American cinematographer (Jan-Dec 1926)

Twenty AMERICAN CINEMA TOGRAPHER October, 1926 Lighting— the key to atmosphere A SINGLE scene— yet skilful lighting can make from it a thousand scenes ! For each new lighting effect calls up a different mood, a different atmosphere. Imagine how difficult distinctive results would be if light were not always under control! But no need to worry, for "the Coops" have been able — year after year — to answer every lighting need. If bothersome lighting problems come up, "Mike" Shannon is always ready to assist in ferreting out the solution. COOPER HEWITT ELECTRIC CO. HOBOKEN, NEW JERSEY Hollywood Office — 7207 Santa Monica Blvd. KEESE ENGINEERING CO., John T. "Mike" Shannon, Mgr. 148 © C. H. E. Co., 1926 Roy Davidge Film Laboratories The Little Laboratory with the Big Reputation • 6701 SANTA MONICA BLVD. HOLLYWOOD 1944 HHM J VAN RpSSEM 6049 Hollywood Blvd. Phone HO. 0725 COMMERCIAL PHOTOGI^PHY Slill Developing and Printin^f DHoicDCamcras-rlOa RENT— Still (Continued from Pairc 9) city room, three flights up, was six inches in water. What Happened in Miami Things started happening late Friday night and early Saturday morning and continued with no cessation for a long time to follow. In the garage where Earle was quartered, windows and doors started blowing in. Taking charge of the camp, Earle got busy trying to barricade the doors with automobiles and planks as though an invading army of humans rather than the elements were attempting to storm the refuge. His assistants were unworthy of the name for the most part. One stood helpless with a plank to be used for propping a door. He didn't know whether to lay it down or merely continue holding it until Earle profanely grabbed it and put it in place. Protected for the moment, the news instinct became operative. Under bed cover he loaded his camera and waited. He did not have long to wait. First one section of the roof, then a second fell in. A few seconds later a door gave way and Earle and Jerry, one of the garage men, were swept out into the street. His description suggests Harry Langdon in the hurricane scenes in "Tramp, Tramp, Tramp," but this was not a comedy but dire reality. Jerry clung terror-stricken to Earle's legs. A stiff punch freed the operator temporarily. They worked their way back into the garage, and with the approaching dawn Earle made his first picture. This was through a crack in the door of the garage. The second was through a broken window, the jagged edges showing in the news-reel positive on the screen. The third exposure was in the kitchen back of the firehouse, through a torn-out screen. The wind was blowing so hard (only about one hundred and twenty miles an hour) that setting up the tripod was out of the question. Leaving the garage after the first two pictures, Earle's helper fell into a hole. And then came a stream of profanity, according to the operator himself, directed toward his luckless helper that would have been worthy of a cattleman or longshoreman. Incidentally, the advice mentioned above about the inability of theatre screens to publish, with any success, excuses for news-reels which were not being unreeled. But He Got the Pictures mSo great was the force of the wind that Earle would focus his camera as he felt it should be approximately with his back to the wind and then turn holding the instrument .