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by the American Society of Cinematographers
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Is Otherwise Obtainable
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)
HOLLYWOOD :: : CALIFORNIA
AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
of motion picture photography.
Hollywood, California.
What to Read
DEVELOPMENT of Carbon Arc Lighting
by Elmer C. Richardson.. 131
EDITOR
RIBBON Microphones in the Tropics
by Len Roos, A.S.C — 1 35 Charles J. VerHalen
TECHNICAL EDITOR
PHOTOGRAPHY of the Month 1 36
Emery Huse, A. S. C.
ASSOCIATES
Walter Blanchard
Karl Hale
ADVISORY
EDITORIAL BOARD
S.
C.
C.
Hatto Tappenbeck, A. S. C.
•EMERY HUSE will continue with his series on Jackson J. Rose, A. C.
Sensitometric Control —
Next month we will Fred Gage, A.
S.
S. C.
ESTABLISHED 1918. Advertising Rates on appli- Neither the American Cinematographer nor
cation. Subscription: U. S. $3.00 a yeer; Canada the American Society of Cinematographers
$3.50 a year; Foreign, S4.00 a year, single copies 25c. is responsible for statements made by au-
COPYRIGHT, 1933, by American Society of Cine- thors. This magazine will not be responsible
matographers, Inc. for unsolicited manuscripts.
!
LAMP BULBS!
and again . . . and they found that the rate of filament evaporation
did decrease! Through gas pressure, they could make lamp filaments
“come down to the sea from the mountains.”
But the vital importance of this discovery for you springs not from
its use to lessen bulb blackening ;
other means were found to do that.
General Electric seized on the more practical application which gas
pressure offered the ability to burn the filament at a higher tempera-
:
MEMBERS
Abel, David MacWilliams, Glen
Allen, Paul H. Marsh, Oliver
Arnold, John Marta, Jack A.
Miller, Arthur
Bell, Chas. E.
Milner, Victor
Benoit, Georges
Boyle, John W.
Mohr, Hal SOCIETY OF
Brown, Jas. S., Jr. O’Connell, L. Wm.
Chancellor,
Clark, Daniel
Philip
B.
M. Palmer,
Perry, Harry
Ernest AMERICAN
Clarke, Chas G.
Cowling, H. T.
Polito,
Pomeroy, Roy
Powers, Len
Sol
CINEMATOGRAPHERS
Daniels, Wm. H.
OFFICERS
Davis, Chas. J. Rees, Wm. A.
DeVinna, Clyde Roos, Len H. JOHN ARNOLD President
DeVol, Norman Rose, Jackson J. VICTOR MILNER First Vice-President
Dored, John Rosher, Chas. CHARLES C. CLARKE Second-Vice-President
Dubray, Jos. A. Rosson, Harold
Dupar, E. B.
ELMER C. DYER Third Vice-President
Schneiderman, Geo. GEORGE SCHNEIDERMAN Treasurer
Dupont, Max
Schoenbaum, Chas.
Dyer, Edwin L.
Scott, Homer WILLIAM STULL Secretary
Dyer, Elmer G.
Seitz, John F.
Edeson, Arthur Sharp, Henry
Shearer, Douglas G. BOARD OF GOVERNORS
Fildew, William
Sintzenich, Harold John Arnold John W. Boyle
Fisher, Ross G.
Smith, Jack Charles G. Clarke Daniel B. Clark
Folsey, Geo. J., Jr.
Snyder, Edward J.
Elmer Dyer Alfred Gilks
Freund, Karl
Stengler, Mack Frank Good Fred Jackman
Gaudio, Gaetano Struss, Karl Charles B. Lang, Jr. Victor Milner
Gilks, Alfred Stull, Wm. Arthur Miller Hal Mohr
Good, Frank B. Stumar, Charles George Schneiderman John F. Seitz
William Stull
Haller, Ernest Tappenbeck, Hatto
Herbert, Chas. W.
Van Buren, Ned
Hilburn, Percy
Van Trees, James PAST PRESIDENTS
Horne, Pliny
Varges, Ariel Philip E. Rosen Hal Mohr
Hyer, Wm. C.
Wagner, Sidney C.
Gaetano Gaudio Homer Scott
Jackman, Dr. Floyd James Van Trees John F. Seitz
Walker, Joseph
Jackman, Fred John W. Boyle Daniel B. Clark
Walker, Vernon L.
June, Ray Fred W. Jackman Arthur Webb,
Warrenton, Gilbert
Jansen, W. H. General Counsel
Wenstrom, Harold
Kershner, Glenn Westerberg, Fred
Koenekamp, H. F. Wilky, L. Guy
Wrigley, Dewey HONORARY MEMBER
Lang, Chas. B., Jr.
Wyckoff, Alvin Mr. Albert S. Howell, Chicago
Lockwood, J. R.
Lundin, Walter Zucker, Frank C.
PRODUCTION COMMITTEE
Daniel B. Clark Elmer G. Dyer
John W. Boyle Ned Van Buren
William Stull
MEMBERSHIP COMMITTEE
Charles G. Clarke Alfred Gilks
George Folsey
ENTERTAINMENT COMMITTEE
John W. Boyle Frank B. Good
Charles B. Lang, Jr. Vernon Walker
Alvin Wyckoff
RESEARCH COMMITTEE
Victor Milner, Arthur Miller, William Stull, WELFARE COMMITTEE
Dr. Herbert Meyer, John Arnold, John F. Hal Mohr James Van Trees
Seitz. Emery Huse. Dr. L. M. Dieterich Fred W. Jackman
When
The B
the first of the new Bell & Howell Rotambulators was rolled
&H Rot ambulator
onto an M-G-M sound stage at Culver City, perfection had come to
another phase of cinematography. The utmost smoothness and pre-
cision in camera mobility had arrived. And movies since made with
the Rotambulator attest this fact. They include: "Turn Back the
Clock", "Hold Your Man” and "Hell Below.” The camera may be
rotated, panned, raised, lowered, and tilted at will with amazing —
freedom and steadiness with every movement smooth and sure. Write
for complete technical description.
B &H Cooke
Varo Lens
The B & H Cooke Varo
Lens, originated to over-
come limitations of dolly
shots in awkward situa-
tions, has led to picture
results far beyond those
originally contemplated.
This ingenuity in the use
of new products on the
part of cameramen is
matched only by the in-
genuity of the Varo Lens
itself. The lens varies
focal length while auto-
matically retaining criti-
cal focus and correct ex-
posure. Current results:
"Strangers Return" and
"Night Flights." Avail-
able on rental to respon-
sible studios.
dvanced amateurs,
A producers, and other serious 16
scientists, explorers,
mm. film
industrial
users
film
have
from time to time commissioned Bell & Howell to build
them special equipment to increase the versality of their
Hlmos. Now these professional features, pictured at right,
are available to all. They include:
finder, built into the variable viewfinder on the 70-D Camera door.
Personal Movie Cameras and Projectors The new Filmo JS Projector hits the peak of screen
brilliance with a powerful 750-watt lamp. The increase
Bell & Howell Co., 1848 Larchmont Ave., Chicago, 111. in illumination over 500-watt systems is approximately
New York, Hollywood, London, (B & H Co., Ltd.) Est. 1907 fifty per cent. Automatic rewinding, fully gear-driven
mechanism, fast F 1.65 lens, aero dual cooling.
New Development eyes of the actors. The diffusion glass which is supplied
with the equipment has a high lead content which impedes
the transmission of ultra-violet light, which is the compo-
In Carbon A rc
nent of arc radiation which causes the inflammation of the
eyeball popularly known as “Klieg eye.” When equipped
with cover glasses these lamps produce more than twice the
illumination afforded by the old types of side arcs of simi-
lar current capacity when operated open, and produce a
Sensitometric
fixed point on the toe and shoulder and contrast can then
be expressed in terms of a density value. The difference
between the density chosen on the toe and that on the
shoulder gives this data. It has been sensitometric practice
Fig. 4 those points on the toe and shoulder where the slope is
equal to .20. From the curve as shown in Figure 4 a .20
gradient on the toe and shoulder would be slightly above
point A and slightly below point D. The word “gradient”
signifies the slope of the curve atany given point. How-
Editor’s Note: This is the second in a series of articles by ever, along the straight line of the curve the gradient is
Emery Huse, A.S.C., on Sensitometric Control. In the Sep-
tember issue Mr. Huse will discuss actual motion picture constant and is equal to gamma.
laboratory negative and sensitometric control.
