International photographer (Jan-Dec 1941)

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assistant in organizing and conducting the First National Television Convention in Hollywood. It was unfortunately the last of Mr. Seward's series of pioneering efforts in the behalf of television; unfortunate because he had outlined plans for many further efforts. "Thus the writer believes he speaks for all those who have had the opportunity to work with Mr. Seward and be touched by the spirit of pioneering, devotion and integrity which was abundantly his." Reprinted from S.M.P.E. Journal ( Concluded from January issue. ) Future Work — It is recognized that this report does not consider color. More time will be required to investigate this phase of the problem adequately from the standpoint of flicker and visual fatigue. Likewise,more data are needed on the adequate portrayal of smooth motion as a function of frame frequency. It is believed that some additional work of an experimental nature is desirable to determine effects of certain of these phenomena in the television field. So far as the work has gone, there seems to be a trend of evidence pointing to the conclusion that television will not be on technically safe ground if the frame frequency is reduced below that now in use for motion picture work. BIBLIOGRAPHY O'Brien, B., and Tuttle, C. M.: "An Experimental Investigation of Projection Screen Brightness," /. Soc. Mot. Pict. Eng., XXVI I May. 1936), p. 505. Beers, G. L., Encstrum, E. W., and Maloff, I. G.: "Some Television Problems from the Motion Picture Standpoint," /. Soc. Mot. Pict. Eng., XXXII (Feb., 1939), p. 121. Gricnon, L. D. : "Flicker in Motion Pictures," /. Soc. Mot. Pict. Eng.. XXXIII (Sept., 1939). p. 235. Snell, P. A.: "An Introduction to the Experimental Study of Visual Fatigue," /. Soc. Mot. Pict. Eng., XX (May, 1933), p. 367. Lowry, E. M.: "Screen Brightness and the Visual Functions," /. Soc. Mot. Pict. Eng., XXVI (May, 1936), p. 490. Hyde, E. P.: "Talbot's Law as Applied to the Rotating Sectored Disc," Scientific Paper 526, National Bureau of Standards, March 1, 1906. Dow, J. S.: "The Speed of Flicker Photometers," Electrician. 59 (May 31, 1907), p. 255. Ferry, E. S. : "Persistence of Vision," Amer. J. Science, 144 (1892), p. 192. Porter, T. C: "Contributions to the Study of Flicker," Proc. Royal Society, 63A (1898), p. 347. Porter. T. C: "Contributions to the Study of Flicker" Proc. Royal Society, 70 (1902), p. 313. Lythgoe, R. J., and Tansley, K.: "The Adaptation of the Eye, Its Relation to the Critical Frequency," Med. Research Council, Special Report Series No. 134, 1929 (Great Britain). Hecht, S., and Verrijp, C. D.: "The Influence of Intensity, Color and Retinal Location on the Fusion Frequency of Intermittent Illumination," Proc. Nat. Acad. Sci., 19 (May, 1933), p. 522. Cobb, P. W.: "The Dependence of Flicker on the Dark-Light Ratio of the Stimulus Cycle," /. Opt. Soc. Amer., 24 (Apr., 1934), p. 107. Luckeish, M., and Moss, F. K.: "The Rate of Visual Work on Alternating Fields of Different Brightness," /. Franklin Inst., 200 (Dec, 1925), p. 731. Lythcoe, R. J., and Tansley, K.: "Relation of the Critical Frequency of Flicker to the Adaptation of the Eye," Proc. Royal Society, Series B. 105 (1929), p. 60. Ives, H. E.: "Studies in the Photometry of Lights of Different Colours," Phil. Mag., 24 (Sept., 1912), p. 352. Zworykin, V. K.: "Television," Television, RCA Institutes Press, I (1936), p. 242. Kell, R. D., Bedford, A. V., and Trainer, M. A.: "Scanning Sequence and Repetition Rate of Television Images," Television, RCA Institute Press, I (1936), p. 355. Ives, H. E.: "Studies in the Photometry of Lights of Different Colours," Phil. Mag. (Series 6), 24 (July, 1912), p. 149. Engstrom, E. W.: "A Study of Television Image Characteristics," Proc. I. R. E., 21 (Dec, 1933), p. 1631. Encstrom, E. W. : "A Study of Television Image Characteristics," Part Two, Proc. I. R. E., 23 (April, 1935), p. 295. Ives, H. E.: "Studies in the Photometry of Lights of Different Colours," Phil. Mag. (Series 6), 24 (Dec, 1912), p. 845. Gace. S. H., anl Gage, H. P.: "Flicker with Moving Pictures," Optic Projection. Comstock Pub. Co. (Ithaca, N. Y.), p. 423. Zworykin, V. K., and Mortons "Television," John Wiley & Sons, Inc., N. Y., 1940. W|lson, J. C. : "Television Engineering," Sir Isaac Pitman & Sons, Ltd., London, 1937. Wolf, S. K.: "An Analysis of