Amateur Movie Makers (Dec 1926-Dec 1927)

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Kodak Corner You couldn 't do better at Hollywood If you're looking for information on home movies, you won 't have to go far to find it. Here at the Kodak Corner we have courteous, competent salesmen who will answer your questions and illustrate each point by an actual demonstration with a Cine-Kodak or Kodascope. Our stock includes the latest models of cameras, projectors and accessories, and a complete assortment of Kodak Cinegraphs — condensed photoplays for your home movie library which are sold outright at $7.50 each. JVe like to talk pictures Eastman Kodak Stores, Inc. Madison at 45th St. New York City WANTED Subjects of Every Description in Standard or 16 mm. NEGATIVES OR FIRST PRINTS Camera and Projector owners send name and address and register for valuable information. Representatives Wanted Everywhere International Educational and Scientific Film Library 830 North Genesee St. Hollywood, Calif. for the Home Projector Owner After giving the matter considerable thought we have decided to open a 16 mm. film exchange thereby opening a channel by which film owners may have a means of exchanging their surplus subjects for ones more desirable at a very small cost per reel. If you, like most owners, have a bunch of films of which you have no further use this is your chance to exchange for something of value. Should this prove interesting to you send us a stamped self addressed envelope and receive our booklet explaining all. Address HOME FILM EXCHANGE Dept. 2, 5523 Broadway, Chicago, 111. a canvas canopy over it, but this is not well suited for use with cameras which must be held on a level with the eye. Frequently good pictures can be secured from the comfort of an automobile or a canoe, and for many subjects no blind at all is needed. The writer enjoys roaming about looking for locations where game is likely to come. Like most amateurs he is out for pleasure and wants to travel light, but he also wants pictures and wants them rock steady. As a rule he carries a tripod, but this also makes a blind when his coat is thrown around it and fastened with one button at the top. Then a piece of canvas with a slit in the center for the lens is hung between two trees or bushes. The lower ends are pinned to the coat to prevent flapping in the wind and the blind is ready. There are opportunities for nature photography on all sides, some easy, others more difficult. There is a fascination about it all, opening new fields to the amateur which any may find if time is taken for it. To watch a wild bird or animal, unaware of your presence, at close range is an experience that you will long remember. To photograph it in motion is an experience that you can never forget. The film and your friends won't let you. SIDELIGHTS ON SPORTLIGHTS (Continued from page 21) his friends. He sees active years ahead. Mr. Rice says frankly that the amateur movie maker can learn much from the professional about scenario construction and filming technique. If the amateur cinematographer wishes to perfect his sport filming as he wishes to perfect his golf, Mr. Rice advises him to give great care to the selection of his action, with especial alertness for quick motion and continuity. For the present he withholds full approval of the amateur's film products as the best medium for self instruction in sports; he senses, however, the amazing growth of amateur movie making and he thinks that "we may all get so well acquainted with our fumbles that we'll all be champions before long." This is a genial, if somewhat Delphic statement. Mr. Rice ended our discussion by reverting to the broader issues. "Sport filming," he concluded, "offers the best beginning for the amateur motion picture maker because it has naturally the elements that photoplays have to get artificially. It has action, outdoor lighting, climax and dramatic value. "Sport films are sound instruction. I should like to see every public school in this country equipped with its own amateur motion picture apparatus so that its athletes might have visual training. "I suppose, though," was his last word, "that amateur movies, like everything else, could not exist without the exceedingly valuable quality of human vanity." FLOWER FILMING By Arthur C. Pillsbury (Continued from page 23) able location to attract their insect mates, that might be flying about them. A picture of a flower, no matter how beautiful, nor how well it is colored, does not tell its life story. It requires the "Lapse Time" motion pictures to do this, and to get enough film for an hour and twenty minutes' lecture, a single camera would have to run day and night, for two years. While I am writing this two of my cameras are running now, and a third one is looking into the eye of a tandem microscope, registering the germination of the pollen of one of the flowers. Tomorrow still another will, with the aid of other microscopes, show the circulation in one of the tiny hairs on the stem of the same flower. Before I am through with that flower many of its now unknown life processes will be pictured in a way which, described with the pen, would take hours to read, yet you will be able to see it all in possibly two or two and a half minutes, far better than the pen could describe. When I first started this work, I had one camera and made all of the additional equipment. I found a very heavy bridge iron capital "H" shape for the camera to slide on, using a home-made carriage. I hung it on an axle in the middle and with a long screw at one end the camera could be raised and lowered, and slid back and forth, and clamped in place. Now I have four complete outfits, perhaps the finest in the world. Cameras with motors for each unit and microscopes for two of them. I hope to keep all four going from now till New Years, giving me the film for a four month's lecture trip, and to earn the money for many new devices that will come up in the meantime. With this description, you should be able to start your own "lab." Go to it, and when you discover something new, write and let me know. Forty-jour