As was previously indicated, there is one instance in prac-
tical sensitometry where gamma and contrast can be used
O NE
4 it will be readily observed that the straight line portion control for negative, positive and sound track should be
of the H and D curve from which gamma is determined treated individually. Furthermore, that this paper might
exists only between points B and C. This straight line por- contain more than the opinion of the author, data will be
tion contains only part of the various densities which go presented from actual production laboratories, which data
to make up the complete curve. This being the case, the will show clearly the degree of consideration which is given
densities which are beyond either extreme of the straight to sensitometric control.
line must play some part in the photographic rendering of Before discussing actual laboratory data there is an im-
subject or scene. When one looks at a motion picture on portant consideration which should be given to the develop-
the screen and studies it for contrast, all thoughts of gamma ment of negative film. In Hollywood there are two dis-
disappear. What the observer is looking at is the relation- tinctly differentmethods by which negative film is devel-
ship existing between the highlights and shadows. Sensi- oped. One method is that of a constant time of develop-
tometrically this refers to the toe and shoulder portions of ment. The other method is that which is colloquially
the H and D curve. Therefore, it seems evident that in termed the test method. By the constant time method is
studying contrast sensitometrically that densities which lie meant that the developing solution is maintained at a
on the toe and shoulder must be considered. In evaluating definite control gamma, as shown sensitometrically, and
August 1933 0 American Cinematographer 133
W
design. Only, he says, by absolute co-ordination of all of
the optical units of the projector can the maximum effi-
ITHIN the past two or three years, the “trans- ciency be attained. In a majority of installations, he points
parency” or projected-background process has out, the lamp-house is considered solely as a light-source,
revolutionized the art of trick cinematography, not as an intergral part of the optical system. Accordingly,
and effected tremendous savings in production-cists. Its though transparency-technicians frequently change the focal-
basic principles are too well known to merit repetition be- length of the projection-lenses used, according to the re-
yond the simple statement that the process consists of the
projection of any desired cinematographic background upon
quirements of the scene to be made —
but use the same
reflecting-system at the light-source throughout. This prac-
a translucent screen behind the actors, with background- tice, he has found, is in a large measure the cause of the
projector and camera operating in an electrical interlock. “hot-spot” which so frequently causes trouble in this work.
This process has literally made possible the making of sev- Accordingly, he has gone to great pains to co-ordinate the
eral of the most successful productions of the day, and has foci of the mirrors used with the foci of the projection-
saved hundreds of thousands of dollars —
and incalculable lenses employed; he has, moreover, found it imperative to
time and effort — in its application to other productions. use mirrors and lenses of the same manufacture. By this
It is probable that nine productions out of ten contain at
(Continued on Page 148)
August 1933 0 American Cinematographer 135
Ribbon
Micro-
phones
Work Best
In Tropics
by
Len Roos, garbed in dinner clothes at 7
Len Roos, A.S.C. o’clock in the morning to photograph the
Sultan in his palace. This Leica shot was
As told to Karl Hale taken in the interior of the palace.
W
ment and
HEN Universal assigned
ture to be
me the
made
responsibility
the jurisdiction of the sound equipment.
We
in
me
of
try. We kept our equipment down to a minimum, al- under the circumstances in which we worked. It was the
though we did take about four each of everything for an first time had handled I this foreign camera and it worked
emergency. The thing to suffer mostly, however, was the perfectly for me at all times.
microphone. Wekept the microphone in a humidor in The nature of the story also required many street shots.
which we had placed Calcium Chloride until a minute or The Ica-Kinamo was pressed into service on practically all
two before we wanted to use it. The damp-sweating at- of these.
mosphere of Singapore affected the microphone more than Weused the Leica camera for all of our production stills.
any other piece of equipment we had with us. A micro- I mounted myLeica on my viewfinder synchronized the . . .
phone of the condenser type which we had for picking up Leica the 35 mm. finder and as the camera
finder with
the sound is naturally affected more by atmospheric con- ground would snap the Leica as we went along and pick
I
ditions than any other type. Contraction and expansion of up the same action as the 35 mm. camera registered for
the materials directly in line with the picking up of the our production stills.
sound is a serious matter. We
kept the microphone, for Itmore or less a familiar fact to
is cinematographers all
this reason, in the humidor constantly ... in fact, we called
who have worked in the tropics that it is necessary to keep
it the "Mike Incubator.’’ We
had to handle it like a sick the moisture out of the film before and after being ex-
child. Placing it back in the humidor immediately we were
posed. have found during my 19 years of travel making
I
available that the atmosphere will not injure in its repro- in small containers seal it with tape and over that seal
. . .
duction values. The ribbon, hanging as it does between the it with hot wax so as to keep out every vestige of moisture.
two elements, has a great flexibility in contraction and ex- When we had exposed the film, we put it first in a humidor
pansion that is advantageous under tropical conditions. we had made of a fireless cooker. We had a second fire-
The three microphones we took with us were com- less cooker for drying the paper in which we would wrap
pletely ruined before we finished with the picture. All the film. Of course, in each of these humidors we had
of them will have to be rebuilt before they will again be
placed the calcium chloride to attract the moisture. After
serviceable. both the film and paper were perfectly dry we wrapped the
The 35 mm. hand camera was indeed a mighty handy film in the paper, placed it in a can and then sealed the
equipment operating as we were. Paul Perry accom-
bit of
(Continued on Page 152)
1 36 American Cinematographer August 1933
PHOTOGRAPHY
of the MONTH
“SONG OF SONGS’’ than any act or word could portray. Later in the story, a
sequence in which the sole illumination used is an ordinary
Paramount Production
flashlight proves of artistic and dramatic as well as technical
photographed by Victor Milner, A.S.C. Some of the scenes the tropical village are
This production — despite the fact that
—
it was made under
interest. in
likewise excellent examples of high-key photography; they
a variety of difficult ranks with the best work
conditions are highly atmospheric —one can almost feel the sultry heat
that Cinematographer Milner has ever turned out. He gives portrayd.
his well-known lighting skill full play, and makes the most
One of Mr. Winchell’s best orchids is due to Director
of the manyopportunities afforded by sets, locations and
ac tj on —
n ot to mention doing marvelously by Marlene Diet-
Dieterle,
Director
for
Max
his camera-mindedness, and another to Art-
Parker; but the balance of the bouquet is
rich, the star, who has seldom, if ever, appeared to more
surely the due of Cinematographer Mohr, whose artistry
photogenic advantage.
makes he seem better than it really is.
picture
“Song of Songs,” however, is primarily a study in pic-
composition; almost every scene is a compositional
torial
“THE MAN WHO DARED”
gem, well worth the careful study of cinematographers ev-
The these scenes, too, show the
majority of Fox Production
erywhere.
vital part which lighting and light-patterns can play in pic- photographed by Arthur Miller, A.S.C.
torial composition. Sketchily episodic, perforce, this celluloid biography of
The major flaw that can be found with the production the late Mayor Cermak of Chicago is made well worth see-
(aside from a weak story, about which the lay critics have ing by the intelligent direction of Hamilton McFadden, and
already written a great deal) lies, to my mind, in Director by superb photography from the camera of Arthur Miller,
Reuben Mamoulian’s misuse of the camera in the early se- A.S.C. The earlier sequences especially abound in striking
quences. In this portion of the film, Miss Dietrich’s char- pictorialism and rich atmosphere. The scenes of the Chicago
acterization is German peasant girl; such
that of a simple fire, and the sequences in the colliery, especially, are not-
Admittedly, the sets for this sequence provided opportuni- — laid in modern times —
do not offer so fruitful a field for
ties such as would try the patience of a cinematographic atmospheric pictorialism, they are none the less beautifully
Job: but Mamoulian's proven understanding of the funda- handled by Cinematographer Miller.
mentals of cinematics should have enabled him to resist
these temptations, and hew strictly to the line of his story. “DON’T BET ON LOVE”
Universal Production
‘‘THE DEVIL’S IN LOVE” photographed by Jackson J. Rose, A.S.C.
