Arc is Capable of Producing Light
of Greater Intensity than Daylight on the Desert

Behind the scenes in the desert during the filming of Selznick International's all techni-
color production, "The Garden of Allah," co-starring Marlene Dietrich and Charles Boyer.
David 0. Selznick, producer of the Robert Hichens play and book, and Richard Boleslawski,
director, worked under incredible difficulties, amid insufferable heat and raging sand-
storms, in order to capture the loneliness of the Sahara wastelands. Howard Greene
photographed the all technicolor production, with Hal Rosson serving as photographic
adviser and W. A. Oettel, studio chief electrician.

NATIONAL

PHOTOGRAPHIC

CARBONS

National High Intensity Carbons and National Motion Picture
Studio Carbons are established as a necessity for color produc-
tions and are being used in increasing extent for black and white.

PROVIDE LIGHT OF DAYLIGHT QUALITY
• COOL • FAST • SILENT

Let our representative explain the many advantageous features of carbon are
lighting for motion picture photography.

NATIONAL CARBON COMPANY, INC.

Carbon Sales Division, Cleveland, Ohio

Unit of Union Carbide |IHN and Carbon Corporation

BRANCH SALES OFFICES: NEW YORK

PITTSBURGH

SAN FRANCISCO

ANEW
Laboratory Handbook

Motion Picture Laboratory Practice and Char-
acteristics of Eastman Motion Picture Films" is
an authoritative handbook addressed to all those
interested in the use and processing of 35-mm.
film. It covers not only the laboratory handling
of film and characteristics of present-day Eastman
emulsions, but also related subjects such as color
filters and polarizing screens. Published in re-
sponse to numerous requests for such a work, it
fills a real need in the industry. 310 pages; 84
illustrations; handsome binding, with stiff, du-
rable covers. Price $2.50. Eastman Kodak Com-
pany, Rochester, N. Y.

^MOTION PICTURE
LABORATORY PRACTICE"

HOTOGRAPHER

HOLLYWOOD

4TH YEAR

DECEMBER, 1936

VOL. £
No. 11

BY ELWOOD BREDELL

: CENTS
) A COPY

" 'Twas the night before Christmas" — but not a house within a hundred miles. It won't be long now,

though, for the chuck wagon is about ready to put forth its good things and, even the mules, will be

remembered with an extra feed. It is Christmas in the mountains as well as in the towns.

"Merry Christmas to all and to all a good night."

COLOR BY J. T. YOW

OTION PICTURE ARTS AND CRAFTS

A PARADE °f HITS
0N Dl PONT

NEGATIVE

^m mnm ***?[.; ... >!"Whtbdchley >

-mnrVaw iwmjm bi***"*^

BBSS

phofographed
GEORGE b/

Semens

■ I '

photodpaphed

KARL by
STRUtf

■

REG. U. S. PAT. OFF.

Du Pont Film Manufacturing Corporation

35 WEST 45th STREET
NEW YORK CITY
PLANT . . . PARLIN, N. J.

SMITH & ALLER, LTD.

6656 .. SANTA MONICA BLVD.
HOLLYWOOD, CAL.

The Cine Brings Nature to the Whole World

p <<**«$ '."•':• "J

'i&L .+*';

A glorious and most effective sunset shot by Paul Park, at Los Angeles Playground. Mr. Park is a master of the unusual
and is so represented here. He is a member of Local 659, I.A.T.S.E. and M.P.M.O. At present Mr. Park is doing notable

camera work with the Index of American Design.

A beautiful shot by Art Marion, Local 659, I.A.T.S.E. and M.P.M.O., away on location with the celebrated Buck )ones, at
Lone Pine. The Mount Whitney range is in the background. Lita Chevret, leading lady in "Sand Flow," with Buck Jones.

INTERNATIONAL
PHOTOGRAPHER

MOTION PICTURE ARTS AND CRAFTS

Vol. 8 HOLLYWOOD, DECEMBER, 1936 No. 11

Publisher's Agent, Herbert Aller

Silas Edgar Snyder, Editor-in-Chief

Helen Boyce, Business Manager

Earl Theisen and Charles Felstead, Associate Editors

Lewis W. Physioc, Fred Westerberg, Technical Editors

John Corydon Hill, Art Editot

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.

CONTENTS

Front Cover by Elwood Bredell
Frontispiece by Paul Park, Art Marion

TAKING THE BUNK OUT OF AFRICA ------ 4

By Hal Hall
PERSPECTIVE (Continued from November) - 6

By Lewis W. Physioc
UP THE LADDER WITH HAL MOHR ------- 7

COLORFILMING IN A BRITISH STUDIO ------ g

By Ray Rennahan
IS PHOTOGRAPHY EXPENSIVE? -------- 10

By Karl Barleben, Jr., F.R.P.S.
RESEARCH -------------- 12

By Cecil B. de Mille
KEY TO COLOR - 14

By Mary King Hunter
HITTING THE HIGH SPOTS WITH INFRA RED - - - 16 & 17

By Chalmers D. Sinkey

AMATEUR MOTION PICTURE DEPARTMENT:

"Your Merrv Christmas Movie" -------- lg

By F. Hamilton Riddell

Cinema Tidings ------- 19

Questions and Answers ----------20

By F. Hamilton Riddell

Right Off the Reel ----- 21

By F. Hamilton Riddell
"THE GARDEN OF ALLAH" --------- 26

By Herbert Aller

PHOTOGRAPHY YEAR BOOK 1936-37 28

International Art

CLASSIFIED - - - . --------- 30

HOLLYWOOD OFF STAGE 32

By Earl Theisen, Associate Editor

Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles,
California, under the act of March 3, 1879.

Copyright 1936 by Local 659, International Alliance of Theatrical Stage Employees
and Moving Picture Machine Operators of the United States and Canada.

Office of publication: 506 Taft Building, Hollywood, California

Hillside 7221

James J. Finn, 580 Fifth Ave., New York, Eastern Representative

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

Subscription Rates — United States, $2.50; Canada and Foreign $3.00 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. 9. A. at Hollywood, California

80^EggjQ>

SERVICE ENGRAVIMG CO

In January, 1937, issue of
INTERNATIONAL PHOTOG-
RAPHER, Associate Editor Earl
Theisen will appear in Part One
of an authoritative article on
"Censorship," a subject of in-
terest not only to the workers
in the Motion Picture Industry,
but to every individual of the
General Public. It is timely
and of great import in these
days. Read it.

Technical Editor Fred Wes-
terberg will return in January ro
INTERNATIONAL PHOTOG-
RAPHER with additional Cine-
matographer's Tables and a
Second Edition may very soon
be announced. Mr. Wester-
berg since retiring from his
cinematographic work in Holly-
wood has devoted his time to
the development of color in
Graphic Art.

Bob Tobey, of the Cinema-
tographic Department of Co-
lumbia Studios, and who for
three years has conducted the
Cinemacaroni" feature as a
gift to Local 659, has retired in
order that he may devote all his
time to his work. During this
time Mr. Tobey developed a fine
talent for cinematic review and
created an unusual comedy
character named, "The Ghost,"
who is likely to make him fa-
mous some day. The staff of
INTERNATIONAL PHOTOG-
RAPHER and his host of friends,
while regretting Mr. Tobey's
departure wish for him and his
unlimited prosperity and hap-
piness.

iHrcry (Eljristmaa

PRESIDENT GEORGE E. BROWNE

AND HIS EXECUTIVE STAFF

FROM

West Coast Studio Locals

INTERNATIONAL PHOTOGRAPHERS

Local 659
INTERNATIONAL SOUND TECHNICIANS

Local 695

STUDIO TECHNICIANS * LABORATORY TECHNICIANS

Local 37 Local 683

Four

The INTERNATIONAL PHOTOGRAPHER

December, 1936

TAKING THE BUNK OUT OF

AFRICA

Cameramen Who Are Planning Journeys To The Dark
Continent Please Take Notice.

By Hal Hall

HE writer has just looked at six reels of film
made in the jungles of Africa by a retired
insurance executive whose chief hobby is
picture making. Would that every camera-
man and every producer in this Hollywood of ours
might see those reels. The cameraman to see what
can be secured by a man unhampered by stories,
scripts and location hunting experts; the producers
TO SEE WHAT AFRICA LOOKS LIKE and what the
animals REALLY do over there in that badly libeled
country.

Perhaps producers might be amazed to see three
lions feasting off the same dead carcass as peace-
fully as three lambs nibbling grass in a quiet
meadow in Western New York state. No fighting.
No tearing each other into bloody, revolting messes.
No hokum. Thrills? Yes! Five natives playing with
a flock of hooded cobras, mambas and other ven-
omous reptiles. A cobra sneaking up on one of the
natives; sinking his fangs in the black fellow's leg.
And the native merely reaching down and brushing
the snake off as though he were a pesky fly.

Perhaps before going further it would be well to
say that the man who made this film is Harry C.
Pearson, of Chicago, and Los Angeles. But, while
giving credit, we must also mention Mrs. Pearson,
five feet of loveliness and courage who accompanied
her husband on the seven months' stay in the jungle;
her husband's only assistant and his bodyguard as

well, standing guard with a rifle as he photographed
animals that might decide at any moment to take
exception to visitors.

The Pearson film, titled "An African Holiday,"
will probably catapult Mr. and Mrs. Pearson into as
much fame as that enjoyed by the Martin Johnsons.
Already, and not a studio executive has been per-
mitted to see it, the Pearson name is being tossed
about in practically every studio. Pearson, we can
truthfully say, is a type of man new to Hollywood
and the film industry. Whereas most people with
a motion picture fall over themselves in their haste
to show it at the studios, Pearson has steadfastly
refused for months to show his.

Studio executives cannot understand him. They
do not know that he is both wealthy and an idealist;
that he bristles like an angry dog when he sees so-
called African pictures in which "thrills" that have
been made in America have been inserted. He loves
Africa and he is a stickler for authenticity and
honesty.

"You see," explains Pearson, "we did not shoot
this picture as a commercial venture. Mrs. Pearson
and I had been hunting in Africa and had made 16-
millimeter pictures on that trip. We were not satis-
fied with them, so we decided to go back and have
a grand time and make pictures that would really
show Africa as we had found it. We purchased
Bell <& Howell 35 millimeter equipment, two Eyemos,

#-' torn i

Upper Left: Tribe of African Giants, seven feet and over, nude. Upper Center: Members Snake Brotherhood doing their stuff. Upper Right:
One of thousands of beauty spots. Lower Left: Mr. and Mrs. Pearson framed in elephant tusks, secured by their marksmanship. Lower
Right: Quiet day at home for flock of hippos. Lower Center: Sad and lonely rogue elephant, doomed, on account of his ugly disposition, to

flock by himself.

December, 1936

The INTERNATIONAL PHOTOGRAPHER

Five

one fitted with external magaines and a battery-
operated motor. We took the lenses we thought we
needed. We took a Harrison color unit and we took
a Leica and a Graflex, also two photo-electric ex-
posure meters — absolutely necessary over in that
country.

"All set with our photographic equipment, we
decided to make a film of Africa as it is. I very
frankly am fedup on the fake scenes one sees in
practically every African picture. The thrill things
of the ordinary commercial film just do not happen
in Africa. But there are so many things never found
or photographed that we believed we could get an
interesting film document that would be packed
with the unusual; that would remind us in future
years of our holiday in the jungles.

"Well, when we finally returned and some of
our friends in Hollywood had seen the rough cut
they told us we had a real picture. So now we are
having a music background recorded and a narra-
tive spoken and the picture will be in six reels, with
about three hundred feet in natural color; the first I
believe that has been made in East Africa. Now I
expect to release the film through one of the better
film companies. But I will not let anyone see it until
I feel it is completely ready.

"Instead of depending upon hokum scenes in
which lions tear up the black boys or tear each
other — none of which ever happens in Africa — we
will show things never photographed before. For
example, a ceremonial of the famous snake brother-
hood. Not a dozen white men have ever seen these
strange black fellows gather together cobras, mam-
bas and other reptiles of equally poisonous repute
and wind up their ceremonies by rolling on the
ground with these snakes, completely immune from
the deadly poison as the snakes sink fangs into them
at will. We have it in our picture.

"Ever since an animal called the Okapi was dis-
covered in 1901, explorers and naturalists have been
trying to photograph it in its native African haunts.
I am happy to say that Mrs. Pearson and I are the
only people who have been able to do this. We have
the record in our film. The Okapi looks like a cross
between a giraffe and a zebra.

"Much has been heard of a tribe of giants, no
man of which stands less than seven feet in height.
After months of effort we were fortunate enough to
locate this tribe and made the only photographs of
them ever made. They are a strange group, and
the men are the only ones in all of Africa who
habitually go stark naked.

"Another bit of luck we had was in obtaining
photographs of some of Africa's famous wild dogs.
If I am not mistaken, we made the only pictures of
them ever taken although many, many attempts
have been made in the past.

"Luck was again with us when we contacted the
pygmies. You see, we never asked any of the mem-
bers of any tribe to do anything that was not accord-
ing to their usual custom. In other words, we let
them know that we wanted to make pictures of them
as they really are. We did not ask them to help us
stage any battles between helpless animals. The
result was that we were privileged to photograph
scenes and peoples never before shot.

"I am bitterly opposed to faking African pictures.
I recall one episode in the making of a certain pic-
ture of Africa in which a scene was made showing
a wild boar and a leopard fighting. It was a terrible
thing in my estimation, for a tame leopard was
thrown into a compound with a real wild boar. The
leopard didn't know how to defend itself. Well, that
may be thrill, but I believe the ordinary man wants

Harry C. Pearson and
wife, while hunting
in Africa, make film
which has intrigued
Hollywood.

truth and finds it pleasanter."

Pearson is one of those men who was born to be
a photographer. He frankly declares he knows
nothing about technique or technicalities. But when-
ever he sets up his camera he seems to find the
secret of composition. His wife is also clever both
as a camera user and as a huntswoman. She
bagged a lion, an elephant, a rhinoceros and seven
leopards while with her husband on his seven
months trip. She and her husband already are figur-
ing on their next adventure.

It will be to India where they are planning to wit-
ness the coronation ceremonies when the King of
Great Britain officially becomes crowned Emperor
of India. Pearson says he will film that in color.
And, while he is willing to let his pictures be re-
leased for the screen, he says he will make that as
he did "An African Holiday," for the sheer joy of
making the picture, and if it is good enough so a
film company will want it, why all right. Otherwise,
it will join the collection of photographic trophies the
Pearsons have gathered together while enjoying
their hobby.

NEW COWBOY BALLAD

They'll soon be humming a new cowboy song
that Buck Jones says is the most appealing range
ballad written in many a year. The tune is called
"Sandflow" and was written by Betty Laidlow, with
lyrics by Robert Lively, for Jones' latest picture of
the same title.

ACTOR CARRIES MINERS UNION CARD

If and when George Murphy decides to leave
Hollywood and the silver screen, he'll find no diffi-
culty in going back to his old job, for the handsome
Irish actor now enacting the romantic lead opposite
Doris Nolan in Universal's musical production, "Top
of the Town," still retains his United Mine Worker's
union card.

After being graduated from Yale, Murphy went
to work in a Pennsylvania coal mine because he
needed money and is still a member in good stand-
ing with the coal miners' union.

Mr. Photographer:

WE WANT A PRINT

of the best travel, horse, dog or sports photograph you ever
made. If we use it, we will pay publishers rates and give
credit ; if not we will return promptly.

THE SPORTSMAN PILOT

515 Madison Ave.

New York, N. Y.

The INTERNATIONAL PHOTOGRAPHER

December, 1936

PERSPECTIVE

INSTALMENT No. Ill

By Lewis W. Physioc

(Continued from November issue)

|N the preceding instalments, we have shown
that the essentials of perspective are diffi-
cult to establish. These essentials, we have
learned, are the two vanishing points, and
the measuring points. We have shown, also, how
easily these essentials may be secured by this new
and simple method.

