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To the

Motion Picture Industry

For 1931

Twelve Months of

Happiness and

Prosperity

Simeon Aller Wesley Smith and

Du Pont Pathe Film Mfg. Corp.

January, 1931 The INTERNATIONAL PHOTOGRAPHER One

C O L O R

with your Bell & Howell

A fact of interest and importance to cameramen and producers— your regular Bell & Howell Cameras can be used for the Bi-Pack color processes.

A special intermittent mechanism, an adaptation of the famous B & H pilot pin mechanism, is used to handle the two negatives. This unit is readily interchangeable with the regular, ultra-speed, or silenced mechanisms. Simply by changing this mechanism and, of course, the magazine and the film, any Bell & Howell Camera can be converted for color from monochrome, and vice versa, at a moment's notice.

The new mechanism is so constructed that the focal plane of the Bi-Pack films (which are run emulsion to emulsion) is in exactly the same position as the focal plane of the black and white film in the regular mechanisms. There is no necessity for any change or adjust- ment on the camera itself — the focusing ground glass is left in the standard position.

♦ ♦ ♦

The new Cooke Speed Panchro and Panchro lenses are also ideal for Bi-Pack color processes, as they are corrected to the wave lengths utilized by the Bi-Pack emulsions. Their special correction adapts them equally well for modern monochrome work with panchromatic film and incandescent lighting.

Write for further information on B & H Cameras or these new Cooke lenses.

BELL & HOWELL

BELL&HOWELL CO., 1849 Larchmont Avenue, Chicago, Illinois New York, 11 West 42nd Street • Hollywood, 6324 Santa Monica Blvd. London (B&H Co., Ltd.) 320 Regent Street • Established 1907

Tivo

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Scene from "Morocco" — A Paramount Picture

NEW STAR

A NEW SUN

I

N winning popularity for a new star good photog- raphy is as essential as a good play and good acting. National Photographic Carhons give the brilliant illumi- nation and the same quality of light as natural sunlight. The cameraman asks nothing better. Good photography is assured by this new sun — the product of modern research, up-to-date manufacturing facilities and trained technical staff.

and the star will appreciate the comfort of

the stage — even with the maximum intensity of lighting — when National Photographic Carbons are used.

NATIONAL

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Unit of Union Carbide I I ■ ■ and Carbon Corporation

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IN TE FNATIONA L PHOTO GRAPHE R

Official Bulletin of the International Photographers of the Motion Pic- ture Industries, Local No. 659, of the International Alliance of The- atrical Stage Employees and Molt- ing Picture Machine Operators •/ the United States and Canada.

Affiliated with

Los Angeles Amusement Federa- tion, California State Theatrical Federation, California State Fed- eration of Labor, American Fed- eration of Labor, and Federated Voters of the Los Angeles Amuse- ment Organizations.

Vol. 2

HOLLYWOOD, CALIFORNIA, JANUARY, 1931

No. 12

"Capital is the fruit of labor, and could	not exist if labor had not first existed.
Labor, therefore, deserves much th(	' higher consideration."- — Abraham Lincoln.
C O	N T	E N T S
Noiseless Recording Gets Nearer....	4	Varges Flies Over Mount Fuji	.19
Technicians Pass Wide Film and		Chicago	.24
Discuss New Recording	4	By Harry Birch
By Fred Westerberg		Thirty-Three Years Old Films
Regulating Density of Sound Track .	. o	Product of Eastman	.27
By H. C. Silent		Wherein We Set Forth Our Regrets.	.28
A Couple o' Columns	8	Amateur Department	.29

What Happens When Cameraman Has Day Off	9	Real Romance of "Home" Films	.29
Hoke-um	11	With Portable Reproducer Operator
By Ira In Memoriam — William Stuart Adams	.12		30
With Films Men's Club Finds Way
Looking In on Just a Few New Ones.	.14	to Boost Church Treasury	.31
By George Blaisdell		How Old World Artist Home Grew
The Joys of a Location (Cartoon) . . .	17	on Bleak Wasteland	.36
By Glenn R. Kershner		Picture Photographed by War Pigeon	.37

Technical Editors

The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.

and M. P. M. 0. of the United States and Canada Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under

Howard E. Hurd, Publisher's Agent

George Blaisdell Editor Lewis W. Physioc 1

Ira Hoke ------ Associate Editor Fred Westerberg \

John Corydon Hill - - - Art Editor

Subscription Rates — United States and Canada, $3.00 per year. Single copies, 25 cents

Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128

The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of motion pictures in the United States and Canada. Thus The International Photographer becomes the voice of the Entire Craft, covering a field that reaches from coast to coast across the nation. Printed in the U. S. A. i^siH^2 at Hollywood, California.

Four

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Noiseless Recording Gets Nearer

Western Electric Announces New Process It Declares Greatest Advance in Talking- Pictures in Last Four Years

ANEW system for the recording of talking pictures, designed to eliminate extraneous sounds, hissing and scratching noises, has been announced by Electrical Re- search Products. It is known as the "New Process Noiseless Recording," and is claimed to be the greatest ad- vance in talking pictures in the last four years.

The new process will soon be in use by many of the major producers. The first picture using this new process of recording is Paramount's "The Right to Love," starring Ruth Chatterton, now being shown.

The development of the process is a result of many years' work on the part of sound engineers to elimi- nate the "ground noises" which have marred the perfect enjoyment of talk- ing pictures. Now it is possible to re- cord and reproduce in theatres the faintest of sounds without having them "masked" or covered up by these extraneous, hissing and scratching sounds.

Every syllable of even the softest spoken words, whispering and the sobbing of a distressed heroine now will become clearly audible. The new process produces a greater realism and is a great step toward perfection of the talking picture.

Problem of Loud and Soft

"One of the major problems con- fronting sound engineers has been the extension of the volume range of sound recording and reproducing," ac- cording to H. G. Knox of Erpi. "This means the ability to reproduce both louder and softer sounds.

"There are, of course, two ways of widening the volume range in record- ing and reproducing. One is the re- cording and reproducing of higher volumes, which means the handling of louder sounds. One obvious way to do this is by increasing the amplifier power and the capacity of the loud speakers to handle it. This presents practical difficulties in that it would require new and more powerful the- atre equipment.

"The second method is to broaden the volume range by making it pos- sible to record and reproduce sounds of lower volume. To do this necessi- tates reducing the extraneous electri- cal, mechanical and photographic noises heretofore recorded which mask or cover up the desired sounds.

"In the theatre this means simply the refinement and better maintenance of its sound equipment. In recording- it means the reduction of the electri- cal and mechanical background noises commonly called 'ground noise' so that every syllable of very soft sounds,

such as whispering and sobbing, will become clearly audible.

