International photographer (Jan-Dec 1934)

April, W34 T h INTERNATIONAL PHOTO G R A P H E R Eleven creased to eleven. F. A. Dobson, seen about Hollywood today, was a cameraman for the Biograph on this set. In 1908, according to Percy Higginson, a engineer for the Biograph, and with the Consolidated Laboratories now; "42 tubes were used to light a set, 10 on each side on the floor and 12 were hung overhead." Arc lights were used for highlighting. Their first lights, made for the motion picture in 1908, were 25 ampere arcs. With the passing years, they perfected an entire line of electrical equipment for the industry and in 1915 they introduced single and double arc floor units which could be rolled about. For the first time it was possible to take pictures with a portable arc light. The picture makers, whether large company or small. The Jesse Lasky Studio, about 1914, using the overhead diffusing screens. Photo courtesy Paramount. "The New York Hat," directed by D. W. Griffith, starring Mary Pickford and Lionel Barrymore, was made during this time as was "The Leatherstocking Series," which starred James Kirkwood, Arthur Johnson and Florence Lawrence. When they moved into their new studio in 1914, they had well over 1200 Cooper Hewitt lights. These were distributed over four sets; the sets being housed in one large glass enclosed stage. The vogue of using lights for the motion picture dates from about 1910. The demand for a large number of pictures became so great that the picture makers found it unprofitable to depend on sunlight around New York where most of the pictures were being made. For reasons of sufficient light and not quality, they started to migrate to Florida and the West looking for a perpetual sun. Eventually they heard about the one in California. During the period of 1910-15, there was a general adoption of the artificial light, it being used only when sunlight was uncertain. Besides the Cooper Hewitts which were used only in the larger studios because they were fragile and could not be readily moved, the Aristo and Kleigl arcs were the earliest motion picture lights to be used, though there were many other lights that had some use. Most of them were of the 90-volt, 25 ampere capacity and were either of the closed or open variety. They hung over the sets and resembled streets lights. The most prominent of the lights was the "Kleiglight." They had first been made as a stage light in 1896 by Anton T. Kleigl and A. H. Guendel, who on February 1, formed the Universal Stage Lighting Company. A year later this partnership broke up and Anton Kleigl joined his brother, John H. Kleigl in a partnership which endured until the decease of Anton Kleigl in May, 1927. Before the Kleiglight was made, practically all stage lighting equipment was made in Europe. Very shortly the theatrical world recognized the Kleigls as leaders in the art of theatrical and spectacular lighting. In 1903 they rewired and electrically equipped the Metropolitan Opera House. One innovation installed here was a "dimmer." Previous to this it had been the custom to pull the main switch and plunge the auditorium in darkness at the beginning of the performance ; now Bing Crosby and Carole Lombard in "We're Not Dressing," showing the present illumination methods. were no longer dependent upon sunlight. It was now possible to take pictures by artificial light outside the studio. By 1915 they had arcs up to 200 amperes. The first spotlights, small arcs for special purposes such as local lighting to create the burglar's flashlight effect, floor or table lights, etc., were introduced by them. A list of the studios which they served in 1915 would be like a "Who's Who" of the motion picture. The word "Kleiglight" was first used the latter part of 1902 as a telegraphic code word. The Selig Polyscope Company came to California in 1908 and a year later built the first California studio at Edendale. Even though his stage was glass enclosed to take advantage of the sunlight, he used the Macbeth Arclight for many of his pictures. The Macbeth Company had been making street arclights and mantles for the gas street lights. The lights were anchored to large steel frames on a track and were moved and lowered by cables. One of the more noted Selig pictures of this time was the "Cowboy Millionaire," starring Tom Mix. Eddie Kull, Selig's chief cameraman, first used the Kleigl twin side arcs in 1913. Too, at this time many of the Cooper Hewitt "Quartz Lights" were used. This was a short mercury arc tube mounted in a porcelain reflector, having a distinct advantage over the longer and more fragile tubes. "Back lighting" was an innovation in 1913. In was tremorously tried by progressive cameramen amid executive grumblings as an unnecessary waste of time. Time was important ; it was necessary to make two single feelers a week and the loss of time in "silly" lighting was not to be tolerated. That does not refer to Selig. It seems for some reason he was not as other movie magnates. As proof Eddie Kull again recalls an incident that seems hard to believe. One Saturday at something less than fifteen minutes past one o'clock, Selig wandered out on his stage and saw our Eddie busv at work with the "company" trying to finish the picture. Contrary to all movie rules and regulations. "Selig got sore as — plenty sore, because the company was work ing overtime." In no uncertain terms he informed Eddie that people wanted their Saturday afternoons off and he wanted it understood that the afternoon started at exactly the center chandelier gradually dimmed. Please mention The International Photographer when corresponding with advertisers