Further than this we make no claims to origi-
nality, and, after having established these essential
points, the student may apply the long known and
accepted rules, tricks and short cuts in working out
the details.

We do claim, however, that being able so easily
to establish the fundamentals, the details are pro-
portionately simplified after the fundamentals are
correctly established.

It likewise is noticeable that the scenic artist, due
to his training on large scale subjects excels in these
tricks and short cuts.

It will be remembered that the one troublesome
feature is that second vanishing point.

To further illustrate this point, we offer the fol-
lowing proposition: We may establish an arbitrary
horizon and upon this line mark out an arbitrary
vanishing point; and to this point we may run a
series of arbitrary vanishing lines. All these lines
may represent the construction lines of a building,
street, etc. Considered as an independent series,
these lines vanish properly, without any question.
But the moment we try to establish the lines repre-
senting right angles to the first series, it is no longer
a matter of arbitrary choice — there is only one point
on the horizon to which this second series may con-
verge: That point must be scientifically established.

Plate 5 illustrates this problem and is an elabora-
tion of the solution as suggested in Figure 2 (Plate
4) and its accompanying formula.

This problem frequently crops up during the
scenic artist's experience. It may be that the sketch
furnished by the art department is a hasty sugges-
tion. The scenic artist must furnish the accurate
details. The huge drop before him must show a
series of city buildings, or the like.
Process:

Establish the horizon — the desired height of eye
(or camera). The known height of the horizon fur-
nishes a scale for measurements — in this instance,
10 feet: Consequently the distances between points
W, W' and W" and the horizon represent 10 feet.
This scale also may be converted, to establish the
desired proportion of the buildings, according to judg-

ment. We say judgment because we have not been
furnished those accurate provisos, as shown in
Plates 1, 2 and 3. For instance, if the building sug-
gested is to be a skyscraper, the 10 foot scale may
be converted to represent 100 feet.

The one arbitrary vanishing point (we have dis-
cussed), may be conveniently located, as shown at
VP-F'. The axis, or distance from EYE to E', F-G,
may be known or may also be assumed, and fur-
nishes angle A' and angle B'. According to the for-
mula (Figure 2, Plate 4, November issue) either of
these angles, together with the distance between F
and F' will furnish VP-E (160 feet, 4 inches).

Now comes the difficulty: The scale is so enor-
mous, manipulations are awkward and puzzling, we
must resort to the scene painter's tricks. We may
construct the problem in reduced scale, using inches
instead of feet.

Secure the measurement (in feet) from G' to I.
Measure down from I to J, the equivalent of this
measurement in inches. Take the equivalent of G
and G' and establish g and g' — the reduced scale
axis. From g-g' to e'-f is the reduced scale of EYE
to E', F, G. The line e-f is the reduced scale hori-
zon. Points e-e' (in inches) equals VP-E and E' (in
feet).

The line extended from I to e gives the proper
vanishing inclination, as may be proved by con-
tinuing the line to the actual vanishing point VP-E.

By connecting point VP-E and EYE, VP-F' and
EYE, we establish the equivalent angles: Angles
C-C; D-D'; A-a; B'-b'; B-G; A'-a'.

So far only two vanishing lines have been se-
cured—I-e and I-f (VP-F').

Those running to VP-F' are easily secured be-
cause of its convenient position, but VP-E, being
160 feet distant is impossible of attainment. Divide
both edges of the building (W-W) between the hori-
zon and I, into equal parts, as suggested at 1,2, 3,
4, 5, 6: or by extending upward the distances be-
tween W and horizon — W' and horizon. Thus we
get the proper vanishing inclination of the lines

WE WANT TO BUY

ALL KINDS OF CAMERAS

Mitchell, Bell & Howell Eyemo, DeBrie,
Akeley and other makes. Also all camera
accessories, tripods, lenses, motors, labor-
atory and cutting room equipment.

WE PAY HIGHEST CASH PRICES

Get in Touch with Us at Once

CAMERA EQUIPMENT, INC.

1600 Broadway New York City

December, 1936

The INTERNATIONAL PHOTOGRAPHER

Seven

Plate -5

without the aid of the far distant VP-E. These may
be proved (in the drawing) by extending 1, 2, 3, 4,
5, 6, to VP-E.

Each building of the subject may be similarly
and quickly plotted, regardless of any change of
angle necessitated by the winding of streets and
varied positions of the buildings.

£Y£

Up the Ladder With Hal Mohr

wrote originals, became a cutter ,and directed and
filmed such stars as Harold Lloyd, Bebe Daniels,
Belle Bennett, Mary Pickford and Douglas Fairbanks.

The secret is that, unfortunately for Hal's aspir-
ations to direct, he became too fine a cameraman.
Producers refused to let him direct as they needed
him too badly in the camera department. Capable
directors are legion in Hollywood while sure-fire
cinematographers are at a premium so why, they
argued, take a chance on having such films as
"Midsummer Night's Dream," "Captain Blood," and
"Green Pastures" jeopardized photographically?

Hal at present is busy whipping his story mate-
rial into the final shooting script and testing one
actress after another. Usually a new director wants
tried and true performers in his cast, but Hal is
eagerly searching for new talent. "Might as well
start us both out together," he grinned.

There are many reasons why cameramen make
good directors — all the technicalities are an open
book to the photographer who has fought his way
up to the foremost ranks of this department. How-
ever, along with this knowledge the man guiding
the stars must have the right executive ability — or
he finds himself with a letter perfect picture as to
details — but a flop as to box office appeal.

Hal has been fought for by stars, not only be-
cause of his photographic ability, but because his
human and kindly qualities have brought him many
personal friendships with the celebrities. Just as his
convincing personality has won the confidence of
players placed in his hands to be photographed,
so it will win over those who come to be molded into
definite screen characterizations.

Amateur photographer — ace studio cameraman
— and now — director!

Such is the history of a San Francisco lad, Hal
Mohr, who recently had the honor of successfully
pleasing four feminine hearts, cinematically speak-
ing, while doing the camera work on Ladies In Love.
Any man who can photograph Simone Simon, Janet
Gaynor, Loretta Young and Constance Bennett sim-
ultaneously— and not only live to tell the tale, but
be flush with compliments from each star — must be
good!

"I'm going to prove I can direct pictures better
than I can take them," he says enthusiasticaly. As
it is well known in Hollywood that the man who can
visualize each scene before it is shot and is able to
make any and all sequences interesting through the
medium of odd camera angles and lighting effects,
is the one who has won half the directorial battle,
it seems Hal's statement will be proven when Class
Prophecy is released.

This Universal assignment which welcomes Hal
into the directorial field is not his first venture. At
the age of fifteen he built a camera composed of
contributions from junk heaps, found to his amaze-
ment that it worked and started snapping news
events about his home town for Sid Grauman's
father to run between stage shows. From that time
on he produced pictures, worked in film laboratories,

JTr-

Colorfilming in a British Studio

.By Ray Rennahan

I HE British studios are so widely scattered
among London's sprawled-out suburbs that
if you're on a picture in one studio, you
have very little opportunity to get around to
explore the others. So my remarks must be based
on what I actually experienced while photograph-
ing Robert Kane's Technicolor production, "Wings
of the Morning," which Harold Schuster directed at
Alexander Korda's remarkable new plant at Den-
ham. But the American cameramen who have made
pictures at the other studios in England agree with
me that the outstanding feature of transatlantic pic-
ture-making is the genuine friendliness with which
the British welcome reputable American technicians.
Everyone — from the highest executive down to the
gate-man — goes out of his way to cooperate with us,
and to show his appreciation of our being there. It
is the same in every studio.

British film-production actually dates back to pre-
war days, but the modern British film industry is
relatively young. Being young, it has all the advan-
tages and disadvantages of youth. Perhaps it has
much to learn that experience has made second
nature to us; undoubtedly it makes mistakes, even
as we do in Hollywood; sometimes it evidences
growing-pains. But it has a vigorous, young spirit
that is a grand tonic: a determination to learn and
to succeed. It is the same youthful enthusiasm we
old-timers remember from the days when Hollywood
was growing from a sleepy village to the world's
film metropolis.

In England, however, there is one tremendous
difference: this youthful vigor has the latest and most
modern tools to work with. The newer British studios
are quite on a par with any in Hollywood; in some
cases, their equipment is even newer. England's
greatest lack is in experience and trained techni-
cians; but time will supply both, while American
help is undoubtedly speeding the process.

The Denham studio, where I worked, by far the
most complete and modern studio I have ever seen,
was planned and built by Jack Okey, well-known in
Hollywood where he was for years an Art Director
at Warner Bros. Its location is unique: an old estate
bought from the once wealthy family that had owned
it for generations. In building the studio, the beauty
of the place has been kept intact. The original
house — a hunting lodge — houses the top executives.
The extensive stables have been remodeled into cut-
ting rooms, shops, and the like. The parked grounds
of the estate, through which flows the picturesque
river Coine, furnish exterior settings of unusual
beauty.

Entering the estate, a curving drive brings you to
the main buildings of the studio. You can enter the
administration building through any of three large
reception halls, all of which are connected by a long

corridor lined with executives' and directors' offices.
From the reception rooms, roofed and glass-walled
corridors lead across a garden to the equally large
dressing-room building, which also houses Art, cos-
tume and make-up staffs. Beyond, more covered
pathways lead to the row of six big sound-stages.
Two of them — the oldest — are only average-sized;
but the other four are really big: they are at least as
large as Stage 5 on the United Artists lot here in
Hollywood. At the far end of this group of buildings,
and reached by more covered and glass-enclosed
walks, is the studio commissary, with its cafe, bar,
executive dining-rooms and the like. If you have
had any experience with England's showery climate,
you will appreciate those covered walks: once in
the studio, you can go through your whole day's
activities without having once to think about the
weather!

Another convenience which would be of real
value here is the fact that near each stage is a separ-
ate lounging-room for the extras. When you have a
big crowd on your set, it is very helpful to be able
to send those not immediately needed in the scene
to this lounging-room, where they can smoke and
gossip to their hearts' content, and yet be instantly
available when needed.

On those six big stages, you will find an amazing
number of familiar faces. Quite aside from the many
actors, directors and writers from Hollywood work-
ing at Denham while I was there, I found Johnny
Boyle, Al Gilks, Jimmie Howe, Phil Tannura, Lee
Garmes and Roy Clark working on adjoining stages.
Bill Hornbeck, formerly Sennett's Chief Cutter, is the
mainstay of Denham's technical staff. Ned Mann
has charge of miniatures. And there are many more
Americans in the other studios. Incidentally, the only
first cameraman at Denham who was not an Ameri-
can was Georges Perinal, the Frenchman who filmed
"Henry VIII" and "Things to Come."

This does not mean that there are no good Eng-

(Turn to Page 13)

"DARE DEVILS of the AIR"

Now in 16 M.M.

Featuring the World's Greatest Stunt Fliers

Photographed and Produced by

The World Famous Aerial Camera Artist

ELMER DYER

Price— 400 Ft.— $20

NUART PRODUCTIONS

108 So. La Jolla Ave. Los Angeles, Calif.

A Messenger From Florida

Esselle Parichy, of Miami, Florida, accompanied by his wife,
spent November in Hollywood and is now enroute home after seeing
all the picture shows and hob-nobbing with their many friends
among the cameramen.

Mr. Parichy is an old-time member of Local 659, and he is
especially well known to readers of INTERNATIONAL PHOTOG-
RAPHER because of contributions to its columns through several
years of travel and news-reel adventure in many lands, including
Alaska, Canada, England, Europe, Egypt, India, South America,
Central America and the ancient stamping grounds of the Mayas,
Toltecs, Aztecs and the practically forgotten people of the Fourth
Sub Race of the Fifth Root Race — strange to most of us.

During the last two or three years, Mr. Parichy has made a
study of the Caribbean Sea and its countries and of the West Indies,
particularly Haiti, and he is soon to have on the press a tale of
Haitien life — the Black Magic of the Antilles.

Mr. Parichy loves Hollywood and likes cameramen, but he has
the greatest confidence in the future of Florida as a home place —
hurricanes or no hurricanes — "for," he declares, "a way has been
found to harness the hurricane for good!"

3n lEuery (Eoutttrg in tlje Wavib

MITCHELL CAMERA CORPORATION

665 No. Robertson Blvd.
West Hollywood, Calif.

Cable Address "Mitcamco"

Bell & Howell. Ltd , London, England

Claud C. Carter, Sydney, Australia

D. Nagase & Co., Ltd., Osaka, Japan

Phone OXford 1051

AGENCIES:

Motion Picture Camera Supply Co., New York City

Bombay Radio Co., Ltd., Bombay, India

H Nassibian, Cairo, Egypt

Ten

The INTERNATIONAL PHOTOGRAPHER

December, 1936

i Is Photography Expensive?

By Karl A. Barleben, Jr.. F.R.P.S.

Dean, New York Institute of Photography

|S photography an expensive hobby? How
often does the photographic salesman hear
this question? Beginers, or rather would-be
beginners, in this most fascinating field are
often awed by the advertisements of high-grade and
expensive cameras and equipment. Who can blame
them for their fears on the expense question, when
their knowledge of photography is so limited?
Readers of this article are undoubtedly of the brother-
hood of ardent amateur photographers, and I am
sure that all will agree that those whose interest in
photography has only recently been aroused, should
be encouraged rather than squelched. You, reader,
can do your share in this matter, for you undoubt-
edly are asked: "Is photography expensive?" from
time to time. In case even you are not convinced
that photography is a most inexpensive hobby, the
following is bound to be of interest, and if you will
realize that expense in photography is mainly a
matter of the individual, the following may give you
a few additional pointers with which to combat the
insidious expense question which never fails to rise
in the beginner's mind.

Photography is exactly what you make it. It
can be a most costly pursuit, or, on the other hand,
it can cost practically nothing. It all depends upon
the individual. No one will disagree with the old
suggestion that the best camera the pocketbook will
stand should be obtained. Yet, if a person with
very limited means really wants to make pictures
and create art by means of the lens, his equipment
need not cost him more than one dollar for the
camera! You and I may scoff at the lowly box
camera with its single, slow lens — we who are used
to precision cameras for which we possibly smoked,
ate or went to the movies less to buy — but there is
no denying that excellent photographs can be made
with the cheapest of cameras.

The beginner will, in all probability, not be able
to handle a more expensive and complicated instru-
ment anyway, so why not advise him to obtain a
simple, inexpensive camera to start with? The art
of photography knows no price. A pictorial print
in a salon cares not the manner of its origin — the
finest anastigmat lens, or the cheapest disc of bottle-
glass may have been used for its creation. It cares
not. The judges care not. And those who see it
care not — unless they happen to be enthusiasts, as
many are, and want to know all the technical de-
tails. The point is, that we like and appreciate a
photograph for what it tells us, for the joy it pro-
duces for us in looking at it. Those who are genu-
inely interested in photography feel this way about
it, and don't care a hoot what sort of camera was
used to produce the picture. Many a salon print,
winning high honors, has been made with a cheap
camera — but who cares? It's the picture that counts.

If beginners are made to understand this, they
need not feel ashamed to buy and use a simple
camera. Whether an artist uses the most costly
sable brushes or only his fingers to paint a picture,
matters not at all to those who find beauty in the
result. We, who are fortunate enough to own high-
grade equipment are often likely to become snob-
bish— we look down upon the "poor devil" who
must struggle along with his inferior equipment, yet,
the user of such inferior equipment is often the
better photographer because, being thus handi-
capped, he must exercise his skill and knowledge to
a greater degree.

When you stop to think about it, expensive
cameras offer only greater flexibility, wider latitude
and the satisfaction in owning precision and finely-
made mechanisms and optics. Obviously, better
pictures under adverse conditions result, but we pay
for the privilege. A simple lens, such as is found
in the average box camera, can be made to yield
a good deal of pleasure — if one knows how.

