American cinematographer (Jan-Dec 1926)

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Twelve AMERICAN CINEMATOGRAPHER November, 1926 A Cinematographer' s Capital Investment (The following interview, reported by the editor of the American Cinematographer, appears in the studio section of a current number of the Exhibitors Herald,) : Progress shown by representative cinematographers in immediately adopting improvements in motion photography equipment is a decided factor in the steady advance in the refinement of the cinema, according to Daniel B. Clark, president of the American Society of Cinematographers. "The cinematographer," Clark states, "never loses his imagination to newer or better things in the way of cinematographic paraphernalia. Our history shows that we have readily adopted and encouraged all meritorious devices that have presented themselves to our attention. This has meant much more than is apparent on the surface of things. Manufacturers of cinematographic equipment necessarily are not dealing in volume insofar as this particular trade is concerned. Hence, if the cinematographer had been content to follow the line of least resistance, if he had been content with old-line equipment and the results that such would obtain, we not only would have failed to bring about this wonderful progress in motion pictures; but, on the other hand, those creators of lenses and other items would have been discouraged in their efforts and would have had no incentive to spur them on to keep abreast of the ever-improving requirements of the cinematographer. Expensive "While this foresighted attitude has proved a boon to the art as a whole, it has, at the same time, worked a great expense on those cinematographers who are not fortunate enough to be identified with studios whose policy is to obtain improvements in equipment once they have proven themselves. Such cinematographers, in order to follow the natural bent for their calling, find it imperative to purchase, out of their own pockets, such new paraphernalia as they may find they need in order to give expression to the novel effects they have conceived for a given picture. While an era of admirable stability long since has been reached in the matter of the professional motion picture camera, expenditures on the part of the cinematographer for new types of lenses, irises, and the like, form a considerable Cameras, Lenses and Special Equipment Represent Capital of Several Thousands portion of his salary — a portion that, in a couple of years, amounts to practically a dead loss. The reason for this is that the momentum of the progress which the camera artist has engendered in this profession is so great that the rapid changing of demands makes a type of lens, for instance, that is 'the thing' as of today is obsolete in a couple of years. Capital Investment "In the case of the freelance cinematographer especially," Clark concluded, "his salary covers not only his artistry, skill and service, but really covers an investment as well — an investment which, comprising cameras, magazines, lenses and so on, amounts to several thousands of dollars. Therefore he has a right to expect to be reasonably rewarded for his services. Fortunately, the larger studios long ago recognized the economic wisdom of maintaining their own cinematographic equipment, and, in addition, in always ascertaining the cinematographers' recommendations so that their outfits mav alwavs be kept up to date." Junior Cameramen's Club Members Swap Jobs; Go Away on Locations Ira Hoke and Cliff Shirpser have left for San Antonio, Texas, on location for Lasky's forthcoming production, "Wings." Ira is cranking John Boyle's patented Bell and Howell — Akeley combination camera while Shirpser is assisting. It is expected that both of the boys will put in a lot of time in the air. Billy Reinhold and Gregg Toland have traded jobs. These two popular members of the Junior Cameramen's Club are considered the foremost and highest salaried assistants in the business. George Barnes, A. S. C, now has Gregg Toland as assistant and Arthur Edeson, A. S. C, has Billy Reinhold. '*h *r «fr "%• It is said on the Fox lot that Frank Powolney is turning out one of the best set of stills that has ever been accredited to a production for a forthcoming Fox picture, "Mother Ma chree." * » * * David Ragin and Max Cohen have returned from location at Carmel, Calif. Dave says the spot is very romantic. Max says "Uh-hu."