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ioo THE OPTICAL LANTERN AND CINEMATOGRAPH JOURNAL
main object of interest would be within the range of the lens, from this view point, longer than from any other.
Thus far we have been considering the best fixed view point, but it is obvious that if the field of view could be extended whilst the camera was still in progress of operation, in many instances it would be a great advantage. This fact has been realised by manufacturers, v/ho have made provision accordingly by the accessory piece of apparatus called the " Panoramic Base." With such an appliance the camera could be made to embrace the field G, H, I. Thus, whilst the main object of interest passed from J to N,
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the camera would be kept in a stationary posiiion ; and then, as the said object of interest began to move still further to the right, the camera would be turned on its axis in a right hand direction. In this way the subject is followed up to any desired extent, so that the field covered in the complete operation would be widened from its otherwise limited angle G, H, E, to the more extensive field G, H, I.
It often happens that a procession is delayed on its way, and many instances could be related of how, to the joy of the operator at the camera, the halt was made just as the celebrity of great importance came opposite the camera, and by making use of the "Panoramic Base" the camera has been swivelled round, and the celebrity (indicated at L in the diagram) has been kept in view for a period of some minutes, making possible a unique and much desired record.
Imagine, then, the feelings of the non-up-to-date animatographist, who, not possessing a " Panoramic Base," and who had taken the procession as it passed from J to O, had perforce to content himself as best he could with a visual embrace of the celebrity, knowing that the imagery now depicted upon his troubled retina was there only to fade away again, whilst the means of a permanent record, the retina (film of his camera), stood idly by.
Animatographists cannot afford to neglect attention, not merely to the last remarks in the present chapter, but also to those in reference to selection of lighting and view point.
In the early days of the Living Picture Era, shadowy and otherwise defective results upon the lantern screen passed in virtue of the great novelty of seeing pictures apparently alive. Now the general public are more extravagant in their ideas — more educated in the art of technical analysis, so that the time of shade and defect has passed, to give place only to the work of experienced and skilful operators.
(To be Continued.)