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OPTICAL SCIENCE IN CINEMATOGRAPHY BIBLIOGRAPHY
W. B. Rayton*
STRONG is the temptation for the specialist in any field, when given the chance, to claim for his specialty credit for any and all developments since the creation. Such an impulse arises in meditating upon the contributions of optics to cinematography for the thought immediately occurs that without optics there could be no cinematography. Second thought, however, reveals how idle and superficial this impulse is for it is equally true that without the chemist there could be no cinematography and a little further reflection brings to light the fact that the optical engineer and the chemist must admit to an equal share in the credit a third collaborator, the precision mechanic who has contributed that incredible mechanism, the high grade motion picture camera.
Three tools are absolutely necessary to the making of even the shortest and simplest motion picture, viz. lens, camera, and film. Lenses competent to take pictures were available long before cinematography was born. A flexible base to support a photographic emulsion appeared in 1888 and with lenses and film available it was not long before useable cameras were designed and cinematography became practicable. In the early period of its development, the art accepted without question the existing lenses and photographic emulsions which had been designed to meet the requirements of still photography, for both had reached a higher state of development than the cameras and the technique of the camera operators. As cameras were perfected and cinematographers began to see the artistic possibilities of the new medium of expression it began to be apparent that here were conditions which were different from still photography and not only were different lenses and different film required but the optical engineer was asked to cooperate with the electrical engineer in illuminating the sets. It is since that period that optics has made its principal intentional contributions to cinematography.
These contributions consist for the most part of devices for providing illumination adequate in volume and of suitable character, of high speed photographic lenses, and of a few specialties such as the optical devices required in natural color cinematography and some special process effects; not to mention stereoscopic motion pictures, etc., the class in which the would-be inventor delights to exercise his imagination. There is always the hope that the motion picture industry can be induced to part with a million dollars for one of their ingenious devices and a sublime confidence that the optical engineer can really make it work.
To catalog all of the optical elements and devices used in all branches and phases of cinematography would be tedious and un
* Director of Scientific Bureau, Bausch and Lomb Optical Company.
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