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Book Reviews
can do little about it. The amateur is warned not to use old photofloods and to be very careful with line voltage to avoid the brick-red flesh tones. Those professionals who have made accurate experiments with Kodachrome will not agree with Mr. Bond on all of these points. The majority of the amateurs taking motion pictures still have a great deal of trouble in securing correct exposures, even with the relatively simple exposure meters on the market, and if he attempts to calculate color temperature as well as exposure the average motion picture maker will probably become somewhat confused.
I feel that Mr. Bond has made the mistake of many still photographers who have turned to motion pictures. He constantly makes still pictures instead of motion pictures. In fact, a number of the illustrations are pictures used in his book on still photography entitled, "Kodachrome and Ektachrome and How to Use It." Most of the illustrations on lighting are very good for still pictures, but are not suitable if any action is to take place. Unless there is action, it is not a motion picture. You get the feeling all through the book that he is trying to tell the motion picture maker how to take a number of beautiful photographs with no thought of continuity in action, writing, or composition.
A chapter is devoted to theatricals and indoor sporting events. Mr. Bond also gives some rather definite exposure suggestions. Shots of theatricals and indoor sporting events have made the film manufacturers a great deal of money, but the number of bad pictures or no pictures far outnumber the good ones. For example, there are a few basketball courts in the country with enough light to obtain good pictures with the fastest black-and-white film. There are probably basketball courts somewhere in the country where color motion pictures can be shot, but we have seen it tried on a number of courts in black-and-white and we have even taken motion pictures for the National Tournaments. There is not any too much light for black-and-white even on these courts, which are supposed to be ideal. We, therefore, feel that color motion pictures on most courts is simply out of the question for the average amateur and the average basketball court. The average theatrical is just as hard to shoot.
Anyone doing color photography and who likes to read will enjoy the book, even though he does not agree with it entirely. He should get some ideas, although we cannot say it is a "must" for every movie maker.
LLOYD THOMPSON
The Calvin Company
Kansas City, Mo.
105