The Moving Picture World (October 1907)

THE MOVING PICTURE WORLD. 519 Published Eves* Saturday. . , Th« Wortd Photographic IPcMIaMag Company, Hew Tor B. AUpiEO E. SflTOSEQS. Editor. - J. P. Chalmers, ftrertctota Editor asd Cosiness Uanarfar. Vol. 1., OCTOBER 19th No. 33. SUBSCRIPTION: $2.00 per year. Post free in the United States, Mexico, Hawaii, Porto Rico and the Philippine Islands. CANADA AND FOREIGN COUNTRIES: $2.50 per year. > All communications should he addressed to P. 0. BOX 450, NEW YORK CITY. ADVERTISING RATES ON APPLICATION. duce any trade-mark in or on any article for trade. This applies also "to international trade-marks, so that foreign firms registering such marks here are fully protected. We fancy* some of our readers raising objections to having- to place an incongruous mark in almost every conceivable position. We reply, do not adopt an incon- gruous mark. One manufacturer of slides with whom we were conversing and to whom we offered this solu- tion out of his difficulty (he having had several sets pirated), asked us into his studio and requested us to kindly point out on the scene representing the exterior of a modern house with balcony, where he could put his trade-mark. We at once suggested the addition of an outside lamp painted on the background and the trade- mark inserted in the glass squares of the lamp. The * next scene was a lane with telegraph poles. The line- men often put chalk-marks on, when calling attention to special work, and the mark could embody the trade- mark of the maker. Another scene was a lawn. We sug- gested the addition of a sun-dial, or a pedestal and statue, carving the mark on the base. These illustrations should be sufficient to show how to overcome the problem, and the artist ought not to lack ideas to overcome any difficulty that may arise in placing the trade-mark. EdlStoFiaL How to Prevent Duping. The letter from Chas. Urban appearing in our corre- spondence column, encourages us to again return to the subject of the duping of films. In conversation with a jrominent patent attorney, the question of copyright was raised, and reverting to our editorial on this subject, he said there has been no practical test of the law made by he firms whose films are being duped, and contended hat the copyrighting of the negative, as at present, is sufficient to cover the whole series of pictures. We contended for our version of the iaw, and quoted jur experience when copyrighting lantern slides. At irst we; had the series photographed on a card, 84 in all, which we apportioned twelve on each sheet, making seven to be copyrighted. We.were told that that was 10 legal protection under the copyright act, and that any ndividual picture or all of them could be copied and fit would be unable to gain recompense for such duping, ro that in the end we copyrighted each slide separately, is required by the act.' . We know several song-slide Manufacturers are sending pictures in bulk for copy- •ight, who would find they have no remedy at law, if )ut to the test. : To return to the film question, Why do not those firms whose films are being duped bring a test case before he courts? It is well known who is duping, and if a Precedent could be once established, giving the correct 'endering of the copyright act, the pernicious practice vould soon be stopped. Talking with Mr. Will Barker when he was in bur jjfncejlie offered a suggestion that is so good we will jive, our readers the benefit of it. This will cover not >nly the film, but the slide-maker also, and is one that hould be instantly adopted by all who desire to stop the hieving of their efforts. That is, each firm adopt some simple trade-mark and register that; then in every scene, :ither for film or slide picture, place this trade-mark,in iome conspicuous or inconspicuous place; by so doing, he expense of copyrighting, etc., is done away with, fhe lav/ states it is a felony to infringe, copy, or repror.- Poorly Made Lantern Slides a Menace to the Profession. In this commercial age, when the superficial is elbow- ing out the real in many lines, it is more disappointing than surprising to note that the lantern slide is also a victim to the prevailing mania for cheap and hastily pro- duced articles. It is very important, however, that those who have built up a large business and a reputation for good work, should endeavor to keep that work up to a certain standard,, We are prompted to say this because there is really no excuse for the trash that is frequently seen in the shape of slides supposed to illustrate popular songs. In a metropolitan audience it is a common occur- rence to overhear, adverse criticism on these specimens of bad photography .and hideous cqloring. If slide- makers desire to continue in business and prosper under the spell that at present draws the public to this class of entertainment, the standard must be raised. The use of the kodak is now so universal that almost everyone knows the difference between good and bad photography. Renters Should Reject Poor Quality. In a vaudeville house, that can certainly afford to pay for the best work, we listened the other day to a good singer, but the charm was dispelled by the wretched "pictures" that were thrown on the screen. All the more so when they bore the advertisement of one of New York's principal slide-makers—a man whom we know to be capable of producing the most perfect thing in lan- tern slides. The posing of the figures was poor and un- natural, the backgrounds ill-chosen and the photography technically bad—the tone values being utterly disre- garded. To further distress the eye, the three primary, colors had been applied to the slides in a manner that- made the figures look ridiculous and unreal. A slide- that is photographically good only needs the slightest, tinting to add brilliancy to the effect and is better .with- out color than when poorly applied. * * .... ' * What Is a Good Slide? ■ . ... , © • — The beauty of a good slide from a good negative hes in the.fact that it renders with correct gradation every;