"One hushed gasp out of utter still- ness may climax a dramatic crisis. A single low word after a long silence will startle the waiting audience. It is the successful solution of this prob- lem that makes the new process of noiseless recording possible.

Increase in Sensitiveness

"The new method of recording re- quires some additional equipment and changes in the present recording sys- tem, which produce a tremendous in- crease in sensitiveness to sounds that are to be recorded.

"Motion picture audiences are well aware of the hissing or scratching sound which becomes audible as soon as the sound apparatus is switched on. In other words, during the silent introductory title of a picture every- thing is quiet. Just before the record- ed portions of the film start listeners are warned of the coming sound by the scraping ground noise coming from the screen.

"While in good recording this ground noise is not particularly offen- sive, it nevertheless means that any whispers or low level sounds on the film must be raised artificially to a relatively high volume if not to be masked by the noise of the system itself. During normal dialogue or music the presence of the ground noise fades to relative unimportance and, of course, during loud dialogue or heavy passages of music it is com- pletely covered up. It is, therefore, a question of making 'silence' silent.

Removing the Mechanical

"While the problem can be simply stated, the method for its solution has been many years in the making. At last, however, the film recording ma- chine has been so modified that all audible evidences of its mechanical nature have been removed, and under the new process it is possible to record the lowest whispers in thrilling si- lence.

"Fortunately this innovation comes at a time when audiences are demand- ing more realistic sound and at a time when producers are using less dia- logue and more silence. To be effec- tive the silence must be complete.

During dramatic periods the ex- pression will soon be true, even in a talking picture theatre, that 'it was so quiet one could hear a pin fall.'

"As with every startling improve- ment higher standards of perform- ance are involved. A standard of de- veloping and printing of films higher than the already exacting technique of sound pictures is demanded. The reproducing equipment in theatres will likewise require most careful

grooming and maintenance if it is to handle noiselessly pictures recorded in this new way. By and large, how- ever, noiseless recording is the great- est advance in talking pictures in the last four years."

Technicians Pass Wide Film

find Discuss New Recording By FRED WESTERBERG

A MEETING of the technician's branch of the Academy of Mo- tion Picture Arts and Sciences was held at Universal City on the evening of Dec. 11 under the chair- manship of J. T. (Ted) Reed.

The meeting was held for two rea- sons. One was to give further consid- eration to the wide film problem, the other to demonstrate noiseless record- ing, a recent development of the Western Electric System.

The salient features of silent re- cording were demonstrated by H. C. Silent of Electrical Research Prod- ucts. Mr. Silent's complete paper will be found elsewhere in this issue.

Mr. Reed stated it was his experi- ence that the practical elimination of ground noise had not increased the problem of camera noise.

No added sound-pr-oofing of the camera blimps was found necessary, at least at his studio, he said.

Another point brought out was that somewhat closer adherence to a gamma of unity seemed advisable from the standpoint of sound. The problem stated in simple terms is this: The sound technicians want to develop the print to a lower gamma, which means less time of development and hence less contrast. They would rather put their contrast into the neg- ative.

Siamese Twins

The cinematographer, on the other hand, from long experience has found that contrast in the negative is not desirable, that a soft negative and a fully developed print produce the best results photographically.

However, as long as sound and pic- ture are Siamese twins these condi- tions will have to be compromised as well as possible. Under the circum- stances one cannot very well tell the other to jump in the lake.

The proposed discussion of wide film faded out quickly when it was found that the demonstration reels had not arrived. Mr. Reed and Mr. Du Bray spoke a few kind words for the deceased. Mr. Reed sounded a faint note of encouragement to the cinematographer when he said that perhaps after the current depression is over and all phases of the problem have been thoroughly sifted and vari- ous groups persuaded to relinquish their pet panaceas, then perhaps some standard might be adopted.

Believe it or not, but the meeting closed with a reel showing among other things how to catch a goe-duck, which is reallv not a duck at all. It is a clam, but what a clam!

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Five

Regulating Density of Sound Track

By Automatically Doing That at the Recorder

Technicians Have Reduced Materially

Effects of Ground Noises

By H. C. SILENT

Development Engineer Electrical Research Products, Inc., in Paper

on "Noiseless Recording Western Electric System"

Read Before Academy Technicians

IT IS common knowledge that, when a sound print of the variable den- sity type is played in a reproduc- ing machine, the volume of the repro- duction is low if the print is dark and if a compensating adjustment is not made by turning up the fader. In ad- dition, the ground noise of the film is also low.

It has been a problem to take ad- vantage of this latter fact with the former methods of recording, because the mere act of printing the sound track dark, while it reduced the ground noise, also reduced the volume of sound from the film.

This, of course, was undesirable. In the method of recording which is now being employed, these undesir- able effects are overcome bv regulat- ing the density of the sound track at the recorder automatically.

It is well known that there is a par- ticular value of density or transmis- sion of the photographic emulsion which permits of the loudest volume from the film without exceeding the photographic limits of good quality.

Deviation from this point is possible without distortion if the volume or percentage modulation applied to the film is reduced. This can be taken advantage of by causing the film to be dark on low volume modulation, and as modulation becomes higher we lighten the film to the point where it has the greatest possible carrying ca- pacity.

Noise Worst in Quiet

If this can be done without distort- ing the volume of sound reproduced by the film, then we shall have a con- dition where the ground noise from the film is low during periods of low sound. Thus quiet intervals in the sound will be quiet, and the ground noise, even though it rises with the sound, will always be more or less drowned out by the increased sound, so that there is an effect of consider- ably reduced ground noise.

In other words, there is produced a constant signal to noise ratio in which the signal is always very predominant over the noise, and since the noise is

most noticeable in the quiet intervals, there is a very real reduction in the amount of the ground noise.

There are a number of methods by means of which this variation in the transmission of the film can be effect- ed. If we examine for a moment the light-valve employed in the Western Electric system of recording we shall see how one of these methods can be applied. In the past this system has employed a light-valve in which two ribbons were normally spaced .001" apart.

These ribbons were vibrated by the sound currents, movin" but a slight distance on weak currents and a con- siderable distance on loud currents. The strongest currents would just bring the ribbons into contact as they vibrated. The space between them was therefore greater than necessary to permit the free vibration of the ribbons on weak currents.

Vibrating Ribbons

A sound track recorded under this method had a constant density cor- responding to the one mil spacing be- tween the ribbons and this density was caused to vary with the voice cur- rents but maintained always its con- stant average.

Under the new system of recording an auxiliary electrical circuit is asso- ciated with the light-valve, so that when the sound currents are small and the ribbons need vibrate over but a very small amplitude they are brought close together and this small vibration almost entirely fills the space between them. Then as the sound increases in loudness, so that the ribbons are required to vibrate

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Figure 1 (left) — Approximate variation of reproduced noise vs. density of soioitl track. Figure 2 — Light votive

carrying capacity vs. input.

