American cinematographer (Jan-Dec 1926)

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Twenty-two AMERICAN CINEM ATOGRAPHER E. Burton Steene Freelance Akeley and Eyemo Camera Specialist GRanite 16 2 2 Care of American Society of Cinema tographers 1219-20-21-22 Guaranty Bldg. HOLLYWOOD. CALIF. GRanite 4 2 7 4 CRECO HARRY D. BROWN Cinema Studios Supply Corporation 1438 Beachwood Drive HOlly 0513 HOlly 0514 Brown-Ashcraft Carbons and Other Studio Lamps Studio Equipment FOR RENT Mitchell and Bell & Howell Cameras F 2.3; F 2.7; F 3.5 lenses; 40, 50, 75 mm. Complete Equipments Now Available in Hollywood at Cinematograph Film Laboratories 861 Seward Street HOllywood 0764 J. R. LOCKWOOD 523 N. Orange Street Glendale, Calif. Phone Glendale 3361-W (Continu.'d t,om Page 19) This, I call cinematography. Now, for contrast, take any average picture showing a hotel lobby. The camera is fixed in a corner to take in a long-shot of the whole set. The pillars, the stairway, the desk, the furniture, everything is there, very well composed, if you will, but static. Some people are seated, some are walking across the lobby, some are going up or down stairs. Everything looks true to life, yet something is lacking. The set is beautifully lighted, there is plenty of action, but they were done without thinking of the optical moving pattern, or considering whether those movements in all directions will synchronize when shown on the screen. This is still only photography, and not cinematography. I hope that I have made clear the difference between these three things: First, Still photography; Second, Photography of actions and acting; and, Third, Real cinematography. (And I hope also that you have, with me, come to the conclusion that, if cinematography is going to be an art at all, it will be primarily an art of motions). The very name of your profession indicates its real function: motion pictures. Knowledge is acquired through study. An original artist draws his knowledge from life. The subject of our study being motion, let us open our eyes to the motions we see around us in everyday life. Suppose you let a friend take you for a ride through Hollywood. While your friend is driving, you watch out for all the motions, seeming and actual. Seeming, or apparent, motions would be: Buildings, trees, telephonepoles coming toward you and growing at the same time; distant skyscrapers showing first one of their sides, then, as you approach them, gradually growing and revealing their fronts, as if revolving around their vertical axes, then suddenly disappearing from the field of your vision, unless you turn around, which would give a novel and interesting combination of motions. Jf you tell your friend to turn to left or right, you will see at least two of the corners of the street gracefully swinging around you, until you come to face a new street. November, 1926