American cinematographer (Jan-Dec 1926)

Twenty-two AMERICAN CINE M ATOGR APHER Critic Resents Thunder Theft; Produces True Film Manuscript Dear Editor: There's someone who is taking the edge off my critically keen knife. I am an apologetic authority in this business because I admit it. Therefore, I call your attention to an attempt to steal my thunder in column three, page 14. in the February fifth issue of FILM MERCl RY . Here is the authentic version of this particular one of my masterpieces. Compare them, and decide for yourself which is true blue: Some of our bootleggers do not seem to be complete without false beards, so a little technique on the subject may be intriguing in an issue of some remote future date. April, 1926 Since I am not a bootlegger I am criticized for writing on the subject of alcoholography. This is not a patent medicine journal, and for this astounding reason I cannot give you blueprints or recipes to illustrate the abject matter. The object of Filmograph is to efficiently cater to all trunks of our baggage room. If Harry Burns should ever ask me, (which is not unlikely), "What's Trite With the Movies?" my answer would be, "Lack of pyrotechnical education, beer and platitudes." While on the subject of alcoholography, take the case of Peter Dawson, who it is alleged, lost Universal recognition because it did not alcoholograph well, yet on "The Boulevard" it alcoholographed splendidly. The answer was in properly triting. This brings me to the subject of intoxication, which we seem to know so little about. ( Inasmuch as I also know so little about this, I will study up on it and will treat you to an amazing dissertation on it soon.) Do any of the brethren know what has become of the "Intoxicating Entrepreneurs" of the P. S. P.? (Poor Sick Fish.) look a few shots of Gordon Jinn the other day. \iike Jerkins handed them, and (gracious!) they were delightful. Notta Nickel, I. \V. W.: This should be a banana year, alcoholographically, as we have started out like two cents. SNUB NOSA CLUBBING OFFEB Subscribed for separately. Camera Craft and the American Cinematographer will cost a total of $4.50 oer year. As a special clubbing offer, both maqazines may be had at a total price of $3.40 per year. American Cinematographer 1219 20 21 22 Guaranty Blda. Hollywood. Calif. yiM'lMlMMMi^l'MiOilMIMIMMIMIME NO CAITIERA can be better than its lens. There is a life-time of satisfaction and pride for the oiuner of a Carl Zeiss Tessar — the lens umich is doing the world's finest photography. Among prominent users of Zeiss Tessa rs are the U. S. Army Air Service, The Rational Qeoqraphical Society, The American Museum of natural History, Famous Players and a legion of others. The Tessar f4.5 is standard equipment on the finest imported cameras. For greater rapidity there is the Tessar f3. 5 and the Tessar f 2. 7 has recently been introduced. For rapid distance -photography the 'Tele-Tessar and for photo-engrauing the Tprocbromatic Tessars enjoy an enviable popularity. IDhich catalogue may me send you? 'Zeiss Photo Lenses' "The new Extra-Rapid Zeiss Photo Lenses" (f2.7 series) The Tele-Tessar' "Optical Instruments for Process H?ork" Harold M. Bennett 153 IP. 23rd Street Heip Uork A NEW LENS "That has made good" l nrKP aperture F:2.3. To a large extent responsible for the Bus-relief, or solid appearance of the subject on the screen. Good definition over the entire field, yet not harsh or wiry. A portrait lens In short focal lengths 40mm, SOmm, 75mm. with full closing diaphragm. Price is reasonable 40mm $50.00 r.O m in 50.00 75mm 55.00 A trial will be satisfying ASTRO-GESELLSCHAFT, mbh., Berlin FOR SALE BY MITCHELL CAMERA CORPORATION 6025 Santa Monica Blvd. Los Angeles, Calif.