With a simple meniscus lens, rated somewhere
around f : 1 1 and a rotary shutter which half-heartedly
clicks off exposures at approximately l/25th second,
one can indulge in practically every phase of gen-
eral outdoor photography with keen enjoyment. Of
course, one must choose a bright sunny day and
pick out well-lighted areas to photograph. It is im-
possible to photograph horse races and similar fast-
moving objects. But again, what of it? There are
countless subjects well-suited for the strict limita-
tions of the simple camera. With present-day film,
which has been speeded up tremendously, even
unfavorable conditions are no serious handicap.
The box camera is awkward to carry about. It
does not fold flat and conveniently to permit its
being carried in the pocket. It is crudely made, and
quickly shows signs of wear, but all in all, it is a
faithful servant, and gladly does everything within
its power — the trouble is that most beginners are
not entirely familiar with the fundamentals of pho-
tography, hence, they expect too much for their dol-
lar's worth of camera. But, that is not the camera's
fault.

M Variable area recorders'

^r PATENT NO. 1985584. OTHERS PENOINC
? ALSO

j ^^ 35 mm to 16 mm ^^
^ rj REDUCTION SOUND PRINTER 1^
W CD AND LJ
M ^ SOUND EQUIPMENT ^

T ^^ Cable address CRSCO \^

♦ C. R. SKINNER MFC. Co.

i90 TURK bTREET PHONE ORDWOV 6909

^L l San Francisco. California U. S. A. j

December, 1936

The INTERNATIONAL PHOTOGRAPHER

Eleven

The simple box camera has undoubtedly been
the forerunner of many an expensive outfit, and like
as not, was the means of educating its owner in the
fine points of camera technique. The beginner who
has never had a box camera doesn't know the joy
of finally possessing a fine, expensive camera after
having waited and saved for it for years. In our
sophisticated age, the beginner is more likely to get
a complicated camera right at the very start, and
then swear at it, instead of by it, if successful re-
sults are not, on the first attempt, forthcoming. This
IS a waste of money in such a case. If the beginner
has the means to invest heavily in good equipment
and selects a Contax, Rolleiflex, Linhof, Graflex,
Plaubel Makina, Voigtlander "Tourist" or similar
costly camera, he is wise to first learn the prin-
ciples of photography before actually using his
newly-acquired prize. The camera is, after all, an
instrument, and must be carefully guided by the
human element — it cannot itself make photographs
unaided.

The beginner is advised not only to get a cheap
camera to start with, as a point in his education,
but also get a good book or two on photography
in order to grasp the underlying principles in order
to more efficiently — and economically — indulge in
his hobby. Expensive cameras can come soon after,
if the purse permits; then it will be a two-fold pleas-
ure, for the jump from a cheap to expensive camera
is not only pleasant, but satisfying as well.

As a matter of fact, a camera need not even be
purchased in order to make good pictures. A box
fitted with a pin-hole makes one of the finest cameras
you'd want to use. Such a camera can be made at
home, and just think — there is no focusing for sharp-
ness, no aberrations such as are common in glass
lenses and perhaps the best part of it all is the
fact that the pin-hole lens can be made to alter its

focal length at will. The "lens" or pin-hole must,
naturally, be carefully made. The hole should be
drilled with a fine needle in a thin piece of metal,
smoothed off, and finally blackened with lamp-
black, for paint is very frequently so thick as to
clog the "lens" or pin-hole. But there is a camera.
And don't make the mistake of believing its results
are poor. On the contrary, a pin-hole camera pro-
duces a wonderfully-drawn image — not wire sharp,
but naturally soft, as the eye sees the scene. Dis-
advantages include the necessity of using a tripod,
for time-exposure must be made. Pictorialists often
substitute a pin-hole lens for their high-grade lens
when they want a particular effect. So don't laugh
too loudly at the home-made pin-hole camera.

The expenses connected with photography, aside
from the purchase of the camera, depend greatly
upon the judgment of the buyer in the first place.
More and more photographers are coming to use
the smaller sizes of films because of the economy
factor. A camera, like a car or a wife, is not a
matter of initial purchase, but of up-keep. An ex-
cellent camera can be had for a few dollars which
takes 5x7 inch plates or films, but he who buys
it with an eye to economy has false values, for that
cheap camera can eat him out of house and home
in a short time. True, the initial cost is negligible,
but the up-keep — . So it is not to be wondered at
that smaller cameras are becoming increasingly
popular. Negative sizes of lxl Vi, l5/sx21/2 and21/4x31/4
inches are at this time in great demand. Cameras
using these sizes may be had as costly or inexpen-
sive as one wishes, but it can be seen that he who
buys a better grade of camera of a small size can
well afford it because the up-keep is trivial.

So an eye to up-keep is necessary when con-
sidering costs. Don't for a moment believe that the
(Turn to Page 21)

ii'

The Qarden of ALLAH

A TRIUMPH of TECHNICOLOR

AND

H. I. ARC LIGHTING

MOLE-RICHARDSON, Inc.

941 North Sycamore Avenue Hollywood, California

Motion Picture

Lighting &
Equipment Co.
NEW YORK

Mole-Richardson

(England), Ltd.

H. I. Arc Works

LONDON

Bombay

H. Nassibian

Radio Co.

CAIRO,

BOMBAY

EGYPT

Twelve

The INTERNATIONAL PHOTOGRAPHER

December, 1936

Research For Cine Production

THE PLAINSMAN"

By Cecil B. De Mille

F you should ever give any thought to the
reasons for the extensive research that goes
^1 into the making of an historical film, you
will come to an amazing conclusion:

Every costume, every article of furniture and
every bit of architecture in the film must be abso-
lutely accurate — so it won't be noticed!

Far from trying to show what we can do in
mechanically duplicating the past on the screen, we
avoid any conscious display of our efforts at authen-
ticity. The main object is to keep the audience in-
terested and carried along by the flow of the story.
Authenticity helps the illusion of reality. But an
anachronism in dress, scenery or properties will
very often stand out, causing the audience to think
about the error committed — instead of paying atten-
tion to the action and dialogue of the players.

And even beyond his obligation to his imme-
diate audience, the producer has an obligation to
posterity. In making an historical film, he is chron-
icling the past for the instruction and entertainment
of an incalculable number of people who will see
it in the future. And it is as much of a duty for
him to make his account of the past approximately
accurate, as it is for the text book historian to do
so. In short, honest research and painstaking ac-
curacy in films is demanded by all the canons of
art and all the ethics of picture-making.

Research on "The Plainsman," on which I am
now busy, with Gary Cooper and Jean Arthur star-
ring Wild Bill Hickok and Calamity Jane, started
six months before filming began — and is still going
on. To give you some idea of the magnitude of
the task of making every detail of a motion picture
accurate: Jeanie Macpherson, Mrs. Ella King Adams,
Joe De Yong, Dwight Franklin, Chief Thunder Bird,
and Natalie Visart are just a few of the people who
have worked on research for me since I decided to
make this picture.

And to these writers, designers and technical ex-
perts, add the efforts of everybody on my staff —
since there is no one who works for me who doesn't
read and note and suggest throughout the time we
are in the throes of turning out a picture.

It is true that a large part of the audience doesn't
know, or care whether officers in the Union cavalry
wore boots that stopped short of the knees or ex-
tended above them. But if such things are imma-
terial to that audience, they are not immaterial to
thousands of people, including teachers and their
pupils, who will see and believe this film. And they
are not immaterial to us who are making the picture
and want to do an honest job of it, if only for our
own satisfaction.

In "The Plainsman" we condense the events of
ten years in the lives of Wild Bill Hickok, Buffalo
Bill Cody, Calamity Jane and others. This is neces-
sary for dramatic unity, but the events themselves
must be conscientiously presented. And to be sure
that no slip is made, every costume, every set, and

every property to be seen in the picture — except for
certain authentic antiques — has been made just for
this picture.

There are many western sets standing in Holly-
wood, any of which we could have used. But we
built our own — three acres of them — so that they
would be absolutely in keeping with the period
1865-75. There are countless Indian costumes and
properties available, but we had ours made at the
Rosebud Reservation in Montana from sketches by
Joe De Yong — noted artist and authority on Indian
lore — in technical collaboration with Chief Thunder
Bird, of the Cheyennes.

We could have deferred to such American falla-
cies as the belief that Horace Greeley coined the
advice, "Go West, young man." Instead, we are
crediting the real author, John B. Soule, editor of the
Terra Haute Express, who, because he started a
widely printed editorial, "Horace Greeley never
gave better advice than 'Go West, young man,' '
created a notion that Greeley had already given
that advice.

In other words, we are trying to bring the post-
bellum decade to the screen just as it was. But
not to show how technically clever a production
staff can be. Our only object is to make Wild Bill
Hickok, Calamity Jane and the others as alive and
real as possible, and get audiences engrossed in
the events of the lives portrayed.

ERRATA

In article by Roy Tash, International Photographer, Nov.,
1936, "Shooting at Five Past Two" — E. M. Newman Color-
tours, Warner Bros., Vitaphone Release, in heading, should
be eliminated as misplaced.

There should have been an underline beneath the pho-
tographs reading: Copyright 1936 NEA Service, Incorpor-
ated.

In heading, also, the name (Hon. David A. Croft, Chief
Guardian of the Quintuplets), should read — CROLL — not
CROFT.

December, 1936

The INTERNATIONAL PHOTOGRAPHER

COLORFILMINC IN BRITISH STUDIOS

(Continued from Page S)

Thirteen

lish cameramen. There are, though not enough as
yet to meet the needs of Britain's suddenly expanded
production. But as England has had to revamp its
producing industry so suddenly, the native camera-
men have temporarily had to take a back seat to
the Americans, just as we once gave precedence to
cameramen from Paris, Rome and Berlin when those
cities were leaders in production. And just as our
native-born cameramen eventually proved them-
selves artists equal to the best of any other country,
so, too, we will unquestionably find the British re-
establishing themselves in their own studios, work-
ing side by side with the world's best.

On the set itself you will immediately see more
familiar "faces" — this time inanimate ones. The
equipment used in modern British studios is predomi-
nantly American. Britain has developed little in this
line, aside from Cooke lenses which are as popular
in Hollywood as in London. And of course the Amer-
icans have asked for — and gotten — the equipment to
which they are accustomed. Our picture was shot
with a Technicolor camera that had seen service on
most of Hollywood's color productions; but while
some of the European cinematographers favor the
DeBrie, Eclair and Vinten cameras, the majority of
England's films are photographed with American
Mitchells, housed in Yankee blimps. The color films

are made with the four complete Technicolor outfits
now in England. Most of the recording, too, is done
on the latest Western Electric and RCA recorders. ..

Another familiar "face" is the "M-R" monogram
on the lighting equipment. The Denham plant is com-
pletely equipped with the very latest types of Mole-
Richardson lamps — 18's, 24's, Rifles, Solarspot "Jun-
iors" and all the rest of the family down to baby
spots. As we were shooting Technicolor, our set was
naturally rigged with Mole-Richardson "H. I. Arcs,"
Side Arcs and scoops, exactly as though we were in
Hollywood. Denham has enough modern Mole-Rich-
ardson equipment to take care of all the companies
their six stores accommodate at once, and arcs
enough to meet any demand a Technicolor unit
might make.

Many of these lamps came from Hollywood, but
while I was over there a British Mole-Richardson fac-
tory was started, under the guidance of another fa-
miliar face — Robert Linderman. He began his firm's
activities in England by assembling Hollywood-
made parts into complete lamps; but now that the
factory is organized, the lamps, with the exception
of the essential "Morinc" lenses of the Solarspots
and H. I. Arcs, are completely British-built. It is in-
teresting to note the British custom of frequently giv-

(Turn to Page 27)

SUPER PARVO CAMERAS

%>mm\\% (toritttga

^ndre Debrie, Inc.

115 West 45th Street

New York

Fourteen

The INTERNATIONAL PHOTOGRAPHER

December, 1936

THE KEY TO COLOR

(From Color the Spirit of the New Age)

By Mary King Hunter

[Probably the greatest color expert in the world. Editor's Note.~\

A Help Toward Color Cinematography

color.

U DARK brown vibration results in a calami-
tous aura.

After every great upheaval in history,
we see the nations begin a new cycle of
Grief, fear and misery has been the portion
of the many. Death black has stalked amongst us,
laying us low in the dark brown soil. After the
World War and just almost as soon as the Armistice
was signed, this depression showed signs of lifting.
Black and dark brown had been the colors generally
worn, expressing the attitude of the mind and heart.

White is neutral, white is a light, and white is
also a clean, moral thought.

Mix black and white, in proportion two parts
white to one part black and we have the mystic
grey. Our battleships are painted grey so that they
blend with the grey seas on which they operate.
Mystery, a little sadness perhaps, but a general
lightening of the slow, deadly vibration of the de-
pressant black. Physical and mental exhaustion
quite often accrue from continued use of black.

After the period of grey, it is always nocticeable
that the nations will again aspire. They use only
the raw, primal colors. Passions are let loose and
stalk the earth almost brazenly. We flaunt the
brilliant scarlet and dull, coarse orange tones and
dig deeply into the ecru which shows desire at its
very worst.

Yellow, the Gold of Wisdom, has been soiled or
dirtied by earthliness (brown).

Ochre or coffee shades will show indecision of
character and just as clearly do they indicate sen-
sual affections.

When we have both used and abused the ele-
mental colors, we turn from them, often with loath-
ing, "Sick of them," we will say and run through
all the gamut of color in the pastel shades. Seek-
ing, seeking, seeking, ever seeking to express our-
selves though often we know it not, or knowing it,
yet must be burnt before we dread the fire.

Diverging here for a few moments, let us con-
sider the typically grey persons. We all know them.
We meet them daily in every walk of life — black
and white, stirred together, producing only a neutral,
being merely the combination of two neutrals. The
grey person, man or woman, will be found to be
like a clean slate on which flashes of your wit or
wisdom or mayhap flashes of mine will write itself
plainly. Logical, prudent, a pacifist and a plodder,
the grey person gets there, though often "a square
peg in a round hole." Their little set or sets of
ideas are ticketed and docketed, ready for presen-
tation to the first likely purchaser of their services.
They never scale the heights — theirs not "to do or

die." From the chaff they sift the wheat of that other
person's ideas, while the temperamental genius is
still scaling the heights and discarding with scorn
the mediocrity which satisfies the one-track mind.

Thus we see clearly that white, though a light,
is also a neutral and when alone produces only a
negative effect. People who wear white for any
lengthy period often become irrational, cold, or
rather expressionless. People who are. as one might
say, condemned to wear black incessantly, are just
as unfortunate. Clerks in large stores often com-
plain bitterly about this rule or restriction and when
it is enforced to the letter no real good ever comes
from it. Yet, in my travels over this great country
and addressing, as I have dene, many thousands
of clerks, I have always made it clear to them that
black is almost a necessity. They are the back-
ground (the neutral) against which is shown the
colorful merchandise which they are engaged in sell-
ing. They should, when they go home, bathe and
rest a few minutes, then change to a colored dress,
no matter how cheap it may be, provided they vi-
brate to the color, and then look in the glass and
see how much better looking they are How much
healthier and happier to mix and blend with the
others of the home circle. Flowers will add greatly
to this happy vibration or even the use of a brightly
colored lampshade. Reason, real sound common-
sense, has therefore been at the root of changing
our dress for evening wear.

It is then clearly seen, that we all vibrate to

TECHNICOLOR

3 COLOR CARTOON

CAMERA STAND

Like New

To Be Sacrificed for Quick Sale — Outfit Consists of:

Camera stand with motor zoom and pan table

1— Beli & Howell Camera No. 759

1 — 75 mm. F.2 Speed Panchro Lens

1 — Filter Sliding Mechanism

6 — Baby Spot Lights

1 — Frame Optical Glass

1 — Stop Motor Device with DC Motor and

Automatic Clutch Photographing Three-Color

Separation Frames
2— Bell & Howell 400 ft. Magazines

Price Only $2000 Complete, F.O.B. New York

Stand without B. & H. Camera, Lens and Magazine, $1200
Photographs on Request

CAMERA EQUIPMENT, INC.

