International photographer (Feb-Dec 1929)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

tf](D(D[Ds CM RDM Ef.lm '0" The First for Sound Pictures F'EVious attempts to use color on sound film hve resulted in cutting off the light that ecites the photoelectric cell, so interfering with t'e reproduction of sound. With the new Snochrome tints this difficulty has been overdue, for they are so adjusted as to position in te spectrum that they do not blind the photoesctric eye. The light to which the photoelectric cell resonds passes freely through Sonochrome film, aid the response is uniform over the entire gmut of tints. For this reason Sonochrome tints, including te hueless argent substitute for clear positive, ray be used in any sequence, permitting absoLte freedom in the shifting of moods, without sfecting the sound. The Eastman Sonochrome tinted films are Mailable at no greater cost than the regular ('ear base positive film. Eastman Kodak Company, Rochester, N. Y., nil gladly send yon further information about ASTMAN SONOCHROME FILM TURQUOISE-With the liquid characteristics of Aquagreen, but cooler . . . the Mediterranean, the cool of dawn, bright moonlight. AZURE— The tint of reserve and distance. In exteriors spacious, atmospheric— the blueof tropical skies. In interiors cold, formal, repressive. NOCTURNEFor night effects, murky interiors. Maximum repression. The color mood of sadness, defeated expectation, dark intrigue, the underworld. PURPLEHAZERising somewhat in pitch from Nocturne. For dim interiors and outdoor settings obscured with haze. Languorous, dreamy, narcotic. FLEUR DE LIS -Tempo di marcia pomposo. The time-honored hue of I he ceremonial, the rit ualist ic. Pompous, solemn, stately. The purple of royalty. AMARANTHA less austere purple than Fleur de lis. Suggestive of gentility, aristocracy. I [eightening the elegance and luxury of certain interiors. Balcony scenes at night illuminated from within. CAPRICE-In the range of rapid tempos. An audacious magenta. The mood of fickleness, impulsive action, rash adventure. INFERNO— /Iffi'/a/o. Intensely stirring with strong sounds and movements . . . fiery revolt, riot, conflagration, disaster, unrestrained passion. ARGENT— A silvery hueless tone, less harsh than that of ordinary black and while positive. Of general utility for all untinted scenes. M