The international photographer (Jan-Dec 1934)

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.

Twenty-six T h INTERNATIONAL PHOTOGRAPHER April,1934 picture is to the eye, and a skillful combination of the two is of considerable benefit to each. It will be noticed that if the picture is sufficiently engrossing the musical score will always be subsidiary — its effect being subconscious— which again proves the fact that the visual is more powerful. PART OF THE STORY OF LIGHTING (Continued from Page 12) Such is a part of the history of lighting. It is such a small portion of it. There is the high speed rotary made by Ide in 1920, there are the experiments of a large number who dreamed of the perfect light, there is the hurrying and scampering of the "juicers" who had to nurse and trim the early arcs to keep them going. There are those who said lights would never be used and there are those who, perhaps far in advance of their time, used a light similar to the neon light. They were, according to Steve Hansen, the Swedish Biograph, who in 1920 equipped their studio with the MacFarlane Moore tubes. Lighting and artistry in photography at its best today is such that it seems impossible that improvements could be made. Improvements will be made ; the stuff on the screen today is the stepping stone for that coming tomorrow. "To better conditions," says Ruby Wallace, "we must have experience to guide us." To Lou Blix, Charles Munroe, Duke Daggy, Gary Sullivan, Lou Johnson, Ernie Simpson, Roger Nauman, Phil Coats, Wally Oettel, Frank Murphy, Leo Whistler, Bill Johnson and scores of others goes the credit of the lighting on the screen today. To them should be accorded THANKS! They are the "gaffers." ACADEMY RESEARCH COUNCIL (Continued from Page 9) Rudolph, Theodore Soderberg, Al Tondreau, A. G. Wise, R. C. Willman. Film Preservative Subcommittee Harris Ensign, Chairman ; Fred Gage, A. J. Guerin, Subcommittee on more Efficient Use of the 35 mm. Film Area Douglas Shearer, Chairman ; John L. Cass, Carl Dreher, Bert Glennon, K. F. Morgan, Harris Ensign, and R. C. Willman. Subcommittee on Economies in Recording E. H. Hansen, Chairman; Lawrence Aicholtz, Gerald Best, Wesley C. Miller. SAYS GEORGE H. SCHEIBE: Many an amateur I have heard say: "I wish 1 could use your filters on my camera to produce the many effects I often see on the theatre screen, but what kind of a holder should I use?" That's still the big question of today. Holders in use today are mostly of the cell type and slip over the lens. Naturally this means a holder for every diameter of lens and too, a filter to tit it. The ideal holder is the type used on the 35 mm. motion picture cameras. This holder has three distinct adjustments — one to vary the space between the lens and the filter — a side to side movement and an up and down to permit the correct use of Graduated Sky Filters and various irises for close-ups and inserts. Such a type of holder can be made to fit all amateur cameras; attached to the camera (not on the lens) and accommodating 2x2 square filters. The amateurs want just such a holder, so get busy, camera accessories manufacturers, and bring out a reasonably priced one — it should sell fast evervwhere it is shown. NUCHROMATIC MAKE-UP THE PERFECT MAKE-UP FOR THE SCREEN Leading Artists of the Screen and their Cameramen are now finding De Long's Nuchromatic Make-up Foundation ideally suited to their requirements. DE LONG MAKE-UP STUDIO For complete service call CLadstone 8140 5533 Sunset Boulevard Hollywood, Calif. DOUBLE MATTING (3 PATENTS. 1932) TmriLLiAMg* ▼▼SHOTS I* Phone OXford 1611 81 11 Santa Monica Blvd. Hollywood, Calif. Phone CLadstone 4151 HOLLYWOOD STATE BANK The only Bank in the Industrial District of Hollywood under State Supervision Santa Monica Boulevard at Highland Avenue WE WANT 35 mm. travel, fight, thrill and curiosity films from all parts of the earth. We Sell All Kinds of Raw Film at Reduced Prices. CONTINENTAL FILMCRAFT, INC. 1611 Cosmo Street Hollywood, Calif. CINEX TESTING MACHINES CINEX POLISHING MACHINES BARSAM-TOLLAR MECHANICAL WKS. 7239 Santa Monica Blvd. Phone GRanite 9707 Hollywood, California DR. G. FLOYD JACKMAN. Dentist Member Local No. 659 706 tlouri Hollyw : 9 to ood 5 First Nat'l Bldg., GLadstone Hollywood 7507 At Blvd. id by at Highland A ppointment ICTER^ 7 (/QprlJ-U)!*!* Use .u.*:v OO^^nli^br and (NJi^br ^ffecls in Daytime ~F*?<j ScenesDiffused. Fvcus.arcd many v\\nr «Ff«crs With any Camera *" In any Ulimare Georcjo H. ScKeibo ORIGINATOR OF EFFECT FILTERS 1927 WEST 78th ST. LOS ANGELES. CAL. Please mention The International Photographer when corresponding with advertisers.