Fox Production It has been some time we have seen a picture from
since
photographed by Hal Mohr, A.S.C. Cinematographer Rose, for due to an automobile accident
he has been inactive for many months; but his recent pro-
There will undoubtedly be a strong difference of opinion i
duction, “Don’t Bet on Love,” proves that his injury did
regarding the dramatic worth of this production; but there
no harm to his camera-craft. On the contrary, despite the
can be no question of the fact that Hal Mohr, A.S.C., has
limited opportunities vouchsafed him by the story, his work
contributed some of the finest cinematography seen in a
has improved. Always artistic, never conspicuous, it is a
long time. In addition to the rich quality that always char-
an out- fine example of what the treatment of such a plot should
acterizes Mohr’s work, “The Devil’s in Love
’
is
I
August 1933 O American Cinematographer 137
AMATE U R
SECTION
Contents . . .
HERE’S How!
oy A.S.C. Members 146
Next Month . . .
not go awry a story on Slow Motion by a man who has had had much
experience in this work.
WHEELS
OF INDUSTRY
1 6 mm. Films of Fair ful for extremely long distance shots and New Bass Bargaingram
in photographing wild life, birds, sports,
• Bell &
Howell Company announce the etc., where the Cinematographer would
• Camera Company has just issued
Bass
exclusive distribution of the Burton a new 16 mm. Bargaingram, listing 18
be unable to secure a picture without
Holmes pictures of the Chicago 1933 pages of apparatus and supplies.. This
the use of an extremely long focus lens.
World’s Fair through their dealer affilia- Bargaingram No. 211 is mailed free on
tions throughout the world. request. A new department in this Bar-
This series consists of the following Booklet on Medical Pictures gaingram is the listing of a set of thir-
teen filters.
subjects: ‘‘Around the Fair with Burton
Holmes,” 400 feet. An abbreviated ver-
® Physicians and surgeons who are inter- The materials listed comprise prac-
ested in making medical, surgical or everything from cameras and pro-
sion of this is available in 100 feet. tically
other scientific films will welcome a jectors to the many accessories used by
‘‘Opening Day Ceremonies,” feet; 100
monograph entitled “The Motion Picture the Cinefilmer.
‘‘Streets Paris,” 100 feet; “Indian
of
as a Professional Instrument,” prepared
Village,” 100 feet; “Wings of a Cen-
tury,” 100 feet; “The Lama Temple,”
by W. F. Kruse, of the Educational Di-
to the Educational Division, Bell & Howell second exposure, slow shutter speeds
Company, 1801 Larchmont Avenue, Chi- ranging from one full second to one-
New cago. eighth second. An interesting feature
Craig Announces Prices
of this device lies in the fact that inter-
• In a recent bulletin sent to the trade mediate shutter speeds may be secured
the Craig Movie Supply Co. has an- Weston Leica Meter by setting the index pointer between
nounced new prices on its line of 16 two calibrated speeds, thus, if the indi-
mm. splicers and combination rewinds
©A special exposure
meter has been de-
cator is set between “4” and “8,” a
signedby the Weston Electric Com-
and splicers, to take effect September shutter speed of 1 /6th second will result.
pany for use with the Leica camera.
1st. In some instances the reductions The new shutter speed control consists
This is claimed to be the smallest and
have been as high as thirty-three and of a tiny, calibrated knob situated near
most compact of the Weston Exposure
one-third per cent. the lens on the front of the camera. It.
Meters. It is similar in design to the
operates independently from the regular
Cine iVieter turned out by Weston. It
shutter speed setting dial located on top
is provided with simple conversion tables
Hugo Meyer Telephoto Lenses of the camera. The slow speeds marked
covering the most popular types of films.
on the dial are 2, 4, and 8, which cor-
• Two new telephonto lenses for both The weight is 'claimed to be only 6 1 ,
A NEW FILM
EXHIBITIN G extremely fine grain
combined with reasonably high
speed, Eastman Background Nega-
tive admirably fulfills its function
as a negative medium for composite
EASTMAN
BACKGROUND NEGATIVE
1-90 American Cinematographer • August 19 65
or no difference in grain characteristics between comparable As far as the developing solutions themselves are con-
scenes made with the same equipment on reversal and nega- cerned, the production of truly fine-grain results demands
tive films. highly specialized developers. It is true that motion picture
D-76
Elon 1 20 grains.
Sodium Sulphite (E. K. Co.) 14 ounces.
Hydroquinone 300 grains.
Borax 120 grains.
Developing Water
Owing
difficult to
to the high concentration of sulphite, this
mix unless done in
128 ounces
For 16 mm.
degrees F. and add this to the tank. Then dissolve ap-
) ,
clump together in irregularly-shaped particles which, on DOUBLE NORMAL EXPOSURE (that is, one stop larger
than would otherwise be required) and a developing time of
projection, become individually visible as single grains. The ,
the shop and as the films were returned from the processing
station, they were spliced in behind their proper titles.
to see the picture just because made it, but because they I
When my picture
came to an end, the audience stood up and applauded, the
W
I
HEN started out to make a moving picture
I
J.
Well, to make a long story short, the news of the film
was soon circulated in many trade journals.
lutely no attempt to advertise the film myself.
Schon
try.
made abso-
Requests for
the loan of the film came from every section of the coun-
Mostly engravers asked for it and many
requests had to be turned down. Engravers
from San Diego to Boston showed it to adver-
I
details that go into the making of printing tising clubs and other organizations. When-
plates and the seeming impossibilities of photo- ever possible, showed the film at high schools
I
graphing the numerous operations involved, one and various classes, and can assure you that I
would well wonder that a mere amateur would the results were very gratifying.
even attempt it. Nevertheless, did attempt it
I
In the producing of an industrial film as an
and it turned out to be one of the best achieve- advertising or good will agency, it is my opinion
ments have to my credit.
I
that nothing can equal it for results. It can be
I started out, of course, with a very definite the instrument for molding public opinion in a
outline. Each shot was planned in advance. I favorable way towards
Problems of its sponsor.
made all my titles in advance, developed them many kinds can be overcome by the showing to
and spliced them in sequence. Whenever the (Continued on Page 148)
August 1933 American Cinematographer 143
B & H Specia
Semi- P rofessional
70D 16 mm- Camera
by
J. A. Dubray, A.S.C.
Making
Movies Under
Water
by
Joseph Walker, A.S.C.
As told to Walter Blanchard
E
make
Sea," which photographed, amateur cinematogra-
I
a
would prefer this latter idea. All that is necessary is
U-shaped arm of ordinary pipe, with the tube pivoted
Th apparatus used making professional underwater
in
between the open ends of the U, allowing the tube to be
films varies tremendously: some of us have used a sort of
swung between them; and a similar pivot-joint at the mid-
diving-bell; others have used diving-suits and watertight
dle of the U so that it may be “panned” as well as “tilted.”
boxes for the camera; Mack Sennett, the comedy-producer
This clamp terminates in an ordinary carpenter’s clamp, so
(whose hobby is fishing, you know) used an amazing con-
that the device can be clamped onto a boat like an out-
traption with the lens and movement at the bottom of
board motor.
a long tube, and the film-magazines, finder, motor, etc.,
extended to the top of the tube; while the earliest under- Now for mounting the camera! Probably the easiest way
water films, photographed in 1916 by Carl L. Gregory, to do this is to make an L-shaped wooden piece which will
F.R.P.S., for the Williamson brothers, used the Williamson drop into the tube, and mount your camera on this. The
tube — a round metal chamber hung at the bottom of a camera, of course, will sit on the short arm (or is it
foot?) of the L, while the upright will serve as a handle.
long tube through which the operators descended from a
boat that bore the apparatus. Surprising as it may seem, It should be held in place by a regular tripod-screw, the
this principle is probably the best one for the amateur film- knob of which fits into a countersunk hole on the lower
er! Don't get the wrong idea, though —
don’t recom-
mend going to the expense of building a Williamson tube
I
surface of the base-board. Above the camera is a good
mirror set at a 45° angle, to serve as a finder. (After a
for making a few 16 mm. shots under water! Far from it test or two you can rule on the window of the tube lines
— but the basic idea of an open-topped tube, with the which will give a rough approximation of the field your lens
camera at the bottom, is ideal for the needs of the average covers.
