Screenland (May-Oct 1940)

even have noticed the Pope's hand, much less seen beauty in it. Since his marriage Ty's home is no longer a favorite hang-out for all the young boys in Hollywood. In his beautiful home now you meet the Ronald Colmans, the Charles Boyers, the Warner Baxters, and the movie producers and their wives. Anna-1 bella has seen to it that he meets the right people. And, just as she knew he would, he likes them much better than the fresh kids he palled around with prior to his marriage. Tyrone Power, at twenty-five, and one year a benedict, has become one of the best read, best liked, charming young men in Hollywood. Annabella can take a bow. He Makes His Camera Sing! Continued from page 63 satisfy me. I discovered that I could use color film in my Contax, Eastman would develop it for me, and I could either project the tiny prints in my movie projector, or blow up the ones I liked into real pictures. Of course I use black-and-white for late afternoon or when the light isn't bright enough for color. "The more I worked with a camera, the more I wanted to know about it. It's fascinating. When I get the negative back from Eastman, I go into my darkroom and make three prints from it — one blue, one red, and one yellow. Come on out to the darkroom and see for yourself !" Kenny, junior, aged three, and Susie, aged one and a half, were playing between the house and the darkroom. Susie, who had firmly taken possession of 'her brother's velocipede, ignored us, but Kenny, junior, smiled and welcomed us with "Hi." "Susie was so fond of Kenny's little red skooter that we gave it to her and bought the velocipede for Kenny. Now she has that," observed her amused parent. "At first we were afraid she'd fall, but her nurse watches her and she's too determined to fall when she's having her own way." Little Kenny followed us up the stair to the darkroom, singing "Hi !" with every step, and had to be discouraged. "No?" he inquired, his sunny temper never failing, and down he went again, cmging "Hi !" happily on each downward tread. Kenny led me into the long, narrow darkroom, equipped with sinks, knotty pine shelf -table, enlarger, printer, waterfilter, developer trays, time clock and all the paraphernalia of the camera fiend. Color printing is exacting work. Films must be dyed, washed, and enlarged. The three prints, yellow, red, and blue, must be put together carefully so that no tiny shred of color overlaps before the final picture can be made. "The trouble with color pictures is that you can't make them over in trfe darkness," said Kenny. "Most of the successful cameramen who work in black-and-white change a poor shot into a good one by care in the darkroom, changing shadows, bringing up interesting points, and so on. You can blow up one part of a color shot, yes, and you can cut off too much foreground, but you can't have much contrast, too much light or shade, or it won't turn out well. A monotone color picture is best. If you take a shot in brilliant light so that the cheeks and chin of your subject are lighted and there is shadow in the neck and under the eyes, it's bad. You can't get your hand in while you're printing to stop the shadow from going black, and you can't hold back the light where it's too hot. That's why it must lie right when you click the shutter." On the walls of the darkroom hung finished color prints — red poppies blowing in the wind, a girl against a sapphire sky, haymakers at work in a field. Kenny regarded them frowningly. "Some of my first work," he said. "Lots of things wrong with them. Now here—" he tapped the shelf where a glass slide had been inserted— "is some of the stuff I've just made. Got it back from Eastman yesterday and haven't selected the ones I'll blow up." He snapped on a light beneath the glass slide and immediately there sprang into view a dozen or more small colored pictures— little Kenny with hands and face smeared with paint from his paintbox, small Susie tilting back a golden head, sunsets almost too vivid to be true, an English village asleep on a hot afternoon, a forest deep in ferns, a clump of daffodils. "Try this gadget and look at them," Kenny extended a tiny microscope that fitted in my eye. Through it, each fern in the forest stood up graceful and delicate, the baby skin of the children showed appleblossom smooth, the stone in the English chimneys looked old and worn and warm. "No, I shan't blow them all up. Ask any cameraman ; they'll all tell you that they often shoot a whole roll before they get one picture that's worth saving," said my host. "Over in England, where I went summer before last to make 'The Mikado' there are lots of camera fiends, but it's an old sport there and everyone has his camera. They do things more simply than we do because there's not so much money. Over here if a man gets the bug, he may spend as much as $400 on an outfit, and every time he hears of a new gadget, he gets it. But over there they figure out ways to get along with what they have, or build something themselves. If I had a little more time to give to photography, I think it would be fun to figure out substitutes for all this stuff. "When I do black-and-white stuff, as I've done for Screenland's pictures, I go into experiments which I find interesting. The shot of Yahbut, our terrier, is made from a positive, so that black prints white and white prints black. I took the dome of the Capitol at night from the front of the lagoon to get the effect of the floodlights on the fountains." Kenny hopes to be a gentleman farmer. That's the reason he can't spend every spare moment with his camera. "Some day, I'll have a ranch. I'm taking courses in cattle breeding, because breeding cattle will be my major interest, and in agriculture because every farmer needs all he can learn about that." We were back in his den by this time, thumbing through stacks of government pamphlets issued to help the farmer solve his pressing problems. "I have all sorts of theories," confided the young actor. "I shall analyze my land when I find the ranch I want and keep a record of what I grow on it. According to my analysis, I'll enrich it, or give it lime, or do whatever is indicated. I shall keep chickens, naturally. I have a theory about hens, too. Each hen should be given her own pen and her own pan; she should be kept to herself so that a record can be made of how much she eats, how frequently she lays, and so on. 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