International photographer (Jan-Dec 1941)

BOOKS Reviewed by Ernest Baehraeh Phew! Five books this month and tough chewin'. But all for the shelf with one exception. In their "How to do it" series The Studio Publications offers for $3.50 a 102-page book, "Designing for Motion Pictures," by Edward Carrick. An excellent piece of work, especially for the 8 and 16 mm amateur fans, also for those who wish a reference book on their shelves. The title is quite misleading, for anyone reading this book will have gleaned from its pages information concerning almost every phase of the business of making a successful and artistic picture. Fortunately the author confesses in his acknowledgments that the compilation is largely due to aid given him by ranking technicians of the film world, carpenters, scenic artists, drape men, effects, decorators, art directors, cameramen, etc. Briefly, the book instructs or imparts approach, plotting, materials, angles, short cuts and many other requisites in the making of a successful picture, short or otherwise. Well illustrated, approximately seventy, and loaded with recipes ( long considered studio secrets ) , this volume may be considered a MUST for the shelf. "The Amateur Photographer's Handbook," by A. Frederick Collins. Price $2.50. 392 pages. Thomas Y. Crowell Company, publishers. To the beginner an encyclopedia, to the initiated a swell reference book. Checked the worth of this book by the quiz contest method with friends of mine in the profession. Not only was there an answer contained therein, but it was given with detail and simplicity. Space is lacking to impart the contents, but will say that profusely diagrammed and illustrated, this book is well worth having, especially if you "haven't kept up." I know that the author has done considerable research in the field and his findings are based on the practice and experience of men best qualified to supply him with the information. "The Art of Retouching and Improving Negatives and Prints," 14th edition revised, by Johnson and Hammond, price $2.50, published by American Photographic Publishing Company. A very fine book embracing practically every angle of an art I or craft ) that is so little understood. Kvery usable method is explained in detail; in fact, so much so that I could sit right down now and do a first class job on the toughest! Some of the contents that may interest the prospective purchaser deal with: Use of make-up; other applications and methods of retouching; use of the airbrush ( much abused usually ) , and last, but not least, the book abounds with so-called "tricks." A word of caution in conclusion : The author, having given the reader this knowledge, implies that the subject is one of intelligent approach rather than of downright hard work. "Kodachrome," a data book on photography in color, published by the Eastman Kodak Company, price 25 cents. 52 pages. A revised edition of their handbook, Eastman here has given us the answers to many of our difficulties with Kodachrome, or let us say to some extent color photography. New film speeds, revised tables, prices and approach for the various types of this film. Don't remember the last booklet well, but it seems to me this one is more comprehensive in its entirety. After careful reading I can safely say to anyone using or intending to use Kodachrome, get out your two-bits, buy the booklet and save yourself many dollars. Your color will be much better! "Chemistry for Photographers," by Allen R. Greenleaf, 172 pages, published by American Publishing Company, price $2.00. Here is a book for one that is truly lazy. Almost every bit of information contained therein can be found in your film and sensitized paper packages. Photo periodicals, Eastman Kodak's "Elementary Chemistry for Photographers" take care of the rest. The arm chair "photog" undoubtedly will say this book is necessary to our shelf; it deals with photochemistry. Then I will say — let us find a nobler work or — for the layman, a simpler one. There are too many books of this type, unpurchased, at your dealers. "Not for our shelf." tf "sweet sclliNq (Continued from page 18) state, so that consumers may easily identify them. An unusually fine musical background accompanied the picture. "Washington First In Apples" has received immediate response in all audiences who have seen it, Mr. Blackburn reports, and in addition tlie film is enjoying wide distribution in schools because its scenic and educa tional value is only slightly less than its ability to merchandise the Washington apple crop. Mr. Blackburn next projected the petroleum research movie, "Oil For Aladdin's Lamp." This subject is one of the latest releases made for the Shell Oil Company, and is one of a series known as "Shell Progress In Pictures." For this production, 35 millimeter standard theatrical size negative was used from which black-and-white 16 millimeter reduction prints were made. Its length is 1200 feet. With script by Norman Blackburn and John Eugene Hasty, the production was directed by Joris Ivens, with Floyd Crosby at the camera. Harlow Wilcox does the commentary. An excellent, interpretative musical score heightens the effect of the picture. Assuredly, "Oil For Aladdin's Lamp" was an ambitious undertaking in business film production for, while covering a difficult scientific subject, it had to be made so it would appeal to oil dealers and laymen alike. That the assignment was well done is evidenced by the completed picture. It's an intriguing film, told in easily understood sequences, of the scientific discoveries and experiments which are being made at the great $3,500,000 laboratory of the Shell Development Company, located at Emeryville, in northern California. The sizeable task of transferring to the screen the progress of science, and of scientific experiments affecting everyday life, was accomplished in only nine days of actual shooting, although advance work on the script required weeks of research. Right before one's very eyes parade such a skillful array of startling experiments that you feel like looking around for the magic wand that produced them. You expected to witness technical abstractions a laymen wouldn't understand — but — instead, you see synthetic clothing and milady's jewelry produced from petroleum! Amazed you are by various forms of plastic materials that come from oil, and lucite plastic that causes a beam of light to bend around a corner! You see a laboratory "weather-maker" that reproduces the various climatic conditions of the universe, at the touch of a button! But you are sure you're "seeing things" when, with a fluid mixture, a laboratory scientist proceeds to "bounce" the contents on a table! . . . synthetic rubber has been made right then and there before you. So engrossing is "Oil For Aladdin's Lamp," plans are under way to re-cut and re-edit it and give the revised edition a theatrical presentation in the nation's theatres. As a short subject, the film should prove good entertainment. The business of producing advertising films is not entirely confined to real persons, sets and things. Mr. Blackburn told of the use of cartoon films . . . brief, lively, entertaining short shorts . . . which also are being made for advertising sponsors. 26