16 mm. filmer. Now, with your camera at the bottom of this tube, and
Recently, in our interesting French contemporary, “Cine you at the top, you
have to have some type of remote-
will
Amateur,” M. A. Thierry outlined such an outfit which, to control: just what type must, of course, depend
exactly
my mind, fills the bill perfectly. As can be seen from the upon the camera you are using. With a Filmo, the simplest
illustration, the apparatus consists of a square tube of gal- thing is to use the regular Filmo rubber-tube-and-bulb re-
vanized iron, open at the top but closed solidly at the bot- mote control; with other cameras, the electric remote-
tom. At the front, at an appropriate distance from the control made by Wm. J. Grace, of Dallas, Texas, will serve
bottom is a glass window, made water-tight with cork or
(Continued on Page 150)
Cine-Kodak Special, equipped with 200-foot film chamber
Cine-Kodak Special
challenges the highest movie making ambitions
RECISION-MADE, custom-built, Its reflex finder shows the field and
P Cine-Kodak Special is a profes-
sional-type home movie camera of
focus on a ground-glass screen. Inter-
changeable ioo-foot and 200-foot
unparalleled ability. No other 16 film chambers allow instant switch-
mm. camera offers the advanced ing from one type film to another.
amateur such unprecedented scope. Its lens turret accommodates two of
Its variable shutter permits the the six available lenses at one time.
making of fades and dissolves, the A basic model, equipped with an
recording of fast action in sharper of six masks and one
/. 1.9 lens, set
images, additional exposure control ioo-foot film chamber, is priced at
under intense light. It has two hand- $375. Additional equipment or
—
cranking shafts an eight-frame and special adaptations furnished to
a single-frame — and may be operated order. Write for the Cine-Kodak
by electric motor as well. Special Book.
HERE'S HOW
by A. 5. C. Members
been made to use the “Leica” camera
Correction for this work, for production stills, and
for special stills of miniature or special-
There were several errors on this process sequences, but the difficulty of
oage last month in the answers to
getting good enlargements cheaply, on
the questions which were submit-
a mass-production basis, has kept most
ted to the amateur. In question
According
metal parts are
to Muros’ description, all
made of duralumin, which
KINO-HYPAR
f :2.7 f:3
makes the entire unit extremely light but
These lenses are held in high esteem by
quite rugged. By being able to extend the careful cinematographer who appre-
the bellows the hood can be adapted for ciates their depth of focus and absence
Greenbrier Stein Party of flare and coma; their high correc-
lenses of various focal lengths so as to tions for chromatic and spherical aber-
ration and the remarkable brilliance and
Big Success cut off all possible stray light. crispness of the resultant negatives.
• Beer must be officially back. At least Over Sixty Theatres Booklet AC 8 on request
at Fair
there is some sort of record or other
« Vis itors to A
Century of Progress Ex- C. P. COERZ AMERICAN
made by the Greenbrier Amateur Movie
position in Chicago will have the op- OPTICAL CO.
Club of the event.
portunity of seeing over sixty movie the- 317 East 34th Street New York
June 16th marked a wow of a party,
atres on the fair grounds, according to
according to Hal Morey, secretary of the
the Bell & Howell Company, Chicago.
club. Rathskeller atmosphere, Bock beer table Hollywood manner, to the smaller
signs, frothing glasses and a program These movie theatres are of all sizes but always interesting movie show places
that contained the words of popular songs and descriptions, ranging from the big in the exhibits of industrial companies
were a part of the evening’s festivities. theatres of “Hollywood in Chicago’’ and railroads, and in displays made by a
Of course, the record made was on 1 where can witness the making of
visitors number of U. S. Government departments
mm. Focus not guaranteed. regular professional movies in the veri- and several of the states.
Dependable
Sound Recording Equipment
for
Glow Lamp — Light Valve Variable Area —
A.C. or D.C. Operated
©
FILM SOUND RECORDERS DISC SOUND RECORDERS
DUBBING HEADS CAMERA MOTORS
CLOW LAMPS LIGHT VALVES
CAMERA BLIMPS SOUND MOTORS
Complete Portable Channel
Cinema So u n d
Equipment Co*
HOLLYWOOD, CALIFORNIA
8572 SANTA MONICA BLVD. PHONE OXford 4262
Cable Address: “Cinemasound"
I
—
Watch Regardless
you have
of
to sell,
efficiently presented by movies.
the
it
product or
can be forcefully and
service
for film,
was small
such as was sponsored by our firm,
in comparison to the amount
spent in other forms of advertising. Here
we had a medium, which no matter what
the cost, more than brought back the SOUND RECORDER FOR
money spent. knew from my own ex-
I
16mm. FILM
Victor perience
have presented
brought cur firm
en the small way in which
this project, that
a tenfold benefit in re-
it has
I
Sound has
firm
come anywhere near
the good
amateurish attempt has done.
will
to bringing
which this simple
our
• Furnished
(density)
variable
both.
for
area)
or
glow lamp
galvanometer
recording, or
On
amplifier equip-
ment.
ground-Projector
(Continued from Page 134) • Write for prices and details.
Member Society Motion Picture
means, he states, he controls the “hot-
Engineers
spot” in all cases, projecting it to any
part of the screen he desires and almost
eliminating in the most dense portions of
the picture.
ERIC M. BERNDT
Film the
As can be seen from the
new
greatest width
projector is
fractions A new optical system provides for the magnification of the image seen in
between LEICA’S built-in range finder compensating for differences in eyesight.
Other modern features by which the LEICA Camera sets the standard for
speed, accuracy, and convenience of picture taking:
1 Eight interchangeable lenses for every photographic need (including
telephoto, speed, wide angle lenses and others) .
IN ADDITION 3. Built-In Short Base Range Finder gives you perfect focus
instantly. No guesswork.
36 pictures from a single roll of standard cinema film.
TO REGULAR
4.
(Sharp negatives. Enlargements up to 12x18 inches.)
5. Small, light, compact, fits the pocket.
“Why LEICA?”
SPEEDS OF Write
booklet
Model
for free
F.
1216
illustrated booklet
giving complete information
and also
about Leica
#500 SECOND sures sharper, clearer pictures, saves film spoilage. Ask for
circular EL.
sale of
(Continued from Page 141)
haps to give a desirably increased density
and contrast. One cannot recommend this
developer for badly underexposed nega-
tives, however.
ing night-effects and other special effects
exactly as desired.
velopment
in addition
16mm. negative de-
is not at
to
all
giving
exceptionally fine
difficult, and since,
DEBRIE following
which is
modification
used with great success in
of this formula, films),
its own
it is
right,
tremendously interesting in
it is decidedly well worth
DuPont’s commercial processing of their
trying.
APPARATUS product in the New York area.
not require increased exposure.
