1

SYSTEM WITH ART

Have you ever had a scene "lost" in the laboratory? Have you
hunted for days for a "shot" you know you took, but can't find when
it comes to assembling the picture? Many a director and cinematog-
rapher have been delayed and embarrassed by the mislaying of a few
feet of film, unimportant in itself, but vitally necessary to complete
some sequence of action. That's why the filing system in the STAND-
ARD FILM LABORATORIES appeals to them particularly. They know
they won't have to stop and hunt through thousands of feet of film to
find that one necessary scene.

System can be combined with art. The efficiency of our organiza-

tion, the co-ordination of all departments in the STANDARD FILM
LABORATORIES, materially assists the artistic expression of pro-
ducers, directors and cinematographers utilizing our camera-to-screen
service. They are free to concentrate on their work without worrying
about what will happen to it in the laboratory. They know each one
of our workmen is an expert in his department; they know all these
things make Standard Negative and Standard Prints look better and
wear longer.
 Vol. Ill JANUARY, 1923 No. 10

The American Ciriematographer

The Doice o} the TRotion Picture Cameramen of America; the men mho make the pictures

FOSTER GOSS, Editor

Board of Editors — J. A. DUBRAY. H. LYMAN BROE1VING, KARL BROWN, PHILIP H. WHITMAN
ALFRED B. HITCHINS, Ph. D., F. R. P. S., F. R. M. S., F. C. S., Associate Editor
HARVEY E. GAUSMAN, Business Manager
RUDOLPH MIEHLING, Eastern Representative, Room 1107, 522 Fifth Ave, New York City. Telephones:
Vanderhilt 9795 and 9839.

1 MM! I Kill , , ,

CONTENTS FOR

J ANUARIj

Page

Believes Color Will Not Aid Dramatic Cinematography — By Philip

E. Rosen, A. S. C 4

New Sensitometer for Exposure Determination in Positive Printing—

By L. A. Jones and J. I. Crabtree 5

More About Hawaii —By James Van Trees, A. S. C 7

As New Year Came 9

Central European Cinematography —By Charles Stumar, A. S. C. . . 13

A Pertinent Question and an Answer Thereto 14

In Camerafornia 18

Releases 26

An educational and instructive publication espousing- progress and art in motion picture photography
while fostering the industry.
We cordially invite news articles along instructive and constructive lines of motion picture photography
from our members and others active in the motion picture industry. All articles must be signed by name and
|| address of writer.
Meetings of the American Society of Cinematographers are held every Monday evening in their rooms,
suite 325 Markham Building. On the first and the third Monday of each month the open meeting is held; and
on the second and the fourth, the meeting of the Board of Governors.
Published monthly by The American Society of Cinematographers, Inc., Suite 325 Markham Building,
Hollywood, California.
Terms: United States, $3.00 a year in advance; single copies, 25 cents. Canada, $3.50 a year. Foreign,
$4.00 a year.
. Phone Hollywood 4404
(Copyright by tin- American Society '•' CIneiimtoa:rapb,er«)
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Four THE AMERICAN C I NEMATOGRAPHE January, 192:j

Believes Color IDill Not Aid Dramatic Cinematography

Color u;ould sidetrack attention Noted director and cinematog-
from storu, which is all-important, Bu Philip E. Rosen, A. S. C. rapher, after unbiased reasoning,
is opinion. states his points against color.

Much time and money being expended in research

is our attention first; but they are points which are monu-
which seeks photography in motion pic-
to perfect color mental in their importance.
tures. Yet, if such efforts are eventually successful, will The more brilliant the color the quicker it will win the
color actually prove an asset to dramatic motion pictures? attention of the child. Inherently, we are all susceptible
In the opinion of the writer, it will not. to colors. As long as we are, colors in motion pictures will
At present, motion pictures may he said to be the most have first demand on ourattention. How does this affect
universally popular form of entertainment that exists. the story which, it may
be repeated, the picture was pro-
Each day, of course, millions of people view motion picture duced to relate? The story becomes subordinate instead
productions in various parts of the world; and those mil- of predominant. The matter may be put more plainly
lions have educated themselves, as it were, to supply, in how many people would go to see a production which had
their imaginations, the colors which are lacking in the no story to tell? Of course, in instances where the chief
"black and white" motion pictures. To them, if you will object may be to present natural colors, such as in scenics
pause to think, the picture is complete without the natural or the like colors finds an effective place.
colors. When they see a tree or a lawn, they know that it Must Re-educate Public
is usually green, and so on. But to introduce colors into dramatic photography would
mean that the public would have to be re-educated to a new
Refers to the Ultimate
art. Naturally, if the principal purpose of the theater
When we speak of "color" here we do not mean the pres-
patron in viewing a photoplay is to note ttie colors of the
ent stage of development in colors in cinematography; we
characters' clothes or of the shrubs, color photography
refer to the apex of color work, that toward which all ex-
would meet demands ideally.
—
periments are aimed that is, for colors on the screen to
be exact reproductions of the objects photographed. Good Cinematography's Purpose
The present-day aim of good photography is to aid the
Everything Subordinate to Story telling of the story by suggesting the mood of the par-
The test of the success or failure of color in dramatic ticular scene with the background that is used, by artist-
photography may be summed up in one question will it — ically managed lights and shades, and by the compositional
aid in the telling of the story? Those things which con- use of furniture or scenery. But color, which excites our
tribute to the telling of the story in the motion picture are inherent sensibilities, is not such an aid Motion pictures
assets; those which do not are liabilities. Anything which are an art in themselves and as such will grow just as the
distracts the eye and the mind from the story does not be- other arts have. It is not a branch of the stage, no more
long in the motion picture. tha'i it is a branch of music. It is just as distinct as music
If the entire matter will be thought out carefully, it must or painting, though, like the other arts, it may be said to
be realized that colors in cinematography must draw the have its inter-relation.
attention from the story. For example, take any interior
—
scene consider how long it takes the eye to travel from
Realism and the Artistic
one color point to another in a given scene. Make the ex- Striving for realism, as introducing color into dramatic
periment yourself; close your eyes and open them sud- photography, does not necessarily constitute the artistic.
denly on the screen and note how the attention is monopo- True art does not necessarily mean the exact reproduction
lized by the colors. You of course would necessarily have of nature which is not always the artistic. True art ex-
to make the experiment on a scene in which a majority tracts from nature, but forms its own composition. The
of the objects therein are stationary. landscape painter is not bound to copy nature as it stands.
He does not put every tree in nature's place. He paints a
M^nv Stations in Color Route section, and makes a beautiful picture. Again, it may be
What happens then in the motion picture, which, by its said that the audience never fails to supply the necessary
very name, you must remember, does not stand still? A colors in viewing the cinematography of today.
—
scene is flashed on the screen a scene which exactly pre- The move to color dramatic motion pictures finds its
sents each color as in the original. What is the course of parallel in the fad to color sculpture, which, I believe, was
the eve. the eye which reports what it sees to the brain? tried as an innovation, but which didn't prove successful.
It travels from color to color, according to their individual Imagine a beautiful marble statue with the face in the
prominence. Meanwhile, the picture is moving and the natural colors of a human being. Do you think the statue
story is being told continuously. By the time the eye has would be more beautiful? At any rate, the colored sculp-
consumed valuable moments in absorbing the various ture fad was short-lived. It was not long before it died out
colors, the scene has moved on to completion which is be- and sculpture returned to its classical interpretations.
fore the eye has had time to entirely take in those details
which go to make up the story which the picture was pro-
No Prejudice
The writer approached the matter of natural colors in
duced to relate.
cinematography open-mindedly, and the convictions which
Believes Colors Distracting he has formed, have come after years of dispassionate
Suppose we had a close-up, the object of which was to reasoning on every side of the question.
portray deep emotion. Now suppose the close-up which —
—
includes the characters therein were in natural color. Harry Fowler, A. S. C, is on location at Cascada, Shaver
Lake, shooting "The Man from Outside" directed by Fred-
Here, again, the eye would be distracted by the colors.
The time in which the eye should be fully concentrated on erick Reel, Jr., and with Frank Mayo, Miriam Cooper.
those details which are calculated to depict the emotion Stuart Holmes and other celebrities in the cast.
* * *
would be wholly lost in absorbing the colors. The result is
—
evident the emotion woud be lost on the audience. These Robert Stuart, well-known Eastern cinematographer,
points are delicate and difficult to "pin down," just as passed away after a long illness at his home in T>ynbrook,
difficult ;is it is to reckon which objects in a scene attract TiOng Island.
 January, 192.1 THE AMERICAN CINEMATOGEAPHBR Five

Neu? Sensitometer for Determination in Positive Printinq

Details giuen of neu; instrument Prom transactions, Society motion
perfected bu Eastman kodak
B^ L A' '
J d Picture Engineers. Complete in
workers. J - l - Crabtree lhis issue

S t K T

Fig. 1 Front elevation, showing arrangements of essential

parts

»o 6
1

n (D nU i

W
i i i i'i i i i
non P

*0
Fig. 2 Transverse vertical section showing arrangement
Fig. ;t Flan of ton surface. of parts.
As aresult of wide variations in lighting conditions, of metal and hydroquinone will give a silver deposit which
in exposure and in development, cinematographic nega- is perceptibly yellow in color. This yellowness while pro-
tives vary enormously in density and in contrast. As a re- ducing a very small effect upon visual density may pro-
sult of these variations, the exposure required to produce duce a very large and important photographic effect. A
the best possible print from such negatives must also vary deposit which appears to be slightly yellowish to the eye
widely in value. may require a much greater printing time than a gray
One of the difficult steps in the production of satis- deposit of the same apparent visual density.
factory positive quality is the determination of the proper For these reasons it seems desirable, if possible, to de-
exposure to give in printing the positive material. At the velop a method for the determination of exposure from
present time in the majority of film finishing laboratories, which the personal equation is entirely eliminated.
this determination is made by experienced 'timers." The Micro-Densitometer Used.
various negatives to be printed are examined visually When work was begun on this problem, it was thought
by the timer and from his experience acquired by long that the direct solution lay in an experimental determina-
practice in judging the density values in the negative and tion of the maximum density of the negative to be printed.
from his knowledge of the conditions in the printing ma- A large number of experiments were theiefore made, using
chines, a judgment of the correct printing exposure is a micro-densitometer for the measurement of density of
made. A timer who has had long training becomes ex- various portions of the negative. From these density
pert in judging the proper exposure for a given negative. values the exposure required to produce a just perceptible
However, frequent errors are made and reprinting in deposit through the highest density of the negative was
many cases is found necessary. computed and positives made according to these calcu-
Admitting the remarkable ability of the trained timer, lations. It was found that this method did not in every
errors in estimating the effective printing density of a case yield a satisfactory positive. In tiie case of these
negative are to be expected on account of the inherent na- negatives in which the contrast range was very low, the
ture of the human eye. One cause of such errors is the production of a just perceptible density corresponding to
variable sensitivity of the eye to brightness and bright the maximum density of the negative resulted in a posi-
ness differences. It is well known that the sensation pro- tive entirely too thin and having all of the caaracteristics
duced by the action of a given light stimulus on the eye is of being undertimed in printing while, in the case of an
dependent to a great extent upon the previous stimulation extremely contrasty negative, the production of a just per-
to which the eye has been subjected. Hence, unless great ceptible density in the positive corresponding to the maxi-
care is used in keeping the eye in a fixed condition of mum density in the negative, resulted in an over-exposed
sensitivity, very large and serious errors in judgment may print. It was evident from these experiments that the
occur. most satisfactory positive is not always a result of pro-
ducing a just perceptible density through the darkest por-
Color Variation In Negative.
tion of the negative. To utilize this method, it would seem
Another factor which in many cases makes the deter- necessary to decide upon what portion of the negative
mination of printing exposure by the visual judgment should be selected as a guide for printing the positive.
method very difficult, is the variation in the color of a The person deciding upon this would require considerable
yellow deposit in the negative. For instance, a negative training and again the result would be dependent upon the
developed in a pyro developer or in certain combinations personal judgment of a skilled observer.
Six THE AMERICAN CINEMATOGRAPHER January, 192.:

