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CAMERA MECHANISM 535
own opinion merely. If the capital "I" creeps into my discourse, let me down gently and do not consider that I pretend to have invented everything. I often take up old and almost forgotten books on technical subjects, to see what our forefathers did. In many cases 1 have found descriptions of old processes and methods, long fallen into disuse, but which could often advantageously be combined with modern practice. A glance at obsolete ideas is, in my opinion, very often useful in starting a new train of thought and investigation.
The camera since its first days, like all other inventions, has undergone many changes in the construction and arrangement of its parts. It has been improved step by step, and still goes on improving. Finality is still a long way ahead. The standard model of today is unlikely to be the standard model ten years hence. The recent arrival of the talking picture has introduced new requirements in the camera. Quiet running and increased taking speed are new problems for the inventor. I propose first to run through the principal changes in camera construction since photographically produced moving pictures were first projected on the screen.
Moving pictures of a kind — not produced by photography — were shown many years before the introduction of film, and others produced by photography, but taken on separate plates exposed one after the other by a series of separate cameras, were shown by Muybridge. I saw these projected at St. James' Hall, Piccadilly, I do not know how many years ago. They were merely silhouettes on a small screen, badly lighted, but were sufficiently wonderful to attract considerable attention. I could tell you of other moving pictures. In the early days of the science, it was usual to employ the same or a similar mechanism, to take the negative and project the positive. After the first pictures were shown at the Empire by Trewey, who had a concession from Lumiere, the camera by which they were taken was understood to be almost identical with the projector which produced them on the screen. I saw these pictures and at once set to work to devise apparatus. The details of Lumiere's apparatus were kept secret for a time, but soon the particulars leaked out, and the principle became known to several. Before I saw the Lumiere camera, I came across a home-made one with which pictures were taken. Mr. Pescheck, then the chief electrician at the Palace Theater, was the designer, and he and his partner, Chard, took many films and gave many shows soon after Lumiere' s apparatus first appeared in England. I cannot remember which camera I saw first, nor can I recall the exact