Theater and Screen Illumination Data," /. Soc. Mot. Pict. Eng., XXVI (May, 1936), p. 532. Luckiesh, M., and Moss, F. K.: "The Motion Picture Screen as a Lighting Problem," /. Soc. Mot. Pict. Eng., XXVI (May, 1936), p. 578. Cobb, P. W. : "Some Comments on the Ives Theory of Flicker," /. Opt. Soc. Amer., 24 (March, 1934), p. 91. Geld\RD, F. A.: "Flicker Relations within Fovea," /. Opt. Soc. Amer., 24 (Nov., 1934), p. 299. Ives, H. E.: "Critical Frequency Relations in Scotopic Vision," /. Opt. Soc. Amer., 6 (May. 1922), p. 254. Ives. H. E.: "A Theory of Intermittent Vision," /. Opt. Soc. Amer., 6 (June, 1922), p. 343. Graham, C. H., and Granit, R.: "Inhibition, Summation, and Synchronization of Impulses in the Retina," Amer. J. Physiol., 98 (1931), p. 66. Creed, R. S., and Ruch, T. C. : "Regional Variations in Sensitivity to Flicker." /. Physiol., 74 (1932), p. 407. Hecht, S., and Verrijp, C. D.: "The Relation between Intensity and Critical Fusion Frequency for Different Retinal Locations," /. General Physiol., 17 (1933), p. 251. Ghanit, R., and Hammond, E. L.: "The Sensitivity-Time Curve and the Time Course of the Fusion Frequency of Intermittent Stimulation," Amer. J. Physiol., 98 ( 1931 ) , p. 654. U. S. Army Requests "Teddy the Rough Rider" Twenty-two prints of "Teddy the Rough Rider," Warner Bros.' historical featuret staring Sidney Blackmer, have been requested by the U. S. Army, for morale and entertainment use in their training camps. Warner Elevates Five Players to Stardom % Jack L. Warner, vice president in charge of production at Warner Bros., and Hal B. Wallis, executive producer, elevated five players to full-fledged stardom with a single stroke of the pen, as a result of their work in 1940 films. The fortunate five are Eddie Albert, Brenda Marshall, Dennis Morgan, Ronald Reagan and James Stephenson. CANdid phoToqRAphy (Continued from Page 16) the only difference between human beings is a matter of money. At the same time it became apparent that the candid camera could tell a story, show the background from which so much originality is gone and give the outsider an insight into the other world. What greater curiosity can one have than to know how the other lives? Today candid photographv depicts important personalities sneezing, standing in awkward or other positions, or doing this or that, as long as it is a real happening in real life. So much time and space is devoted to candid shots because of the alleged human interest. However, I am inclined to believe that it has its cycle and at present ranks high among photographers. On the other hand, like human life, it has its end. Whether even after its departure it will have a different effect of doing away permanently with the present accepted type of photographv remains a question to be answered through photographic history. Candid photography is characteristically not photography as the artist sees it. There are lacking all the essentials of beauty, symmetry, color balance and composition. Planning a candid shot is momentary. Shooting a beautiful still to be hung on the wall, or put on a shelf, or use in some portion of the room, is meditated and planned photography. A candid shot is examined and commented upon only once as a rule, then cast aside to be forgotten. Such is not the case with a beautiful still. Yes, there are exceptions, but not enough to offer substantial argument. Logic and reason force us to our conclusions. Candid photography is passing through a photographic cycle, perhaps at its half-wav mark. To photographers who labor industrially to satisfy a querulous public, my only answer is to shoot candid photography and fall in line with the parade, make it ring home, let it live, spare the subject, practice moderation for the sake of being discreet. Photography, like painting and music, can be deftly applied. In the motion picture world, as the cinema-addicts crave it, intimate close-ups of people at work, be they director, actor, cameraman or electrician; nature in the raw photographically speaking, is the vogue, so to the still cameraman I say: Let it be candid and may the portion not be a war ration. Next Lupino Vehicle • Ida Lupino's next picture at Warner Bros, studio will be "The Damned Don't Cry," by Harry Hervev. The story deals with the efforts of a girl to lift herself out of the environment into which she was born. International Photographer for February, 1941 27