Six

The INTERNATIONAL PHOTOGRAPHER

January, 1931

with a greater amplitude, the spacing is automatically increased bv the elec- trical circuit, so that it is always just a little more than sufficient to permit this vibration of the ribbons.

This is equivalent to altering the average spacing of the ribbons, so that it is at all times proportioned to the envelope of the sound currents. Now, if we regard the amount of light which passes through the aver- age spacing of the ribbons to the film, we find that this light is consid- erably reduced during moments of silence or of low sounds, which results in a dark sound print.

No Volume Distortion

As the ribbons open up for in- creased sound currents the amount of light correspondingly increases and a lighter sound print results. Since the actual vibration of the ribbons under the action of the sound currents has been undisturbed in this process, the amount of change of light which reaches the film and in turn the re- producing photoelectric cell has been unaltered even though the total amount of light has been decreased.

Since the amount of change of light is unaffected, there is no volume dis- tortion on reproduced sound as a re- sult of this method of recording.

The extent to which the light-valve ribbons may be closed during quiet in- tervals is necessarily limited. They must not be completely closed, be- cause it is not possible to construct a device which can instantaneously sam- ple the amplitude of the sound cur- rents and set the ribbons to their proper spacing without introducing expensive delay circuits as auxiliary equipment.

Technique Unchanged

Therefore, in setting up the device, the spacing of the ribbons is reduced to something considerably less than their normal spacing but not as far as complete closure. Furthermore, the latitude of the photographic emulsion is not infinite and also limits the ex- tent to which the closure of the rib- bons may be effected without exceed- ing the straight line part of the emul- sion characteristic.

Since this new method contemplates

recording over the same part of the film characteristic, and within the limits of this characteristic previously utilized, there is no change in film technique. The processing which pro- duced the best quality of reproduction with the former method gives the best quality with this new method.

Referring to Figure 1, which is an approximate characteristic of the ground noise obtained from film of various densities, the point A indi- cates the approximate density em- ployed in normal recording. By shift- ing the ribbons to have something less than their normal spacing, we can in- crease the density during the quiet portions of the sound track to point B. This results, then, in a reduction of the noise in the quiet intervals. Automatic Spacing

Then, as the sound currents are ap- plied to the valve, its spacing auto- matically varies, so that it at all times has sufficient carrying capacity, as represented by the spacing be- tween the ribbons to carry the applied sound currents. A slight amount of margin is always established as a fac- tor of safety, in order that a sound which builds up suddenly will not clash the ribbons. The manner in which the carrying capacity of the light-valve or, in other words, the spacing of the ribbons varies with the applied sound currents is illustrated in Figure 2.

It will be seen from this that for weak sound currents below a certain minimum amplitude the ribbon spac- ing is always the minimum, and the averaging spacing is unvarying. As the sound currents build up to near (heir maximum amplitude, it is seen that the average spacing of the rib- bons (or their carrying capacity) is gradually increased up to a maximum which corresponds to that of the nor- mal light-valve.

As the input is further increased, (here is no further increase in the ribbon spacing, and clash occurs as in the normal light-valve.

It is entirely possible to continue the carrying capacity of the ribbons upward by allowing their spacing to exceed the normal spacing. No use- ful purpose is served by this, how-

Figure 3 — Noise reduction amplifier.

Figure U — Noise reduction control unit.

ever, since the carrying capacity of the photographic emulsion would be exceeded by so doing and an effect equivalent to clashing of the light- valve would be maintained.

Therefore, the device has been pur- posely arranged so that photographic overload and light-valve overload oc- cur simultaneously, if the recording- lamp has been set for normal record- ing.

The general principles of noise re- duction for sound records on film may be applied to other than the present form of light-valve recorders by mak- ing circuit changes as required by the particular type of equipments in- volved.

Relatively Simple

Operation of the apparatus em- ployed in this recording system is rel- atively simple, although considerable time and effort have been spent on its development. The equipment is di- vided into two units — an amplifier sit- uated usually at the location of the main amplifiers and a control unit fed by the amplifier and situated at the film recorder. These units are shown in Figure 3 and Figure 4. Ad- justment of these units is simple and means are provided for checking the adjustments quickly and at fairly fre- quent intervals.

At the present time commercial re- cordings are being made with a re- duction of ten decibels in the ground noise. It is expected that as more ex- perience is gained in the use of this equipment the noise reduction may be increased. Even ten decibels is a very noticeable reduction and permits an extension of the volume range to a point where sounds previouslyly com- pletely obscured in ground noise be- came definitely a part of the repro- duction with a consequent consider- able enhancing of the dramatic effect and naturalness.

The practical elimination of this ground noise in the theatre gives to the audience a feeling of being pres- ent at the action ard a removal of the mechanical from the sound. The av- erage theatregoer's reaction seems to be one of finding the picture "easy to listen to" and possessing a natural- ness which all but places it in the class of "original" instead of "repro- duction."

January, 1931 The INTERNATIONAL PHOTOGRAPHER Seven

(greeting* anb a tribute

Witi) parbonafale pribclafein Corpora= tion looks back ober a recorb of £ig= nificant £erbicetin tbe introbuction cf Haco Higbting equipment to tbe motion picture inbustrp,

©utstanbing in tbis recorb of success ful accomplishment is tbe lopaltp of our manp frienbs toitbout tobom our efforts tooulb babe been of no abail,

Eeali^ing tbis, toe sincerely are glab at tbis goobtoill Season to extenb to all tbose associateb toitb ttje motion pic= ture inbustrp as; toell as our frienbs in otber fielbs of business actibitp, our most tywvtp toisbes for

S prosperous iSeto gear

"M it's not a ^c ifg not silent!"

Hafetn Corporation

1707 Mauh Street ILofi &ncjdc£<, California Capitol 5387

Eight

The INTERNATIONAL PHOTOGRAPHER

January, 1931

A Couple oJ Columns

WITH the passing of the wee'-s we may now more calm- ly and retrospectively refer to the late Gorman A. Charles, whose tragic passing- in Hololulu November 10 was briefly chronicled in the pre- ceding- issue. Gorman was a staff sergeant of the United States Army, official Signal Corps photographer of the Ninth Corps area, ar-i first lieu- tenant in the Signal Corps reserve.

The sergeant was stricken with a heart attack but two hours after land- ing- in Honolulu, where he had been assigned for a few months before a return to Washington, to which he was looking forward with much in- terest. A rigorous physical examina- tion before leaving ^an Francisco had returned a report of 100 percent, and surely the husky soldier perfectly looked the complete truth of the re- turn.

For two months in the late summer the sergeant had been in Hollywood under orders to acquire all Possible information regarding the technique of photographing sound pictures. Through complete cooperation of the officials of Local 659, of which the sergeant was a militant member, and the executives and employes of the studios he was given every facility to pursue his ouest.