It does
derwater Multicolor, made for Mack Sen- The new device obviates the
control A.S.C. Aces in Satevepost
nett by John W. Boyle, A.S.C., and blinking and sputtering, with the inci-
dental noises, which made it quite im-
Story
Frank B. Good, A.S.C.
practical to use the old type of broadside
• The July 22 issue of the “Saturday
Theoretically speaking, the refraction Evning Post’’ is attracting widespread
in conjunction with the sound recording
of the water should be an important fac- attention in motion picture circles, due
The index of refraction apparatus.
tor in focusing.
of water is 1 .3 — -and this should serve as This new lamp has gone through a
to an unusually interesting feature-ar-
ticle, “Aces of the Camera,’’ by Palma
good working guide. Actually, you series of practical tests which indicate
a Wayne. Mrs. Wayne, one of the Post’s
will find that with the short-focus lenses that has amply met the requirements
it
leading staff writers, brings to the atten-
used in 6mm. cameras, and the rela- of specifications Nos. 3 and 4 in mat- world-wide circle of
1
tion of the “Post’s”
tively small stops used, this difficulty ters of uniform light quality and quiet personalities and achieve-
readers the
minimized. every phase of operation.
will be In mnts of a group of the leading members
the wcrk, however — focus, exposure, etc. The high illumination afforded has of theAmerican Society of Cinematogra-
—you will find that since everything been made possible through the co-op- phers, including Karl Struss, A.S.C.; Vic-
varies according to the individual condi- eration of the National Carbon Com- tor Milner A.S.C.; William
,
Daniels,
tions of the moment, the only sure guide pany, whose Research Laboratory has A.S.C.; Charles Lang, A.S.C.; Hal Ros-
is to make tests, and govern your actual done such notable work in the applica- son, A.S.C.; Ray June, A.S.C.; Charles
scenes accordingly. tion of the carbon arc to photography and Stumar, A.S.C.; Lee Carmes, and others
in the projection of motion pictures. In this article — the first of several to
New Development in Carbon Through the fine co-operation of this re- be published in national magazines
search organization a new type of Flame Mrs. Wayne introduces the lay reader to
Arc Lighting Arc carbon has been developed which some of the outstanding men who photo-
(Continued from Page 131) greatly increased the intensity of the graph the productions seen in the world’s
current coil actuating in armature, and radiation. The spectrum of this carbon film theatres, and pays high tribute to
various mechanical means were used for has a photographic characteristic closely the artistry, technical skill, and ingenuity
transmitting the armature movement to comparable to north sunlight. From the of the masters of the camera. The ma-
the two arc systems of the lamp. practical tests undertaken photography terial for the article was obtained
In the new lamp which Mole-Rich- made motion pictures stages may be
in through the co-operation of the officers
ardson have designed, each of the two readily matchedto shots taken in sun- of the American Society of Cinematog-
series arcs are controlled by an individ- light with no disturbances of the color raphers, and marks an important mile-
ual system of energizing coils, arma- balance. stone in the Society’s first efforts to
tures,and connecting linkage, which per- While these lamps have been designed gain more widespread recognition of the
for use in color photography, camera profession. Readers of the
mit the independent control of each pair primarily
American Cinematographer are ad-
of electrodes in relation to the voltage they will undoubtedly be of interest to all
drop of the arc which each respective cinematographers operating in black and vised to read Mrs. Wayne's current ar-
ticle.
+ + +
EVERYTHING PHOTOCRRAPH 1C—AMATEUR AND PROFESSIONAL
BOUGHT SOLD RENTED — —
+ + +
CABLE ADDRESS
1515 Cahuenga Blvd. “Cameras”
Telephone
Hollywood, Calif., U.S.A. ALL-CODES GLadstone 2404
152 American Cinematographer 0 August 1933
developing tank with us. This permitted a trip to Annapolis, where he acted as
us to make our test developments right first cameraman on a series of scenes
on location. Although there was a small which were shot in that locale for a
laboratory in Singapore, we found that forthcoming release.
by making our own test developments we
could facilitate production greatly.
B & H Special Semi-Profes-
The light conditions of the tropics are
not ideal. Super-sensitive film, in my
sional 70D 6mm. Camera
1
CUT YOUR COST which were in progress when we reached With or without magazines, operated
Two-piece construction holds filter Singapore in honor of the Sultan. either by spring-motor, hand crank or
firmly and permits change of filters For the first time in history, our com- electric motor, the camera can be oper-
without use of individual holder for pany was permitted to photograph scenes ated at all the speeds for which it is de-
each filter. on the inside of the palace and to also signed, according to its model, whether
Permits shooting toward light and photograph all of the dignitaries. 70-A, 70-D, or 70-E. This feature is
eliminates lens and filter glare. made possible by the fact that the oper-
Price $3.50 and up
For this occasion I had to wear the
ating speed of the camera is controlled
Filters $1.50 and up regular court costume for photographing.
If your dealer cannot supply you, order by its governor.
I was given a slight concession, however,
direct. The hand crank device serves also the
Designed and Manufactured by and was permitted to wear the white the most useful purpose of permitting
dinner coat at 7 o’clock in the morning
HOLLYWOOD CAMERA the rewinding of the film for making lap-
EXCHANGE, LTD. instead of the regular black dress clothes dissolves, double exposure, or whatever
Dealers in Everything Photographic which are demanded on an occasion of
1600 N. Cahuenga Blvd. effect that is desired where the film has
Hollywood, Cal. this kind. to be exposed twice in succession.
Phone Hollywood 3651
The Sultan, or as he is known, Susu When rewinding the film, the action
of the crank also winds the spring-motor
Honan of Solo, at Socrakara, Java,
and therefore the length of film that can
Dutch East Indies, has a complete sound
be rewound is limited only to the capacity
k/fi^rll^TERS,
WORLD-WIDE USE
!N
theatre in his palace where all of the
of the spring motor; that is to say, 27
latest pictures are put on for his enter- feet, if the spring was completely un-
FvjSttws- DiHasHIvas ini many vIHtr rffrcls tainment.
WITH ANY CAMERA -
wound when the rewinding is started, or
IN ANY CLIMATE
GEORGE H.SCHEIBE The courtesies extended me in this whatever is the length of film correspond-
„
ORIGINATOR OF EFFECT FILTERS country were unusual in spite of the fact ing to number of crank necessary to com-
I927-W-76IS 8T. LOS ANGELES, CAL
that imposters have entered Java repre- pletely wind the spring.
senting themselves as being with respon- Magazine and motor installation do not
NOW HALF PRICE sible organizations in the United States,
interfere in any manner whatsoever with
CINEMATOGRAPHIC ANNUAL the installation and use of the latest ad-
only to prove later that they not only
Volume 1
dition to the camera so that the critical
misrepresented themselves, but abused
While They Last $2.50 fccuser, the alignment gauge, the custo-
American Cinematographer
the courtesies given them. My Ameri- mary filters, the iris vignetter, etc., are
AMERICAN can Society of Cinematographers mem- as, and even more, efficient than here-
6331 Hollywood Blvd. Hollywood, Calif. places I could not otherwise have entered. Another extremely useful attachment
August 1933 9 American Cinematographer 153
set
image
By depressing
in front
of the
of
a
the
lever,
object
a split
eye-piece
is seen
prism
and the
simulta-
is HUGO MEYER
neously through two windows at the top
and bottom, respectively, of the range
announces
finder.
will
The Codeas called for under the law
attempt to establish not only prices
16mm Sound-On-Film Pictures
to be put into force, but also the other • Single or Double System Recording ®
conditions which the Code demands they O Sound Stage and Location Facilities 3
place in regulation.
® Dubbing Sound to Silent Subjects 3
Mitchell Increases Force
•During the past week, the working
All Work Done Directly on 16 mm. Film
force in the Mitchell Camera Company
plant has been considerably augmented. Pan-American Cinema Studios
Increased orders for Mitchell equipment . 142 Columbia Ave. North Bergen, N. J. P.
800 ft.
400 ft.
— Complete
—Abbreviated
Condensed
.$70.00
$37.50
adequate preparation for the rather intri- staff. Bill Powell
very badly photo-
is
200 ft. — ....$20.00 cate maneuvre. graphed, and there are several sequences
thorne) is believable; and especially so fine performance, you can’t enjoy them
with those darn whiskers waving grace-
curiosity from all parts of the
films in the parts of the film laid in Germany.
fully in the breeze!
earth. Unusual and interesting films de- “Bill” O’Connell is to be congratulated
picting the life and habits of Asiatic on his fine work, and upon his departure
people as well as others. from hackneyed methods of lighting and Dean Opens Camera Supply
Send us description and length of composition. Business
subject. Cash will be remitted for any ©Faxon Dean, one of Hollywood’s cam-
subject accepted.