I 'tii. I Front view of instrument mounted for n.se. Fig. <> Typical density-log exposure curve

Another Method. vice so that during the exposure the positive film is held
Another method of eliminating the estimation of print- directly in contact with the tablet and the negative film.
ing time is to print a few frames of the negative under After the exposure has been made the platen automatically
consideration using all of the light change settings avail- rises and the film sprocket E advances the exposed posi-
able on the printing machine. Upon development it would tive film 12 frames so that a fresh portion of positive is
then be very easy to decide upon the printing intensity in position ready for the next exposure. The exposed
resulting in the best quality of positive. The printing positive is taken up by the reel D. Two small circular
machine could then be set to light intensities thus de- windows of ruby glass are located at O and P. As the
termined and the negatives in question printed satisfac- negative is pulled through the instrument by the rewind
torily. Such a method, however, is rather laborious, re- B, the operator can inspect the negative by means of these
quires considerable time and in many ways is somewhat illuminated windows. Black lines are ruled across these
objectionable. windows in such position that when the frame lines on the
In the sensitometer described in this paper, the general negative are placed in register with the black lines on the
method of making trial prints using exposures corres- windows, the negative is framed with respect to the var-
ponding to the various light change stops of the printing ious areas of the sensitometric tablet. These illuminating
machine is employed. The method, however, is much sim- windows are lighted by means of two small 110-volt lamps,
pler in that all the necessary exposures are made simultan- M. and N, enclosed in light tight compartments situated
eously and automatically by the sensitometer. This is beneath the windows.
accomplished by using what is technically known as a Exposing Light.
sensitometric tablet behind which a section of the nega-
tive under consideration is printed in contact with the The exposing lightL is a 40-watt linoiite mounted di-

positive material. The sensitometric tablet consists of a rectly below the sensitometric tablet in the lower part of
series of areas or spots varying in transmission. the sensitometer. Between the lamp and the sensitometer
These
areas are of the same size as a single motion picture nega- is placed a sheet of diffusing glass, K. The position of
tive (.75 inch x 1.0 inch) and are arranged side by side in this diffusing glass can be varied in order to adjust the

exactly the same way as the individual pictures on a intensity of the illumination incident upon the sensito-
motion picture film. The relative transmission values of metric tablet. In the compartment marked S are located
the various areas are so adjusted as to correspond with the necessary mechanical elements to give the desired
the relative light intensity values of the printing machine cycle of operation. The lamp L is enclosed in a tubular
with which the sensitometer is to be used. The intensity shutter which is actuated by a mechanism such that
of the light source used in the sensitometer and the ex- when a lever is pressed, the tubular shutter element makes
posure time are so adjusted that the exposure incident one complete revolution. As this shutter revolves the light
on the positive material in contact with the area of a from the lamp L is allowed to fall on the diffusing glass
given number on the tablet is equivalent to the exposure K and the positive film is exposed through the tablet J
given by the printing machine when set to the same num- and the negative in position between the tablet and the
positive film. The time of exposure is ZV2 seconds. The
ber on the light change board.
relative positions of the lamp and tubular shutter can be
The Sensitometer. more clearly seen in Figure 2 which is essentially a vertical
The arrangement of the various parts can best be ex- cross-section along the line QZ in Figure 1. The positions
plained by reference to Figures 1, 2 and 3 which are merely of the platen, positive film, the negative being tested and
diagrammatic sketches in which no attempt has been the sensitometric tablet are indicated by tne letters R. A,
made to retain actual size relationship or to show details B and J, respectively. The diffusing screen K occupies
of construction. Figure 1 is essentially a front elevation. the position as shown and is capable of being moved either
The reel A carries the roll of negative to be sampled. up or down as indicated by the arrows. The extent of the
The negative film passes from this reel to the rollers H diffusing screen which serves as an effective source for
and I to the rewind B. The unexposed positive is carried on illuminating the tablet is limited by the opaque members
the reel Q, passes on to the rollers F and G to the winding S and T. The lamp L is located at the center of the tubu-
reel D. These guide rollers and film reels are supported lar shutter V. This shutter consists of a metal tube from
on the top of the sensitometer XY which is a brass plate, which the portion indicated by the dotted line has been
6 inches wide by 24 inches long. The sensitometric tablet cut away leaving a single opaque segment O. In the nor-
J is mounted in a recess in the top of the sensitometer as mal position, this opaque segment closes the slot in the
shown so that the upper surface of the tablet is level with horizontal member M so that no light falls upon the dif-
the upper surface of the sensitometer top. The platen R fusing screen K.
is moved up and down automatically by a mechanical de- (Continued on Page ll)
 January, 1923 THE AMERICAN CINEMATOGRAPHER Seven

Volcanic rock formation works difficulties on setting up cameras securely. Being a

retiring sort of gentleman, James Van Trees, A. S. C, always devoting his attention to
his camera, stood with his back to the photographer who clicked this picture. Meet him
face to face in his accompanying article. Character in pose is Betty t'onipson, star of
production.

More About Bij James Uan Trees, A. S. C.

Additional cinematographic information
from A. S. C. member u>ho films
Hawaii famous uolcano.

As Jackson Rose pointed out in his article last month, an even more beautiful one "round the corner." Motion
we were both in Honolulu shooting productions at the pictures of course were a novelty to the natives, that is.
same time but never once did our paths cross. This was the actual making of pictures, but we found them very
due to the fact, no doubt, that we were woi-king under willing to assist when the occasion ofiered itself. Our
different conditions; he shooting a travelogue, as he said, script called for a great number of natives to appear in
and I, a dramatic production. the various scenes and we discovered tnat the Hawaiian
We carried with us on the steamer, the City of Hono- is a natural-born actor. After they once comprehend what
lulu, which was burned on the return trip, something like is wanted of them, they perform far better than the average
13 tons of equipment including lights, cables and things extra of Hollywood.
electrical; and chemicals and laboratory equipment. When
For Tropical Specimens.
our party of 28, which included, besides Betty Compton, the
The cinematographer who is called on to film a variety
star; the technical staff; Julia Crawford Ivers, the director,
of tropical vegetation will find his needs in the Foster
—
and the cast for "The White Flower" this is the name of
Gardens, which, located near Honolulu, were originally a
—
the Paramount production which we shot when our party
botanical reserve and which are said to contain every
docked in Honolulu, we were greeted, strange to say, by
natives who had heard of our coming and who were curious
known species of tropical plant and fonage. We
shot
numerous scenes in this garden, a walk through which
to see the "picture people," it seemed.
seems like a beautiful dream. It was impossible to pick
Build Laboratory. out the best place of all to shoot because it is a veritable
Within a week we had rented a cottage which we paradise; it embraces fifteen acres.
converted into a complete laboratory in which we develop- Find Water Soft.
ed and printed all of the work done during our stay on the Before we arrived in Honolulu we had been warned that
islands. the water there would be very, very hard, and were ad-
As Jackson Rose emphasized, the islands are very rich vised to prepare our developing solutions accordingly.
in "locations."The director, the art director and I spent To the contrary, we found that the water which was to
a number of days in traveling about to select locations be had for use in our laboratory was very soft. The film,
which we invariably decided against when we would find after being treated, would come out so soft that it could
Eight THE AMERICAN C I NEMATOGRAPHE .January, 192!

A view Into the crater of the volcano which denes Who has seen the wind? It was very decidedly pres-
the human hotly and the ilelicate mechanism of the ent here. The gentleman is heing thrown on* his balance
camera to venture down into the terrific heat of its after thewind had thwarted him in his attempt to walk
depths. upright against it.

be crumpled up in the hand like a piece of silk and, when than arising to get it. When we arrived at Hilo, on our
released, would come out without a blemish or indication way to the volcano which is 30 miles from that city, the
of such treatment. The water which we used came from humidity was even greater. As a precaution we taped up
artesian wells. all our cases. Once arriving at the volcano, which has
an elevation of approximately one mile, the atmosphere
Fish Like Cinema Drink.
became bracing and invigorating, comparable, in truth to
The laboratory solutions were drained from the wash that of California. It was then that we realized how de-
tanks into a sluice which emptied into the ocean only a pressing the humidity in the lowlands really was.
few yards away. In the shallow waters of the ocean a
few Japanese fishermen were plying their trade of casting At the Volcano.
out a net whenever they saw a fish about which, the net, We remained at the volcano a week, quartering at a
weighted at the ends, invariably closed down like a ledge nearby. At the time of our visit, the volcano con-
balloon. The fresh water from the laboratory apparently tents were 650 feet below the edge of the crater. It was
attracted larger fish from the deeper waters. The few here that some of the most important scenes of the picture
Japanese fishermen in the vicinity discovered this and were filmed. Unaccustomed to the nature of the volcano,
clustered about the outlet to capture the unexpected I planned to get a close-up of its interior by having some

prizes. We immediately warned them that they were in of the staff lower me with cables while I carried the
dangerous waters as the fish might possibly become pois- camera and did the shooting. Government officials ex-
oned from the hypo and the developer contained in the plained my foolhardiness. A thermometer of 150 degrees
water coming from the tank. The next day, however, no Farenheit burst on reaching a 200-foot level. I was in-
less than 150 Japanese were jostling about the mouth formed that the way the temperature above the lava sur-
of the sluice participating in the harvest or the fish run. face was calculated, was by recording the melting point
We tried to explain to them again but our efforts were of iron pipes lowered in the crater.
fruitless. They evidently believed that we wr ere endeavor- It is said that the volcano exacts a pair of shoes from
ing to induce them to leave so that we could pull in the every person who visits it. This is literally true. When
fish for ourselves. After that, whenever we ate fish, we we first arrived there, I was wearing a new pair of heavy
made thorough inquiries as to where they had been mountain boots. Before we left, I was virtually walking
caught. on my bare feet. The volcanic rock is the cause. It is as
sharp as glass and to a degree, I personally believe, pois-
Forceful Winds.
onous. Most of our scenes there were made after seven
Not far from Honolulu we found a place where it took o'clock at night. In order that no one would fall into the
all the strength of two able-bodied men to carry a single huge cracks which, caused by the heat, go down many feet
camera. It is the "Pali" where a road runs on the ledge around the edge of the crater, we made a circle of white-
of a steep perpendicular cliff in the gap between two hills. wash around the brim. In doing so I handled some of the
At this place the winds blow so strong every hour in the rock and though I was very careful with it, I was scratched
day, year after year, that to walk against them one has about the hands in many places. These scratches required
to bend over as if he were pulling a horse cart. In fact, a very long time to heal. In the absence of electrical pro-
one can lean over to a 45 degree angle in walking against visions at that location we used flares for lighting.
these winds. One cannot face them uprignt else he will
be blown over. If one stands in the same direction in Hot Face— Cold Back.
which the wind is blowing and jumps, he will land ten One can stand on the edge of the volcano and his face
feet away. Automobile tops are always put down before will be almost roasting from the heat while his back, be-
passing this point. This phenomenon is attributed to the cause of the altitude, will be freezing, it seems. We used
trade winds which, blowing in from the ocean, strike the 60 natives for the scenes. They worked when they did
hills and without any other outlet pour their concentrated work, but always welcomed the order to quit. At first I
forces through the gap. experienced not a little difficulty in getting them to halt
their action after I had finished shooting a scene. I wr ould
Humidity Great. yell "that's all, cut it out, that's enough, stop, halt." in my
The humidity was very great in Honolulu, so great in efforts to convey my meaning. But most times they con-
fact that at times, as an example, if one were sitting in a tinued doing what they had been doing before. At last I
chair and saw an object a few feet away, he would be so hit upon their word, "pau," and whenever I uttered it, all
lacking in energy that he w-vjld "orego having it rather (Continued on Page 17)
January,, 19.23 THE AMERICAN CINEM ATOGRAPHER Nine

Jls Hew Hear Nineteen Twenty

his cinema charges
Two introduces
to his
Came successor.