* * *

To his intimates — and he made them quick1 and just as surely "with hoops of steel" — the sergeant talked of his approaching retirement and of his plans to make his home in Holly- wood. He owned property in North Hollywood and a cabin in Mint Can- yon of which he was very fond.

The sergeant also was a strong- partisan of The International Photog- rapher and had confided to its staff his aims for furthering its interests in so far as his duties and obligations as an active soldier would permit.

The passing of the sergeant, yet in his forties, was a distinct shock to his fellows. Those who came to know him loved him for himself, for his manly attributes, his camaraderie, his personality sharpened by twenty- two years spent among the fighters of Uncle Sam.

It must have occurred to many readers as a singular coincidence that in the files of this office there should have been one of the sergeant's shots of the Washington Monument, its towering height reflected in the placid waters of the Potomac River — and that his resting place should be with former comrades in nearby Arlington.

IT MUST have been with mingled feelings that Ernest Torrence followed on the screen the work of Noah Beery in "Tol'able David." It will be recalled it was the former who played in the original production starring Richard Barthelmess the part of the all-around bad egg es- sayed by Beery in the picture now being issued by Columbia.

Torrence told the story of the aftermath of that portrayal at a luncheon in New York. The occasion

was the celebration of the completion of the first year's run of "The Covered Wagon" at the Criterion — and at that time a year's run of one picture, even in a small house, was something to celebrate. It is quite likely it always will be.

The player had been brought on from Los Angeles as the guest of Paramount at the festivities attend- ing the large event. In the course of his chat at the luncheon he briefly sketched his background at the time he undertook the part in the absorb-

ing tale of the southern hills. He spoke of his work on the concert stage and in musical comedies.

After the appearance of the picture whenever he applied to a casting di- rector for work he was cordially greeted but always in varying lan- guage was informed it just happened at the time there was open no place for a "dirty dog heavy."

After beine- without an engage- ment for a full vear and a half, and as he believed solely by reason of his abearance in that picture — which every one who recalls it will agree was outstanding in its realism — the player was accorded an interview by

(Continued on Page 32)

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January, 19-31

The INTERNATIONAL PHOTOGRAPHER

Nine

What Happens When Cameraman Has Day Off -in Stamboul-Try V Find Out

OUR mission completed, the crew is ready to leave for Berlin, the camera is once more in the cus- tomhouse, and I have a few minutes to write.

It is Friday, Turkish holyday. Rue Pera, the main street of Stamboul, is crowded with people of all national- ities, colors and races. Soldiers on leave, foreign sailors riding gloriously through the town in high powered rented automobiles, Turks yelling to me in strange tongue. In this atmos- phere I am walking down the street. It seems like swimming upstream, working hard but getting nowhere. I actually have to elbow my way through the celebrating crowd.

Here I am three days already and don't know a Turkish woman yet. It is high time to go out and find some. As I walk along, from the distance two deep black eyes like two black diamonds catch my attention — the famous Turkish eyes of which one hears so much. They are coming closer and closer.

I cannot take my eyes off the owner of these orbs. And what a fig- ure! As she passes by me she gives me a promising glance. Here is my opportunity. I turn around and fol- low her. She looks back several times, even smiles.

Building up Suspense

In the great excitement I forget everything. I do not see anyone. For a moment she disappears in the crowd, but I see her again. She is going faster. We are off the main drag, away from the traffic, but she just keeps on going. I am getting closer and closer, but she speeds up now and almost runs.

Down old streets, up steps, I do not care. One would do almost anything to make the acquaintance of a real Turkish girl. Occasionally she looks

back, and I wish she would stop. I am tired, but she just keeps on run- ning. Where is she going?

Our way now leads through mys- terious looking narrow streets. My feet are aching from walking on these age-old cobble stones. The streets are dark. We are now in Galata. Every American sailor knows this part of the town. One just passes by me. He is from the cruiser "Ches- ter" and Cannes a huge bottle under his arm. His eyes are glossy.

But where is my Turkish girl ? Just turning around a corner. She is slow- ing down. Is she tired? Or perhaps she does it purposely. We are now near the water — the Golden Horn. The sailboats are silhouetted against the sky. In the distance are the min- arets of the mosques.

Near the railing my Turkish girl stops. But now the trouble begins. How am I going to approach her? In what language shall I address her? I only know two Turkish words, and those seem unsuited for the purpose. She smiles as I walk up to her.

"Bon soir, mademoiselle," I greet her in my broken French. She does not answer; just looks at me. Per- haps she does not understand it, so I try in German, Hungarian, even Russian, but she just does not answer. I do not know what to do. I get angr> and in real honest Hollywood lingo I explode:

"Say, what the Sam Hill language do you talk?"

"English," is her snappv answer.

I die.

And Thus Endeth the Lesson

So you see the life of a traveler is quite interesting.

(This doggone German typewriter has the letters set differently from ours.)

I have just got through shooting exteriors for a big German film, "The Man Who Killed." We got some beau- tiful stuff.

I have been in many slow countries, but Turkey takes the cake. Nobody works. Half of the week is holydays. Friday Turkish, Saturday Jewish. Then comes the Sunday when nobody does a thing. Besides, they keep all holydays of every nation.

This morning I saw a man who ped- dles brooms. I watched him. He sells one, goes into a cafe, drinks his cafe Turc, and in a few minutes is sound asleep. The street cleaner is sleep ing while sweeping the dirty street. I go into a store and ask for some- thing. "Tzz," the clerk says, which means no, and sounds as if he is clean- ing his teeth. Just too lazy to look for it.

Let's Hear from Assistants

What a life this would be for some of our assistant cameramen! I attempt to send in my dues, but find out that in order to send money out of this

country one has to have the permis- sion of the War Department and the Department of Interior. If the weather is good we shoot some of the exteriors. So I shall postpone the sending of dues. As soon as I get out of here I shall mail it in.

Inclosed you will find some snap- shots. They were developed in Tur- key, so don't blame me.

From here I am to go to Jerusalem, via Syria. What a trip! Thence to Egypt, where the people are still more Oriental and the odor still more appetizing.

My best regards to the gang.

JOHN ALTON.

Stamboul, Oct. 11, 1930.

T h e Came ra m a n

From Hollywood Filmouraph

DAY by day the status of the cinematographer in the talkie business is increasing.

With the many complications aris- ing with the introduction of sound, the task of the cameraman has been more difficult. Despite this, the re- sults of the einematographer's work are constantly getting better. This is evident in the beautiful photography that has distinguished recent pictures.

While the work of the players, the director, the sound men a^d the others who make a picture is always import- ant, yet, in the last analysis, it is the cameraman who produces the actual results on the screen.