“DOUBLE HARNESS" eramen of long standing, launched his
We have for sale negative and posi- new enterprise this last month in the
tive short ends, both Eastman and
RKO Production
opening of the Camera Supply Co., Ltd.,
Dupont. photographed by J. Roy Hunt
at 1515 Cahuenga Blvd., Hollywood.
Special Effects by Vernon Walker, A.S.C. Dean is equipping his establishment to
Continental Film Craft, Inc.
Dramatically, this film is of roadshow serve the needs of both the amateur and
1611 Cosmo St. Hollywood, Calif.
calibre: far and away the best thing Ann professional camera man.
is BH
Used in 96 %
of the studios
of the world
DIRECTORY of DEALERS
Handling the American Cinematographer
ARIZONA Danbury: Heim’s Music Store, Inc., 221 Main Iowa City: Rexall & Kodak Store, 124 E. Col-
Street. lege St.
Phoenix: Studio of Sound, P. O. Box 1671. Hartford: The D. G. Stoughton Co., 1255 S. Sioux City: Lynn’s Photo Finishing, Inc., 419
Tucson: William M. Dennis, 22 United Bank Whitney St. Pierce St.
Bldg. Bros., 241 Asylum St.
Watkins Eastman Kodak Stores, Inc., 608 Pierce St.
Nogales: A. W. Lohn, 309 Morley Ave. Meriden: Broderick & Curtin, 42 E. Main St. Waterloo: Mack’s Photo Shop.
Middletown: F. B. Fountain Co., 483 Main St.
New Haven: Eugene F. Clark Book Shop, 343 KANSAS
ARKANSAS Elm St.
Norwich: Cranston Co., 25 Broadway. Topeka: Hall Stationery Co.. 623 Kansas Ave.
judsonia: Lee’s Novelty House. Waterbury: Curtis Art Co., 65 W. Main St. Wichita: Jack Lewis Film Service, 329 Sedg-
wick Building.
Lawrence Photo Supply, 149 N. Lawrence
CALIFORNIA DELAWARE Ave.
Berkeley: Berkeley Commercial Photo Co., 2515 New Castle: E. Challenger & Son.
Bancroft Way. Wilmington: Butler’s. Inc., 415 Market St. KENTUCKY
Beverly Hills: Bob Robinson Home Movies, 417 Wilmington Elec. Spec. Co., Inc., 405 Dela-
ware Ave. Lexington: W. W. Still, 129 W. Short St.
N. Beverly Drive. Louisville: A. L. Bollinger Drug Co., Stilz &
Fresno: Potter Drug Co., 1112 Fulton Ave. Frankfort Ave.
Glendale: Kug Art Photo Service, 205 So. DISTRICT OF COLUMBIA Sutcliffe Co., 225 S. 4th Ave.
Brand Blvd.
Hollywood: Bell & Howell Co., 716 North La- Washington: Columbia Photo Supply Co., Inc.,
LOUISIANA
Brea Ave. 1424 New York Ave., N. W.
Educational Projecto Film Co., 1611 North Eastman Kodak Stores, Inc., 607 14th St., Alexandria: The Newcomb Studios, 324 John-
Cahuenga Blvd. N. W. ston.
Hollywood Camera Exchange, Ltd., 1600 N. Robbins, National Press Bldg., 529 14th St,, Monroe: Griffin Studios, P. O. Box 681.
Cahuenga Blvd. N. W. New Orleans: Eastman Kodak Stores, Inc., 213
Hollywood Citizen, 6366 Hollywood Blvd. Baronne St.
Hollywood Movie Supply Co., 6038 Sunset
Blvd.
FLORIDA
V. Merchant, 6331 Hollywood Blvd. MAINE
J. Clearwater: Courtesy Cigar Store, Post Office
Morgan Camera Shop, 6305 Sunset Blvd. Arcade. Auburn: Wells Sporting Goods Co., 52-54
Universal News Agency, 1655 Las Palmas. Jacksonville: Eastman Kodak Stores, Inc., 129 Court St.
Los Angeles: California Camera Hospital, 321 W. Adams St. Portland: Bicknell Photo Service, 43 Exchange
O. T. Johnson Bldg. Miami: Miami Photo Supply Co., 31 S. E. St.
Eastman Kodak Stores, Inc., 643 So. Hill First Ave.
Street. Robinson’s Camera Shop, 410
T. Iwata Art Store, 256 East First St.
St. Petersburg: MARYLAND
Central Ave.
Lehnkering Pharmacy, 1501 N. Western Ave. Tampa: Burgert Bros., Inc., 608 Madison St.
Baltimore: Eastman Kodak Stores, Inc., 309 N.
B. B. Nichols, 731 South Hope St. Charles St.
Tappenbeck & Culver, 10958 Weyburn Ave., Stark-Films, 219 W. Centre St.
Westwood Village. CEORCIA Zepp Photo Supply Co., 3044 Greenmount
Victor Animatograph Corp., 650 So. Grand Ave.
Ave.
Atlanta: Eastman Kodak Stores, Inc., 183 Hagerstown: R. M. Hays & Bros., 2830 W.
Wilshire Personal Movies, 3150 Wilshire Peachtree St. Washington St.
Blvd.
Monrovia: Cliff’s Photo Art Shop. IDAHO MASSACHUSETTS
North Hollywood: Studio City Pharmacy, 12051 Boston: Eastman Kodak Stores,
Boise: Ballou-Latimer Co., 9th & Idaho. Inc., 38 Brom-
Ventura Blvd. field St.
Oakland: Adams & Co., 380 14th St. Boston Camera Exchange, 44 Bromfield St.
Eastman Kodak Stores, Inc., 1918 Broadway. ILLINOIS Cinecraft Co., of New England, 80 Boyl-
Pasadena: The Flag Studio, 59 East Colorado St.
ston St.
Richard Fromme, 965 S. Fair Oaks. Bloomington: Hawkins Studio, 214 W. Wash- Ralph Harris Co., 30 Bromfield St.
A. C. Vroman, 329 East Colorado St. ington. Iver Johnson Sporting Goods Co., 155 Wash-
Richmond: La Moine Drug Co., 900 Macdonald Chicago: Aimer, Coe & Co., 105 N. Wabash ington St.
Ave. Ave.
Sacramento: Frank McDougal, 1017 10th St.
Andrew J. Lloyd Co., 300 Washington St.
Associated Film Libraries, Inc., Suite 224, Pathescope Co. of the N. E., Inc., 438 Stuart
San Bernardino: Steele’s Photo Service, 370 D 190 N. State St. St.
Street. Bass Camera Co., 79 West Madison St.1
Pinkham & Smith Co., 15 Bromfield St.
San Diego: HaroldE. Lutes, 958 Fifth St. Central Camera Co., 230 S. Wabash Ave. Stillfilm Sales Co., 40 Stuart St.
Ace Drug Co., 820 W. Washington St. Eastman Kodak Stores, Inc., 133 N. Wabash Braintree: Alves Photo Shop, 349 Washington
Eastman Kodak Stores, Inc., 419 Broadway. Ave. St.
San Francisco: Eastman Kodak Stores, Inc., Fair, The, Camera Dept., 7th Floor, State-
Post St.
Cambridge: E. M. F. Electrical Supply Co., 430
21 6 Adams-Dearborn Sts. Massachusetts Ave.
Hirsch & Kaye, 239 Grant Ave. Lake Shore Radio Co., 3204-6 Broadway. Lowell: Donaldson’s, 75 Merrimack St.
San Francisco Camera Exchange, 88 Third Lyon & Healy, Inc., Wabash Ave. at Jack- Lynn: Moehring’s, Inc., 490 Washington St.
St. son Blvd.
Schwabacher-Frey Stationery Co., 735 Mar- Stanley Warren Co., 918 Irving Park Blvd.
New Bedford: J. Arnold Wright, 7 S. Sixth St.
Newtonville: Newton Photo Shop, 92 Bower St.
ket St. Norman Willets Co., 318 W. Washington St.
Pittsfield: E. C. Kilian, 411 North St.
Sherman, Clay &
Kearny & Sutter Sts.