"I am Nineteen Twenty Two. am about to depart for-

I know I am holding back Photography. When will I lie

ever and will turn my work over to my successor. When I given time to study the Public and know it well."
first took office, Motion Pictures, you were being threat-
Publicity;
ened by old man Panic, but regardless, you have danced
merrily along the path of progress to the tune of many new "I amPublicity! Everybody knows me and I work hand-
and magnificent theaters. During the three hundred and in-hand with Exploitation. Together we do much to put
sixty-five days of my reign, you have given us some
Motion Pictures on the map. We
have advanced our work
mediocre work and Motion Pictures, warn you, quantity I
tremendously and have become an absolute necessity. We
is not always a sign of advancement. Be careful lest the study the Public and know it well."
Good Public grows cold and loses interest. Before de- I
Distribution;
part, shall call on your components to state their cause.
I

"I amDistribution! Motion Pictures cannot exist without

Introduce yourselves and speak up."
me and I require considerable percentage to keep me satis-
ENTER: Great Producer; fied. But the Public foots the bill and thinks that Producer

"I am have turned out the greatest

Great Producer! I
gets it all."
number of pictures of any one concern. My ambition is Theater
to make them all. I control my distribution and am grab-
"I am Theater! I have done my share to improve things
bing up all the theaters I can lay hold of. I have put Mo- in a general way for Motion Pictures. Public is my closest
tion Pictures on a sound business basis. I must continue friend. I have killed off 'Nickelodeon' and 'Steam Piano.'
to make good pictures, because I have not yet killed Com- I am allied with Presentation and together we give Motion
petition; otherwise my system is well organized." Picture a better deal, assisted by Good Projection. Ventila-
Independent Producer; tion and Pipe Organ."

"Alas, I am Independent Producer! I have been hor- Admission Fee;

ribly discouraged and am really afraid to do anything on a "Yes, I am Admission Fee! I a.m constantly juggled about,
lavish scale. I had anticipated great things but have suf- by Producer, Distribution and Theater. I Have become an
fered untold tortures. Perhaps I shall summon up courage unstable quantity. I must appeal direct to the Public and
and secure the aid of Financial Backing, who will put me it must be remembered that my greatest support comes
on my feet. I must watch my step and be careful of Great from Lower and Middle Class. Exceedingly Wealthy has
Producer." not as yet, completely fallen for Motion Pictures. I must
Star System; go easy as I am sometimes called Luxury and have Neces-
"I am My popularity has been established
Star System! sity as a competitor."
by the Public. Great Producer has almost run me ragged
by working me to death and overdoing a good thing. He is Veiled Mystery;
strong for quantity and lets quality suffer. Oh; where is "What that Veiled Mystery hiding in the corner? An un-
is

Art?" invited guest. Who are you and what is your business in
connection with Motion Pictures?"
Independent Star System;
"Ha! Ha! Oh, I am Scandal! I am always Hanging around
'.Well, I am Independent Star System! I have thrown off
to give Motion Pictures a black eye. I whisper in the ear
the shackles of Great Producer and his factory methods. I
of Reform, who is always active and in search of new
have gone out on my own and make fewer and better pic- fields of endeavor. Beware of me. I have not been idle
tures and see how successful I have been. I have done
and I shall lead Motion Picture a merry dance during the
much to preserve my art."
reign of Nineteen Twenty Three, if I "

New Invention; "Stop where you are! I am Educational Film! I have done
"I am New
Invention! I have given the public some very and can yet do much for Motion Pictures and my possibili-
ties are without limit, if I am only to be more seriously
fine examples of stereoscopic and color photography and
besides, talking pictures. But dear Public does not ac- considered."
claim my efforts and evidently does not seek a change 1 9 2 3 ;

fust yet." "Well, at last I have arrived. I am Nineteen Twenty

Scenario; Three and there is much to be done during my reign of
am am three hundred and sixty-five days. Let Motion Pictures not
"I a descendant of Story and am
Scenario! I

sought by all. I have suffered great humiliation at my be misjudged nor misused. Let not the sins of a few des-
treatment before finally getting before the public. I am in cend upon the heads of all. Motion Pictures is yel a husky
a terrible rut and must rack my brain for new twists in my youngster, scarcely fifteen years of age. All of you be on
plots. I am the foundation of Motion Pictures. I feel my-
your way and let us see what progress you have made at
self weakening and I am so important. Can I keep faith the end of my term, for I am the YEAR." NEW
with the Public a while longer?"

Photography COOPER HEWITT ISSUES INTERESTING

"Ah! I am Photography! I am the one eye of Motion Pic- PAMPHLETS
tures. My cameras have done noble work and have reached The Cooper Hewitt Electric Company lias issued its
;jhigh degree of perfection. Bad camera work is more the E
reprint, Number Ifi. "Artificial vs. Natural Light." bj
exception than the rule, and I thank co-operation and or-
Leavenworth Elliott, as well as its bulletin. Number 98-A,
ganization. I have been the last to capitulate to com- Cooper Hewitt photo-
which is a complete catalogue of
mercialism."
graphic outfits.
Laboratory Those desiring copies of these pamphlets may obtain
"And I am Laboratory! My condition has not changed them by addressing A. I). Child's, sales manager of the
greatly. I realize I am in need of assistance as Producer Cooper Hewitt organization, at ils m in offices at Hoboken, i

continues In burden me with his last-minute rush work. I New Jersey.

Ten THE AMERICAN CINEMATOGRAPHER January, 1923

^TllC EdltOrS COTTlGr —conducted bij Foster Qoss

AN ANNIVERSARY
Just as this is the birth of a new year, this month marks the fourth
anniversary of the founding of the American Society of Cinematographers.
In January 1919, fifteen ace cinematographers, recognizing the good which
could be accomplished by an organization representing the highest ideals
in cinematography, banded together and formed the society which, through
these forty-eight months, has more than justified their foresight and vision.

— —
The motto which was established "Loyalty, Progress, Art" has been
upheld and observed until today, more than ever before, membership in the
American Society of Cinematographers is synonymous with sterling cine-
matography. No man is elected to that organization unless his achieve-
ments warrant the honor; his record must be brilliant and substantial with
deeds well-done, deeds which measure up to the motto which reigns as
real rather than abstract.

Since motion pictures are a comparatively new art and industry which
evolves rapidly, if imperceptibly, many changes have come since January
1919, but the American Society of Cinematographers has not only kept
abreast of such changes but it has progressed in the van, so that now r '

as then, it is representative of the best in cinematography. If the pro-

duction personnel of those photoplays which have been reckoned as note-
worthy in the past several years is consulted, the worth of the A. S. C.
members will be readily appreciated. They are men who speak in celluloid
rather than in words. Their art, their loyalty, their progress, have pre-
served for the future a record of the abilities of others at their best; and
in the same operations these men have immortalized their own superlative
accomplishments. Even though they still may be classified as the pioneers
in this vast game of motion pictures, it is entirely conceivable that their
masterpieces will be studied as the criterion by unborn generations of cine-
matographers, even though the latter will be favored with inventions which
the mind of man as yet has not uncovered. And it is to be hoped that
people in the dim years to come will not have to wonder vainly who filmed
such masterpieces; it is to be desired that justly given screen credit will
eliminate the possibility of the cinematographer of today becoming un-
known genius to audiences of a century hence.

In the advance of motion pictures what has been more significant,

whether or not the fact is recognized in some quarters, than the progress!
of cinematography and the technical side of the calling? Truly, such
progress has won to the screen personages who refused to give their tal-
ents to the cinema when it was in its technically rough state. So great has
been the technical advancement, in fact, that it has been the preponderant

iiiimiii>iMiiimmiiiimimmnttin<
 THE AMERICAN CINEMATOGRAPHER

factor in the decision of various luminaries to re-film productions in which

they triumphed years ago.

Because the cinematographer works with a machine is no legitimate

reason that he should be considered as mechanic. He must be essentially
an artist, besides possessing his practical traits, else he would never be a
—
successful cinematographer else players would never reach the public
at their best.

Through organized effort, the American Society of Cinematograph-

its
ers has done much
for motion pictures and gives every indication of carry-
ing on. Its membership numbers not only the great staff cinematograph-
ers of the various producing companies, but it embraces the dramatic
freelance who like the freelance actor and the independent producer is a
vital power in films.

Even as the need for a cinematographic society was realized, the

place for a publication devoted to the technical phases of motion pictures
was early detected by the American Society of Cinematographers. Accord-
ingly, some two years after the incorporation of the organization, the
American Cinematographer made its first appearance. A two-sheet affair,
it was modest enough at first, but the judgment and foresight of its

sponsors were again justified. Being likewise a pioneer, it was greeted

warmly from the beginning. It was breaking ground in a field which had
long awaited cultivation. By degrees it grew and prospered until it was
enlarged into a semi-monthly magazine, which proved even more popular
than its predecessor. Its success may be said to have been whirlwind.

Its scope widened so speedily that, in the early part of the past year,
it was converted into a national monthly magazine to take care of its
growth.

As it looks back, the American Cinematographer believes that it has

reason to be proud of what it has done, just as has the American Society
of Cinematographers. But as rapid as its rise has been, even though it
is more successful now than ever before, this publication does not propose
to rest on its oars, to content itself with laurels of the past or the present.
It intends, as the American Society of Cinematographers has done, not
only to keep abreast of the expansion of the motion picture art and industry
but to forge ever ahead, well in the van.
Twelve THK AMERICAN CINEMATO GRAPH E R January,

A Pertinent Question and an Ans\r>er Thereto

Euincing the interest which the motion picture patron Considering the things mentioned by the layman writer,
is beginning to feel more and more concerning the the Cinematographer deals with their ramifications as un--
actual production of the photoplay, the writer discusses derstood from years of experience in the uarious
certain affairs which haue come to his attention as the branches of cinematography, giuing attention to his per-
layman. sonal experience and that of others.

Bij ^Arthur Q. Haqerman The Jlnstuer :

Is there a close enough relationship between the camera Is there close enough relationship between the camera
artist and the screen author? artistand the screen artist?
This questionis merely the query of a lay person, com- Speaking for myself, unfortunately, I have failed as yet
paratively speaking. That is, the writer is neither inter- to have the pleasure of meeting many "Screen Authors,"
ested in cinematography nor scenario writing, except theo- in the true sense of the word. Most authors that I have
retically, but having been an observer from the standpoint met have really been continuity writers whose ignorance
of a newspaper reviewer, he feels privileged to indulge of camera possibilities is appalling. Of course, I, as well
in an interrogative outburst. In the critical capacity on a as any cinematographer, favor the closest co-operation pos*
newspaper he came to the conclusion several times that sible between the camera artist and the film writer, the
one thing wrong with the main run of photoplays was that most successful of whom "know" the camera thoroughly.
they didn't show a perfect alliance between the angles and The reading of any out-of-focus continuity is probably the
compositions of photography and the meaning the scenario closest I ever get to the adapter. By "out-of-focus," I

writers put into scenes. Now in publicity work, he has had mean, incidentally, the "nth" carbon copy of the continu-
opportunity for some time to observe the actual working ity so that it is scarcely readable.
conditions of cinematographers and the possibilities of their
full co-operation with the author and director in transcrib- Cinematographer Should Visualize Story
ing to pictorial form what the continuity says. The average recognized cinematographer, on being given
the script, endeavors to visualize the story according to
The Layman's Angle the meaning which it is desired to convey. He studies
Observation has deepened this conviction to a certain each scene in his effort to gain the maximum cinemato-
extent, but so far it has failed to definitely establish the graphic results. He makes notations as to the manner In
causes of the fault. It may be that cameramen don't get w hich the various scenes may be lighted and offers such
r

their script copies early enough in production. It may be illuminating possibilities to the director for the latter's
that the scenario writer should always be on the set. It consideration. Of course, if the cinematographer is not
may be that the director in some cases doesn't fully sense handed the script in time, it is impossible for him to give
the importance of perfect alignment between the mental the necessary deliberation to each scene and such delib- —
perspectives of the two different artists, cinematographer eration is necessary if an excellent production is expected
and scenarist. It may even be, in rare instances, that the to result. The fact is becoming appreciated that it i9
cinematographer has the idea that what the director says those organizations, whose policy is sensible and sincere
on the spur of the moment is the only thing he needs pay co-operation between every department, that are producing
heed to. the best motion pictures. It is inevitable that such organi-
Examples Cited zations should attain the best results.