It has been the habit for the indus- try to overlook the importance of the cameraman, but the fact that he is contributing a very vital share of the talkies' success is now becoming more and more apparent to the men who have the destiny of the motion picture in their hands.

The next time you see a picture well done, give a thought to the man behind the camera. Judge for your- self the value of his artistry. And, again, a cameraman has often saved an otherwise tedious picture by the very beauty of his work.

Jack Alton on a day off — in Stamboul

Ten

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Al Brick Tells of 1925 Eclipse Shooting

OUR Brother Al Brick, writer of this com- munication, is not only a first class cine- matographer, but he is a veteran and ex- pert aviator. He was formerly an instructor of flying- at both Kelly and Mitchel Fields, and has to his credit more than 900 after-war hours

Charles Lehman at his camera. Inset, Al Brick

flying with passengers and on photo- graphing trips.

Here Brother Brick tells interest- ingly of his experience photograph- ing the total eclipse of the sun, in New York City, January 24, 1925:

Two months before the eclipse I started working and getting informa- tion on it. I first went to see Dr. David S. Todd, professor of astron- omy of Amherst University, and what he told me about the sun was surely a lot more than I ever learned in school. To show this astronomical event on the screen, he said it would be necessary for me to have a 50 inch lens. This took my hat off, as where could I get a lens with a 50 inch focal length? He told me and I got it. Then I begged another brother cam- eraman, Charles Lehman, of Local 644, to help me. We secured a Debrie camera and mounted this F. 4.5 lens on it. This lens had no diaphragm, so we made one with about an F. 16 stop ; also used a red filter, as every- one knows shooting the sun was a bright subject; then when the total- ity came we had to shoot wide open and take the filter out, as it was so dark that it looked like night and there was nothing on the film, shoot- ing with the lens and shutter wide open and one picture cranking. 117 Seconds to Work

The totality from start to finish was less than two minutes (117 sec- onds). As the sun started to show from behind the moon we had to put our filter and diaphragm back again; we also had to crank it all one picture cranking, as we had only 400 foot rolls of negative. The time the eclipse started was 8:05 a. m., and finished at 10:08 a. m, just a little over two hours The totality was at 9:14 a. m., and we had to get it all in on 400 feet,

so we had to space our cranking, and this was done very successfully. Next our problem was to pan and tilt the camera so it would stay with the sun as it traveled. We put two motors on this and it was some job, as we had to gear it so that it would move with the sun at this time of day, so it will be seen that we could only try it out every morning between 8 and 10 when the sun would shine, and we surely lost a lot of mornings with clouds.

The clouds gave us something else to worry about, for if it should be cloudy on the day of the eclipse there would be no pictures from the ground and the movie fans could not see the eclipse. As T understand it, the eclipse happens only every 100 years in the same place, therefore, to make sure we would get a picture of it, I ar- ranged for a plane from the army field to fly above the clouds and get what we could with a 12 in. lens on an Akeley, which would be very small. We made the lens solid to the frame of the camera, so that it would not vibrate.

When everything was all set for the morning of January 14, I let Charles Lehman run the camera with the 50- inch lens on the ground while I went up eighteen thousand feet in the army plane. Well, it was a very fine morn- ing, clear and cold, and Lehman got very good shots, while I got shots you could not see and two frozen legs.

The camera used by Lehman, as I have said, was a Debrie and a box tube with the lens mounted on it. I had light rings in the wooden box- like tube and the lens was centered to the aperture of the camera. We drove the camera with a motor that would flash one pcture at a time, as we de- sired, always stopping with the shut- ter closed.

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Cinegor f:2 and f:2.5, a Superspeed series; ideal for work under unfavorable light conditions.

A new catalog listing the com- plete line of Goerz Lenses and Accessories will be mailed on request.

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319 B EAST 34™ ST. NEWYORKCITy

Wants to Know What's Said

According to a recent report from Trade Commissioner George R. Canty, in Paris, with the absence of the French and German "talkie" the Am- erican film is non-existent in Switzer- land, except for the films of certain well known stars, states a German press report.

The Swiss public is asking for talkers in a language it understands, naturally. In Italian Switzerland the Italian film is popular, but the French and German film finds a ready market in all other parts of the country.

Pratt Will Boss West

George C. Pratt, for many years vice president, director, member of the executive committee and general counsel of the Western Electric Com- pany and also a director and general counsel of Electrical Research Prod- ucts, has resigned these appoint- ments and offices. He has been elected a vice president of Erpi and will also assume new duties as special counsel for that company.

Pariche Flies to San Juan

Esselle Pariche, who is spending the winter in the South, writes from San Juan, Porto Rico, that he made the trip from Miami by air and will return to that point through the West Indies. He says he is getting some worthwhile material from the air and on the ground.

January, 1931

T h

Plane Language

Lyman Broening's young son, Al- bert, recently experienced the misfor- tune of dropping his dad's pet cast iron plane on the cement floor of the workshop. The result was disastrous.

That afternoon when quiet reigned once more on the Broening homestead his mother asked Albert what his daddy said when the plane was broken.

"Shall I leave out the swearwords?"

"Certainly," said his mother.

Albert pondered a moment, then sprung this one:

"In that case he didn't say anything, Ma."

And Sweet Sixteen?

Nowadays a girl is never "fat." She's 70 millimeter.

Dog Star?

Amateur Astronomer — Can you name a star with a tail?

Amateur Photographer — Sure. Rin- Tin-Tin.

Those Hollywood Boys

First Chorus Girl — Gosh, that ham actor is vain. He's been in front of that make-up mirror for an hour ad- miring his good looks.

Second Chorus Girl — That ain't vanity, Betty. That's imagination.

Figures Don't Lie

Director — Cleopatra is one of the most remarkable figures in all history.

Actor (coming out of trance) — Is, or had?

Them Days Are Gone Forever

Advertisement in Newspaper — No one has ever lost a penny in the Guar- anty Building and Loan Association.

Supercargo

Editor Blaisdell — Yeah, I'm going out to plav golf Thanksgiving morn- ing, and then by way of creating an appetite shall hit up the fresh wine —

INTERNATIONAL PHOTOGRAPH

— — -_ „ IT.

E R

Eleven

Hoke- urn

By Ira

although that will be what the cub re- porters call a work of supererogation. John Hill (almost audibly) — You mean superirWgation?

Scarcely Ambidextrous

First Cameraman — Jimnr- the as- sistant, says he wants a wife like Venus de Milo.

Second Cameraman — Kinda par- ticular, isn't he?

First Cameraman — Not exactly. He says when they come like that they can't throw things at him.

Quick, Watson!

Assistant Cameraman — That second cameraman told a pack of lies about me.

First Cameraman — You're lucky.

Assistant Cameraman — Whadda ya mean lucky?

First Cameraman — Certainly. Just suppose he had told the truth.