1600 Broadway New York City

December, 1936

The INTERNATIONAL PHOTOGRAPHER

Fifteen

color, whether we know it or not — men as well as
women. The mistress of the house or home usually
decorates it according to her taste and this, as we
will see, might be a great mistake.

I give this suggestion to the home-maker, who
would value above all things the united, harmonious
home atmosphere. Do not dominate your family
by your particular color-vibration. "Live and let
live" can be our color slogan.

Red is the slowest and strongest vibration of all
the colors and is a stimulant. Therefore, we are
ever ready to accept it. Its slow, triumphal, onward
marching, leaves us in no doubt as to whether we
vibrate to it or not. Many characters cannot accept
the emotional irritant red, yet Red is Life. And red
is sex — and a red light always denotes danger. Scar-
let is the "Come Hither" color of all the colors. Ac-
cording to our characters we will either love it or
hate it. And, if used with the depressant black, it
is less harmful or equally harmless as when used
in combination with a dark: blue or the neutral white.
Many older women living in a sad-negative atmos-
phere will continuously wear this uninteresting dark
blue or blue-grey which is almost as great a nega-
tive depressant as is the black. Hence, the term
"The Blues."

The various tones of blue denote an optimistic
character, also show steadfastness, loyalty and deep
hope.

Combine blue and red (Life resplendent) into a
lovely violet color, which in turn when combined
with the neutral black, shows mourning (Mauve),
pessimism and loss of life.

Blue refines, cools, delays, reduces and is at
once electrical and a depressant. Men seeking
heaven or harmony adore blue. Blue in all its
shades is essentially a man's color, representing to
the mind of the average man Peace, Harmony and
Home. Yet, blue is cold, is truthful and calming.
The higher we go into the blue the colder it becomes
and so it behooves us to be careful in the choice
of blue wallpaper, blue hangings or blue lamp-
shades. Too much blue on our table has this same
effect of coldness and austerity. It does not wel-
come unless allied with a color expressing the love
and the joy of life.

Blue is a wonderful sedative to tired nerves, and
sapphire blue always denotes a high degree of spir-
itual perception. Apropos of this, we speak of
"honest blue eyes," "calm (or clear) blue eyes."

Turquoise blue denotes culture and is a mixture
of blue and green, expressing the very highest vibra-
tion in music, art and science. Whenever any won-
derful, unforgettable memory imprints itself on our
consciousness, we find it so imprinted in blues and
greens, deep channels in which memory flows,
peacefully depicting some woodland glade or lake
enclosed in its green banks, the blue skies above
and the scent of the summer flowers.

Fresh green means to us new life and the spring-
time. Green is the cooling cclor, the great soother,
mixer and blender of all the colors (the money-
getting color) because it so successfully soothes,
mixes and blends with every other color.

Heavy, dull, grey-green is indicative of laziness
and of envy, and nile green which is yellow-brown-
ish in tone is suspicion, mistrust and jealousy.

Either dark brown or black, as has already been
shown, will muddy any clear stream of color by
its inclusion in that color.

The brilliant, successful jade has simply been
spoiled by the dark brown thought.

Yet, there are many Deople to whom green is a

forbidden color. To them it means simply grief,
sadness, sorrow and even death. An old supersti-
tion says "Green for Grief," and such is the power
of thought that people fearing ill-luck give to green
an uncanny power. The nervous, highly-strung
individual has no greater friend amongst the colors.
A dynamic character benefits, too, from the proxim-
ity as its soothing properties are proverbial. The hard
and forceful acquire peacefulness. On the slow,
sleepy-minded person, however, it reacts almost as
a drug and it is a great mistake to imagine that
success is always assured from its presence in our
home or as worn on our person.

The slow, heavy mentality requires enlivening,
brightening — vibrations. Light orange, rose pink and
a greenish-blue (aspiration, love and inspiration) a
very wonderful trio. "Sleepy Hollow" is not for the
business person, man or woman, of this busy work-
aday world, but even so, the daily use of raw green
foodstuffs is not only palatable and health-giving
but pleasing and soothing to the eye. The "wearing
o' the green" expresses freedom, joyousness and
generosity.

Young persons should have an almost all pink
room, for the pink tones are young, happy, joyous,
and loving thoughts and almost all young people
respond happily to this vibration.

Pink and white together are excellent because
white typifies purity and cleanliness and together
with pink arouses the emotional quality of love and
amiability.

A deeper shade of rose will be worn or used by
the older woman showing constancy, reliability and
personal fastidiousness.

Peach or apricot will often be used entirely to
the exclusion of the brighter pink.

Yellow is the "Gold of Wisdom" and gold allied
to pink produces peach. Thus, we will see the sub-
conscious mind doing its share and causing the older
woman who through life has been absorbing her
share of wisdom (or at least let us hope so) to ex-
press herself correctly in peach.

Now, if we pause here and adding blue to this
pink (withholding the gold) we see before us a shade
which can be classified here as fuschia. This com-
bination of color adds a little of the life of Red and
the love of the rose to the idealism, the courage of
the blue. The wearer of this color would always
be of a decided character, but would be a humani-
(Turn to Page 22)

OBITUARY

The world-wide friends of Len Roos, F.R.P.S., will
hear with great sorrow of the passing away of his
lovely wife, who departed this life recently after
several years of illness, at their home in San Fer-
nando Valley.

Both were internationally known and the be-
reaved husband was one of the leading news-
reelers of the world, with a wide experience in
cinematography and photography in general, in-
cluding its mechanics and chemistry.

Mr. Roos was absent on a professional trip when
the sad news came to him in Switzerland and
whence he was to proceed to India, Java the Straits
Settlement and other Oriental points.

He expects to arrive, returning about December
1st. His deceased wife was laid to rest in Forest
Lawn Cemetery.

Sixteen

The INTERNATIONAL PHOTOGRAPHER

December, 1936

HITTING THE HIGH S

IIND me a place," said the world's best, but
most particular newsreel, "a place that is
% spectacularly beautiful; something different!
Get me something new in the line of thrills
for picture loveis and be sure that this place lends
itself to the use of Infra Red film."

Now to find something new under the sun, espe-
cially something not yet filmed by a newsreel
camera — is quite an order. Consider Mr. and Mrs.
Public, to say nothing of most of the little Pub-
lics; who are practically satiated with thrills.
Through films, they have been eye witnesses to
everything from violent death to the arrival of quin-
tuplets.

Granting that I could think up a place to qualify
for this story, there was still the big problem of
being sure that conditions were just right for making
it on Infra film. There was one big consoling
thought about the matter: Nowhere on earth did
the Creator leave a better supply of natural won-
ders than in the Pacific Northwest. (Original idea —
not stolen from the Chamber of Commerce.)

Starting at the front door, my thoughts traveled
in ever-widening circles until suddenly they landed
about eighty miles away as the crow flies — eighty
miles away and eight thousand feet up. When you
realize that Seattle is absolutely at sea level you
can understand that these thoughts were quite, quite
up. Here they paused loftily and a bit reluctantly.
Without a shadow of a doubt, this was the place
for my picture, but while the going was easy v.i.a.
the imagination; there were certain problems con-
nected with getting there laden down with a few
hundred pounds of camera equipment.

Before we go into that I must tell you a little
about this selected spot. I, myself, am of the opin-
ion that it is one of the loveliest and most intriguing
places in America; although it is still a white spot
on the map of our continent.

The Last West, that inaccessible heart of the
Olympic Peninsula, where crude foot trails find their
way among glaciated peaks and there are deeply
forested stretches never explored by the eyes of
mankind. Mt. Olympus is the crowning point of
this Magic Land, upon whose summit less than two
hundred persons have trod with triumphant, not to
say shaking, and weary, feet; Mt. Olympus.

This mountain with its thirty-six square miles of
glacier surface, topped by a sheer rock chimney
which affords neither toe nor hand holds and which
is scaled by the dizzying method of throwing a
rope over a jutting ledge of shale and ascending
hand over hand. To lose a grip at this stage of the
climb means sure death. On one side a sheer drop
of two thousand feet; on the other a glaring icy
wall with gaping crevasses.

Mt. Olympus is a challenge to the most ex-
perienced mountain climber. It is at its worst in
August. Snow bridges are rotten, the surface drifts,
which provide sort of an anchoring medium, are
melted, leaving glaring ice. Water roars constantly
beneath the crevasses, eating at the glacier struc-
tures. Crashing avalanches tear down the ice fields
but, for Infra film, there is nothing to eclipse Mt.
Olympus in August.

The glaciers are at their spectacularly-best. Great
cumulus clouds sweep back and forth, cling to the

ByCn

Near the top we
reached a level cor-
nice. Chimney lead-
ing to actual summit
just shows — partially
at the left.

Blue Glacier, tortur-
ed and crevassed.
Two men reveal size
of fissures.

Leaving Blue Glacier,

we look up into the

white — the second

leg of the journey.

Photographs by Chahncr D. Sinkey.

charred peak as though undecided where to go and
suddenly disappear into blue sky. There is a mini-
mum of haze, and the view, reaching in any direc-
tion is beautiful beyond description.

You can see that the mountains checked per-
fectly with the requirements of my editor; it was
different, it was thrilling, and it offered clear open
vistas, punctuated by every type of clouds. Now
for the final and last little item of consideration:
Who would be willing to go along and provide some
animation for the scenes?

At first, some twenty mountaineers were eager
to go. Later, most of them thought better of it; on
the actual take-off there were just six in the party,
not counting the horse wrangler who went up to
the timber line with supplies.

December, 1936

The INTERNATIONAL PHOTOGRAPHER

Seventeen

TS WITH INFRA RED

):SlNKEY

Huge ice chunks bro-
ken off, falling with
reverberating roar.

Looking up Blue Gla-
cier; the beginning
roadway to the sum-
mit.

Looking up Blue Gla-
cier to distant goal.

Photographs by Chalmer D. Sinkcy.

In case your geography is hazy, The Last West
lies next to the Pacific Ocean, in the northermost
corner of our land. It is bounded on the east by
Puget Sound, on the north by the island-dotted Straits
of Juan de Fuca.

This region, marked "Olympic Peninsula," is a
land of rugged, primeval forests, of roaring glacial
streams and of peaks eternally covered with snow.
Almost inaccessible to man, its wild grandeur is
undisturbed by the march of civilization. Its cathe-
dral-like forests of hemlock, fir, and cedar are cov-
ered by the moss of centuries, kept more than amply
moistened by an annual rainfall of two hundred and
fifty inches.

Eons ago, before glacial masses ground and
leveled this land, its peaks are estimated to have

been twenty thousand feet high. These peaks came
into being by the astounding process of pushing
up from the sea.

There are really three summits on Mt. Olympus —
East Peak, Middle Peak and West Peak. All are
slightly more than eight thousand feet high. Be-
cause they have been visited by so few, there is
still discussion about which is the actual top. West
Peak is the hardest of the three to ascend, but it
provides the grandest glacier vistas that I have ever
seen. Far beyond the ice fields the Pacific Ocean
lies, suspended from a ruffle of clouds, occasional
ships appearing like toys.

Upward out of the haze, mighty steps, ranging
from foothills to white, broken peaks. Here and
there, reflecting the sun, an oval mountain lake;
immediately below, steep ice fields blown into
thousands of tiny hummocks by the never-resting
wind, ice fields that separate like fingers of a gigan-
tic hand, into the Blue Glacier and the Hoh, and
the White, all taking a different course as they pur-
sue their grinding, relentless way downward.

The fore-mentioned group of six, planned eight
days to conquer this well-fortified peak. All were
experienced mountaineers and more or less familiar
with the Olympics, except the cameraman, who
plodded along, blissfully ignorant of what each new
day had to offer. One thing about Time — it lends
enchantment to things that are past, otherwise, the
adjectives set forth above, and those carried down
the homeward trail from Mt. Olympus in the camera-
man's heart, would never coincide. After all, a
heart that is concerned with blistered heels, barked
shins, too much ultra-violet and a general rheu-
matic-like ache here and there and everywhere, is
poor soil for appreciation of beauty and grandeur.

In case some camera enthusiast should be in-
veigled into a summit climb of Mt. Olympus in
August, from the above descriptions, it seems only
fair to take the reader back over the trip in remi-
niscence, then, if he still wants to go — good luck
and God's blessings to him.

An infant day is waking the small group out of
deep slumber that comes after an unaccustomed
dose of physical exertion. Yesterday, we traveled
endless miles over roads that just missed being elk
paths. It was dark when we reached the jumping
off place, where civilization ends and the Olympic
wilderness begins. Here we were to lock up our
cars, take a last look at a telephone, say good-bye
to the radio and take to the foot trails; but before
all of that a hastily prepared camp supper and a
night's rest.

It seems as though we just crawled into the
sleeping bags, but it must be dawn, for there is
Matt, the general of the group, making a great
hullabaloo about flap-jacks. My face and one arm,
that was left uncovered is generously spotted with
small burning lumps; bites of some kind! No mos-
quitoes are in evidence, but wait, what are these
microscopic little devils that make no noise as they
attack and look for all the world like animated grains
of pepper?

"No-see-ums," says Cougar Charlie, who is the
horse wrangler and a positive authority on every-

(Turn to Page 24)

AMATEUR MOTION PICTURE DEPARTMENT

Your Merry Christmas Movie

|T IS none too soon, right now, in fact, to plan
for your movies of Christmas celebration.
At no other time of the year is there such a
rich cinematic opportunity for movie makers
to successfully and interestingly employ home movie
cameras to good end, and to record for the years to
come happy reunion of family and friends.

As the habits and customs of no two families are
alike in celebrating Christmas, we will not attempt
setting down in this article any strict and unvarying
Christmas continuity. Rather, it seems best to mere-
ly suggest the manner of recording a holiday film,
and leave the cinematic details and personal touches
to the imagination of the individual movie maker.
For the latter reason, again we say, it is none too
soon to plan this year's Christmas film.

Like every good movie, your film should be
planned into separate and distinct sequences, each
a story-telling chapter which, when finally joined
together, will result in a smooth record of the holi-
day season. And this rule-of-camera remains good,
whether one decides on a simple or on an elaborate
Christmas movie.

Generally speaking, the following sequences are
most typical of Christmas time:

Forerunner of the Holiday Season: Appearance
at neighborhood markets of truckloads of Christmas
trees — Newspaper notation of the few remaining
days for shopping — Outdoor Christmas trees, in front
of homes, being wired and decorated — Stores with
Christmas display windows — Elaborate toy displays
engaging the rapt attention of all passersby, espe-
cially the children — The Salvation Army kettles and
other charitable organizations with their many street
"Santa Clauses" — The holiday shopping crowds,
loaded down with bundles and packages — And the
Santa Claus street parade, put on by the local mer-
chants, which "kids" of all ages won't miss seeing.

The Night Before Christmas: At home. The chil-
dren writing their notes to Santa — Hanging up their
stockings at the fireplace — being hurried off to bed;
close-upped as they fall to sleep, the joy of anticipa-
tion marked on their faces. The ensuing activity of

By F. Hamilton Riddel

the grown-ups of the family — Dad bringing in and
setting up the tree — Mother busying herself with final
gift wrapping and filling the children's stockings —
Dad struggling with the tree lights and decorations,
as Mother exercises her artistic prerogative in sug-
gesting arrangement of decorations while she busies
herself arranging the gifts and toys under the tree —
The final visual appraisement of the completely dec-
orated and lighted tree, as the tired but happy
grown-ups switch off the lights.

The 25th of December: Close-up of a clock face,
with hands pointing near midnight — they revolve to
7:00 a. m. The children getting up from bed, their
jubilant noise-making awakening their elders — the
Big Moment when all the family enter the Christmas-
treed room — the plunge for the presents. Expres-
sions of happy surprise and joy as the gifts and toys
are opened — a pile of gift wrapping paper, cards,
ribbons and trimmings, as it mounts up and up.