Co., Wolk Camera Co., 201 S. Dearborn St. Salem: Pitman Movie Service, 45 Summit Ave.
Trainer-Parsons Optical Co., 228 Post Street. Evanston: Aimer, Coe & Co., 1645 Orrington Springfield: Harvey & Lewis Co., 1503 Main
San Jose: Webb’s Photo Supply Store, 66 So. Ave. St.
First St. Hattstrom & Sanders, Inc., 702 Church St. E. Cheney & Co., Inc., 301 Bridge St.
San Rafael: Webb & Rogers, 4th & B Sts. Galesburg: Illinois Camera Shop, 84 So. J.
Lansing: Linn Camera Shop, 109 S. Washing- Ambercrombie & Fitch, 45th & Madison Ave. Marshfield: Mel’s News Stand, cor. Broadway
ton Ave. Bloomingdale’s, 59th & Lexington Ave. & Anderson.
Saginaw: Heavenrich Bros. & Co., 301 Genesee. J. H. Boozer, 145 E. 60th St. Pendleton: J. T. Snelson, 608 Gardner St.
Columbus Photo Supply Co., 146 Columbus Portland: Eastman Kodak Stores, Inc., 345
MINNESOTA Ave. Washington St.
Abe Cohen’s Exchange, 120 Fulton St. Lipman-Wolfe & Co., Kodak Dept., Fifth,
Duluth: Eastman Kodak Stores, Inc., 3 W. Davega, Inc., 1 1 1 East 42nd St. Washington & Alder Sts.
Superior St. Davega, Inc., Empire State Building. Meier & Frank Co., Kodak Dept., Fifth, Sixth,
LeRoy: Ivan E. Meyers, Home Movie Service, Eastman Kodak Stores, Inc., 356 Madison Morrison & Alder Sts.
215 W. Main St. Ave. at 45th St.
Eastman Kodak
Minneapolis: Stores, 112-116 Fotoshop, Inc., 136 W. 32nd St. PENNSYLVANIA
So. Fifth St. H. & D. Folsom Arms Co., 314 Broadway.
Gospeter’s Blue Front, 1006 Nicollet Ave. Gall & Lembke, Inc., 7 East 48th St. Allentown: M. S. Young & Co., 736-40 Ham-
National Camera Exchange, 5 South Fifth St. ilton St.
Gillette Camera Stores, Inc., 117 Park Ave.
Owatonna: B. W. Johnson Gift Shop, 130 W. Gimbel Bros., Dept. 575, 33rd St. & Broad- Easton: Easton Sporting Goods Co., 2nd and
Bridge St. way. Northampton St.
St. Paul: Eastman Kodak Stores, Inc., Kodak Joseph P. Hackel, 1919 Chanin Bldg., 122 Erie: Kelly Studios, 1026-28 Peach St.
Bldg., 91 E. Sixth St. E. 42nd St.
Harrisburg: James Lett Co., 225 N. 2nd St.
H. W. Fisher Photographic Supplies, 381 Harry’s Camera Exchange, 317 W. 50th St. Johnstown: Johnstown News Co., 115 Market
St.
Minnesota St. Hecker’s Camera Store, 1519 Amsterdam
Ave. Lancaster: Pugh’s Art Shoppe, 33 W. King St.
Herbert & Huesgen Co., 18 E. 42nd St. Langhorne: National Entertainment Service,
MISSOURI 360 Bellevue Ave.
Lugene, Inc., 600 Madison Ave., between
Kansas City: Eastman Kodak Stores, Inc., 916 57th & 58th. Lebanon: Harpel’s, 757-9 Cumberland St.
Grand Ave. Luma Camera Service, Inc., 302 W. 34th St. Philadelphia: Klein & Goodman, 18 South
Eastman Kodak Stores, Inc., 1006 Main St. Mogull Bros. Electric Corp’n., 1944 Boston Tenth St.
Hanley’s Photo Shop, 116 E. 10th St. Road, Bronx. Camera Shop, 51 N. 52nd St.
Plaza Camera Co., 218 Alameda Rd. Newman’s Camera Shop, 1197 Sixth Ave. G. P. Darrow Co., Inc., 5623-5 Germantown
St. Louis: Eastman Kodak Stores, Inc., 1009 New York Camera Exchange, 109 Fulton St. Ave.
Olive St. Pago, Inc., 1095 Sixth Ave. Eastman Kodak Stores, Inc., 1020 Chestnut
Famous-Barr Co., M. P. Dept. 6th & Olive St. Pickup & Brown, 368 Lexington Ave. St.
Geo. D. Fisher & Co., 91 5 Locust St. Rab Sons, 1373 Sixth Ave. Home Movies Studio, 20th & Chestnut Sts.
Schoenig & Co., Inc., 8 East 42nd St. MacCallum Stores, 1600 Sansom St.
Sibley, Lindsay & Curr Co. M. & H. Sporting Goods Co., 512 Market St.
MONTANA Newsreel Laboratory, 707 Sansom St.
Frank Tanham & Co., Inc., 9 Church St. 1
Lincoln: Eastman Kodak Stores, Inc., 1217 Rochester: Marks & Fuller, Inc., 36 East Ave. Williams, Brown & Earle, Inc., 918 Chest-
O St. Smith, Surrey, Inc., 129 Clinton Ave., South. nut St.
Eastman Kodak Stores, Inc., 419 S. 16th St. Rome: Fitchard Studio, 133-135 W. Liberty St. Pittsburgh: Eastman Kodak Stores, Inc., 606
Omaha: J. G. Kretschmer & Co., 1617 Har- Schenectady: J. T. & D. B. Lyon, 236 State Wood St.
ney St. St.
B. K. Elliott & Co., 126 - 6th St.
Syracuse: Geo. Lindemer, 443 S. Salina St.
F. Joseph Horne Co., Magazine Dept.
NEW HAMPSHIRE Francis Hendricks Co., Inc., 339 So. Warren Kaufmann Dept. Store, Inc., Dept. 62, Fifth
Troy: A. M. Knowlson & Co., 350 Broadway. Ave.
Lebanon: Photocraft Co. St. Reading: W.
F. Drehs, 541 Court St.
Newport: K. E. Waldron, 1 A Main St. Utica: Edwin A. Hahn, 223-225 Columbia St. Scranton: Houser’s, 133 N. Main Ave.
Yonkers: W. J. Dolega, 242 Nepperham Ave. Wallace & Cook, Inc., 2-5 N. Washington
NEW JERSEY Ave.
Scranton Home Movies Library, 316 N.
Atlantic City: Eastman Kodak Stores, Inc., NORTH CAROLINA Washington Ave.
1735 Boardwalk. Shamokin: Jones Hardware Co., 115 E. Inde-
Bayonne: Milton Mendelwager, 192 Ave. B. Charlotte: W. I. Van Ness & Co., 213 N. pendence St.
Cliffside Park: Louis C. Ghiosay, 639 Anderson Tryon St. Wilkes Barre: Ralph DeWitt, 2 South River
Ave. St.
East Orange: Edmund J. Farlie Jr., 45 N. 19th Windber: New Arts Feature, 508 - 15th St.
St. OHIO York: Swe'gart’s Photo Service Shop, 278 W.
Hawthorne: Hawthorne Home Movie Service,
Akron: Pockrandt Photo Supply Co., 16 N.
Market St.
52 MacFarlan Ave.
Irvington: Wolf Bros., 1340 Springfield Ave.
Howard St.
RHODE ISLAND
Canton: Ralph Young News Agency.
Jersey City, Levy’s Sport Shop, 149 Monticello
Ave.
The Camera Shop, 531 Market Ave. N. Pawtucket: Thomas N. Simpson, Broadway &
Cincinnati: Eastman Kodak Stores, Inc., 27 Exchange St.
Montclair: Edward Madison Co., 42 Bloomfield
Ave. West Fourth St. Providence: E. P. Anthony, Inc., 178 Angell St.
Newark: Anspach 838 Broad St.
Bros.,
Huber Art Co., 124 Seventh St., W. Starkweather & Williams, Inc., 47 Exchange
John L. Huber Camera Shop, 416V2 Main St. PI.