To illustrate what is meant by co-operation of this sort, Wrong Kind of Speed

there are various good examples to draw upon.
a regrettable fact that every cinematographer does
It is
In Mary Pickford's "Tess" there is a scene between
not receive his copy of the script in time and that when he
lovers, sitting on a fence, where the boughs of trees seem
does receive it he may have to contend with one of the
to shelter and protect the budding romance, and the char-
directors of the old school who still imagine that there is
—
acter of the photography is- the writer has no technical
a halo about their square heads and who still believe that
—
language at his command to describe it extremely clearcut
the only person necessary to produce a picture is the
at the center, around the faces, and around this center
director. Usually it is the cinematographer who is shoot-
radiates an increasing indefiniteness or "soft focus," which
ing program pictures that works under the greatest disad-
emphasizes the beauty of the scene. The apparent protec- vantage in the matter of being able to give proper atten-
—
tion of the tree limbs, the romantic beauty of the shot all
tion to the script. I know of many instances wherein, at
these details heightened the effect of the scene which
the time the production was started, the director's scrip
otherwise would have been merely a shot of two lovers consisted of merely a few pages of scenes and when these
busy at their sentimental playing. Rosher and Broening had been filmed in accordance with time demands, the pro-
were the cinematographers. duction force had to wait until the scenario department
In "The Storm" there are numerous scenes with House completed other scenes. How much better would it be
Peters, Matt Moore and Virginia Valli which are heightened for all concerned if everyone who needed the script had
in their cleverness by subtle touches in camera work. The received his copy in entirety well before actual photograph-
photography seems almost "effeminate" at times where ing was started. Pictorial beauty is essential in any pro-
Moore is playing the "softy," and it is exquisitely simple duction. But how can beautiful photography, composition
and clear where the heroine of the forests, impersonated by and proper lighting be obtained when a production man-
Virginia Valli, makes her appearance. ager is constantly crying for footage? It stands to reason
Edeson's photography on "Robin Hood" is getting the that if the screen writer is working under conditions where
praise it deserves, and it is quite evident, too, that he had proper co-operation between him and the cinematographer
ih«' clearest understanding with the artists who designed is not encouraged such a writer will not have the pleasure
the sots. There is a massiveness about the general effect of seeing his story or adaptation reach the screen in the
tb.it is visible in interior scenes as well as in the minia- best manner possible.
(Continued on Page 19) (Continued on Page 17)
January, 1923 THE AMERICAN CINEMATOGRAPHEK Thirteen

When the plunging of the mark was forgotten for an instant, being a "between
scenes" scene in Joe May's enlarged studio in Berlin-Weissensee during the production
of "The Power of Love," which, it is claimed, will he the most expensive German pro-
duction to date. The technical stalf surrounds May, who is shown holding the arm of
liis wife, Mia May, who has been seen as a star in this country. The gentleman nidi the
basket on his arm is Paul I.eni, celebrated in Europe as a scenic artist, whom May has
secured as a technical director.

Central European Austrian Studios ueru small. Ber-

T3xj Charles Shimar, A. S. C. lin bustlinq u>ith production. Extra
Cinematography talent cheap in large numbers.

Last summer the writer was selected as the cinemato- Liquor Leads to Revolt?
grapher with the party which the Universal Pictures Cor- One night the passengers gave a dance on the promenade
poration planned to make the production personnel of deck which was decorated with the flags of the Allied
motion pictures to be made in Europe. The party included nations. Because the Irish flag was not put up mind you, —
Harry Myers, Edward Laemmle, director; Edward Lowe,
Jr., scenarist; Ernest Laemmle and Tenny Wright, assist-
—
a ship of "His majesty" the Irish passengers started a
small revolution. Threats were flying in the air left and
ant directors; Frank Atkinson, film editor; Martin Bend- right. Believe me, I could see the ship sunk in mid-ocean.
heim, business manager; Mrs. Stumar, and the writer. But the captain was very tactful and armed the crew and
We left that beautiful blond girl, Miss Liberty, with the officers with automatics, so that the embryo revolt soon
torch in her hand, on June 17th. We were slated to travel passed. It took us ten days to cross the big pond, and
on the S. S. Majestic which, however, could not take care when we arrived in Liverpool, we hadn't experienced a
of the entire party, so that we took passage on different sick minute.
liners sailing on the same day. Frank Atkinson, Mrs.
Before we New York we were ordered to get to
left
Stumar and I were assigned to the White Star liner, S. S. London and wait there for the rest of the company, but
to
Cedric, bound for Liverpool, England.
a cablegram from Carl Laemmle, the Universal president,
No Camels On Ocean changed everything. I was directed to go direct to Vienna,
What struck me as rather strange, after we had proceed- so I knew that the picture, "Ivanhoe," which we were sup-
ed three miles or so beyond the statue of Liberty, was the posed to make in Scotland, had been changed for another
impelling thirst of my fellow passengers, 90 per cent of subject.
whom were Irish and headed for Queenstown, Ireland. Holland Atmosphere
When the three-mile limit was reached, the bar was so We traveled from Liverpool to Harwich where we em-
crowded that those desiring Scotch had a hard time getting barked on a channel beat for Hook van Holland. Arriving
their foot on the rail. Four days out, the supply of all there the next day we took the train for Berlin. We went
kinds of fire-water was exhausted. The attendants of the through some beautiful country in Holland. The dykes,
bar remarked to me that it was the first time of their long the quaint little Dutch houses, beautiful flower gardens,
seagoing careers that they had sold out. (Continued on Bage 20)
 Fourteen THE AMERICAN CINEMATOGRAPHER January, 1923

Overdone

perhaps, is the admonition to "start

the new year right." But we

don't believe that you could

go wrong in presenting

your friend with a

subscription to

the American

C i nematographer.

We would suggest that

you pass your copy on, if we

didn't know that so many of the

readers file each issue for reference.

The American Cinematographer

Herewith find $3.00 to pay for one year's subscrip-

tion to The American Cinematographer, subscription

to begin with the issue of 192.3.

Name

uimiimiimiii iimiiniiiilHiitiii
January, l!i2:s THE AMERICAN CINEMATOGRAPHER Fifteen

Figure :t

figure 1 Figure 4

A Camera IDashington
al
man is awarded Feder-
patenton periscopic attach-
Periscope ment for motion picture camera.

A periscope attachment for motion picture cameras has thereon can be elevated sufficiently to clear the object or
been invented by William C. Cox of Washington, D. C, who obstruction over which the picture is to be "shot."
has been awarded a United States patent covering the ap- Yet another object of my invention may be stated to
paratus. While war-time use for the attachment evi- reside in the provision of a periscope attachment which
dently was prominent in Cox's calculations at the time his can be secured to the various makes or designs of motion
application for patent was filed, the periscope, if its prac- picture camera stands or tripods now prevalent, with but
ticability can be conclusively established, no doubt will slight alteration thereto, and which, when in position there-
find its greatest possibilities in peace-time work. Just on, will be held against any undue movement or detri-
how far it can go toward replacing the platform for ele- mental vibration.
vated shots remains to be seen. Other objects will be in part obvious and in part pointed
Cox sets forth the details of his invention as follows: out hereinafter. In order that the invention and its mode of
application may be readily understood by persons skilled
This invention relates to improvements in optical at-
in the art, I have in the accompanying illustrative draw-
tachments for motion picture cameras, and it is the prin-
ings, and in the detailed following description based there-
cipal object of the invention to provide a combined peri-
on, set out what I believe to be a preferred embodiment
scope and support for motion picture or similar large and
of the same.
heavy cameras, whereby the same can be successively
In these drawings:
employed for photographing objects not within focusing
range of the camera when in its normal position, that is, Figure 1 is a side elevation of the improved periscope
upon the stand or tripod usually employed to support the attachment showing the same supporting a motion picture
same, thus rendering a camera so equipped advantageous- camera and in position upon an ordinary tripod;
ly adaptable for use in trench photograph work and like Figure 2 is a similar view taken at right angles to the
uses where it becomes necessary that the camera employed Figure 1;
be arranged above the head of an operator and sufficiently Figure 3 is a transverse section through the periscope
high to clear any obstruction such as the wall of a trench, attachment taken on the line 3—3 of Figure 1;
in order that the object to be photographed may be prop-
erly located in its lens, the periscope attachment render-
Figure 4 is a similar view taken on the line 4 — 4 of
Figure 1;
ing it possible for the photographer to view an object fo-
cused in the camera which is supported in a plane above Figure 5 is a fragmentary enlarged detail in section
his head without effort and from his usual position, hence, showing the camera supporting shelf on the finder end of
materially facilitating the "shooting" of the picture. It is the periscope and the means for securing the camera
also an object of the invention to provide a periscope at- thereto;
tachment of the character mentioned which can be ad- Figure 6 is an enlarged fragmentary detail in section
justed to various heights, whereby the camera supported through the lower portion or observing portion of the peri-
Sixteen THE AMERICAN CINEMATOGRAPHER January, 102::

zs

2*
!• igure 5 Figure Figure <!