The morning calls of the children's neighborhood
playmates, each with some highly prized Christmas
gift; each relating to the other "what Santa brought
me" — cut to the kitchen and the preparation of the
Christmas dinner, etc.

The Feast: The family seated at the dinner table
— Dad carving the turkey — plates being passed —
and a general shot of all as the Christmas dinner is
enjoyed.

After the Feast: The afternoon lull (for the grown-
ups), with the children playing outside in the snow
— Snowball fights — using new sleds and so forth.
Friends of the family dropping in — pausing to exam-
ine the youngsters' new toys. Later, Dad monopol-
izing Junior's new miniature electric train set with
due protest from the rightful owner!

Evening: The weary-faced but happy youngsters
as they are bundled off to bed — insisting that they
be allowed to take a prized gift or toy to bed for the
night. Downstairs, the grown-ups chatting before a
cozy fireplace — the lighted Christmas tree behind
them — as we fade-out on a perfect day.

Photoflood bulbs, in proper reflectors, are of
course the natural choice for making the indoor
Christmas shots. Reflectors, while not absolutely ne-
cessary, nevertheless materially add to the photo-
graphic efficiency of the Photoflood bulbs, as much
as three-fold, it is estimated. If you do not yet pos-
sess an interior lighting unit, you will find many
satisfactory models offered at reasonable prices. Be
careful not to use more than five Photofloods on a
single circuit, to prevent overloading fuses. And if
you are making your pictures with black and white

camera film, strive for contrast in your lighting. Do
not place two lamps, for instances, equi-distant from
a subject. Move one Photoflood nearer to the sub-
ject. On the other hand, if you are filming in natural
color, a flat lighting effect is to be desired with this
film. Natural color will add the needed contrast in
the shots.

Christmas this year offers a special advantage,
never before had, to every movie maker. Namely,
Kodachrome Type A color camera film, especially
balanced for use with Photoflood bulbs. And what's
more, 8 mm. owners can now match, shot for shot,
every color scene their older 16 mm. brothers may
take. For Type A Kodachrome is now available in
8 mm. film also.

Unlike Kodachrome Regular when used in arti-
ficial light, Type A requires no blue filter to com-
pensate for the redness of artificial light in compari-
son to daylight. Thus Type A is not only faster in-
doors, but it obviates the necessity of taxing the
Photoflood units and house-fusing. Indoor color
work becomes as simple to produce as regular black

M""**

and white films. Keep one basic thought in mind,
however, when using color film: It has less latitude
than black and white emulsions, therefore exposures
must be more carefully calculated. But by all means
try natural color in your Christmas film this year
and so capture a colorful season of indoor activity.

In shooting your Christmas film, concentrate on
large close-ups of members of the family. Essen-
tially, your Christmas film is to be a happy record
of a happy day when each member of the family is
present. Years later, when human memory grows
dim, your film will bring back and re-create the
bright spots of a great day. So allot a generous
amount of footage to the family and of the family.

After your film has been processed, edit it with
care before giving it a general screening. Supply
the titles needed and build up continuity by judi-
cious cutting, which is the mark of the successful
filmer. Then, with pride, you can indeed invite all
to see your Merry Christmas Movie. And you will
have a subject in your film library that never grows
old.

iK&

€

CINEMA-TIDINGS

Amateur Motion Picture News

Bee Bee All Meted Enlarging Easel: Photographers
experiencing "easel trouble" are urged by the firm
of Burleigh Brooks to investigate the merits of the
newly introduced Bee Bee All Metal Enlarging Easel.
Easy to use, precise and substantially built, it is
said this new all metal easel offers for the first time
complete protection against the annoyances hereto-
fore experienced by photographers when using
easels wholly or partly made of wood. Inaccuracies
formerly caused by the warping or splitting of wood-
en parts are, of course, entirely eliminated. Inner
margins are controlled simultaneously with one lev-
er. Extremely wide, sliding clamps offer rigid sup-
port for the 1 Winch masking bands.

Bee Bee All Metal Enlarging Easels are available
in 8 by 10 inch and 11 by 14 inch sizes and are dis-
tributed by Burleigh Brooks, 127 West 42nd Street,
New York City.

8mm. Gevaert: In addition to the three 16mm. re-
versal type film emulsions recently announced by
the well-known firm of The Gevaert Company of
America, Inc., 423 West 55th Street, New York City,
there is also available an 8mm. camera film. Desig-
nated as Gevaert 8mm. Panchro Fine Grain Rever-
sal, the film is supplied on standard 25-foot rolls,
daylight-loading, with processing included in the
purchase price.

Keystone 8mm. and 16mm.: Keystone Manufac-

turing Company, 288 A Street, of Boston, Massa-
chusetts, is featuring among its several other 16mm.
cameras, the model A-7. Keystone A-7 camera offers
seven speeds, including slow motion; film register;
spring lock and release; built-in exposure scale;
F2.7 interchangeable lens; built-in view finder; 50
or 100 foot film capacity, either black and white or
natural color pictures; and carries a one-year guar-
antee.

Companion to the model A-7 camera is the Key-
stone A-81 projector, equipped with 750-watt lamp;
pilot light; adjustable angle projection; electric re-
wind; forward and reverse projection; large F1.65
lens; and new cooling system.

For 8mm. movies, Keystone offers the model B-8
camera, the standard model with F3.5 interchange-
able lens. This model is also available with F2.7
or F1.9 lenses. The model B-8 has three speeds;
direct vision view finder and an auxiliary view find-
er for centering difficult shots; mechanical footage
meter; exposure chart; and strap handle for con-
venient carrying.

The Keystone 8mm. projector, model G-8, has a
200-watt lamp; adjustable tilt; motor rewind; framer;
cast heavy base; large single sprocket and roller
guides for easy threading. Film capacity is 200-
feet of 8mm.

Twenty

The INTERNATIONAL PHOTOGRAPHER

December, 1936

QUESTIONS and ANSWERS

By F. Hamilton Riddell

1. Can animation work be done with Koda-
chrome?

Yes, it can. The procedure for natural color ani-
mation is the same as with black and white film, one
exception being increased illumination that is re-
quired by Kodachrome. It is advisable, before going
into detailed work, to make some preliminary ex-
posure tests. Ascertain, in this way, the correct ex-
posure to suit your particular requirements. Prac-
tice is also required, using 8-frame speed for ani-
mation, so that single frame exposure making be-
comes entirely accurate. A quick tap of the finger
on the camera lever, with speed set at 8, obtains
the best results.

2. How may one be sure he is not shooting on
leader at the start of a roll of film?

The following test can be made, if your camera
is equipped with a detachable lens: after loading the
camera, remove the lens and press the exposure
lever slightly. As the shutter revolves, the aperture
can be watched as leader is moved along to the
start of the camera film. When making this test, use
8-frame speed, as it is more convenient than normal
16.

3. Can a fade-in or fade-out be made, without
a special device, on the small hand titlers?

Quite readily. With your lens set at correct ex-
posure setting for the artificial light you are using,
set the camera in motion. At the same time, gradu-
ally move your lighting unit towards its proper loca-
tion on the titler — this will give you a fade-in. To
make a fade-out at the end of a title, reverse the

Burton Holmes Films, Inc.
ACCLAIMED/

by those
who know

c5Zfe Quality
Laboratory

Largest 1 6mm release
print laboratory be-
tween the two coasts.

TITLES • WIPES • DISSOLVES
NEGATIVE DEVELOPING
35MM and 16MM PRINTS

RCA "HIGH FIDELITY" RECORDING

Burton Holmes Films, Inc.

7512 N. ASHLAND Av.

CHICAGO, ILL.

process by slowly moving the lights away from the
titler. The footage of your fades will depend on the
speed with which you move your lights. This is
convenient, for you may care to vary the lengths of
fades.

4. What other lenses besides the F3.5 are avail-
able for the Keystone 8mm. camera?

There are the following: F2.7, 12V2mm.; F1.9,
\2V2ram.; and the telephoto lV^-inch, F3.5. These
lenses are instantly interchangeable with the stan-
dard F3.5.

5. For testing purposes, is it first necessary to
make a print before running a sound on film re-
cording?

No. The original sound negative can be run, if
so desired. This film will give you a check-up on
the recording made; and in case the recording is
unsatisfactory, time and film are saved which other-
wise would have been used in making a sound
print. If the negative sound track is satisfactory, a
positive should of course be made, since a positive
track will give improved quality of the sound re-
cording when screened.

6. What are the essential pieces of equipment
in taking home movies?

In our opinion, there are three: a good camera;
use of a standard camera film; and a photoelectric
exposure meter. While it is not to be concluded
that satisfactory home movies can not be obtained
without the use of a photoelectric meter, the latter
will overcome human errors in judging photogra-
phic light and will save film which otherwise might
be incorrectly exposed. Furthermore, with the ad-
vent of color films which require accurate exposure,
more so than black and white, a photocell meter will
assure best results.

NOTE: As a service to amateur movie makers,
we extend a cordial invitation to write in questions
which will be answered in this column. Address all
such letters to: Questions and Answers Column, THE
INTERNATIONAL PHOTOGRAPHER, 506 Taft Build-
ing, Hollywood, California.

"SUCCESS"

By Estelle M. O'Neil
(Contributed by Les Rowley, Still-man, Local 659)

If you can hold your head up high
While "old hard luck" is passing by,
And give a smile or merry jest
Then, Brother, you are a success.

If you can hold your temper down
And never grumble, kick or frown;
And of depression make the best
Then, Brother, you are a success.

If you can smile at every friend
And know that sometime this will end;
I mean your sorrow and distress
You're on the road to sure success.

If you can eat a plate of beans
With all the grace of kings and queens
And keep your loving tenderness,
Then, Brother, you are a success.

If you can take it on the chin
And fight and fight until you win,
You'll find your way to happiness
For, Brother, you are a success.

December, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

RIGHT OFF THE REEL

By F. Hamilton Riddel

Projection Lamps: The concentrated filaments of
projection lamps should always be regarded as a
delicate proposition, and the lamps afforded careful
handling at all times. Placed on them by manufac-
turers, projection lamps have a rated life which is
satisfactory. But sudden jars, carelessly inflicted
by the operator, is sufficient enough to cause prema-
ture blow-outs. It is good practice for those ama-
teurs who own variable resistance projectors to set
the rheostat at "low" when first lighting the lamp.
After the lamp has burned for a few moments, gradu-
ally step up the rheostat to the proper amperage
recommended for the particular lamp you are using.

Glass Effects: Many movie makers like to experi-
ment with special effect shots. Quite often such
shots, if used judiciously, will add immensely to
one's movie. A common everyday drinking glass
can be pressed into service; shooting a scene through
the bottom of the glass will give novelty effects. Try
a shot like this sometime.

Interior Lighting Unit Connections: The present
winter season brings increased use of one's interior
lighting units for indoor movie making. Since it is
the start of the busy season for these units, it is well
to check over all electrical connections. See that all
lead cables are firmly attached to plugs and sockets,
leaving no loose connections, and that there are no
worn-out spots in the insulated covering of the wires.
A rubber type plug for your lead cable is recom-
mended, as this plug is the one which receives the
hardest handling and an ordinary bakelite type is
more liable to breakage or chipping. Thorough in-
spection of interior lighting unit connections results
in a winter-time of satisfactory, trouble-proof, use.

Titling Tests: The small titling outfits, available
for many standard makes of amateur movie cam-
eras, will give more satisfactory and uniform results
if they are used with artificial light under constant
control. Whatever artificial lighting is chosen, it
should always be used at a constant distance from
the title and from a location which will evenly distri-
bute the light over the title. When this condition is
decided upon, various exposure tests should be
made, using various lens settings. After the film
has been processed, choose the test which is best;
make a permanent note on the titler as to the correct
lens stop to use, together with the lighting used.
Subsequent use of the titler under these conditions
of your setup will give you uniform title exposures.
Incidentally, it is advisable to keep in mind the kind
of title card used. Direct titles made, on positive
film, with white cards, will require less exposure
than mottled type cards. Compensation for this must
be based upon the type of card used in your ex-
posure tests.

Editing Bin: Movie makers who indulge in a great
deal of film editing work know how quickly indi-
vidual strips of individual scenes can accumulate in
the process. Quite often, these strips find their way
to the floor where, until they are again spliced into
continuity, they collect much dust, dirt and possible
scratches. A film bin, lined with soft cloth, is a safe
container for such stray film. The ends can be hung
over the top of the bin for ready reference. Deposit-
ing film strips in a film bin while editing is the safest
place for them, and most convenient for the film
editor.

IS PHOTOGRAPHY EXPENSIVE?

(Continued from Page 11)

small-sized negatives demand a sacrifice of quality.
The lenses of today, even the cheaper kinds, are
of such a character that excellent, huge enlarge-
ments may be expected from them. Some years
ago, a large negative was necessary in order to
assure quality, but the tremendous strides that have
been made in optics and the development of film
in recent years have changed all that. Photographic
emulsions, too, have improved remarkably, so there
is not a single logical argument against the trend
toward smaller sized cameras.

From the standpoint of economy, the small
camera is without a peer. Not only are films for
it less costly, but everything connected with it is
reduced in price. Take for example lenses. A good
speed lens in a short focal length can be had far
more reasonably than one of longer focal length,
such as would be needed for a larger camera. And
there are other decided advantages. The smaller
the negative area, the shorter the focal length of
lens required. The shorter the focal length of the

lens, the greater the depth of field. This is of con-
siderable importance, especially to beginners whose
judgment at estimating distances is not always fully
developed. One can also make more negatives
than usual, because the waste is not so great. A
film costing 25 cents per roll is more easily dis-
carded due to failure than one costing 60 cents or
more. Tanks and trays to develop the film need not
be large, hence are less expensive than those re-
quired for larger negatives. And so it goes.

So photography is not at all expensive — unless
one makes it so. Once the real understanding of
photography works its way into the system and
lodges there, the expense factor is forgotten. I have
often seen cases of enthusiasts who deprived them-
selves of many things, even sufficient food, just to
be able to own some particular camera they had
their eyes on. It's a strange disease; much like
love. It forces men to act queerly and do the most
unusual and unaccountable things. But they must
have that camera, and nothing can stop them — that
is the attitude. Do you know that feeling?

Twenty-two

The INTERNATIONAL PHOTOGRAPHER

December, 1936

THE KEY TO COLOR

(Continued from Page 14)

tarian and philanthropist, and this under all cir-
cumstances.

The lighter tones of this color convey to the
mind the delphinium or larkspur shades — lavender
also and a violet color which always goes hand-in-
hand with high ideals; combining as it does blue
and red it causes mixed emotions, awe and depres-
sion, pomp and vanity imbued with sadness. It is
toned down or best neutralized by green.

Purple is royalty, dignity and glory, and is a
color always used in religious observances and cere-
monies where great honor is being paid or exalta-
tion expressed. Lightening the purple, mauve or
violet — with the neutral white, gives us the various
tones of orchids, lavender or lilac.

Orchid signifies the spiritual affections and when
carried to excess will prove a complete barrier to
thoughts of love. In repose it is sweetness itself, is
agreeable, charming and gracious to a degree — but
changeable and unstable in action. If we submit
orchid to heat it changes, as also to light, and is the
most variable color with which we have to deal.

Lavender, with more blue in its composition, sug-
gests gentleness, old world politeness, refinement
and retirement.

Lilac is impulsive to a degree, though sweet and
kind in all its moods.

Heliotrope, another offshoot of the same family,
suggests aloofness, sadness and loneliness, while
violet shows a taste for good literature, proclaiming
the cultured mind.

In every instance, the addition of the neutral
white, reducing a color from primal to pastel, short-
ens the wave length or re-action and from the use of
the soft, kindly pastel colors one can only have
soft, gracious re-actions.

