International photographer (Jan-Dec 1935)

Twenty-eight The INTERNATIONAL PHOTOGRAPHER March, 1935 IN THE LAND OF THE WINCED SERPENT (Continued from Page 26) Kull's and my nerves were pretty well shattered. "But the roads were the least of our troubles, — what with keeping the batteries charged, miles from any such thing as a charging station, or a repair station of anykind or character for truck or equipment. Twice we smashed booms, once breaking a 'mike' for keeps. That, with some of the camera positions located high up in trees, in shooting Tarzan's swings from branch to branch, we never knew for one minute to the next what might happen to camera and equipment. "Then, too, in spite of our thorough advance studies of light qualities in that tropical land, we found conditions more tricky than could have been imagined. Our first test stills, though to our estimate undertimed, were overtimed. Then the actinic quality of the light in the high places six thousand feet up in that clear and rarified atmosphere had us constantly guessing, the varying quality being greatly different than conditions met in California in both high and low spots. Even sunset shots with the light seemingly so dim it seemed a waste of time trying to shoot, we found the light gave unusually beautiful effects." All in all the equipment came through the stiff test with flying colors aside from a few mishaps, so to the bird who once said : "There's nothing new under the sun!", both Eddie Kull and Ernie Smith reply in the same breath — "Oh, yeah! — just try making sound motion pictures in Guatemala !" "The New Adventures of Tarzan" will be released in two versions, one a complete 7-reel feature, the other an eleven episode chapter play of 2-reels each. Release date is announced as April 15th. Herman Brix, world famous athlete and Olympic Games Champion plays TARZAN. Nearly four months were required by the Ashton Dearholt Expedition for the filming of the production, in the most picturesque spots of Guatemala, that little-known country of scenic grandeur. The TARZAN troupe expects to return from their thrilling and never-to-be-forgotten trip on or about March 15th. THE AKERS CAMERA IN PRODUCTION (Continued from Page 23) into. It was also set up in a motorboat for a number of scenes. Much of the exciting action was made more vivid in this way. On the jungle set we used the camera for longshots of the South Sea village, closeups of a native dancing girl and the native audience, and several other odd angle shots which time would not have permitted to be made separately with the Mitchell camera, but which added considerable production value to the picture. On the screen the shots made with the Akers camera were indistinguishable, so far as steadiness and photographic quality is concerned, from those made with the Mitchell camera, which, after all, is the final proof of the camera. Besides regular feature productions I also used the Akers camera on a number of special jobs, among which was a professional football game and a blood transfusion operation. The operation was staged, in order to permit moving the Bell and Howell camera also used, but the ease of moving the Akers camera suggested to me its value in filming actual surgical operations, where the doctors cannot stop for the cameraman and the cameraman must get his shots without interfering with the doctor. The ease and speed with which the camera can be focused is also an important factor in filming operations and similar subjects where the cameraman must frequently and quickly change his position. The Akers camera should prove an innovation for news and sports cameramen, as was indicated to me in shooting the N. Y. Giants Chicago Bears professional football game at the Gilmore Stadium. Using it as a hand camera, with the small "B" batteries hanging on my back, I was able to follow every play of the game from the most advantageous angle, and got the intimate shots of fast plays which the stationary cameras missed. By being able to stick close to the sidelines or behind the goal posts I got some very novel and effective action closeups, with the players running directly into the camera. Low camera setups were very easy, simply by resting the camera handle on the ground for a stead support. In this way I got some interesting shots looking between the referee's or lineman's legs. I also did a little candid camera work, getting closeups of players and celebrities on the bench, without their knowing it. Having been tried and proven satisfactory in actual production during four months of almost daily use, on every type of production work the new model Akers camera is no longer in the experimental stage, but has lived up to its expectations, in fact, exceeded them and promises to be an invaluable addition to the field of motion picture photography. The industry's acceptance of the new camera has brought such a demand for cameras that the Akers Camera Co. has opened new shops at 7414 Santa Monica Blvd., Hollywood. THE BOSTON CAMERA The Fourth Salon of the Boston Camera Club will be held from June 18 to 29, 1935, in the gallery of the Boston Art Club, Dartmouth and Neyvbury Sts., Boston, Mass., U. S. A. The aim of this exhibition is to exhibit works of photography which show a distinct evidence of personal artistic feeling and ability. Four prints may be submitted by any contributor. Each picture must bear on the back the name and address of the maker and number and title of picture to conform with the entry form. The sale price, if any, must appear on the entry form only. A commission of \5% will be charged on any print sold. The entry form with a fee of $1.00 must be properly filled out and mailed separate from the prints to the Boston Camera Club, 330 Newbury Street, Boston, Mass., U. S. A., and must be received prior to Mav 22, 1935. Foreign prints must be sent postpaid to the Boston CLUB FOURTH SALON Camera Club, 330 Newbury Street, Boston, Mass., U. S. A., to arrive before May 22, 1935, using the printed label with the notation: "Photographs for Exhibition Only. No Commercial Value. To be Returned to Sender." Foreign prints should not be larger than 30x40 cm. in size and should be sent unmounted, mounting being done by the committee. All prints will be exhibited in 16x20 frames under glass, and all American prints must be mounted on 16x20 light colored mounts to hang vertically. All possible care of prints will be taken, but no responsibility is accepted by the Boston Camera Club for loss or damage in transit or during the exhibition. Unless otherwise specified, permission to reproduce is assumed. No reproduction fee will be paid. The prints will be returned promptly after the close of the salon. A catalog will be sent to each exhibitor. In case of an unforeseen contingency the committee's decision will be final.