Amateur Photographer & Cinematographer (1933)

October 4th, 1933 The AMATEUR PHOTOGRAPHER to 6 CINEMATOGRAPHER g improved to eliminate much that was objectionable in the earlier days. What little comparison can be applied definitely favours the reversal system — in which, too, as most readers are aware, is to be found the only varieties of “ super-panchromatic ” film at pre¬ sent available. Occasionally, special circumstances may arise in which negative-positive methods may prove to be more eco¬ nomical and more convenient than the reversal system. Many copies can, for example, be quickly and inexpen¬ sively prepared from the negative or camera film. And a new print of pristine quality can be made as soon as the original positive shows signs of wear and tear. Against this, let me say that there is little truth in the remark that better “ still ” photographs can be obtained from negative-positive stock than from reversal. The negative, of course, will easily yield a direct enlargement ; but I prefer to work from the positive — making an inter¬ mediate negative (on glass) which can be still further enlarged to show the minimum of grain. In such circum¬ stances, no one system is more "suit¬ able ” than the other. Nor is it even more convenient. Unfortunately, we cannot bring price considerations into the argument. Certainly a reduction in standard costs would enable us to use more film and would bring more enthusiasts into the movement, points which we can only hope will not be overlooked when next the manufacturers choose to review the position. Finding Cine Subjects M. A. LOVELL-BURGESS. MANY amateur cinematographers who are lone workers have said to me during the summer, “ I wish I had known when such and such an event was going to take place and I would have filmed it.” The first essential thing for the really keen amateur cinematographer is a diary. “ The A.P.” and three leading daily papers publish lists of forthcoming engagements, and almost every daily paper publishes daily information concerning them, so that with the aid of a paste pot the compilation of a diary is an easy matter. Post your diary a week ahead if possible, and if permission is neces¬ sary to take photographs at certain functions or at specific places, you can write at once for permission to attend, complete with cine camera. Sporting subjects and dates of annual meetings and events you can find in the yearly almanacs and sporting year-books. In your engagements diary post any paragraphs about a forthcoming event likely to awaken your imagination or give you a new, original angle on it. With a well-kept diary, if you live in London or the larger provincial towns, there is no such thing as “ hunting for a subject.” There has been a discussion in a leading daily paper recently concerning the advantages of keeping a diary as a record not only of the life of the individ¬ ual, but also as a valuable reflection of the period in which that individual lives. The amateur cinephotographer who can make animated records of outstand¬ ing events of the day makes also a valuable contribution to the annals of his generation. We have yet to find a Pepys among amateur cinematographers ! Unlike the amateur photographer, the cine worker must not be content to aim at a superb collection of pictures. He has to tell a story ; to wait, as it were, breathlessly for the action moment of the scene, whether it is the 12th Infantry Brigade saluting as they swing past on their long march, a village war-memorial, or a great ship taking the water for the first of many voyages, or a sudden smile of amuse¬ ment lighting up the face of a Royal personage. There is a fascination in waiting for the essence of the action to crystallise. The cine record must never lack human contacts. It is particularly the province of amateur cinematography to present the mood of the -age, because the practical expression of the silent cinematic art is now almost exclusively left to the amateur cinematographer. He can still, therefore, exploit true cinema art to the utmost. Several cine amateurs have made a record of our fine summer by filming the exceptionally good harvest. Al¬ though harvesting to-day is so largely mechanical the human element pre¬ dominates. In a week or two sheep¬ shearing will begin on many farms, and if you doubt the picturesque values of sheep-shearing read the chapter that Hardy devoted to the subject in “Far from the Madding Crowd.” I hope ambitious cine workers will see the film “ Men of Aran ” when it is released, because as one man’s labour of love it should prove an inspiration. Robert Flaherty, who created “ Nanook,” “ Moana,” and “ Tabu,” and who has been described as a “ nomad of the camera,” is that rare exception, a director who is his own camera-man, and exceptionally good in both capacities. Flaherty, after a talk with Michael Balcon, who, incidentally, is keen on amateur cinematography, and was one of the judges in a recent amateur cine contest, set off for the Aran Isles, made up a story, set up his tripod, and has made a pictorial narrative of human existence on a barren island that should set all filmdom by the ears. A TRANSFORMER FOR THE CINE WORKER THE Dallmeyer transformer for cine projectors is just what a good many amateur cine workers need, if they happen to be on an A.C. electric system. If they are on a D.C. service they will not be interested at all, until they can persuade the local electricity station to change its whole system. The transformer is delivered complete with leads, and you just plug it into the electric light circuit and a re¬ sistance is no longer needed. The transformer is set to step down the current automatically from, say, 250 or 210 volts to the 100 volts which the projector requires, and this is done without any heat, or smell, or risk of shock or fire, or of scorching the tablecloth during a home movie show. The majority of imported projectors are made to run on roo volts, of course, and so the transformer is wound to suit the Victor, Bell-Howell, Cine-Kodak, or, in fact, any 16-mm. projector using lamps up to 500 watts on A.C. Apart from its convenience, the use of a transformer cuts the running costs by at least half. If only two cine shows a year are given the saving is not great, but if you are a keen and regular worker, giving frequent shows, and prefer your projection to be as efficient as possible, with no waste of current or of convenience, then this transformer, which costs £\, is better than a resistance costing about the same price. It is stocked for voltages between 200 and 250, with three tappings. It is obtainable from Messrs. J. H. Dallmeyer, Ltd., 31, Mortimer Street, W.i. 322 25