What Part?

First Actor — I played the father of the heroine in that famous play, "Money, Mortgage, or Sink."

Second Actor — Was it much of a part?

First Actor — I should say so. I was supposed to have died twenty years before the play began.

The Good Old Days

Sign on steam shovel excavating one-half of Sunset Boulevard for new paving.

"Quit kicking — This was once a cowpath.

The Height of Something

The night following the closin"- of the doors of the Guaranty Building

and Loan Association the janitor evi- dently forgot to turn off some of the lights, for above the building in its accustomed brilliance flamed all night long the big electric sign

"Guaranty Pays 6% on Your Sav- ings."

Best Seller

First Cameraman — I hear Jimmie quit the camera game. Did he inherit some money?

Business Agent — No. He invented a radio device which turns off the set whenever a jazz orchestra comes on.

This Is a Hard One

First Asst. — See that actor over on "B" set?

Second Asst. — Yeh. What about him?

First Asst. — A town in Massachu- setts is named after him.

Second Asst. — No foolin'! What town?

First Asst. — Marblehead.

Couldn't Help It

Assistant — My eyes are weak. Cameraman — That's not strange. They grew in a weak spot.

Shocking

M. Hall — This is my electric suit.

Henry Prautsch — Your electric suit?

M. Hall— Yeh. I wired for it, and had it charged.

Recorder Not Ready- Mixer — I don't know whether to go to the wedding or not.

Electrician — Who's getting married ? Mixer — I am.

Page Beesemeyer

Maury Kains will now sing that favorite Scotch song entitled "For Two Cents I'd Throw This Penny Away."

May Be All Right in Russia, But Don't Try It in America

A RECENT number of the Kras- nafa Gazeta, of Moscow, carried an item in connection with cine- mas that may seem somewhat aston- ishing to persons unfamiliar with present-day conditions prevailing in the Soviet State.

The item, in short, consists in the announcement that admission to cin- emas may now be secured at certain houses in exchange for payment in kind.

Old galoshes are prominently men- tioned in this connection. Old clothes, bags, small amounts of potatoes, eggs, flowers, etc., also are accepted. It is for the box-office cashier to judge whether or not the various odds and ends presented are sufficient to jus- tify the admission of the prospective patron.

Such conditions are probably par-

ticularly prominent in the rural dis- tricts (covering practically the en- tire country), where the shortage of currency is most felt

However, the extraordinary gen- eral poverty of the population and the enormous prices of every victual or manufactured product (a worn- down second-hand pair of shoes often costs more in Moscow than a pair of brand new ones in Europe) probably has been contributory in creating this situation.

stalled two American sound and talk- ing film outfits.

A new theatre is to be constructed by Arnaldo Roco in La Plata. It will have a seating capacitv of 1500 ana be the largest house in the city. It is expected to be open to the public by the end of Febiuary.

South America Building

An important new motion picture theatre, the Broadway, has just been opened to the public in Buenos Aires, bv its proprietors, Emsesa Augusto Alvarez. The theatre has a seating capacity of 2000, is provided with a modern American installation cost- ing 30t>,000 pesos of ventilating and air heating and cooling machinerv de- signed to insure the comfort of the patrons in all seasons, and has in-

No. 15 Men on Job

Director Monta B^ll is making scenes for "Fires of Youth," the drama which stars Lew Ayres with Genevieve Tobin featured, and the ac- tion takes place in the mailing room of a metropolitan newspaper. To ob- tain the utmost in realism, Bell is not depending on regular motion picture extras for the scene, but has engaged an entire mailing room crew.

These fifteen men are all members of Mailers Union No. 9, and are seen in swift action, wrapnin an entire edition of the paper for mailing. A number of the men will be heard as well as seen.

Twelve

The INTERNATIONAL PHOTOGRAPHER

January, 1931

In zJXCemoriarn

William Stuart Adams, died December ■1, 1930, following a relapse believed to be due to the effects of jungle fever contracted while in the East with "The White Captive" company and which caused his return home before the completion of the production. A widow and two children survive, as well as a brother, J. Stuart Blackton. Mr. Adams served overseas in the Signal Corps. He was a member of Clinton Lodge of Brooklyn as well as of Local 659. Burial was in Holly- wood Cemetery with Masonic rites

Wilcox Now Vice President

in Charge Erpi Operations

AT A MEETING of the directors of Erpi, Herbert M. Wilcox was elected vice-president in charge of operating-. Wilcox has been operat- ing- manager of the company, having had charge in that capacity of In- stalling and servicing Western Elec- tric talking picture apparatus.

Wilcox has been associated with President J. E. Otterson for fifteen years. When Erpi was formed in Jan- uary, 1927, Wilcox went along with the new organization as operating manager.

In this latter connection he has seen the department grow from a nu- cleus of six to a present day nation- wide organization with a personnel of 1250. It maintains offices in 38 cities from which are serviced some 4800 theatres equipped with sound systems.

Crabtree Names Committees

Appointments for the personnel of the committees to serve the Society of Motion Picture Engineers for the fol- lowing year have been made by J. I. Crabtree, president.

The committees and their chairmen are as follows: Color, W. V. D. Kel- ley, DuChrome Film Systems, Holly-

wood; convention, W. C. Kunzmann, National Carbon, Cleveland; member- ship, H. T. Cowling, Eastman, Roch- ester; papers, 0. M. Glunt, Bell Tele- phone Laboratories, New York; prog- ress, G. E. Matthews, Eastman, Roch- ester; publicity, Will Whitmore, Erpi, New York; historical, C. L. Gregory; sound. H. B. Santee, Erpi; standards, A. C. Hardy, Massachusetts Institute of Technology, Cambridge; studio lighting, M. W. Palmer, Paramount, Long Island.

Non-Commercial Indies to Hold Convention in Brussels

THE second Congress of the In- dependent Cinema — the first meeting took place in Switzer- land last year — was this year held at the Palais des Beaux Arts, Brussels, from November 28 to December 1. The meeting reunited most of the European producers, writers and crit- ics who have devoted some part of their activity to non-commercial film production.

Two public festivals, one of which was devoted to the silent film and the other to talkers, were held. The si- lent film festival was devoted to top- ical films and adventure in cinema work. A series of reports was pre-

sented. The debates concerned three questions: The international organ- ization of cinema clubs, intellectual film production, and, lastly, the rela- tions between the cinema and intellec- tual life in general.

The debates were held in three lan- guages— in English, French, and Ger- man. The Professional Film Press Association and several groups of authors agreed to patronize this Con- gress.

Adolphe Osso Extending

M. Adolphe Osso, head of the So- ciete des Films Osso, has just re- turned from Brussels, where he is planning to establish the Belgian Societe des Films Osso. The Osso company also will have branches in Geneva, Cairo and Algiers, and agen- cies in the French key cities — Lvons, Lille, Bordeaux, Strasbourg, and Mar- seilles.