It has already been shown that yellow, in its
deeper tones, denotes wisdom, while amber is wit
and will power. Yellow is also the sunshine color
and in its lighter tones, such as pale chrome or
pale lemon yellow, it is peace and serenity. Clear
golden yellow is a most intuitive color and is very
curative. Yet, there are instances when we speak
of a person with a "yellow streak," meaning "not
white" and symbolic in both instances

If we descend through the willful amber tones,
we go down through the less harmful golden browns,
rosewood or dogwood shades. The heavy vibration
in the brown has been lightened by the gold and
in the rosewood or dogwood by the love of the rose
color.

Rising from amber, a certain modicum of which
is not only useful but very necessary we soar into
the flame, the orange shades, the apricot and also
the marigold. "The Wise Men of the East" are
usually depicted against a flaming sunset of a
golden-orange. Orange suggests light and heat and
is cheefully aggressive. Fire (gift of God to man)
lights the earth and sky, while the star points the
way to wisdom. "Upward and onward," it seems
to say. "Do not tarry, do not delay " How often
when we see a gorgeous sunset do we feel almost

| Cutting Room and Studio
EQUIPMENT

-SALES-SERVICE-RENTALS-

We carry a complete stock of all leading
makes of cameras, studio and cutting room
equipment and accessories. Pick out what
you need in our display rooms . . . you may
buy or rent it as you choose.

We specialize in and have on display,
Mitchell, B & H, Akeley, Debrie and Eyemo
cameras and accessories ;
Panoram Dollies and Velo-
cilators; Moviola cutting
room equipment and Filters
for every purpose.

OUR REPAIR SHOP

The
MOVIOLA UDX
model illustrated
includes a picture
head combined with
a sound head tor
sound on composite
tilm and a sound
head for sound on
a separate film.
This is just one of
the many Moviola
models here on dis-
play.

We maintain a completely modern
and thoroughly equipped machine
shop. Our skilled mechanics have
had many years of experience and
are experts at repairing Mitchell and
other professional cameras.

Phone, Write or Wire for Prices

cflm€*A €Qui4>m-enT, inc

16OO Broadway

^e^ya^rrt-e. BRyant 9-^1*6-7

new York Cittj

fiti^ ADDRESS: CINEQUIP

Under the personal supervision of FRANK ZUCKER

ART REEVES DESIGNS ORIGINAL
HIGH SPEED CAMERA MOTOR

For the past two years these high
speed camera motors have been rent-
ed to the studios by the Camera Sup-
ply Company. Art Reeves is the de-
signer.

The electrical characteristics of
these motors are such that the power
increases as the speed increases. A
motion picture camera takes more
power to operate as the speed is in-
creased. The average series motor
will operate at high speeds, but as the
speed of the motor increases the
power output decreases.

It was, therefore, necessary to wind
a motor that would do the reverse of
the average motor and Art Reeves de-
signed this new high speed motor. It
was made according to his specifica-
tions by a large motor manufacturer
who sold these motors to others and
who are now claiming the credit for
them.

December, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-three

impelled to bow before the glory and the splendor
of its coloring. Yet, a certain dull orange color is
typical of a certain class of underbred person. A
half caste of any race might glory in this sordid
color. Dark brown has dulled or muddied the life
stream, leaving it a dull, sluggish orange or mari-
gold shade full of unrest.

The flaming orange portrays ambition and pride
of race and is also the most aspirational of all the
colors. Orange is the clearing house of red, though
many people will use orange who are without the
courage to flaunt the red.

Keeping the golden rule merely means a har-
monious, inspiration life, while the golden wedding
coming late in life's journey would almost pre-
suppose a well-spent life and divine guidance.

In the future and even amongst the children of
this new age, color will play a much more con-
spicuous part in our moral education When we
use a certain color or group of colors in our interior
or exterior house decorating, or display a color in
a gown, or the color scheme on a table, children will
know the idea or group of ideas which this color
scheme seeks to convey.

Nationalities can almost be grouped. Their color
vibrations show a clear index to their temperament.
The Jew, Parsee, Mohammedan and Hindoo are the
religious peoples of the earth and they are also the
so-called "down-trodden" nations. This group will
be seen to vibrate to the deeper tones of blue, the
religious color, showing a temperament buoyant and
hopeful. A deeper blue tone, such as Napoleon blue,
typifies deep hope, resourcefulness and dauntless-
ness. The Italian and French people, also the Greek,
show a preference for reds and pinks. They are
the temperamentals amongst the nations. Love is
their life. The wine of life — rich, deep red yet

inconstant, fickle, fluctuating between the pale
shades of pink and yellow (the lighter loves) back
to the triumphant reds. The British and American
races, and indeed all Northern peoples, respond to
the light blues. They are more austere, colder in
temperament, artistic, literary and exponents of cut-
door games. The cooling, soothing, calming prop-
erties of the blue shades mix and blend with their
colder blood and complement their more analytical
nature.

The scientists and the dreamers are also por-
trayed in blues and greens but the hard, forceful,
materialistic amongst us will always be typified by
our use of dull yellows, amber and the orange tones,
symbolizing the will.

Cross-breeds of almost any nationality, with a
yellow or colored race, produce the most danger-
ous type of character. This rule does not always
hold good but it is commonly stated that these un-
fortunates have "the vices of both the parents and
the virtues of neither," forever at war within them-
selves and having good impulses and bad. The
saying that "blood always tells" is very clearly
demonstrated here.

Respectability, honesty, trustworthiness (the grey-
blues), cool, calm, solid, idealism held in leash, and
against this the murky-reds, the yellowish-greens
with black and dark-brown streaks. The better un-
expectedly appearing but an undependable charac-
ter, usually mentally lazy, little or no backbone, yet,
having a wonderful opinion of their own capabilities
and qualification in life.

Character is not conferred on any of us, nor is
it ever achieved by the intermittent use of any color
or group of colors, but daily habits can count for or
against us. "Sow an act and you reap a habit."
"Sow a habit and you reap a character."

AN APPRECIATION

The editor and staff take this method to extend
to the following named writers the deepest and most
sincere appreciation for their co-operation and serv-
ice. May the spirit of Christmas be upon them and
upon their homes and upon their work, and may-
prosperity and happiness abide with them in good
old '37 and never fail to keep them and theirs in
peace. Pax vobiscum.

John Alton, Charles P. Boyle, Walter Bluemel,
Howard C. Brown, T. Thome Baker, Edward O.
Blackburn, Karl Barleben, Jr., F.R.P.S., Walter M. P.
Baats, Frank M. Blackwell, Theodore F. Comstock,
W. F. Crispinel, Robert DeKay, William Draper,
George H. Elvin, Ray Fernstrom, Charles Felstead,
Miss Hansena Frederickson, William Kislingbury,
William Flaherty, Miss Annette Glick, Paul R. Har-
mer, Howard Hurd, Morgan Hill, John L. Herrmann,

Alfred S. Keller, Edward H. Kemp, Harry Lubcke,
Alan Lawson, Bert Longworth, Merl LaVoy, Avenir
Le Heart, John Leezer, Maj. Adrian B. Klein, M.B.E.,
Art Marion, Harry Mimura, Hal Mohr, Herbert C.
McKay, Peter Mole, Paul R. Nelson, Eddie O'Toole,
Lewis W. Physioc, Esselle Parichy, Robert Parker,
John Van Pelt, Rowland S. Potter, Peter Parnell, F.
Hamilton Riddel, Len Roos, Elmer C. Richardson,
F. M. Steadman, H. O. Stechan, Charles Van Slyck-
er, William Stull, Chalmers D. Sinkey, R. D. Songster,
Wm. V. Skall, Silvo del Sarto, P. C. Smethurst, Earl
Theisen, Roy Tash, William Thomas, Robert Tobey,
Philip Tannura, Frank W. Vail, Augustus Wolfman,
Fred Westerberg, Alvin Wyckoff, Delmar Whitson,
E. M. Witt, Carl Zeiss.

If any be inadvertently overlooked he, also may
count himself one of this esteemed and most honor-
able congregation.

TENDING PO*0£'1'

MAX FACTOR'S

N EW

£a&fi <Smo<ytk

* LIQUID FOUNDAH

A REVELATION IN FACIAL MAKE-UP

Twenty-four

The INTERNATIONAL PHOTOGRAPHER

December, 1936

HITTING THE HIGH SPOTS WITH INFRA-RED

(Continued from Page 17)

thing pertaining to the Olympics. I rub gingerly
and sit up to look over the situation.

Strewn about on clumps of moss are six other
sleeping bags. A couple of them are moving fran-
tically, so I assume that the "no-see-ums" were so-
ciable to everyone alike. Giant firs and hemlocks
tower above the waking mountaineers. Occasional
patches of sky can be seen through the maze of
boughs. There is no underbrush, but myriads of
tiny flowers inhabiting the mossy earth's floor. I
feel as though we are in some vast cathedral, where
the distant rumble of the Hoh River might be likened
to a reverberating organ. The idea for the day, is
to get under way and hike ten miles. Supplies are
loaded onto seven horses, but the climbers elect to
walk. The hardening up is essential if we are to
battle Mt. Olympus.

In spite of a terrific load of bacon, eggs and
hot cakes under our belt, the old hearts are light
as we hit the trail. Ten miles of easy ascent sounds
fairly mild; but as the hours go by the hearts take
on a little weight. Mile after mile through a forest
so dense that Old Sol barely filters through — trees
ten feet in diameter; moss hanging in yards from
their ancient limbs; roots sticking up in the path
to torture unaccustomed feet; little streams that
usually run full, dried to bedrock by the August
heat; a suffocating, steaming warmth that none
can escape and nothing to drink, but water from
the rushing Hoh River, which is grey with glacial
sediment.

Toward evening the forest opens into a wide
valley, walled by steep timbered mountains. A
cool breeze whips across from the mighty glaciers
that will be our destination tomorrow. We settle
gratefully for another night and, thanks to the
breeze, there are no little animated peppers to jazz
up the wee morning hours.

By the way, it gets to be morning sooner in the
Olympics than anywhere else. We just close our
eyes and draw a few breaths of satisfaction when
we are wakened by the never-failing Matt, yelling,
"A-hoy!"

The second day is scheduled to be harder; just
eight miles of trail but rough going and decidedly
up. We plunge into dense forests again and follow
the course of the Hoh as it winds through spec-
tacular gorges, and pauses at occasional lakes.
Once when we were "taking a blow" we are
startled by a wierd plaintive cry. Someone has
tethered a young raccoon to a giant tree, planning
to return shortly and carry it home. However,
Cougar Charlie is an ex-game warden. He takes
his duties seriously, even past duties — so the baby
coon is liberated after a frantic wrestle with his
benefactor. The cliffs are precipitous, falling from
the trail with just space enough for the horses' feet.
In fact if they are careless, just half a hoof-mark
is left in the dust. It's amazing how these horses
negotiate the trails with bunglesome packs, when
men, with nothing but alpenstocks to load them
down, get jittery.

The second day passes quickly. Late in the
afternoon with civilization eighteen miles away, our
goal suddenly looms into view. All of these hours
we have been plodding upward, with no view save
an occasional valley between a ridge of peaks. The
trees have been getting smaller and more sparse.
Our pace is quickened by the realization that soon
we shall top the last barrier and have a view of

Mt. Olympus, itself. There's a fascination about
anticipating this first peek, after the thousands of
toiling steps. What does it matter if the goal still
be weary hours away, so long as we can see it?

But no words can describe the actual thrill of
the moment when it comes. Mt. Olympus is like a
jewel set in an exquisite mounting of rock-pinnacles.
The Blue Glacier reaches toward us, reflecting the
sunlight from a million huge broken prisms of clear-
est ice. Green firs, at the very base of the ice
fields, mingle with layers of thin cloud. It is like
no other mountain that I know.

Six hearts leap with eagerness to explore the
distant crags and to gaze upon the view that these
crags have shared with so few human beings. Soon
we are at the base of the glacier, where the last
bivouac camp is laid. There is still an hour of
light, but so many things to do!

All shoes must be spiked with large calks.
Crampons must be fitted, for tomorrow they will be
strapped over the boots when negotiating steep ice
fields. Many a life has been saved by good
crampons that anchored skidding feet. Alpenstocks
must be sharpened, for they will dig into the ice
as we balance on slanted slopes. Life-lines must
be checked, for there will be many miles when we
shall progress, tied in groups. Dark glasses are
rounded up and grease of various types, to ward
off the glaring ultra-violet. A bounteous supper is
prepared, for tomorrow we shall eat lightly.

At last the final arrangement is finished. Plan-
ning to be up long before daybreak, we turn in
for the third night on the trail. After eighteen miles
of up, sleeping bags feel like beds of finest down.
Mere trifles such as a rock poking into a floating
rib or a root under a collarbone, are quite, quite
negligible.

Eventually, the inevitable call to rise brings us
out of our sleepy anesthetic. We shiver into top-
clothes, respecting the good old glacier tang in the
air — prospects for the summit tingling down the
spine.

Matt is barking orders like a captain leading his
soldiers over the top. There is a general tenseness
in the air. Some time in the night a new contingent
of climbers stumbled up the trail, without so much
as disturbing our slumber. They are joining us to
make the summit trip so the inspection of equip-
ment has to be made all over again in their behalf.

While the dew is still reflecting stars, we are
plodding upward over the moraine that borders the
Blue Glacier. This moraine consists of endless piles
of rock, left by the melting ice. They are not too
firmly placed and many of them roll underfoot.
Here is where the alpenstock first comes to the
rescue. The rocks vary in size from pebbles to
boulders of mammoth dimensions. Great care is
taken not to start an avalanche as, once they get to
rolling, countless tons change position before they
stop. Two hours of this finds us ready to leave the
moraine and cut across the Blue Glacier.

The glacier is badly crevassed. Even at this
cold early hour, pieces of ice drop off with resound-
ing roars. There is a rushing, hidden force of water
tearing beneath the ice. Matt ties us into groups
which go forward ten feet apart, in case a rotten
bridge should give way. The fissures extend every
few feet and are small; that is, about a foot or two
across, but no one knows how deep. We place the

December, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-fiz>e

alpenstocks ahead and leap over them until they
get so wide that leaping is impossible. Then we
reconnoiter, skirting the outer edge of the ice fields,
avoiding the wettest spots. Here and there, water
spouts like an artesian well from solid ice. We
find minute black worms covering the snow. They
are actually snow-worms, heavily pigmented to
withstand the strong light rays and feeding upon
algae. The snow takes on a lovely pink hue in
certain spots. This is caused by countless algae
that inhabit it.

The safe way around is a long one. Several
hours go by before we leave Blue Glacier and climb
a steep ice wall that will place us onto the White.
Here the crevasses are terrific. Three main fissures
extend clear across the ice fields. There is but one
way to get over them. We skirt the edges and
climb over the rocky, shale-covered peaks, zig-
zagging from side to side. All of which is painfully
slow. Step by step, roped together, we pick our
way, stopping at intervals to make scenes.

Sometimes the group has to be raised or lowered
over a bad place Sometimes it seems foolish to
go on at all. No breath is wasted in conversation,
but it seems to be the general opinion that we are
out to see the top or else —

Gusts of wind rise out of nowhere, bringing cloud
banks that strike misgiving into our hearts. We
all know how Mt. Olympus is given to having icy
summer blizzards. No living thing would care to
struggle through one of them. But, the fates are
kind. Clouds come and go, creating breath-taking
scenes for the camera.

Close to the top conditions get worse. The ice
is glaring. A false step here means an invitation
to permanent refrigeration. Even roped together, no
line could hold on these steep slopes with no foot-
ing. Crevasses yawn, row upon row, as far down
as we can see. Muscles are not so steady, trem-
bling with fatigue. One lad is down — he's slipped,
striking terror into the whole line as he nearly jerks
them all from their feet!

There's no two ways about this footing business.
Either you step in the toe holds chopped by the head
man or you have no foundation to stand on at all.