Paterson: Robt. G. Smith, 40 Hamilton St.
L. M. Prince Co., 108 W. Fourth St. Westcott, Slade & Balcom Co., 95-99 Empire
Sykes Drug Store, 179 Market St.
Summit: Eastman Bookshop, 380 Springfield Cleveland: The Home Movies, Inc., 2025 St.
Ave. Euclid Ave.
Trenton: Howard E. Thompson, 35 Newkirk Dodd Co., 652 Huron Road. TENNESSEE
Ave. Eastman Kodak Stores, Inc., 806 Huron
Road, 1862 E. 6th St., 1915 E. 9th St., Jackson: Southern Pictures Corp.
Union City: Heraco Exchange, Inc., 61 1 Ber- Knoxville: Jim Thompson Co., 415 W. Church
genline Ave. Union Trust Bldg.
Escar Motion Picture ervice, Inc., 10008 St.
West New York: Rembrandt Studios, Inc.,
Memphis: Memphis Photo Supply Co., 122
526A Bergenline Ave. Carneigie Ave.
Halle Bros. Co.,1228 Euclid Ave. Union Ave.
Higbee Co., 90 Public Square. Nashville: Geo. C. Dury Co., 420 Union St.
NEW MEXICO Columbus: Capitol Camera Co., 7 E. Gay St.
Columbus Photo Supply, 62 E. Gay St. TEXAS
Santa Fe: Capital Pharmacy, Inc.
Home Movies Co., 234 S. High St. Abilene: W. C. Cosby, 249 Pine St.
NEW YORK Don McAllister Camera Co., 73 E. State St.
Dallas: Jamieson Film Laboratories, 2212 Live
Dayton: Dayton Camera Shop, Third 1 St.,
Oak St.
Albany: Albany Photo Supply Co., Inc., 204 Arcade.
Washington Ave. E. G. Marlow Co., 1610 Main St.
Middletown: Lee R. Chamberlain, care Roy A. Fort Worth: The Camera Shop, Inc., 113 W.
Binghamton: A. S. Bump Co., Inc., 180 Wash- White’s Elec. Shop, 48 S. Broad St.
ington St. Sixth St.
Portsmouth: V. E. Fowler, 824 Galia St. Chas. G. Lord Optical Co., 704 Main St.
Brooklyn: Geo. J. McFadden, Inc., 202 Flat- Salem: Butcher’s Studio. 166 South Broadway.
bush Ave. Houston: Star Elec. & Eng. Co., Inc., 613
Steubenville: Beall & Steele Drug Co., 424 Fannin St.
Abraham & Straus, Inc., Fulton & Hoyt Sts.
Market St.
Navilio, 1757 Broadway. San Antonio: Fox Co., 209 Alamo Plaza.
J. Toedo: Gross Photo Supply Co., 325 Superior
Buffalo: Buffalo Photo Material Co., 37 Ni- St.
agara St. UTAH
Hauser Bob Studio, West Tupper St.
Franklin Print & Eng. Co., 226-36 Huron St.
1 1
Youngstown: Eastman Kodak Stores, Inc., 7 Salt Lake City: Eastman Kodak Stores, Inc.
J. F. Adams, Inc., 459 Washington St.
Wick Ave. 315 S. Main St.
Nowak Optical Co. A. C. Saunders, 177 Benita Ave.
United Projector & Film Corp., 228 Franklin Zanesville: Zulandt’s Drug Store, Widney, cor. VIRCINIA
St.
Goshen: T. H. Finan.
Seventh & Main.
Norfolk: G. L. Hall Optical Co., 257 Granby St
Haverstraw: E. H. Vandenburgh. 3 Broadway. Richmond: G. L. Hall Optical Co., 418 E.
Hempstead: Agnew’s, 47 Main St. OKLAHOMA Grace St.
Islip,H. L. Terry Sons. & Oklahoma City: H. O. Davis, 522 N. Broadway.
Ithaca: Henry R. Head, 109 N. Aurora St. VERMONT
Long Island City: Leonard F. Kleinfield, 4202 Tulsa: Camera Shoppe. Inc., and the Charles
Queen’s Blvd. High Productions, 1213 S. Boulder Ave. Burlington: G. W. La Pierre’s, 71 Church St.
“Recent
and Amateurs
‘Eastman
R,
(lassifitMl Anver i i s i n j»
Sprague Ave. Rates: Four cents a word. Minimum charge, FOR SALE — CAMERAS
Joyner Drug Co., Howard & Riverside Ave. one dollar per insertion.
Tacoma: Eastman Kodak Stores, Inc., 910
Broadway.
FOR SALE —35 MM. Pathe Studio Camera,
f:3.5 Krauss Tessar; carrying case; three
1
Walla Walla: Book Nook Drug & Stationery FOR RENT— MISCELLANEOUS magazines, $100. Universal Tripod with
Store. carrying-case, $75. Box S, American Cinema-
POLAND
zines; cases; tripod, etc. Cost $5,000 will
Box R.W.S. care American
— Glendale. Douglas 3361 -W.
J.
WANTED— Mitchell
se|| for $1,250.
Warsaw: Polska Agencia Prasy Filmowej Cinematographer. High Speed Silent Camera,
box only, without equipment. Must be
Wspolna 35.
cheap for cash. Box 140, American Cinema-
FOR SALE— Bell & Howell adapter for Mitchell
tographer.
SOUTH AMERICA Tripod 40-50-75-M.M. Astro lenses
head,
WANTED— “Leica”
Buenos Aires: Argentine Rep., Casa America mounted and unmounted, Mitchell tripod
R. Lockwood, enlarger; must be in good
Ltda. S. A. Avenda de Mavo 959. head, Mitchell matte box. J.
523 N. Orange St., Glendale, Calif. Doug- condition and cheap. Box H.R., care Ameri-
las 3361 -W. can Cinematographer.
Continued From Page 57 1
can be used only with Type l-P plates. Fine Crain Film
neer in the field of photographic effects
“In infra-red photography it is impor-
for the British and Continental studios,
tant to avoid the use of hard-rubber 0 Kodak Panatomic Film, a panchromatic
as well as serving American producers.
slides in plate holders, the Kodak Com- such film of exceedingly fine grain, is cur-
The recognized need for a service
pany’s announcement warned. Such slides with
speaks well for the future of the new rently making its debut for use
are translucent to infra-red rays unless
firm, and Knechtel’s proven ability should miniature cameras. The fine grain per-
the rubber contains sufficient composi-
carry them a long way. mits generous enlargements from diminu-
tion to make them opaque. Fiber-board
slides and metal slides are safe in this Wheels of Industry tive negatives. Panatomic Film has the
respect.” (Continued from Rage 138) same speed as N.C. Film in daylight and
which permits a larger image to be seen. twice as fast by artificial light.
Lloyd Knechtel Joining This feature is of great value especially
is
Hollywood studio, and one of the indus- inclusion of eyelets, one on each side, a 30-exposure daylight-loading roll for
try’s foremost authorities on Optical which are built into the camera body. Leica cameras.
Printing and other process work, is leav- These accommodate a special carrying Filter factors for Panatomic Film are
ing London. In England he
for will be strap equipped with snap-hooks, and per- the same Kodak
as for Supersensitive
affiliated with Randal Perraneu, holder mit the camera to be carried and used Panchromatic Film. As in the case of
of the British rights to the well-known without the aid of a carrying case. The Super-Sensitive Panchromatic, a piece of
Dunning Process, and one of the partners strap also serves to steady the camera black adhesive tape —
supplied with each
of the George Humphries laboratory in when slow exposures are made with the roll of film —
must be used to cover the
London. The new organiaztion will pio- camera held in the hands. camera’s red window except when the
Even After Two Years
J.
E. BRULATOUR, INC.
New York Chicago Hollywood
I NSURE THE MAXIMUM OF EFFICIENCY
Keep Your Camera Equipment
in MAXIMUM Condition
camera maintenance
experts —
. . . . enables us to
render prompt and
efficient service on
all repair work.