The international photographer (Jan-Dec 1939)

Only International Professional Jou rnal of Motion Picture Arts & Crafts olOR TO QET MtchNEEdtd REVJCW resent situation so muddled International Photographer plans series to give complete "open forum" discussion of •mmercial systems from all angles and aspects — technical, practical, theatrical — in relationship to monochrome. iree principal subjects are of prime im]rtance in any technical discussion today — teleion, rear projection and color photography, •levision, despite recurrent waves of "just Dund the corner" fanfares, still is very much the laboratory stage, technically and artistilly. Rear projection, with the many advances it brings to the creative elements of cineutic show business, is distinctly out of the dgling stage. Excellent minimum standards ve been set up, as evidenced by the Academy jport on rear projections, an installment of jiich begins on Page 19 of this issue, which lould soon result in even greater technical ogress in this field. Color is a peculiar tossi. Despite the truly sensational success of lb Technicolor company, working against teric odds, and the activities of scores of other iganizations and individuals engaged in this Id, it still has much of the will-o'-the-wisp 'iaybe yes, maybe no" quality that character's television. The confusion and disputation that is rife on 'e subject of motion picture color photography reminiscent of nothing so much as the Bibli'1 Babel and it requires considerable fortitude i attempt to bring any order out of this "chaos ! clamor." However, as a result of a general jmand for a complete presentation of the facial picture on color, coming from technicians. lecutives and many workers in color research, sternational Photogr\pher is undertaking |e publication over a period of months of an ihaustive and thorough analysis of the situaIn. _ lit is not our expectation that such a mud>ed picture can be completely cleared up by mere series of articles, but it is our sincere 'pe that the compilation and publication of formation that is available from many sources 11 aid materially in bringing the whole subct out into the open for public examination the professional technical community of the otion picture industry — something that has rig been needed, if the heartfelt and vocifers remarks of many sincere experts in the Id, with whom we have talked, carry any aght. The first consideration of any practical execue who considers color — whether he be creatg entertainment or commercial advertising proictions — is good consistent release prints in lantity. Technicolor has a working three-color ocess that, despite several increases in cacity, is virtually absorbed by the needs of jjor production. In Hollywood, the world center of motion picre . production, the next alternative for the actical production executive is bi-pack. When u say "bipack," Cinecolor immediately steps to line as second to Technicolor in importance, new modern plant, with the capacity to jm out release prints is available. And runjtig competition to Cinecolor is Consolidated (lm Laboratories, Inc., with their Magnacolor, [r which they have been expanding and imoving their laboratory processing facilities. Also ITERNATIONAL PHOTOGRAPHER in the bi-pack field is Telco Color Laboratories, operating at present with an experimental plant, but promising early construction of a new large capacity laboratory in Hollywood. There are other bi-pack color processes available, but to date none have loomed large in the field with any important productions — features or shorts! Naturally, of course, color processes are not limited to Technicolor's threecolor system with special cameras and its imbibition prints, and the secondary bi-pack systems. Color is all over the place, with various systems and combinations of systems. There are the many additive devices, still bucking the problem of needed accessories to the projector, and the many processes of the more favored subtractive method. There are the monopack triple-emulsion films like Kodachrome and Agfacolor. There are the lenticular processes like Dufay and Keller-Dorian. There are various methods of swelling and special filters on the film, such as Telco. There are combinations of bi-pack flotation and imbibition. There are systems for printing one color, then printing another over without fixation in between. There are many obscure and theoretically interesting systems, and the patents on dye combinations in the original negatives — not to mention the positives — are reaching a bewildering total. Latest system announced calls for the use of sheep's blood in the negative as a color-dye recipient. However, out of this welter of systems, theories, special cameras, filters, dye-couplers, processing systems and the like there are available for consideration from a practical standpoint a number of color systems. These, listed in alphabetical order are: A Frank Statement The editors of International Photographer are forced by circumstances to make a frank statement to our readers and to call upon them for aid and suggestions. Briefly, the situation is this: during the past few years the magazine has made such progress that we find ourselves getting in our own way. Three factors contribute to this situation. First, we have available for publication much more interesting material than can be presented in the magazine's present size; Second, there has been a gradual change in the magazine's circulation, with a marked increase in net paid circulation, plus a trend toward a professional type of reader and away from the out-and-out amateur, whether in still photography or motion picture photography ; Third, there has been an increase in advertising by important firms catering lo professional interests. Under the circumstances, editorial space in International Photographer is at a premium. Were International Photographer privately operated for profit, the obvious answer would be to make a further capital investment in a larger magazine, with more pages to absorb the many interesting stories, articles and pictorial layouts that are available. However, International Photographer is operated under prescribed long range program as a medium for the exchange of worthwhile technical information between members of Local 659, IATSE, and by extension, all other serious craftsmen engaged in the photographic or allied arts and crafts, upon a strictly nonpolitical basis, and with concern only for the sincere and honest reporting and exchange of ideas that will contribute to the advancement of these arts and crafts and the information of the workers therein. Under the circumstances we are forced to call upon our readers for their suggestions as to what type of material they desire retained in the magazine and what type they desire eliminated. It is our belief that the only lasting and worthwhile editorial policy for any publication — from the standpoint of the subscriber or the advertiser — is one that places primary emphasis upon READER INTEREST. Any suggestions that will contribute to increased reader interest will be sincerely appreciated and carefully regarded. Pending the conclusion of negotiations for additional advertising revenue, which we hope will permit a reasonable expansion of International Photographer's constructive service to the professional photographers of the motion picture industry and the allied arts and crafts in that field, we urgently solicit suggestions and criticisms from our paying subscribers and advertisers as to how we may better serve them in presenting a monthly publication that will most fittingly live up to its designation as the "Only International Professional Journal of Motion Picture Arts and Crafts." In other words, let the editors of International Photographer know what you want and what you don't want and don't hesitate to speak frankly and to the point. We'll appreciate it and try to be guided by your suggestions.