Here is the last snow field, almost perpendicular.
We cut back and forth cautiously until it is scaled.
Finally we are on a cornice. It is narrow, but level
for a few feet on top. How blessed to be some-
where that is level. We are fifty feet from the
top and the view is everything that we hoped it

would be — and more — Infra Red has reached the
highest spot and is plenty busy recording what ex-
tends in all directions.

Now comes the cold-blooded test of the whole
trip. My job is to stay fifty feet down and film
the ascent of the others. After all, the top is a
knife-edged ridge of shale with no space for more
than two people at a time. It is an almost impos-
sible ascent. I'm thanking my stars that I am a
cameraman, not a mountaineer. After all, my job
is stay with the camera and record stuff on Infra
Red, not to be exploiting my nerve. Besides, I want
all the nerve that I have left to get down with.

Matt goes first, without looking at the gruesome
possibilities on either side — on one side a sheer
drop of two thousand feet — on the other a maze of
crevasses punctuating steep slopes of icy glare.
Two men lie in those same crevasses, because they
made one little misstep.

As the climbers crawl upward, using every pos-
sible point of contact — they run out of holds. There
is a fifteen foot wall that must be scaled and not
even a toe-hold. By the way they keep their faces
to the wall I know that every minute of waiting for
the next step is agony. This goes on for an hour
perhaps, while the leader throws a rope over a jut-
ting ledge above, pulls himself up hand over hand,
and serves as anchor man while the others take
turns. One by one they go, hanging between life
and certain death, by one small rope.

The point is they want to reach the coveted goal.
Even without the camera they would have made the
trip. I tell myself that for consolation as I watch
them hanging there.

The group is well picked; they all reach the
top; a fitting climax for the story.

As for the cameraman. He packed up his film,
rubbed a few "charlie horses" and called it a day.
There again he was blissful in his ignorance. It
took six hours more to get down!

Heard Between George Burns and Cracie Allen:

George: "All I want to know is why we are in
a chariot with four white horses when there are
hundreds of taxis available?"

Gracie: "Because, silly, four horses couldn't get
into a taxi, even if they had the money!"

FILM TESTED LABORATORY

f^k

AND

SOUND RECORDING EQUIPMENT

"ArtRc

jeves"

Art Reeves

MOTION PICTURE EQUIPMENT

645 North Mattel Avenue Cable Address ARTREEVES
Hollywood, California, U. S. A.

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

December, 1936

The Garden of Allah" in the

Magic Vestures of

Technicolor

By Herbert Aller

1RODUCER DAVID O. SELZNICK'S first Tech-
nicolor venture, "The Garden of Allah,"
based on that story written some thirty years
ago by Robert Hichens, will soon be inter-
nationally released. A gigantic undertaking avoid-
ed by so many other producers, this production un-
questionably justifies the phrase: "Technicolor has
spoken." From the opening scene to the closing
sequence the rapture of seeing nature's beauty be-
longs to the cinema attendant.

A refugee from a Trappist monastery, Boris An-
drosky, played by Charles Boyer, meets Domini
Elfden, played by Marlene Dietrich, during a fra-
cas in a small Arabian city on the great continent
of Africa. From here the screen play treatment
brings these two together, marriage finally ensuing.
The fear that he has not kept his vow breaks An-
drosky's spirit until, under torturing circumstances,
he reveals the truth to his divine wife. Both then
agree that Androsky shall return to the monastery,
and as the conclusion, parallel to many of the operas
with mythical stories, the picture comes to an end as
both husband and wife embark on their endowed
missions.

Boyer's role is a difficult one. To portray a man
fleeing from God — a human who has renounced his
fate, Boyer had to be photographed so that his mad-
dened but pitiful eyes express his bewilderment.
In contrast, his face denotes complete estrangement
from the world, yet soft and tender from years of
isolation in sacrilege. Through the medium of Tech-
nicolor the picturization reaches the acme of stark
realism.

Dietrich is more beautiful than ever. Her clothes
first white, then blue and again different, are abund-
ant with splendor. The locale of the picture is in
the Great Sahara Desert, a photographic subject
that in color gives rise to indescribable beauty. Dur-
ing the screening of the picture it was hard to con-
ceive that the sky of faint blue, faintly seen through
the reflection of the intense sun, against the vaporous
white clouds hovering above a silhouetted caravan
of horses and camels, was photographed and not
painted.

The sunset scenes are magnificent. Whereas we
are accustomed to the white backgrounds and black
shadows, "Garden of Allah" represents a transition.
It is replete with sharp color schemes blended in
harmonious form; for the cinemaddict it is a photo-
graphic symphony.

Producing this epochal work required careful and
meticulous preparation. For the directorial position
Richard Boleslawski was selected. When the script
was completed conferences were held and it was
definitely decided that the location should be Yuma,
Arizona. That alone did not end the producer's prob-
lem. A modern city was built on the sand dunes of

Arizona, proper food had to be supplied, housing
conditions were not to be secondary and hospitaliza-
tion requirements were urgently considered because
of the unbearable heat and blinding sandstorms.
Hundreds of technicians and different units of cam-
eramen were compelled to work under unforgettable
conditions. Marlene Dietrich collapsed on one oc-
casion. All in all, when the men boarded the train
for their return to Hollywood there was passive re-
joicing.

This picture really belongs to the cameraman.
As one surrounded by these highly skilled, self-
trained technicians (photography is a study, not a
trade) I realize how obvious and ludicrous it might
be to heap praise endlessly upon these men, yet
to commend them for their fine work as a group
under the unerring leadership of D. Howard Greene,
for this photographic masterpiece, is within the realm
of my license.

With Howard Greene there were second camera-
men Lee Davis and Roy Clark, assistant cameramen
Nelson Cordes and Thad Brooks. There was a sec-
ond unit under the supervision of Wil Cline with
Second Cameramen Allen Davey and Roy Mas-
grave and assistants John Hamilton, Robert Carney,
Al Cline, Roger Mace, Fred Detmers, Peter Keane
and Clarence Slifer.

The work of the still cameramen, considered by
photographers as the most difficult of all cinema-
tography, though often unimportant to the perform-
ers— yet of extreme significance to the producer,
was handled by still cameramen Elliott and Alex-
ander. Their work was exceptional and has brought
praiseworthy comments from many interested
"movieites."

To the Technicolor organization, I must say they
have worked and earned the praise of Cinemaland.
Not to be overlooked is Bob Riley, that amiable and
likeable chap who devotes his time to working side
by side with the cameramen of his department.

Producer Selznick has commenced producing his
second Technicolor picture, entitled "A Star is Born,"
featuring Frederic March and Janet Gaynor. Again
D. Howard Greene is supervising photography. Sur-
rounding him is that same group of second and as-
sistant cameramen.

Some may say that I am opinionated, others may
say I guessed wrong, but whatever is said, "Garden
of Allah" speaks for itself. Elegant, brilliant, adorn-
ed in exquisite taste, counterbalanced with propor-
tion and refinement, it stands forth as painted pho-
tography. If anything can be more picturesque and
still reach the multitudes, I say, let us see it. In the
meantime we can pay homage to our cameramen
and the Technicolor organization for this superb,
sparkling and dazzling contribution to the art of
motion picture photography.

December, 1936

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

COLORFILMINC IN

(Continued fro
ing a factory a name, rather than an easily forgot-
ten street number. This particular plant is known as
" H I Arc Works" — a name not easily forgotten by
anyone who has used these excellent lamps.

Lighting itself is, of course, the same whether you
do it in Hollywood or in London. But the British
studios have one lighting problem that is unknown
here. This is the matter of power-supply. Even in
the studios, the cost of electricity is almost prohibi-
tively expensive; so much so that many of the
studios have their own Diesel-electric generating
plants. Location power is even more of a problem,
for there is so much red-tape involved in getting per-
mission to tap one of the many high-tension lines
that this is almost impossible. Portable gas-electric
generator sets are virtually unknown. Mole-Richard-
son's British affiliate introduced a 300-Amp. portable
plant this summer, and it has been in such constant
demand that one of the firm's newest and 1200 am-
pere units is now on the way to help light the Eng-
lish countryside.

The British climate is not particularly kind to loca-
tion companies. Between the proverbial fog and fre-
quent showers and thunderstorms, most of the studios
prefer to avoid locations wherever possible. Also,
few property owners permit their estates, etc., to be
photographed. For the same reason, "back lots" of
standing sets and semi-permanently built streets are
almost unknown in England. The weather ruins such
sets too quickly: the sets built only a year ago for
"The Ghost Goes West" have been so attacked by
the weather that they are already virtually useless.
It would cost nearly as much to repair them as to

BRITISH STUDIOS

m Page 13)

build completely new sets!

British interior sets are as well built as any you
could find in Hollywood. One set I noticed particu-
larly, which was built for a big musical film, was as
fine a piece of design and construction as I have
ever seen.

The chief weakness in the operation of the British
studios is that their minor technicians — property-men,
electricians, and the like — have not had the years of
production experience that have taught their fellows
in Hollywood the importance of detail. For instance,
you may establish a certain prop in a sequence, and
then move out of the set for a day or so. When you
come back to finish the sequence, your propertyman
may have completely forgotten that essential prop.
If you're lucky, it will be merely mislaid; more often
it is gone for good! "Grips" are virtually unknown
in England, the property-man does most of the work
done in America by our grip department. And the
props are very independent; if your property-man
doesn't feel well, he is quite likely not to come to
work, and even more likely to forget to say anything
about it to the studio! After all, property-men are
scarce, and he is sure of a job at any other studio,
so why should he worry? I can't blame the fellows,
for by American standards they are badly under-
paid, and I suppose that independence is about their
only compensation for it.

Incidentally, the cameraman in a British studio
has far heavier responsibilities than he has in Holly-
wood. Here, we work with a perfected organization;
in England, we work virtually without it. Accord-

(Turn to Page 28)

J. Burgi Contner says: "Satisfaction is Guaranteed"

What You Want!

WhenYouWantlt!

Sales — Service — Rentals

EXCLUSIVE EASTERN
SALES REPRESENTATIVES

MITCHELL

CAMERA CORP.

FEARLESS PRODUCTS
HARRISON FILTERS

All Makes of Cameras,
Accessories and Equipment

Special technical department specializing in servicing and
rebuilding all types of cameras, laboratory and studio
equipment. Under supervision of HARRY LOTT.

MOTION PICTURE CAMERA SUPPLY,

InC- New York City

723 Seventh Ave.

Telephone It It yimt 9-7755

Cable Address: Cinecamera

CHANCE FOR THE CAMERAMAN

There's a new trend in the pro-
duction of outdoor features for the
screen, in which action, essential-
ly the keynote of these pictures,
is being augmented with pictorial
beauty.

Buck Jones, popular hero of
many an outdoor thriller, is re-
sponsible for the trend.

In all his productions for Uni-
versal Studios, Jones strives to at-
tain the utmost pictorial beauty
in backgrounds and general lo-
cale.

For instance, Jones' last opus,
"Empty Saddles," was filmed
against the striking beauty of the
San Jacinto mountains of Southern
California, at mile-high altitudes.

In his current picture, Jones has
taken his company into the High
Sierras, 200 miles north of Holly-
wood, for two weeks of filming.
Here in the wild, mountainous re-
gion along the north fork of the
Kern River, Director Les Selander
and his cameramen, Allen and
Thompson and Herbert Kirkpat-
rick, will capture new scenic beau-
ty for the screen.

Both cameramen are experts in
outdoor photography, and with Mt.
Whitney, tallest peak on the North
American continent, in the back-
ground, "Sandflow" is expected to
set a new high in pictorial beauty.

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

December, 1936

COLORFILMINC IN BRITISH STUDIOS

(Continued from Page 27)

ingly, the Director and the Cameraman work doubly
hard; many decisions which at home would either
automatically be taken care of by the production de-
fall upon the cameraman every day.
partment, or be handled by the assistant director,

Here, we work with an electrical crew who know
lighting, and who can be of great help to the camera-
man in preparing a set for his style of lighting. In
England, the electricians are eager and willing, but
they have not had the experience which teaches
them the importance of placing lamps correctly to
an inch, and focusing spotlights to a fraction of a
turn. In England, you light your sets personally,
rather than polishing a roughed-in lighting, as is
possible here.

Another problem is the fact that England is, in
spite of the many new studios and stages, cramped
for stage-space. When you finish with a set, it is
struck immediately. If you need it again, you must

wait your turn for a stage, and wait some more until
the set is re-built, re-rigged, and re-lit. During my
picture, I had finished with one set except for a single
dolly-shot, which was all lit and ready to go when
dinner-time came. An hour's work and we'd have
been through. But it was dinner-time! The matter
was put up to the crew, who voted in favor of eating.
We ate. The set had to be struck so another com-
pany could use the stage in the morning — and not
until over a week later could we make that one re-
maining dolly-shot!

From this, you can readily guess that working-
hours and especially night work are not what they
are in Hollywood. Of course, if you have night
scenes to make, your company works at night; but
otherwise (though some of the American directors
are trying to change the habit) British troupes keep
legitiate business-men's hours. And they are defin-
(Turn to Page 30)

PHOTOGRAPHY YEAR BOOK-1936-1937"

(Cameramen of Hollywood may look over this remarkable book by calling at the office of International Photographer,
Suite 506, Taft Building, Hollywood Blvd., at Vine St., Hollywood.)

(The International Annual of Camera Art)

Edited by T. Korda, Editor "Photography."

Associate Editor: Leonard J. Coulter.

Publishers: The Cosmopolitan Press, Ltd., 48 Fetter Lane, Lon-
don, E. C. 4. publishers of the monthly "Photography."

Price: 21s. post free. Stiff covers (linen faced).

Comprises 464 pages (12" by 9V2") and includes more than
1,000 pictures (108 full-page size).

Total number of contributors exceeds 550.
Pictorial Section

(Full page illustrations) occupies 111 pages and includes
108 photographs, representing outstanding ■work, by master-pho-
tographers in many countries.

Sub-Sections

(In this year's edition, for the first time, the photographs have
been grouped together under subject headings, all animal pic-
tures, for example, being presented in one self-contained section,
and so on throughout the book.)

Architecture, Construction: 70 illustrations.

Fashion, Beauty: 37 illustrations.

Hands: 11 illustrations.

Nudes: 53 illustrations.

Sea, Water, Snow: 55 illustrations.

Work: 41 illustrations.

Scientific: 34 illustrations.

Photo Murals: 5 illustrations.

Display Material: 23 illustrations.

Animals, Birds: 51 illustrations.

Babies, Children: 61 illustrations.

Flowers, Fruit: 44 illustrations.

Landscape, Outdoor: 50 illustrations.

Portraits: 107 illustrations.

Still Life: 41 illustrations.

Trick Photography: 56 illustrations.

Bas Reliefs: 4 illustrations.

Photo-Posters: 96 illustrations.

Printed Salesmanship: 13 illustrations.

Book lackets: 8 illustrations.

Amateurs' Progress: 17 illustrations.

Magazine and Newspaper Covers: 7 illustration.

The Camera in Advertising: 59 illustrations.
Total Illustrations: 1,063

World-famous photographers from most countries have sub-
mitted some of their best work for reproduction in the current
edition of Photography Year Book.

Not only will professionals find the book valuable as a
guide to the trend of camera art; amateurs will discover in it a
host of new ideas for lighting, composition and technique.

This year's Photography Year Book makes history in one
important respect. Side by side with the work of recognized
masters, it reproduces outstanding examples of amateur pho-
tography. Every owner of a camera 'who has ambitions to
progress in the art, will find the book an incentive to better
work.

Published at one guinea net, post free, the Year Book includes
pictures dealing with every conceivable subject.

Of especial interest, as denoting a new trend in photography,
is the section entitled "Hands." Psychologists say that human
character is displayed as clearly in a person's hands as in his
or her face. As a result, there is a growing demand for what
is called hand-portraiture, of which 1 1 first-class examples are
reproduced in the Year Book.