scope showing the gear for transmitting rotary driving pass bolts 15 through the extensions 9, engaging wing nuts
motion to the camera shutter; and, 16 with their threaded extremities as shown in the
Figure 7 is a detail in perspective of one form of bracket Figure 4.
employed for securing the periscope attachment to the
By tightening these bolts and wing nuts, it is obvious
tripod.
that the opposite sides of the section 2 will be drawn in-
Having more particular reference to the drawings, in wardly until section 1 is snugly received therein, movement
connection with which like reference characters will desig- of the opposite walls of the section 2 being permitted by
nate corresponding parts throughout the several views, reason of the forming of the slot 8 therein. To secure a
the improved periscope attachment comprises telescopic camera C in position upon the shelf 4 against displacement
tubular sections 1 and 2, the section 1 being provided with during operation of the same, an upright stub shaft 17 is
a right angularly disposed finder end 3 carrying on its journaled in bearings in the intermediate portion of the
upper side a shelf 4 upon which the motion picture camera shelf 4 as shown in the Figure 5, the upper end thereof
is adapted to be arranged, while the lower end of the being enlarged and screw threaded as at 18 for engagement
tubular section 2 is provided with an oppositely disposed with the usual screw threaded opening in the camera C,
right angular portion serving as the observing end of the while a beveled gear 19 is carried on the lower end of the
periscope and designated by the numeral 5. shaft and meshes with a corresponding gear 20 mounted
It becomes desirable to provide means for extending or on the adjacent end of a horizontal shaft 21 journaled in
telescoping several sections 1 and 2, and to this end, I bearings 22 carried on the underside of said shelf 4 and
provide on one side wall of the inner section 1, a series having a knurled finger piece 23 arranged on its outer
of gear teeth 6 constituting the usual rack while a second end, whereby rotation of said shaft 21 with the resultant
and similar series of these teeth 7 are formed on the ad- transmission of rotary motion to the screw 18 can be readi-
jacent wall of the section 2, it being noted in this connec- ly effected by a person desiring to secure a camera in posi-
tion that that wall of the section 2 carrying teeth 7 is tion upon the shelf 4. Various forms of brackets or devices
slotted as at 8, in order that the series of teeth 6 on the may be employed for attaching the periscope to the shelf or
tubular section 1 may extend through such slot to a point platform of a tripod fragmentally shown in the drawings
in proximity to the teeth 7. and indicated at T.
The side walls of the section 2 are extended as at 9 and However, for the purpose of illustration and convenience,
have a transversely disposed shaft 10 journaled in bearings I employ a form of bracket such as indicated in its entirety
therein, a crank handle 11 being secured to one end of the by the numeral 24 for securing the lower or observing end
shaft whereby to facilitate rotation thereof. In this con- of the periscope in position upon the tripod platform. This
nection, it should be noted that the shaft 10 is slidable in bracket consists of a basal portion 25 having arranged
its bearings in the extended portions 9 of the side walls of thereon a substantially U-shaped bracket 26 braced witn
the telescopic section 2 and that the same carries a pinion relation to the said basal portion by diagonal webs 27,
12 thereon rotatable with the same and adapted to be while securing screws 28 are passed through the sides of
normally enmeshed with the series of teeth 6 extending said bracket 26 and are adapted to be engaged with the
from the tubular section 1 through the slot 8 in the sec- adjacent portion of the section 2 of the periscope.
tion 2.
of course, will be understood that to engage the peri-
It,
Thus, it is obvious that when the shaft 10 is rotated,
reciprocatory motion will be imparted to the tubular sec-
scope in the bracket 24 it is only necessary that the same
be moved laterally into engagement with the bracket 26,
tion 1 in a direction depending upon the direction of rota-
tion, causing said section 1 to be extended or telescoped
whereupon connection of the screws 28 between said
bracket and periscope is effected. To secure this bracket 24
with relation to the section 2. To secure such section 1
in position upon tripod platform, I may and preferably do
in an adjusted position with relation to the section 2, it is
only necessary that the shaft 10 be slid in its bearings in form an opening 29 in the basal portion 25 through which
a screw or similar form of fastening device may be passed
the extensions 9 whereby to bring the pinion 12 into en-
into engagement with said platform. With a view towards
gagement with the adjacent teeth 7 on the immovable
providing means for transmitting rotary driving motion to
section 2.
the camera shutter, a bearing 30 is arranged on the lower
By reason of the fact that the pinion 12 spans the space
portion of the section 2 and rotatably supports a beveled
between the teeth 6 and 7, it naturally follow s that the
gear 31 carrying a crank handle 32, the lower end of a
resultant connection between such teeth will serve as an
shaft 33 which is mounted in bearings 34 on the section 2,
effective locking means as between the sections 1 and 2,
is positioned adjacent the beveled gear 31 and is provided
retaining said section 1 in its adjusted position. I may and
with corresponding gears 35, one of which is idle while
preferably do form a way or seat 13 in the shaft 10 and
the other is secured to said shaft 33.
arrange a curved spring 14 on the section 2 adjacent said
shaft in order that when the shaft is slid to one side to These gears, as shown in the figure, engage with the
effect connection of the pinion 12 between the teeth 6 and opposite sides of beveled gear 31 and upon rotation of said
7, said spring will immediately seat in the way 13 and in gear through the medium of this crank handle 32, rotary
consequence, temporarily or releasably lock said shaft in motion will be imparted to the shaft 33. This shaft 33 is
adjusted position until positively shifted to its rotating hollow and receives therein one portion of a flexible shaft
position. As additional means for securing the sections 1 36, which shaft, is in turn, journaled in bearings 37 and 38
and 2 in adjusted relation and to prevent vibratory move- arranged on the section 1 and the camera C respectively,
ment of a camera supported on the shelf 4, I preferably a beveled gear 39 being affixed to the upper end of the
January, 192:! THE AMERICAN CINEMATOGRAPHER Seventeen

flexible shaft and meshing with a beveled gear 40 carried DIRECTOR SPEAKS IN DEFENSE OF CLOSE-
on the shutter operating shaft 41 of the camera C. In ar-
ranging the camera C on the shelf 4 arranged on the upper
UP; CLAIMS IT AIDS TELLING
side of the finder end of the periscope attachment, the lens OF STORY IN FILMS
of the camera is accurately aligned with the finder lens of Much has been said on either side concerning the ad-
the periscope, so that the view reflected or focused in the An old form of motion picture
visability of the close-up.
camera will correspond accurately to the view reflected in though it has become, it is still championed by many as
the observing end 5 of the periscope. With my improved
indicated by the contentions of Gasnier, the director.
periscope attachment, it will be appreciated that I provide
"Who said abolish the close-up?" he asks.
a device possessing practical and meritorious features.
Gasnier, who has just completed "Thorns and Orange
The device may be used to advantage in military photo-
Blossoms," the new Preferred Picture filmed with an all-
graphic operations, such as in trench work, wherein it
star cast >at the B. P. Schulberg studios, points to the
oftentimes becomes necessary, or at least desirable, to se-
cure a photograph of certain positions of an enemy.
means by which this pictorial agency is used to advance
the plot of the Bertha Clay story.
To do this, it is necessary that the camera be raised
upon the walls of the trench in order that the lens thereof "The close-up is an agency for putting over a thought
The that is not possible on the speaking stage," said Mr. Gas-
will be provided with a clear and unobstructed view.
nier. "It need not be ugly, it need not be flat, it need not
photographing of pictures of this nature is usually carried
stop the action, as so many directors say is the case. When
out by the raising of the camera to a point upon the trench
the action requires it we simply move into the close up to
wall, pointing same in the general direction of the object
to be photographed and then "shooting" the same blindly.
emphasize points that could not be developed in any other
Such procedure frequently gives unsatisfactory results and way. To abandon this means of telling a story would be
as sensible as for a man with a good voice to cease using
in consequence, entails considerable expense, in addition
it and take to talking on his fingers."
to loss of time and labor.
With my device, the camera when in an elevated posi
tion, can be accurately directed so as to focus the entire
object to be photographed, such object being clearly re- More About Hawaii.
flected in the observing end 5 of the periscope and in con-
sequence, eliminating "at random" shots. A user of my
(Continued from Page 8)

device further, is not compelled to change his usual posi- action ceased within the bat of an eye. It seems to be
tion irrespective of the elevation of the camera and hence, a favorite word. It's never, "when are you going to finish
does not have to expose any portion of his body to the fire with this scene or when will finish the picture"; rather
of the enemy. The device also possesses considerable com- it is "when are you going to be 'pau' with the picture," etc.
mercial merit, as for illustration, in the photographing of
parades, etc., at which times, the position of the photo- A Japanese Puzzle.
grapher is often such that he must support his camera The Japanese growers have a very novel way of
rice
upon a specially constructed platform, ladder, or other keeping the birds out of the rice fields; we recorded the
device, in order that he may have an unobstructed view method in celluloid. In the center of the field is a palm-
over the heads of persons or other objects in front of him. covered platform from which strings, a few feet apart,
With my device, it is only necessary that the periscope run out in every direction to 10-foot poles over the entire
be extended to a point whereat the camera will be suffi- field. On these poles are tied old cans filled with rocks
ciently elevated to afford a clear and unobstructed view in and scrap iron. Whenever a bird alights m
some part of
the observing end 5 of the periscope attachment where- the field, the Japanese who occupies the platform will pull
upon objects may be photographed. Manifestly, the con- a string which leads to that part of the field with the re-
struction shown is capable of considerable modification sult that a wild, clanking noise will arise there, frighten-
and such modification as is within the scope of my claims, ing the bird away. How they ever single out the proper
I consider within the spirit of my invention. string to pull is the question.
I was surprised how well speed stock and a 1.9 lens

worked for early morning and night stuff. I gained some

<The Answer: remarkable results with this combination at times when
(Continued from Page 12) the second camera, using the usual arrangement, obtained
Successful Director Appreciates Cinematographer records in which faces were scarcely recognizable.
Notwithstanding the type of director who represents the
opposite extreme, no one realizes more than a real direc-
tor does the value of good photography and what provisions Robert Newhard, A. S. C, may lay claim to acting laurels
must be made in order to get it. Unfortunately we still as well as to those of an ace cinematograpner. At the re-
have a few in our great industry who continue to believe cent "preview" held by the Actors' Equity in Hollywood,
in the one-man idea, for, mind you, a certain director he appeared in the role of a cinematographer. His "lines"
recently remarked that in his productions photography brought roars of laughter.
decidedly is secondary. "I want this set built facing the * * *
sun," he said, "so that I can get shooting light from early
morning until late in the evening." Did he properly Paul Perry and Robert Kurrle, A. S. C. members, con-

appreciate as leading directors do what tremendous assets sider themselves the champion duck hunters among the
artificial lights, handled by the skilled cinematographer, cinematogra pliers, having bagged the limit in two trips
are? recently into the mountains of Southern California.
Penrhyn Stanlaws was a member of their party.
Personally, I have been fortunate in obtaining my script
in plenty of time so that I could make every effort to carry
out the author's ideas and in being associated with a
director who has implicit faith in my ability, as the
director must have in the cinematographer if the produc-
tion is to rise above the ordinary. But my good fortune
does not prevent my observing conditions as they exist
for others.
Eighteen

David Abel, A. S. C, has finished photographing the Fox Ernest Depew, A. S. C, is shooting the latest Al St. John
production, "The Buster," with Doris Pawn and Dustin comedy for Fox.
* * *
Farnum, and directed by Colin Campbell.
John Arnold, A. S. C, is photographing "Her Fatal Mil-
Reginald Lyons, A. S. C, has finished filming a travesty lions," starring Viola. Dana.
on "Oliver Twist" for Joe Rock comedies. * * *

Charles Van Enger, A. S. C, is photographing the Fred

George Barnes, A. S. C, will photograph an original all- Niblo production of "The Famous Mrs. Fair."
star Louis Burston production for Metro, to be directed by
Rowland V. Lee. Roy H. Klaffki is no longer a member of the American
* * *
Society of Cinematographers.
Norbert Brodin, A. S. C, will film the next Constance * * *
Talmadge vehicle.
W. S.Smith, Jr., A. S. C, has been in San Francisco
* * *
shooting a Vitagraph production, featuring Earle Williams
Max Du Pont, A. S. C, is filming "The Tinsel Harvest," and Alice Calhoun.
directed by William Seiter. * * *

Rudolph Berguist, C,
is photographing Metro's
A. S.
Ross Fisher, A. C, is shooting Johnson's "Westbound
S. production of Willard Mack's, "Your Friend and Mine."
99" at the Robertson-Cole studios.
* * *
* * *
Victor Milner, A. S. C, has begun filming of the latest
Kenneth MacLean, A. S. C, is photographing Carter De Universal production, starring Gladys Walton and directed
Haven comedies. by King Baggot.
* * *
* * *
L. Guy Wilky, C, is making preparations for the
A. S.
filming of "Grumpy," William de Mille's next production
for Paramount.
* * *

Homer
Scott, A. S. C, will photograph Warner Brothers'
production of "Main Street." On his return from New York City,
* * *
where he had been filming initial scenes
for a forthcoming motion picture, Tony
Ben
Kline, A. S. C, is filming the Universal production
Gaudio, a member of the American So-
of "Jewel," directed by Lois Wilson.
* * * ciety of Cinematographers, was greeted
with the sad news that his beloved
Charles Schoenbaum, A. S. C, is photographing "Mr.
mother had died suddenly in the Eastern
Billings Spends His Dime," starring Walter Hiers.
metropolis while he was en route to Los
* * *
Angeles. He was unable to return to
Rollie Totheroh, A. S. C, is filming "Destiny," starring New York in time to attend the funeral
Edna Purviance, and directed by Charlie Chaplin. services.
$
Frank B. Good, A. S. C, has finished photographing of
"Toby Tyler," starring Jackie Coogan.
* * *

C, is adding photographic genius

Francis Corby, A. S. to
Jack White comedies which he is shooting.
* * #

Sol Polito, A. S. C, has returned from New York to

shoot the next Edwin Carewe production which is to he
made in Los Angeles.

Ben Reynolds, A. S. C, has joined the Goldwyn cine-

matographic forces to photograph Eric Von Stroheim pro-
ductions. Reynolds was chief cinematographer of "Foolish
Wives."