Gaumont Sends Mission

A special mission of technicians has been commissioned by Gaumont of Paris to visit the principal film trade centers of the world. The mis- sion is authorized to study the equip- ment of the ideal sound film studio. The first objective of *~he mission will be London.

77ms striking camera study might have been photographed on African sands, but it wasn't. We have the perfectly good word of Woodbury its subject is none other than Nigel De Bruliere, photographed in char- acter nearly a decade ago in a Hollywood picture the title of which long since has been forgotten.

Here is a picture of an occasionally turbulent bit of the homestead of Uncle Sam — in Mount Lassen, his only active volcano within that boundary. It ivas photographed by Edward B. Anderson from Reflection Lake, not so far from the summit of 10,480 feet elevation.

E.

While location

hunting in the

high Sierras

A. Schoeubn a in

pauses a moment

and photographs

this spot where

Rush Creek enters

Silver Lake.

A fishin' rod and

corncob would

seem to be indicated

— yes, and the

right kind of bait.

>5^.

@ream oth Stills

«.*!^?0*

°6rk*v

Perhaps after all

that corncob and

fishin' pole should

have been reserved

for this canal

in Phoenix —

whether there be

any fish in it or not.

Paul Ivano

surely picked out

a paradise for

a lazy man, one

on which even

a go-getter well

might stub his toe.

And speaking

about bait —

William Grimes does not propose to be outdone in the way of teasing a loafer; he contributes this alluring bit of recreation ground as he saw it in the private Buseh gardens in Pasa- dena. Don't gaze too long on that settee under the big oak.

@ream at ft Stills

Bert Lynch shows us the view from the fort at Mazatlan, Mexico, as old Sol

fiery departure for the day.

getting rendu to put on a

January, 1931 The INTERNATIONAL PHOTOGRAPHER Thirteen

It's to Your Interests

IT is becoming common knowledge that in Eastman Panchromatic Negative, Type 2, there has been grouped the greatest combi- nation of film qualities ever placed at the disposal of the cameraman, director and pro- ducer. From its remarkably accurate and uni- form panchromatic balance to its tough, wear- resisting base, it offers you every opportunity to convey your art unimpaired from lot or studio to the screen. If you are not already using Eastman "Pan," Type 2, it is decidedly to your interest to try it in your next picture.

EASTMAN KODAK COMPANY

ROCHESTER, NEW YORK

J. E. Brulatour, Inc., Distributors

New York Chicago Hollywood

Fourteen

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Looking In on Just a Few New Ones

Lincoln

Karl St runs, Cameraman

GRIFFITH has scored again. He has done more than build a drama and simultaneously to create entertainment. As Arhss did for Disraeli and for England so he has done for the Great President and for the United States.

He has made to live again more than sixty-five years after his pass- ing a world historical character; painted him not as he is idealized in the school books, but with swift strokes shown the man as he was from his majority to his death, in his failures and his victories, in his weakness and his strength; vivid al- ways, flashing from moments of gay- ety to periods of despair.

One series of scenes alone, all too brief and yet how long they seem— those between Lincoln and Ann Rut- ledge — will stand out as long as a print shall survive the wear of the elements. For poignancy they will hold equal rank with that scene of Henri Kraus as Jean Valjean in the old Pathe version when he buys a doll for a child; or with Rene Adoree when as a French peasant in "The Big Parade" she tries to maintain pace with the truck bearing away her American lover.

In all these scenes Griffith has had a great and an equal partner — Wal- ter Huston. This actor's previous work on the screen, brief but of wide range, leads one to expect much of him as Lincoln. The expectation is justified, even bettered.

In the selection of his supporting cast the director shows no diminu-

By GEORGE BLAISDELL

tion of the judgment that has marked his previous choices of the men and women who play the parts of his pic- tures, although it may be remarked that always has he seemed to lean more heavily on his own intuition of a given actor's ability and his own skill in being able to extract from that player the particular quality he sought than in any discoverable rev- erence for the great mogul Box Office Name.

His selections in the present in- stance have been happy ones. Una Merkel as Ann Rutledge bulks big in a brief part. Kay Hammond as Mary Todd sacrifices her own feelings in the portrayal of the historically ambi- tious, domineering woman who was the first to sense the greatness resid- ing in the uncouth country legislator, to pierce the veil of the future and trace the outlines of the high road he would travel.

Hobart Bosworth will be eminently satisfactory to the South in his por- trayal of General Lee and so, too, most surely will Henry Walthall as the general's aid. Then there are Os- car Apfel as Stanton and Fred War- ren as General Grant. The portrayal of John Wilkes Booth falls to Ian Keith, an interpretation strikingly melodramatic as might have been ex- pected of an actor of that period and especially of one harboring that ac- tor's ideas or illusions, if you will.

Stephen Vincent Benet's story and the continuity and dialogue on which Gerritt Lloyd collaborated palpably were designed to avoid the pitfalls

that handicapped the exhibition of "The Birth of a Nation." There was no attempt at avoidance of the facts of history, but there was no dwelling on the phase of the black man.

The word "rebel," to which the South in other years took such vio- lent exception, is used with frequency, but Lincoln is made to remark and undoubtedly with entire truth that "rebels are not traitors."

The treatment of Lee is most sym- pathetic, with Lincoln giving him un- stinted honor and deep respect for his ability as a soldier and his quality as a man.

The production has been strikingly staged and finely photographed. There are flashes of soldiers, in camp and on the march. The departure of northern troops and then of southerners for the front constitute thrilling bits. But war in its grimmer, physical phase is minimized. What is emphasized is the tragedy that rides behind the scenes, in the days — and nights — of the man who with thousands of soldiers made the supreme sacrifice to the end that the Union might live.

As a portrayal of that phase of American history so, too, the picture deserves to live.

This is a view not cf the "rockbound coast of Maine" which Robert Palmer and his camera so enticingly present to us. Rather is it of the "golden shores of California," of Carmel Bay from Monterey, photographed on a sunless day

ToPable David

Teddy Tetzlaff, Cameraman

THE commendatory language that has been employed in describing the acting ability of Richard Cromwell during the making and fol- lowing the completion by Columbia of "Tol'able David" would seem to have been justified in reasonable degree. If his appearance in the name role of this picture represents his initial work before the camera then indeed has he "got something on the ball."

It was good business for Columbia to fortify and insure itself by sur- rounding the lad with an unusually competent cast, but so far as the new- comer was concerned it was not essen- tial. The precaution merely resulted in lifting what would have been a good picture into one of smashing proportions - - incidentally thereby swelling the gross receipts enough several times to cover the added ex- pense.

