American cinematographer (Jan-Dec 1940)

LET'S HAVE AN AWARD FOR COLOR BY ITSELF FOR twenty-six months the Hollywood Reporter has canvassed the opinions of the correspondents assigned to Hollywood as to the best picture, the best director, etc., to the extent of a dozen bests, based on the subjects previewed during the preceding calendar month. Among these tops for bests, as the correspondents judge it, is that for photography. Now photography is a subtle thing. Naturally those able to judge it for quality are in a minority, how vast a minority only those best able to create it are able to estimate. But, it may be advanced in extenuation for the right of the non-technical to give what ordinarily would be technical judgments, the same may be said of judging the best musical score, the best screenplay, the best director. The correspondents hardly will defend a statement that the men employed on color pictures are more skilled in their craft than the men who photograph black and white. They will not deny the probability that the men whose work up to this time has been mainly or completely given over to black and white are on equal terms with those whose work is now half and half or wholly restricted to color. Yet for five out of the last six months the correspondents have awarded their decisions for best photography to men who photographed in Technicolor. That to all intents and purposes is closing the award decision to thirtynine out of forty men who photograph major pictures. Which is not, it will be conceded, as it should be. The Academy some time since decided to make two awards for photography. Accordingly this annual bouquet now is declared for black and white and for color. If the Reporter should decide to make two decisions in line with the big Academy award it could declare one for black and white and one for color, in the event theie were enough color pictures to justify a contest. The day is approaching, faster than some of us believe, when pictures in color will predominate fully as much as do the black and white today. There is no question that as between two pictures, one in color and one in black and white; with exposure, composition and all the contributory elements of artistry evenly balanced, the greater appeal will ride with color. There will be exceptions to this belief, but they are negligible. Until that day arrives, whether it be soon or later, let us be fair with the men who continue to shoot the straight black and white, as forbears and contemporaries have been doing for a hundred years. Let us recognize the man who through days of photographing a black and white picture perhaps sombre and even sordid in mood, with only a few vagrant rays of sunlight to lighten his work and his heart, yet steadily plugs along and comes through with a subject that is of unusual quality — acclaimed by photographers conscious of the infinite thought and skill bestowed on it, greeted by the unconscious non-photographers silently yet satisfyingly. And also let us give him an even break by making an extra award if circumstances justify. Don't close the door. Bell & Howell's New Hi-Set Tripod Has Many Features Said to be ideal for 8mm. cameras and priced in keeping with the economical 8mm. equipment, the new HiSet Tripod just announced by Bell & Howell embodies many features new in tripod construction. Extraordinary height, sturdiness, quick-action legs, and lightness in weight characterize the new unit. The Hi-Set is chromium plated overall, and when the legs are fully extended it stands 64 inches high, said to be far and away the tallest lightweight tripod. Weight is only three pounds without pam-and-tilt head, another pound with head. Folded, without head, the tripod is only 25 inches long, 2 inches longer with head. Great Convenience Bell & Howell claims remarkable convenience in extending and folding the tripod legs. With no screws or clamps to release, the rigid, tubular legs are pulled out, automatically locking firmly at any of twenty different heights. To fold the Hi-Set the legs are simply pushed toward the head, and the pho The new Bell & Howell Filmo Hi-Set Tripod combines extraordinary height, rigidity and ease of use. tographer need not stoop over to do it. B&H goes on to state that although the tripod cannot possibly be collapsed by bearing down upon it when it is set up, the legs readily telescope when pushed toward the head. Sliding collars on each leg, which must be actuated by hand, control this convenient feature. Both pam and tilt movement lock independently of the other, a full 90 degree tilt is permitted, and an entirely new feature is provided in the gear-driven camera screw. Just tum a large knurled knob and the camera screw rotates right into your comera. The price of the Hi-Set is 88.75 for the tripod only, and $12.50 for the tripod with pam-and-tilt head. The head alone, which may be mounted on any tripod having a standard screw, is priced at $4.25. Agfa Announces Tray Clip The new, inexpensive, Agfa "TrayClip" thermometer is a darkroom accessory that every photographer who develops in trays or small, open tanks will want to have. Furnished on a stainless-steel support with a clever bend at the top, this new thermometer has been designed with the realization that to be effective and useful a thermometer must be in the developing solution, conveniently placed but not in the way, throughout development. The new "Tray-Clip" Thermometer answers these requirements, since with its exclusive clip-on feature it can be attached snugly to one side of the tray or to one end of a small, open developing tank, where it can be quickly seen without interfering with the handling of films turning development. American Cinematographer • June, 1940 261