Allan Siegler, A. S. C, has left for New York City on a

business trip.

The following letter has been received by the American

Cinematographer from L. Guy Wilky, an A. S. C. member:
"The list of releases for November gives me credit as being
one of the cinematographers of 'Manslaughter.' I desire Kene Guissart, A. S. C, discussing production details
with Mae Marsh between shots in making ot "Paddy, the
to state that I had no connection therewith, as my activities Next Best Thing," tor Wilcox Productions in London, Eng-
are confined to William de Mille productions. (Signed) land, Gulssart, who has been in the tight little isle for some
time, is receiving the praises of English critics for his
L. Guy Wilky." masterful photography.
January, 1923 THE AMERICAN C I NE MATOGRAPHER Nineteen

The Questions:
(Continued from Page 12)
accords well with the spirit
Every print deserves all the photo-
tured long exterior shots, and it

of the plot. graphic quality that can be put

"The Flirt,"Booth Tarkington's novel, presented a story into it.
of family life, and in the production of it under Hobart
Henley's direction, the photography by Charles Kaufman
emphasized family groupings. The difference between the
way Helen Jerome Eddy as the hard-working, frugal sister,
and Eileen Percy, as "The Flirt," were photographed, is
EASTMAN
something worth seeing. Practically every shot of Miss
Eddy's individual work accentuates the simplicity of the
POSITIVE FILM
character she is playing. It is very clear-cut and for the
most part it is simple in effect. On the other hand Miss has the long scale of gradation that
Percy was shot from various angles, with varying focus,
reproduces all the delicate halftones
and some close-ups of her in soft focus are extremely beau-
tiful. Everything was done to make the two personalities
appear as opposite on the screen as possible, and it is rea-
between high and shadows
lights —
it carries the quality of the negative
sonable to conclude that the photography helped to achieve
the effect. through to the screen.
In "The Power of a Lie," a dramatic story that develops
with great simplicity and conspicuous logic, the photog- Eastman Film, both regular and tinted
raphy seems to be "thoughtfully" dramatic. There are no base —now available in nine colors, is

freakish angles, many of the shots are as straight at the identified throughout its length by the
players as though the spectator in the theater were al- words "Eastman" "Kodak" stenciled
lowed to walk in, choose a position exactly in front of what in black letters in the transparent
is going on and watch it from that angle. Charles Stumar
margin.
was George Archainbaud's cinematographer on this. Bv the
simplicity and directness of the shots and the extreme
clarity of the focus on the chief dramatic scenes an effect
results which corresponds to the logical theme of the storv EASTMAN KODAK COMPANY
as simply as a-b-c.
ROCHESTER, N. V.
Now the question the writer seeks to find an answer to
in regard to more ordinary pictures is this: How many
times does the cameraman get his script on time and study
it thoroughly? In how many instances does the scenario
writer feel an active interest in the pictorial value of his
scenes and the angles and effects necessary to bring out
In how many cases does the director rp t rnp y y? Q ART BACK-
their best values?
realize the necessity of taking the cameraman into his con-
fidence at the very start and talk over, not the action, but
;

111 L/H/U GROUNDS

the significance of the action, in every sequence of the
story, and how that significance may best be expressed in
pictorial effects?

The writer firmly believes that the real high point in the
screen art will come when the public, exhibitors, critics and
all other influences outside the producing industry realize
that. t«o bpnntv or storv has charm on the screen unless it
is pictorially beautiful as well —
and demand that the tran-
scription itself betray perfect understanding between
scenario writer and camera artist.

Karl Brown, A. S. C, is completing camera work on "The

Covered Waeron" with James Cruze at the Paramount Stu-
dios in Hollywood.
* * *

Bert Cann, A. S. C, continues his sojourning in Europe.

He is attached to the staff of Eddie Polo.

* * *

Not having heard from Herford T. Cowling, A. S. C, for

several weeks, it is presumable that he is penetrating the
African jungles on his present expedition to film the coun-
try adjacent to the Roosevelt trail.
* * *

Jackson Rose, A. S. C, is enjoying a well-earned vaca-

tion before beginning his next cinematographic achieve-
ment.
Twenty THE AMERICAN CINEMATOGRAPHER January, 192:;

Central European Cinematograph!}.

(Continued from Page 13)
—
natives wearing wooden shoes all beautiful atmosphere.
We arrived in Berlin the next night. Having lived there
for a number of years, I certainly was disappointed. The
change was shocking. The city was absolutely dark no —
light on the streets. Everything seemed to be dead. We
experienced difficulties in getting hotel accommodations.
Finally we quartered at the Hotel Central, one of the best
DEBRIE CAMERAS
hotels in Berlin. The rooms were spacious, well furnished REGULAR SPEED SLOW MOTION
with beautiful oil paintings and draperies. The cost was
400 marks per day, or 75 cents in American money. The
rooms were at least three times as big as any good room at
the exclusive New York hotels. The darkness, which had
impressed me on our arrival, was brought about, I learned
the next day, out of respect to Rathenau, the German
foreign minister, who had just been assassinated. I could
not observe very much of conditions there because we had
to leave the next day for Vienna, so I will give an account
of my observations of Berlin a little later in this article.

Rich and Poor In Vienna

It had been 14 years since I last saw Vienna. As a city
it had scarcely changed a bit physically, it seemed to me.

But for the natives, there was a colossal change. There

—
are only two classes rich and poor. The rich live wonder-
fully; they can get anything for their money. The poor
are suffering immensely. Having the advantage of Amer-
ican money, we might have been regarded as millionaires
during our stay there. The rate of exchange then was
32,500 kronen to one dollar. My hotel bill was 20,000 0RD
kronen every third day. We partook of the famous food HE
in Vienna, celebrated the world over, in the best restaur-
ants, and seldom did a dinner with wine and beer cost EVENTS
more than 25 cents in American money. I won't bother
the reader with such details since they Have become gen- OF THE
erally known, but will discuss the film business in Austria.

Production in Vienna
An exclusive
WORLD
In Vienna there is only one producing firm which
feature ot the
amounts to anything. Organized well enough financially, Debrie is the slide fitted
it is on a sound basis, producing fairly good pictures. This
is the Sascha Film Company. Most of their products are with ground glass which
costume films. At the time I was there they were shoot- can be brought into posi-
ing the concluding scenes of "Sodom," which required
two years to complete. The exteriors were very well clone tion in the aperture with-
and the sets very large. out opening camera, en-
Small Studios
The Viennese have no studios which amount to anything. abling accurate focusing at
They are all about the size of the old Eclair studio in Fort any time.
Lee, N. J. The lighting equipment is very poor, and when- CATALOGUE
ever they have a big set to build, they are obliged to erect
Everything for the motion picture photographer
them in the open. Everything is as it was in the United
States ten years ago. The European producers have prog- and studio at the lowest prices
ressed very little during these years, due to the war.

In
Modern Equipment Rare
Vienna, there are in about six studios. They are
all
OTION PICTURE
APPARATUS CO.
all, as I say, very small.They have ground glass roofs IMC OIPORATED |

with no diffusing arrangements. The cinematographers

are working under very severe conditions, with no modern 118 West 44th St. New York
equipment at their command. Most of the cinematograph-
ers 'are using Pathe, or Krupp-Ernemann cameras. The
Under Ownership
Management of
WILLOUGHBV
CORPORATION I
Krupp-Ernemann is a reproduction of the Debrie camera.
During the war, the Germans could not get any of the
French Debries, so the Krupp-Ernemann interests started
manufacturing cameras, taking the Debrie as the model.
I shot some scenes in Vienna for the Universal produc-

tion, "Merry Go 'Round," the locale of which is laid in that

city. When I set my camera, the curious people flocked
about, and it took not a little time to get them from the
path of the camera.
Berlin Busy With Production
After several weeks, we returned to Berlin to start our
production. I was confident that I would bo able to get a
January, 1923 THE AMERICAN CINEMATOGRAPHER Twenty-one

studio that would meet our requirements. This was not

so easy, although I knew practically every big studio in
Berlin, having worked in most of them. All the big stu-
dios at that time were engaged until October, so I had quite The SEPT
a hard time securing space. Thanks to previous acquaint-
ance and having worked with Mr. Joe May, director of the
MOTION
May Film Company, I was able to secure his studio and PICTURE
equipment for 10,000 marks a day, or about 15 dollars in
American money. CAMERA
More Costume Photoplays
Everything was very active. There must have been at
least 75 companies shooting. Most of them were making
German, French and Russian costume pictures. All were
employing thousands of extra people. Extra talent is very
cheap in Germany. They seldom get more than 250 marks
a day.
While in Germany I could find but one German produc- A perfect operating camera, using standard film
tion showing in any of their theaters. It was "Kaiser —
requires no tripod has automatic exposure mechan-
Friedrich the Great." It was well produced, directed with
—
ism loaded in daylight.
lots of fine touches, but lacked good photography. There Lens is high grade anastigmat, working at F 3.5,
are numerous American productions playing in Germany; fitted in —
micrometer mount can be set at universai
the majority are Universals. focus or focused sharply at 12 inches.
Agfa, the German negative film, cost 20 marks per meter. Used for special purposes in the most prominent
Negative was developed at 1.75 marks per meter, positive studios. Weight only four pounds.
at 13.30 per meter and printing cost 2.30 per meter.
Had it not been for the illness of Director Laemmle, we Come in and see it, or a phone call will bring it out
would have made the intended production and I probably to you.
would have still been there, as it was intended to produce
at least three or four more productions on the continent.
I shall never forget the wonderful farewell party which

my friend, Harry Piel, who is well known as a German

film director, gave in my honor at the Palace De Dance.
Besides our immediate party, the guests included two Eng- EASTMAN KODAK COMPANY
lish producers. 510 S. Broadway, Los Angeles
Telephones: 66911; Main 6920
Neu? Sensitometer for Determination in Positive
Printinq.
(Continued from page 6.) STILL FINISHING STILL CAMERAS FOR RENT
General Arrangement
The general arrangement of the top of the sensito-
meter is shown in Figure 3. The sensitometric tablet
occupies the area J across which the dotted lines repre-
LITTLE
The Big Photographer
sent the separations or frame lines between the areas of 5874 Hollywood Blvd. Telephone 597-602
different density. The guide pins, W, serve to keep both
the negative and the positive film properly centered over
the tablet. The rollers F and G serve to hold the positive
in the proper position while the rollers Hand I guide the
HARVEY MOTION PICTURE
negative. The circles marked O and P indicate the ruby
glass windows crossed by the black lines which make it EXPOSURE METER
possible to register the negative with the tablet. A small Endorsed by Leading Cameramen
ruby window at Z permits the operator to see a red flash as $2.00— Your Dealer, or G. L. HARVEY
the exposure is being made thus preventing the possibility 105 S. Dearborn St. Chicago
of the lamp burning out without the knowledge of the
operator.
The Sensitometric Tablet "Charles Bass wants you to send for his complete
As stated previously, the sensitometric tablet is made up Motion Picture Catalogue listing- innumerable items
useful for making motion pictures. Also our list of
of areas (each the size of a singlemotion picture negative) slightly used cameras. Our prices make it more than
having transmissions proportional to the light intensity worth while.
values given by the various adjustments or settings on the We have on hand for immediate delivery a complete
Bell & Howell outfit, a complete Pathe outfit and sev-
light change board of the printing machine with which it eral used Universal outfits.
is proposed to use the sensitometer. In referring to these Write or wire for your copy.
intensity values, it should be understood that the effective
BASS CAMERA COMPANY
Motion Picture Department
photographic intensity is referred to and not the visual tOO \. Dearborn St. Chicago, 111.

value. The various photographic intensities given by any

printing machine must be determined by a photographic
method. This can be done as follows: A series of flash CAMERAS FOR SALE
prints are made in the printing machine, one strip for
each of the intensities obtainable by the various settings
GEORGE MEEHAN, 802 June St., Box, Cor. Waring and
on the light change board. By the term "flash strip" is
Seward St., Los Angeles. "Debrie."
meant simply a print made in the ordinary way but without
any negative in the machine. Portions of cine-nositive WANTED TO BUY
film cut from the same roll as was used in making the flash TWO Bell & Howell Magazines in good condition. II. Ly-
strip in the printing machine were exposed in the sensito- man Broening. Hollywood 4468.
Twenty-Two THE AMERICAN CINEMATOGRAPHER January, 192:!

meter. (*), (f). This is an instrument which gives a series

of known exposures to various areas of the sensitivemater-
ial.