Another new note is struck by the chapter headed "Work."
A study of the 41 photographs in this category shows once again
the truth in the old saying that one half of the world knows not
how the other half lives.

The interest in this fascinating picture book is not, however,
limited to photographers. Every woman will be absorbed by
the section containing 61 beautiful illustrations of babies and
children. There are some infants smiling, others yelling; some
playing, some eating, some blonde, some dark and some quite
bald!

Keen gardeners will find plenty to interest them in the 44
pictures of flowers and fruit which appear in the Photography
Year Book. The way in which the camera, when' used by an
expert, can capture the delicate texture of petal and leaf must
be seen to believed.

This age of beauty and beautifcation is reflected in the
chapter on Beauty and Fashion. Here, photographers from all
over the world give their idea of beauty.

Advertisers will find the Year Book especially valuable,
for it shows how big business houses here and overseas have
used the camera in marketing and selling. There are thousands
of new ideas tucked away; for example, in the category of
Applied Photography.

Students will be interested particularly in the special section
devoted to the use of Advertising in Science.

The Year Book is thoroughly international in scope, con-
tributions having been received from Britain, America, Australia,
Tapan, South Africa, France, Germany, Poland, Finland, Norway,
Denmark, Hungary, Austria, Spain. Belgium, Holland, Italy,
Russia, India, Czechoslovakia, etc.

An alphabetical index to contributors is provided.

Everyone interested in photography and attracted by beauty
and artistic effort, should possess the Photography Year Book,
1936-37. Those whose friends or relations take an especial inter-
est in camera-craft will find the Year Book a particularly welcome
gift for Christmas.

The Year Book is obtainable direct from the publishers, Cos-
mopolitan Press, Ltd., 48 Fetter Lane, London, E. C. 4. price 21s.
post free, or can be ordered through all booksellers, bookstalls,
or photographic dealers.

"The Photography Year Book— 1936-37," that wonderful
"Bilder" book of the photographic world is so intriguing this year
that the INTERNATIONAL PHOTOGRAPHER is moved to say to
the editors and artists: "Well done, good and faithful servants;
you are entitled to write your own ticket of praise and apprecia-
tion."

December, 1936 The INTERNATIONAL PHOTOGRAPHER Twenty-nine

BY REQUEST

EASTMAN'S new book, Motion Picture Labora-
tory Practice and Characteristics of Eastman
Motion Picture Films, was published in response
to numerous requests from within the industry.
It is the latest authority on its subject ... a
modern, complete handbook for all those con-
cerned with the use and processing of motion
picture film. It is printed on fine paper, has 210
pages and 84 illustrations, and is handsomely,
durably bound. Price, $2.50. Eastman Kodak
Company, Rochester, N. Y.

"MOTION PICTURE
LABORATORY PRACTICE"

Thirty

The INTERNATIONAL PHOTOGRAPHER

December, 1936

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 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 variety of
16 mm. and still cameras and projectors. B & H Cameras with old type
shuttles silenced $150. Bipack magazines and adaptors for color. Every-
thing photographic bought, sold, rented and repaired. Send for our bar-
gain catalogue. Hollywood Camera Exchange, 1600 Cahuenga Blvd.
Phone HO. 3651. Cable, Hocamex.

WALL SINGLE SYSTEM SOUND CAMERA

With direct drive motor, new type movement, variable area high fidelity
galvanometer, microphone, amplifier, lenses, tripod and accessories. Com-
plete, ready for operation. Rebuilt silenced and Standard Bell & Howell
170° Cameras — Hi-Speed gear boxes. New Fearless shuttles for Bell
& Howell. Portable blimp with follow focus for Mitchell Camera. Pre-
cision, DeBrie and Bell & Howell pan and tilt tripods. Bell & Howell
1000 ft., 400 ft. magazines. Motors, sunshades, finders, lenses and all
accessories. Write, wire or cable.

MOTION PICTURE CAMERA SUPPLY, INC.

723 SEVENTH AVE., NEW YORK CITY

CABLE: "CINECAMERA"

DE BRIE MODEL L with three lenses, fitted for outside Bell &
Howell magazines and inside DeBrie, includes two Bell & Howell 400
ft. and six DeBrie 400 ft., complete with cases and DeBrie tripod, all
equal to new. Price. $875.00. BASS CAMERA COMPANY, 179 W.
Madison St., Chicago, Illinois.

DEVELOPING OUTFITS

USED STINEMAN 35mm Studio Developing Outfit, three nesting
tanks, one 200 foot, two 100 foot reels, in case, complete $100.00. Also
Stineman 35mm Printer, $45.00. Just the thing for an expedition.
Camera Supply Co., 1515 No. Cahuenga Blvd., Hollywood, Calif.

SEVERAL USED STINEMAN 16mm Developing Outfits, also 16mm
Stineman Step Printer. Camera Supply Co., 1515 No. Cahuenga Blvd.,
Hollywood, Calif.

FOR SALE— SOUND RECORDERS AND EQUIPMENT

LIKE NEW BELL & HOWELL 5-way Sound Printers and Sound
Moviolas. Reasonable price. HOLLYWOOD CAMERA EXCHANGE,
'600 Cahuenga Blvd., Hollywood, Calif.

POWERS CINEPHONE RECORDERS— Sound heads for Simplex, dy-
namic and condenser microphones, synchronous and D. C. interlock
camera motors, portable recording amplifiers. Motion Picture Camera
Supply, Inc.. 723 Seventh Avenue, New York City. Cable address:
"Cinecamera".

DOUBLE SYSTEM SOUND RECORDING OUTFIT, high fidelity
p.p. amplifier, uses 2 or 3 element glow lamps. 110V 10A storage bat-
teries, interlock motors for B. & H., Mitchell or Debrie cameras, $1800,
highest quality sound guaranteed. Photos on request. VVm. C. Fer-
reira, P. O. Box 111, Honolulu, T. H.

WANTED TO BUY

WE WANT TO BUY
All Types of Cameras
We pay the highest cash prices for Mitchell, B & H. Akeley, DeBrie,
Eyemo and other makes of cameras and camera accessories. We also
want tripods, motors, magazines, cutting room and laboratory equip-
ment. Tell us what you have ! Get our price offer !
CAMERA EQUIPMENT, INC.
1600 Broadway New York City

FOR SALE— PHOTO STUDIO

FOR SALE — Nationally known Photo Studio fully equipped on Holly-
wood Blvd. in center of business district, doing excellent professional
and portrait business. Owner going to Europe. Will sell for less than
inventory if sold before Feb. 1st. $1500.00 cash will handle. Box S-l,
c/o International Photographer.

POSITION WANTED

FRENCH CAMERAMAN speaking English would be interested in
shooting transparencies and stock shots, covering Europe. Als. Milium,
288. R. Vaugirard, Paris 15e, France.

COLORFILMINC IN BRITISH STUDIOS

(Continued from Page 28)

itely British business-men's hours — interrupted
promptly at ten in the morning and four in the after-
noon for that time-honored British institution, tea.
Lunch is called with clock-like regularity, too. But
the amazing thing is tea! Everyone on the set con-
tributes to a tea fund, and at the appointed hour,
everything stops for fifteen minutes while the troupe
drinks tea and nibbles cookies, brought from the
commissary by the property-man. Though the idea
seems surprising at first, you soon learn to appreci-
ate it, for it makes a very refreshing pause in the
day's grind. And after drinking the British version
of coffee, I can see why John Bull takes tea for break-
fast! I count as one of my more important achieve-
ments the fact that, with Johnny Boyle and some of
the others, I finally persuaded the Denham commis-
sary to serve real American coffee!

But despite these distinctly minor faults, the Brit-
ish studios are not only a very pleasant place in
which to make pictures, but a place where you can
make good pictures. It is amazing to see the fine
new and completely equipped British studios of to-
day, and to realize that only a few years ago their
studios were small, badly equipped, and dedicated
only to the production of cheap "quota pictures" —
films even a poverty-row "quickie" producer would
have been ashamed of. The really representative
British pictures of today are such as any of our own
major studios might be proud of. It is true that the
quota picture still exists, but it is improving and
vanishing. It is also true that no British studio has
yet developed the specialized production organiza-
tion one finds in Hollywood's studios, but it took
Hollywood many years to build up its own organiza-
tion ,and not even England's tremendous enthusiasm
can build up such an organization overnight. It
will come; it is on its way. Meantime, the coopera-
tion between Hollywood and London, as evidenced
by the innumerable Hollywood-trained artists and
technicians now making British pictures, and the
founding of British branches by such firms as Mole-
Richardson, Technicolor, and others, is not only help-
ing British films, but cementing international ties that
will be of lasting value to both countries.

WITH COMPLIMENTS OF THE SEASON

It is with the deepest sense of friendliness and
gratitude that the staff and publishers of INTER-
NATIONAL PHOTOGRAPHER acknowledge the sup-
port of our publication through its advertising col-
umns during the past year and we feel sure that
the returns to our advertisers during the ensuing
year will prove to be far beyond those of 1936.

With best wishes for unbounded happiness and
prosperity to all.

In W*7rld"(/0id* Us«

Effects in Daytime ~F^ Scenes-

LYif fused. F^cus.arcd many ^Hrer «Ff«cts

With any Camera " In any Ulimare

GcorqG H. ScKeibe

ORIGINATOR OF EFFECT FILTERS

1927 WEST 78th ST.

LOS ANGELES. CAL.

December, 1936

The INTERNATIONAL. PHOTOGRAPHER

Thirty-one

35 MM. NEGATIVE
AND POSITIVE FILM

NE of the manyreasons why SUPERPAN has proved
an aid to better photography is its unsurpassed fineness
of grain. And add to this its speed, color sensitivity and
wider latitude, and you couldn't ask for more in an ideal
super-sensitive panchromatic film. Made by Agfa Ansco
Corporation, in Binghamton, New York.

C. KING CHARNEY, Incorporated

HOLLYWOOD

6372 Santa Monica Blvd.

Tel. Hollywood 2918-2919

NEW YORK

245 West 5 5th Street

New York City

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

December, 1936

HOLLYWOOD OFF STAGE

By Earl Theishx
Associate Editor, International Photographer

about $100 for each movie celebrity that indorses
his club. The club members buy official photos,
subscribe to a club magazine and other little come-
alongs. One promoter in Chicago is doing a flour-
ishing business.

The unsung hero of the motion pictures is the
"grip." He is a jack-of-all-trades, who gets his
rather odd name from the old cry of the gang-boss:
"Hey, get a grip on this." The badge of his trade
is a hammer which he carries suspended in a loop
in his overalls.

George Burns was on his way to Paramount
Studios when his car was smashed from the rear.
The driver of the car that hit him turned out to be
a badly frightened young fellow who had borrowed
the car from a friend to look for work. George gave
him a check.

The script of "College Holiday" called for a kiss-
ing scene under water and it was up to Marsha
Hunt and Leif Erikson to dive into a pool twenty-
four feet in diameter for the kiss. It took 40,000 gal-
lons of distilled water, pre-heated, for the kiss setting.

About fan letters! Shirley Temple received the
following letter from a little girl in Detroit:

"Dear Shirley: Thank you so much for sending
your pitcher to my girl friend. She has give me
one-half interest in it. I gave her one-half interest
in my baby sister for it. "Your truly."

And Edward Everett Horton received one from
a woman in a small Midwest town in which the
woman asked for enough money to build a sleeping
porch on her house for the baby expected in De-
cember. She is going to name the baby Edward
Everett Horton, if it's a boy.

"If you can't send the money, send a carpenter
to do the work," she suggested.

A modest demand came to E. E. Horton from
a chap in the Ozcrrks:

"I need some of your excess lumber (Eddie had
just completed a house) for a shack and enough
money, say $200, to meet expenses for a year of
writing. In return for this I will promise to dedicate
my book to you."

Jack Oakie receives numerous letters from moth-
ers, such as:

"My son looks just like you . . . would you care
to advance enough money to send him to college?"

Instead of money Oakie sends the mothers notes
sympathizing with them on their bad fortune.

Racketeering fan clubs have been organized. Pro-
moters of these clubs ask the approval of a player
to indorse the club, then the promoter sells mem-
clubs have about 1,000 members, the promoter gets

Of course there are legitimate clubs. Shirley
Temple has 384 with a combined membership of
3,800,000. In foreign countries there are 489 Temple
clubs with a total estimated membership of over
5,000,000. An international fan club is conducted
by the movie magazine "Screen Play," called "The
Templers." Mickey Mouse has as many fan clubs
as he has fans, I believe.

The elephant used in Paramount's "Arizona Ma-
honey" during the first twenty days of production
of this film ate 240 quarts of peanuts. That was
more than 2,500 sacks such as are sold on the circus
grounds.

Marsha Hunt will not sign an autograph book
unless the fan knows her name and the most recent
film in which she appeared.

Martha Raye was born in a dressing room.

For the first time educational sequences of a
dramatic movie were made into an educational film
for use in schools. The picture which shows the
development of the plains regions of North America
was scripted and directed by Herbert Moulton and
Ralph Jester from scenes in De Mille's "The Plains-
man." The film will be sold to schools by the Bell
& Howell Company.

Lily Pons has a vocal stand-in who has a voice
of similar pitch and volume. The stand-in saves
the wear and tear on the Pons voice during re-
hearsal.

Eleanore Whitney got lost in a studio-made fog
in one of the sound stages. The artifcial fog had
been made so dense she could not find her way
out of the maze and equipment of the sound stage.

Because the extras appearing in "Parnell" got
blackberry pie in their whiskers one day at lunch
at M. G. M., such pie was taken off the menu at
the studio commissary.

Groucho Marx, who has been thinking of buying
a home, has found a house he wants in one part
of the city and a lot he wants that is in another.
Now he is pondering over the problem of getting
them together.

Robert Taylor receives over 9,000 letters and
postcards each week.

Real ice does not photograph like ice, so for the
skating scenes in the Fox picture, "One in a Mil-
lion," Sonja Henie skated on frozen skim milk. Even
that did not work satisfactorily, so a solution of cal-
cium was used. For most ice scenes a hypo solu-
tion is poured out which crystallizes into a hard ice-
like surface.

GET THE WHOLE STORY

IF you need a special-purpose film,
investigate some of the unique
achievements of Eastman Super-X.
If you want an all-purpose him,
investigate Super-X just the same.
It not only runs the whole gamut of
black-an d- white cin em a tography,
but does it with brilliant success.
Get the whole story from us before
you start your next picture.

J. E. BRULATOUR, INC.

FORT LEE • NEW YORK • CHICAGO • HOLLYWOOD

Teague Photographic Transparency

Equipment

Manufacturers of Complete Process Equipment Since 1929

Registration Projectors
High-Speed Projectors

High Intensity Arc Still Projectors
Complete Electrical Drives.

Transparency Screens for Color and Black and White.
Special Lenses and Lamp Equipment for Color.

BASE:
Portable

Screw adjustments

with

Positive Locks for

Tilting

Panning

Elevating

Revolving Head

Mounting which

allows head to

Revolve about Optical

Center.

Can be locked in

any position.

PROJECTOR:

Bell & Howell
Pin Registration

Micrometer Lens
Mounts

Air Cooled
Movemeent

Silent Gears
Throughout

195 Degree
Shutter Opening

for Color
Transparencies

Automatic Fire
Shutter

Motor Mounting

Variable to allow

Fitting of any

Size motor.

COLOR TRANSPARENCY PROCESS EQUIPMENT

TEAGUE PROCESS

1040 North Las Palmas Ave.
GR. 3111

Qeneral Service Studios

Hollywood, California
Cable: TEAGPROCES

''■■■■' ';1

MM
ISHHSb

iff

vmmnm Hi1

■■.,/■■■.'-'.-

iawWMi

*■:'"'■ '■■'■,'

pifflifi

.iSJ^

MfitfG

miiwm

iinii

\w ■ ..'■'

'. ;.':. :.

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "International photographer (Jan-Dec 1936)"

See other formats