International photographer (Jan-Dec 1934)

Twenty-eight Th INTERNATIONAL PHOTOGRAPHER August, 1934 NINTH INTERNATIONAL CONGRESS OF SCIENTIFIC AND APPLIED PHOTOGRAPHY PARIS, JULY 7-13, 1935 By Walter Clark Secretary, American National Committee, International Congresses of Photography. HE first International Congress of Photography was held in Paris in 1889. Since that time meetings have been held at intervals of three to five years, excluding the four-year war period, in Liege, Brussels, London, and Dresden, in addition to Paris. The next Congress, the Ninth, will be held again in Paris next year, 1935, from Sunday, July 7, to Saturday, July 13. The meetings will be held in the rooms of the Societe Franchise de Photographie et de Cinematographic, 51 ruede Clichy, Paris (IXe). The Ninth Congress will be organized on lines similar to those of previous congresses. The active organization will be in the hands of a French Committee consisting of representatives of many of the scientific, photographic, and allied societies of France, and headed by the French Photographic Society. The arrangements in other countries are made by the local National Committees. These committees have been established in many countries to deal with the proposals and recommendations of the congresses, to present material to the congresses for international consideration, to arrange for a series of first-class papers on appropriate photographic subjects to be submitted to the congresses, and so on. The Secretary of the American Committee is Dr. Walter Clark, Research Laboratories, Eastman Kodak Co., Rochester, N. Y. There are two Sub-committees in this country, dealing respectively with Sensitometric Standardization and Motion Picture Standards. SECTIONS: The Ninth Congress will be divided into several Sections, concerned with: la. Latent Image. Sensitive materials and their manipulation. Sensitometry and photographic photometry. Cinematography; general considerations, sound on film, standardization. Scientific and technical applications of photography and cinematography. History of photography, documentation and bibliography; photographic instruction; pictorial photography. Among the subjects about which there will undoubtedly be lively discussion will be the standardization of methods for the determination of speeds of negative materials, and the standardization of the dimensions of sub-standard motion picture film for sound-on-film purposes. MEMBERSHIP: The Congress will include the following classes of Member: Founder Members (minimum subscription 1000 French francs); Subscribing Members (minimum 300 frs.); Active Members (125 frs.); Associate Members (25 frs.). With the exception of the Associate Members, all the members attending the Congress will receive, at the Congress Secretary's office, the texts of all Communications and Reports, as well as resumes of these texts in various languages. They will eventually receive the volume of Proceedings. lb. lc. 3. 4. You can do Trick Lighting with these new KLIECLICHTS at no extra cost WITH their extraordinary efficiency, and freedom from spill light the new Klieglights also offer several entirely new features, including: variable beam control, of exceptionally wide range; and intensity control, without using a dimmer — both being an integral part of the unit . . . permitting unusual trick lighting without additional expense. They are unmatched for performance, versatility, and low operating cost. Let us acquaint you with the facts, and you will be convinced of their outstanding practical values. Write for full details All of these various beam shapes can easily be obtained by manipulating the shutters. Studio Model with shutter and lens controls. Universal Electric Stage Lighting Co.,imc 321 West 50th Street NEW YORK. NY. California \ MR. R. F. GRETSCH, Representative ( 6521 Sunset Blvd., Hollywood, Calif. PAPERS: Reports and papers submitted to the Congress from the United States should be sent in duplicate to the Secretary of the American National Committee by February 1, 1935, so that he can have them in the hands of the General Secretary by March 1, 1935. Only in these circumstances can they be translated and distributed. Reports and resumes can only be given to Members attending the Congress if their subscriptions have reached the Societe Francaise de Photographie at de Cinematographic by June 1, 1935. LANGUAGES: Discussions will be held in one of the following languages: English, French, German. Authors should write their texts where possible in one of these languages. ENTERTAINMENTS: Entertainments, visits to factories, and scientific institutions, excursions, and a banquet will be organized, and all Members of the Congress will be able to attend. For Associate Members, a Committee of Ladies will organize tours in Paris and the surroundings, and visits to buildings of interest, during the Sessions of the Congress. INFORMATION: For further information about the Congress, application should be made to the Secretary of the American National Committee, Dr. Walter Clark. Research Laboratory, Eastman Kodak Company, Rochester, New York. CORKSCREW CAMERA EFFECT The accompanying photograph discloses just how a coikscrew camera effect was achieved at Warner Brothers First National Studios during the filming of the "Tunnel of Pulchritude" sequence in one of the Busby Berkeley ensembles in the musical production, "Dames." The steel framework, which supports the platform on which is the camera, was suspended from above, and moved in two directions with power transmitted through a series of trolley tracks high on the rafters. George Barnes, the cameraman, is seen crouched over the revolving shaft which led back from the camera, at the right, to a wheel at the other end of the platform operated by Warren Lynch, first assistant cameraman. As the platform moved forward through the tunnel, lined on four sides with beautiful girls, Lynch rotated the wheel, the shaft turning the camera in like fashion as it moved forward through the bewildering set. When seen on the screen this scene will cause conjecture no end among photographers and camera-wise workers of the cinema, as to the mechanics of the filming, but the major difference in this shot, compared to others, is a very obvious one. Instead of moving the photographed objects before the camera, the camera moved instead. Still by Bert Long-worth. 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