Usual Exposure Scale

Ask About Us
The
scale of exposure usually employed is one of geome-
trical progression as for instance, 1, 2, 4, 8, 16, ...
exposure units. These strips exposed in the sensitometer
etc.,

are then attached to the flash strip from the printing ma-
.

CROUSE-DAVIDGE
HAROLD BELL WRIGHT
chine and all developed together in the usual way, great
care being taken to obtain uniformity of development. The
density values obtained on the sensitometric strip and on
the flash strip are then determined in the usual way. From
the density values obtained from the sensitometric strips
LABORATORIES
and the known exposures given by the sensitometer, the 1511 CAHUENGA AVENUE
characteristic curve of the material for that particular de-
velopment is plotted. Such a curve is shown in Fig. 6, the Hollywood
ordinate values being density and the abscissa the loga- PHONE HOLLY. 2366
rithm of the exposures. Now, if the density values ob-
tained from the flash strip be laid off as a succession of
points along the density axis, horizontal lines being pro-
jected to cut the curve and from these points of cutting
perpendiculars be dropped to the log. E axis, the exposure PORTABLE POWER PLANT
For Motion Picture Lighting
values determined at the points where these points cut the
Operates Independent of City Power Lines
log. E axis will give the relative values of photographic in-
tensity for the various light change settings of the print-
—
Capacity 800 Amperes
Minerva Pictures Corp. H. M. (Buck) Ewing, Mgr.
ing machine. 1608 N. Vermont Ave., Los Angeles, Cal.
Illustration Phone 596-719 Night: Holly. 9119
To process, let it be assumed that the
illustrate this
points A and B represent densities read from two of the
flash strips. The horizontal dotted lines indicated cut the
characteristic curve at the points C and D. Perpendiculars
CAMERAS REPAIRED
Work and Prompt Service
Accurate
dropped from these points E and F now give the relative CALIFORNIA CAMERA HOSPITAL
characteristic of the exposure given in printing the flash W. Peterson, Proprietor
J.
strips. Since the time is constant for all exposures in the
321 O. T. Johnson Building Los Angeles, Calif.
printing machine, these values of E will be directly pro- Phone Broadway 7610. Established Ten Years.
portional to the relative photographic intensity of illumina-
tion incident upon the film in the printer for the two light
changes represented. Proceeding in this manner with one
of the printing machines in use in this Laboratory, the
/ / // t CINEMA STUDIO SUPPLY CO.
values shown in Table 1 were obtained. In column 1 are gower
plotted numbers of the light change settings on the print-
WB BEAT THE SUN 1442 st.

ing machine. In column 2 are the density values read from r f f / /

LIGHTING EQUIPMENT FOR RENT
Holly 819

the flash strips. In column 3 are the log. exposure values

as determined in the way just described, while in column 4 WIND MACHINES R. (SPEED) HOSTETTER
are the exposure values. These numbers are now directly
proportional to the printing intensities for the various
LENS MOUNTED PHONE PICO 5906
steps indicated. The tablet to fit this machine must con-
sist therefore of areas whose transmission values are ANGELUS CAMERA REPAIR SERVICE
directly proportional to these exposure values. KODAK, CAMERA AND CINEMATOGRAPH SPECIALISTS
TABLE NO. 1
PATENTS PERFECTED
Shutters Cleaned, Repaired and Adjusted.
1 2 3 4 5 6 Consultation Free.
Step DF Log. E E Tr. (%) DT 502 Mason Bldg., 228 W. 4th St. Los Angeles, Cal.
No.
1 .35 .44 2.7
2 .43 .52 3.3 1.3 1.89
3 .52 .62 4.1
4 .67 .75 5.6 2.2 1.66
MORE THAN A MAGAZINE—
5 .72 .80 6.3
6 .84 .90 7.9 . 3.1 1.51
7 1.04 1.07 11.0
8 1.10 1.12 13.0 5.1 1.29
9 1.17 1.20 16.0
10 1.37 1.36 22.0 8.6 1.05
11 1.44 1.40 25.0 The American Cinemato-
12 1.58 1.54 35.0 14.0 .84 grapher records, from
13 1.77 1.72 52.0 month to month, the re-
1 I 1.82 1.76 58.0 23.0 .65 seat ch and findings of the
15 1.91 1.88 76.0 best minds in the technic-
16 2.01 2.00 100.0 39.0 .41 al branches of the motion
picture industry. It is a
(*) Mees. C. E. K. and Sheppard, S. E.. On Instruments for
Sensitometric Investigations, with an Historical Re- great instructive as well
sume. The Photographic Journal, V. 28. July 1004.
p. 200. as entertaining power.
ft) Jones, L.A.. A New Non-Intermittent Sensitometer. The
Journal of The Franklin Institute, V. 1R0. March 1920,
January, 1923 THE AMERICAN C I NEMATOGRAPHER Twenty-three

17 2.14 2.14 138.0

18 2.18 2.40 251.0 98.0 .01

In designing this sensitometer it was not deemed neces- Why Cooper Hewitt Lamp
Is the
sary or advisable to use a tablet having areas corresponding
to each of the light change settings on the printing ma- "Standard Equipment"
chine. Such a procedure would require a tablet 18 frames
in length and the sampling would consume a considerable
In the Studio
amount of film. It was thought sufficient to use a tablet
consisting of nine frames, one for each alternate step on
the printing machine. In judging quality it is fairly easy
to interpolate between two prints; i. e., if one picture is
slightly over-exposed and the next to it is under-exposed, ASK THE ACTOR:
the negative can be printed at the light change setting
intermediate between the steps represented by these pic-
tures. It was decided therefore to use for this machine a
9-frame tablet and to adjust these to match the even num-
"He knows — he knows — he knows
bers on the light change board.
Fine-grained Emulsion Chosen He "Because the light is
says:
observed that the tensity values of the flash strips
It will
easy the eyes, no matter how
on
increase with increasing step numbers, in other words,
much there is of it. You can look
squarely into the lamps without dis-
step No. 18 gives the highest density and therefore must comfort. The eyes are the most
be the setting of highest intensity. Step No. 18 on the expressive features of the face, and
tablet must tnerefore give the greatest exposure and hence it is impossible to register the various
must have the highest transmission of any of the tablet shades of feeling convincingly if they
areas. In making up this sensitometer tablet, variable are tired or dazzled. Cooper Hewitt's
transmission is obtained by the use of pieces of photo- never give me the slightest trouble."
graphic iilm developed to various densities. In making
the densities for use in this work, a fine-grained emulsion
is cuosen and the development is carried out in a metol de-
Cooper Hewitt Electric Co.
veloper, deposits sufficiently non-selective can be obtained Main Office and Works:
so that the values of density resulting visually will be Hoboken, N. J.
taken as equivalent to the effective photographic density. Pacific Coast Rep's:
Step No. 18 is made by using a piece of film developed
Keese Engineering Co., Los Angeles
without any exposure. Such a piece was found to have a
CH-122-B
transmission of 0.98. Reducing the exposure values tab-
ulated in the fourth column proportionately to this basis,
the values of transmission in column 5 are those desired
for the various steps of the tablet. Converting these values
to density, the values shown in the fifth column are ob-
tained. A tablet made up of steps having these density
values will now reproduce the relative exposures given by
this particular printing machine when operated at the
Cinematographers
light change settings indicated by the numbers in column 1.
Attention
Two Ways of Adjustment
The tablet thus made gives correct relative exposures
to the various portions of the positive film printed behind The Bausch &
Lomb Ultra Rapid Anas-
it. In order to obtain the same actual exposures it is neces- tigmat is the first successfully produced
sary to adjust the exposure incident upon the tablet. The anastigmat working at the speed of F :2.7.
time is fixed to 3% seconds and cannot be changed without
modification of the mechanical connections. It is neces-
Also fulfills the requirements for color
sary, therefore, to adjust the intensity to the proper value.
photography.
This may be done in either of two ways: by changing
the current flowing through the lamp in the sensitometer or
by changing the position of the diffusing screen located Lenses of higher speed so far on the
between the lamp and the sensitometric tablet. market are not anastigmats and do not
In case the adjustment of the sensitometer exposure is cover standard motion picture film with
to be made by variation in the sensitometer lamp current, precision. Some even fail to meet the
the procedure is as follows: A flash exposure is made on
rated speed.
the printing machine at some definite setting on the light
change board, as for instance at No. 10. A series of test
exposures are then made on the sensitometer without a Supplied with completely closing dia-
negative in position, at various current values. These test phragm, for "fade-outs."
exposures and the flash exposure from the machine are
then developed together, care being taken that all are de-
veloped to the same extent. That current value which gives
A lens can be secured on trial through your dealer, or

a. test strip with the density on step No. 10 (or on that from us. IVnte for complete description and prices.
step number corresponding to the light change number
used in making the flash strip on the printing machine)
the same as that obtained on the flash strip from the ma-
chine, is the correct value at which to operate the sensito-
Bausch
KLW VOUK
& [omb Optical (5.
WASHINGTON CHtCACO IAN f% ANCtSCO
london ROCHESTER.. NY. rBANKro '1
''

meter lamp. In a. similar manner, the adjustment may be

made by varying the position of the diffusing screen if so
desired.
Twenty-four THE AMERICAN CINEM ATOGRAPHER January, 1923

Operation of the Sensitometer

Negative ready for printing is usually assembled in rolls
consisting of from a few to a large number of scenes. Such
rolls seldom exceed 400 feet in length and the reel pro-
vided for holding the negative to be sampled is sufficiently
large to carry a, 400 foot roll. This is placed in position and
threaded under the rollers and platen, the ends adjusted
to the re-wind. A roll of positive material is placed in
position and threaded under the rollers and platten and
over the sprocket to the take-up. The operator then winds
the negative through until the first scene appears. This
is registered in position over the tablet by adjusting the
frame line coincident to the two positioning lines on the
ruby window. The starting lever is then depressed, caus-
ing the following series of operations:

A. Platen descends, pressing the positive material into

contact with the negative and the sensitometer
tablet.
B. The shutter opens and after a period of 3% seconds
closes.
C. The platen rises releasing the films.
D. The film sprocket is then actuated and advances the
film 12 frames.

