American cinematographer (Oct 1933)

October 1933 • American Cinematographer 237 from everywhere . . . COME RENTALS FOR The Most Comprehensive Rental Library of 16mm Talking and Sound on Disc Subjects for Movie Fans This service is now available to users within 48 hour parcel post delivery distance of New York City. Rental Fee $1.00 per night, including 400 ft. reel and disc. Send 25c today for catalog of subjects. Exchange and Rental of 16 mm Silent Films This library was the first to exchange 400 ft. films for $1.00 plus postage . . . and maintain its strictly high class service. Quality not alone in the condition of film stock but in subjects which we insist upon being interesting. Rental Fee for Features of from 5 to 9 reels . $1.50 per day to members. New Releases • Comedies • Dramas All % Novelties • Action • Thrillers new interesting subjects. Made from original negatives on 400 ft. reels. Prices from $10.25 to $12.25 64 subjects Catalog will be sent on receipt stamp- envelope. To Dealers: New silent' service for 20 weeks or more. Write to- day for full details. Last year we were unable to take care of several late applicants. Write u s promptly. NAVILIO Broadway & Chauncey Brooklyn, N. Y. COLOR for every 16 mm projector Announcing the first NATURAL COLOR Library Subjects Full, natural color movies without extra projection attachments of any kind, because the color is right in the film itself. No extra light is needed in your projector—the Dunning Natural Color can be pro- jected to as large a size and with as full illumination as your black and white pictures. Two library color subjects—“Hawaii’s Lake of Fire” and “In the Blackfoot Country” (each approximately H 100 feet) can now be supplie dby all better dealers at $9.00 each. New releases will be issued each month. Patronize your local dealer. IHLY.YINC. PROCESS COMPANY 932 NORTH LA BREA AVE. - - - HOLLYWOOD, CALIF. the camera toward the light source, when the source is not directly in line with the lens. Acting in the nature of a sun-shade as it does with its added feature of an adjustable cap that can be placed in any position it would seem to have a fine flexibility. Controlled Printing for Miniature Camera Pictures (Continued from Page 214) into the negative-carrier of the enlarger pressed between the two glasses in a little pool of glycerin. This seems to help minimize the grain. It is always a good idea when you are making import- ant enlargements, from any negative. Now, there isn’t much we can do about the scratch—yet—and of course we can’t retouch such a small negative; but we can do a lot to improve the con- trast-balance, by “dodging.” This is simply interposing some opaque object between the lens and the enlarging- paper, keeping it moving, so that there will be no sharply-defined edge, and holding back the shadows while the high- lights (that is, the denser parts of the negative) have a chance to print. You can do this with your hand, or a bit of cardboard, (this is convenient, for you can trim it to the shape you want,) or with one of the regular, glass-handled dodging-shields that the photographic- supply stores carry. At any rate, take your time about making this master-print: get everything as perfect as you can—stop the lens down so you can get the maximum of detail, etc.—and make as many prints as may be necessary: the main thing is to get one print that is just right. Then, get to work on this master- print, after it is developed, fixed, washed and dried. Spot out all the little pin- holes, dust-spots, etc.—and don’t forget to spot /out the scratches and other blemishes. If you want to—and are good at it—you can even go over it wtih a pencil, building things up, or eliminat- ing them, as may seem advisable. After this, put the print in a copying- frame, and make a first-class copy nega- tive of it—you can, of course, make this negative any size, but I would advise 8x10. Obviously, you can retouch this master-negative as much as you want to; and by this time, you should have a very nearly perfect negative of your final picture. Once you have this perfect, enlarged master-negative, you can forget the ori- negative should embody practically all of the modifying work that is to be done in order to make your original negative into the finished salon picture you want. From it, you can make either contact- prints or enlargements of uniform quality (for you can easily standardize your pro- cedure in making these final prints, and duplicate your prints in every detail at ginal, miniature-negative, for the master- any time). By this method, you have almost unlimited control over your pic- ture—and, best of all, you embody all of the controlling operations in the en- larged master negative; once this is as you want it, you can be assured that every succeeding print will be exactly perfect.