This completes the cycle of operation which requires a I Cinematograph Lenses F3.5 in the new
total of 10 seconds. The operator then, by turning the spiral mount. All sizes in stock
crank on the re-wind mechanism, draws the negative
through the machine until he arrives at the next scene.
This can be noted by watching the negative as it passes
over the red windows or may be detected by feeling the Harold M. Bennett
edge of the negative if it has been previously notched for
printing. The second scene is placed in register and the U. S. Agent
process repeated.
After sample prints have been made for all of the scenes I 153 West 23rd Street New York
the positive is removed and developed, washed and fixed in
the usual way. From inspection of these trial prints it is
possible then to determine the light change setting which
will yield desired quality of positive. Pictures designated
by the cross in the lower right hand corner are those which
are chosen as having had the proper printing exposure.
The inspection of the test prints may be made in the usual
way by observing them in the hand without magnification,
or they may be placed in an illuminator provided with an
eye-piece giving sufficient magnification to render the judg-
ment somewhat more reliable. Probably the most reliable
|
CRECO Trade Mark

method of judging quality is to actually project the various

pictures under standard conditions. This can be done by
means of a suitable projector through which the film can SPOTLIGHT
be moved one picture at a time. If this projecting system
is adjusted so as to give screen brightness of approximate- WITH
ly the same value as commonly used, a most reliable de-
termination of the best possible printing time can be made. A General Electric High Intensity Element
Amplification Possible
Gives You the
If it considered desirable, the sensitometer can be
is
made more completely automatic in its action, and other "Litest Lite That Lites"
attachments added for the convenience of the user. A
numbering device which will automatically print an identi-
fication number on each test to correspond with the num-
ber of the negative being sampled can be built into the
mechanism. Furthermore, it is quite possible to drive the
negative winding mechanism by motor and to cause the
printing machine notches or staples on the negative to
start and stop this winding mechanism at the proper time
for the testing of each scene. In this way, the attendance
of an operator can be eliminated with the exception of
I
CINEMA SALES CO.
placing the roll of negative in position and starting the ELECTRIC STUDIO EQUIPMENT
motor. Further experience with the instrument in prac-
tical work will indicate the advisibility of adding such 4538-40 Hollywood Blvd.
features.
Patents covering the sensitometer are being applied for
|
596021 Hollywood, Calif. |

by the Eastman Kodak Company, and the instrument will

probably be placed on the market.
January, 1923 THE AMERICAN C I NEMATOGRAPHE Twenty-five

A. S. C. ROLL ENLARGED WITH NAME OF

HARRY PERRY
Membership in the American Society of Cinematog-
raphers has been conferred upon Harry Perry, who has
photographed some of the most notable releases in recent
LOVELOCK
years.
VIRGIN MOVIE FIELD
Among the productions he has filmed are "The Easy
Road," "The City of Silent Men," "White and Unmarried,"
"The Conquest of Canaan," "Cappy Ricks," "A Prince Producers, Directors and Cinematograph-
There Was," "If You Believe It, It's So," "The Crimson ers: You are invited by the business men of
Challenge," "The Ordeal," and "Borderland," all of which LOVELOCK to investigate the natural ad-
were Famous Players-Lasky vehicles. vantages and clear atmosphere to be found
At present he is affiliated with Preferred Pictures, B. P. here for the production of Western type of
Schulberg productions. "Shadows," which is being pictures.
widely discussed at present in the East, is a current ex-
ample of Perry's ability. His latest production with the We have mountains, canyons, deserts,
same organization is "Are You a Failure?" which, directed "bad lands," rivers, rapids and pools for
by Tom Forman, includes in its cast Lloyd Hughes, Tom canoeing, ranches, cattle, sheep, horses,
Santschi, Madge Bellamy and Hallam Cooiey. cowboys, Indians and every other facility
Perry is a brother of Paul Perry, already a member of for a real Western story.
the American Society of Cinematographers. Ability in
cinematography apparently is a family trait. Located on main line of Southern Pacific
a few hours east of Truckee.

Sol Polito, A. S. C, is winding up the camera work on Near here are ghost cites and active min-
"Mighty Lak a Rose" in New York. ing camps.
If you have a story calling for our won-
Charles Stumar, A. S. C, is shooting "Flesh" at Universal
derful VIRGIN and diversified material,
City.
* * * write to

Allan Davey, A. S. C, is filming Universal's "The Attic

W. H. GOODIN, PERSHING HOTEL,
of FelixBavu."
* * * LOVELOCK, NEVADA.
William Fildew, A. S. C, will photograph Universal's
"Drifting."
* * *

Frank B. Good, A. S. C, has begun work on "Toby Tyler," Henry Sharp, A. S. C, is photographing "News" with
starring Jackie Coogan. May MacAvoy.
* * * » * *

Ross Fisher, A. S. C, is photographing "The Greatest Joseph Brotherton, A. making preparations for
S. C, is
Menace" at the Fine Arts Studios. the filming of "Refuge," to star Katherine MacDonald.

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SHOULD A WOMAN ADVERTISE FOR A of
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Marriage, Divorce, Love, Eugenics,
Birth Control, Sex Hygiene, etc., etc.
HOW TO MARRY SUCCESSFUL AND ATTAIN
HAPPINESS
These are only some of the subjects exclusively
dealt with in every issue of the "FOLD" MAGAZINE,
America's big and h'gh class LOVERS' PUBLICA-
TION. Devoted only to such problems.

Send 10c for SAMPLE COPY and complete in-

formation about our Friendship Club.

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 Twenty-six THE AMERICAN CINEMATOGRAPHER January, 1923

RELEASES
November 26th to December 17th, 1922

CTITLE P ttOTOQ R APHED f3U

"Driven" George W. Lane

"Thorns and Orange Blossoms" Karl Struss
"White Shoulders" Joseph Brotherton, member A. S. C.
"Ebb Tide" Bert Glennon
"Bulldog Drummond" Not credited
"Thelma" Jack MacKenzie, member A. S. C.
"The Jilt" William Marshall, member A. S. C.
"Breaking Home Ties" Not credited
"While Justice Waits" Don Short, member A. S. C.
"The Pride of Palomar" Chester Lyons
"Quincy Adams Sawyer" Rudolph Berquist, member A. S. C.
"Minnie" David Kesson and Karl Struss
"Hungry Hearts" Robert S. Newhard, member A. S. C.
"The Toll of the Sea" J. A. Ball
"Omar the Tentmaker" Georges Benoit, member A. S. C.
"The Altar Stairs" Dwight Warren
"What Fools Men Are" Rudolph Mariner
"The Super Sex" John S. Stumar
"The Outcast" Ernest Hallor
"A Blind Bargain" Norbert Brodin, member A. S. C.
"The Town That Forgot God" Joseph Ruttenberg
"The Streets of New York" Alfred Ortlieb
"Forsaking All Others" Charles Stumar, member A. S. C.
"A Daughter of Luxury" Bert Baldridge
"When Love Comes" Lucien Andriot
"A California Romance" Joseph August
"Newly Rich" Robert Doran, member A. S. C.

"The Counter Jumper" Hans Koenekamp, member A. S. C.

"Peg O' My Heart" George Barnes, member A. S. C.
"The Beautiful and Damned" Frank B. Good and E. B. Du Par, members A. S. C.
"The Ninety and Nine" Steve Smith, Jr., member A. S. C.
"The Hottentot" Henry Sharp, member A. S. C.
"Conquering the Woman" George Barnes, member A. S. C.
"As A Man Lives" Bert Dawley
"A Front Page Story" Vernon Walker
"One Wonderful Night" G. W. Warren
"Broken Chains" Byron Haskins
"Thirty Days" Karl Brown, member A. S. C.
"Man's Size" Ernest Miller and George Schneiderman. members
A. S. C.

;
wj mi minium
ii'.
-
 IDhere to Find the members of the

American
Society of Cinematographers
Phone Holly 4404
OFFICERS
Fred W. Jackman President
L. Guy Wilky First Vice-President
Victor Milner Second Vice-President
Gilbert Warrenton Third Vice-President
Jackson J. Rose Treasurer
Philip H. Whitman Secretary

BOARD OF GOVERNORS
John Arnold Frank B. Good Paul Perry
Victor Milner Fred W. Jackman Charles Van Enger
H. Lyman Broening Jackson Rose
J. George Schneiderman
James Van Trees Philip E. Rosen Philip H. Whitman
Kenneth G. MacLean Homer A. Scott L. Guy Wilky
Abel, David
Arnold, John
——
Fox Studio.
with Viola Dana, Metro Studio.
Koenekamp, Hans
Studio.
F.- -with Larry Semon, Vitagraph

Barlatier, ——
Andre Leah Baird Productions, Ince Studio. Kull. Edward —
Barnes, George S. with Louis Burston, Metro. Kurrle. Robert
Beckway, Wm. J. Lockwood, J. R.
—
Benoit, Georges with Richard Walton Tully, James — —
Lundin, Walter with Harold Lloyd, Roach Studio.
Lyons, Reginald E. with Joe Rock, Universal Studio.
Young, United.
Broening, H. Lyman —
MacKenzie, Jack -with Chester Bennett, United Studio.
Brodin, Norbert F. — with Joseph Sehenck, United Studio.
—
MacLean, Kenneth G. with Carter >e Haven, R-C 1

Studios.
Bergquist, Rudolph — with Metro Studio.
J.
Brotherton. Joseph — with Katherine MacDonald, Mayer
Marshall, William
Meehan, George —with Charles Ray, Ray Studio.
Studios.
—
Brown, Karl with James Cruze, Lasky Studio.
Miller,
———
Virgil E. with Universal.
Milner, Victor with Universal.
Morgan, Ira H. with John Barrymore, Europe, Inter-
— —
Cann, Bert With Eddie Polo. Europe. national.
Corby, Francis Fred Fishbeck. United Studios. Newhard. Robert — with Wallace Worsley. Universal
——
S.
Cowling, Herford T. Travel Pictures, Europe. Studio.
Cronjager, Henry with Madge Kennedy, New York Norton, Stephen S.
City. Overbaugh, Roy F. — with Richard Barthelmess. New
Davey. Allen M. — Stuart Paton, Universal. York City.
Dean, Faxon M. — with Lasky Studio. Palmer. Ernest — John Stahl, Mayer Studio.
Depew, Ernest S — with Al
S.
John, Fox Sunshine.
St. Perry, Harry — with Tom Forman, Mayer Studio.
Doran, Robert — S.
v
with Charles Parrott, Roach Studio.
Dored, John — Scenic, Russia, Pathe.
Perry. Paul P.
LePicard, Marcel
Dubray, Joseph A. — with R-C Studio. — With— Edwin
Polito. Sol Carewe.
DuPar. E. B. — with Warner Brothers. with Von Stroheim. Goldwyn Studio.
Reynolds. Ben F.
Du Pont. Max B. — with Regal Pictures, Wm. Seiter, — with Charles Ray. Ray Studio.
Rizard, Georges
Ince Studio. Rose, Jackson
Edeson. Arthur — with Douglas Fairbanks, Fairbanks- Rosen, Philip E.
Pickford Studio. Rosher, Charles — with Mary Pickford, Pickford-Fair-
Evans. Perry — with Mack Sennett Productions, Sen- banks Studio.
nett Studio. Schoenbaum, Chas. E. — with Lasky Studio.
Fildew, William — with Universal. Schneiderman, George — with Fox Studio.
Fisher, Ross G. — Emory Johnson, R-C Studio. Scott, Homer A. — Warner Brothers.
Foster, Wm. C.
John F. — with Rex Ingram, Metro. Florida.
Seitz,
Seigler, Allen
Fowler, Harry M. Sharp, Henry — with Ince, Ince Studio.
'audio. Tony G — with Norma Talmadge. Metro Studio. Short. Don — with Fox Studio.
•

Gilks, A. — with Sam Woods, Gloria Swanson. Lasky Smith,

D. Steve, — with Vitagraph Studio.
Jr.
Studio. Stumar, Charles — with Universal.
Good. Fra-nlr B. — with Jackie Coogan, United Studio. Totheroh. Rollie H. — with Charlie Chaplin. Chaplin
Granville, Fred L. — directing, British International Studio.
Corp., London. Van Enger, Charles — with Fred Niblo, Mayer Studio.
Gray, King D. Van Trees. James — with Lasky.
Griffin, Walter — with David M. Hartford Prods.
L.
Guissnrt. Rene — with Harley Knoles
Walter, R. W. — with Mack Sennett Pmductions, Sen-
charge of pho-
in nett Studio.
tography. London.
Heimerl, Alois G. Warrenton, Gilbert — with Alice Brady, Lasky, in New
Jackman. Floyd York.
Jackman, Fred W, — Supervising Cinematographer, Whitman. Philip H. — with Universal, Experimental
Mack Sennett Studio. Department.
Kline. Ben H. — with Universal. Wilky, L. Guy — with William Do Mille, Lasky Studio.
Dexter, G. R. — Attorney
Paley, William "Daddy" — Honorary Member.
Thomas A. Edison, Honorary Member.

LOUALTy PROQRESS ART

Hollywood News i'nnt