Two important contributing factors were supplied by Benjamin Glazer, who prepared for the screen this tale by Joseph Hergesheimer, and John Blystone, the veteran who directed it. Restraint was the outstanding char- acteristic in the interpretation of this grim story of mountaineers whose life and work teach them to think much and talk little — and with deliberation.

There were times when the action seemed slow, but it was not because the tempo was illogical but rather due to the impatience of the man out front to see the sequence brought to a head.

The story is not all drab; there are lighter moments to lessen the ten-

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Fifteen

sion of the sterner drama brought into the picture following the entrance into the peaceful Hepburn home of the three renegade relatives from an- other town.

Joan Peers played the daughter of Amos Henburn, interpreted by Henry Walthall, a small part well done. Helen Ware was Mrs. Kinemon, the mother of David, her work standing out all the way; Edmund Breese was the deliberate elder Kinemon and George Duryea the latter's elder son; James Bradbury senior was the store- keeper, who like others of his associ- ates lifted into a major part what might have been a minor; Barbara Bedford was the young mother of the infant Kinemon, who incidentally stole the show the few moments it held the screen, while Noah Beery, Harlan Knight and Peter Richmond abased themselves that there might be a trinity of tough Hepburn eggs to make the story possible. And they surely were tough.

Those who by reason of vivid recol- lections of the grim if interesting predecessor of the present version have hesitated to look in on the Co- lumbia subject are overlooking a pic- ture that is worth seeing, a well- planned story finely made in all de- partments.

The Right to Love

Charles Lang, Photographer

THE adaptation of Susan Glas- pell's "Brook Evans" will be much talked about in the days to come following the release of "Tne Right to Love." Contributing to that will be several major factors. Two of these stand out above the others.

In the first and most important place, Paramount for one has got down to earth, forgotten Hollywood and its atmosphere or the atmosphere of any other large community where the few are convinced the world re- volves around themselves, and made a picture around "just folks." While the average person may have no oc- casion to convert his handkerchief into a sponge, nevertheless the pic- ture, because of sheer strength of story, grips the beholder throughout its seventy-five minutes of running.

Secondly, the production marks the introduction to the public of the West- ern Electric's new process noiseless recording, claimed by its sponsors to be the greatest advance in talking pictures in the last four years. It will be hard for the man in the street to accept that statement as 100 per cent.

It is the expert who most readily will grasp the importance of the in- novation. Only too well he knows the meaning of "ground noises," an ex- pression beyond the ken of the lay- man. There is one thing, however, that instantly will impress the lay- man as he watches the unfolding of "The Right to Love," and that is the absolute distinctness of the slightest sounds constituting part of the dra- matic action — a whisper, a sob so faint as more truly to be a trace of a sigh.

One of the first effects of the new device will be the enjoyment experi- enced by those of defective hearing.

While it is reliably reported the pic- ture under review was partly com- pleted before the noiseless recorder was put to work, nevertheless it is be- yond the realm of doubt that a real boon has been bestowed upon the hard of hearing. Though the foregoing parallel is an exaggeration, at the same time there is a basis for re- marking the difference between the old and the new is like the sudden ces- sation of the buzzing, desultory con- versation taking place in a room where one person presumably has the floor.

Coming back to the picture itself, it is one most assuredly not to be missed. Altogether it is pretty near a one-person production, and that per- son Ruth Chatterton. In many of the scenes, because of her playing botn mother and daughter, frequently two of her are seen simultaneously on the screen — and that phase of the sub- ject, due to the boldness and skill with which it is approached, consti- tutes another story.

The background is of plain people, some of whom are possessors of the narrow minds found in farming com- munities as in other places. Tragedy early stalks into the tale, flowing nat- urally from a sequence of events most simple and logical in inception. From the moment the sweetheart of Naomi Kellogg is killed in a thrash ing machine, mirth ceases as an en- tertainment factor.

It is a grim life ahead of the girl who soon after knows she is destined to become a mother. That she wel- comes the prospect in that her lover will live again gives an eerie, uncanny touch like that bestowed by mild in- sanity, but convincing all the way.

Oscar Apfel is thoroughly true to the life in his portrayal of the farmer with the direct mind who beyond the good name of his daughter sees noth- ing. Equally homelike and convincing is Veda Buckland as mother of Na-

omi. Irving Pichel as Caleb Evans, whose wide-eyed offer of marriage to the expectant mother the latter's father induces her to accept, provides another strong interpretation of rural Puritanism paralleling that of Apfei's.

Paul Lukas, whose name appears second in the billing does not enter the production until it is at least sev- en-eighths down. His all too brief appearance contributes to the strength of the finale, that of the wooing of the American girl who comes to a sudden conclusion to be less of a sap and more of a human.

It cannot exactly be said the cast bristles with names of box office value, a fact at any time devoid of significance so far as concerns quality of acting. The producer-distributor very likely will discover this strong story so competently and sincerely played by all in a long line under the sympathetic direction of Richard Wallace that it very quickly will reg- ister as a genuine hit.

Cameraman Lang took measures to see the sound men did not bag all the honors on the recording side. The pic- ture is only a few hundred feet on its way when the photographic angle for- cibly is borne in on the consciousness of the beholder — especially the trav- eling shots by the brookside.

Min and Bill

Harold Wenstrom, Cameraman

THE M-G-M production of "Min and Bill" was several weeks down at the Carthay when this reviewer got his first lok at it. Be- tween the opening night and the aforesaid initial view much had been heard regarding the pictm-e — without the utterance so far as had been ob- served of a single funeral note.

As a consequence expectations were high — probably too high. The unprec- edented forethought of removing a

There is a svggestion of stem drama, a reminiscence of turbulent days, of low- spoken, serious Vigilantes, in Mr. Palmer's peaceful scene of early morning mists and this ages-old veteran of the California Redwood Highway

Sixteen

The INTERNATIONAL PHOTOGRAPHER

January, 193 1

At the suggestion of Joe Walker, Carl O. Swenson has designed and built a practical fade in and out attachment for a Mitchell camera either in a blimp or booth. It may be attached without drilling extra holes. Arms may be detached by loosening thumb- screw when camera is used on the out- side of booth or blimp. The arms are operated from, outside the booth by two small flexible cords

handkerchief from its accustomed ple- beian niche on the hip to the more patrician abode in the upper, outer coat pocket proved to be an action en- tirely unnnecessary. As a measure of preparedness it was a total loss.

But it's a mighty good picture for a' that, especially for those who have seen life from the angle of those of — and there pops up that plebeian thing again. Anyway, it is a tale of the water front, of those who make their living on the water and of those who make their living from those of the immediately mentioned category. It is a tale of plain people, some of them workers and wholesome and at least one who seemed to toil not neither did she spin, but nevertheless was she ex- ceedingly interesting.

The strength of the story rides in four characters — Min and Bill, played respectively by Marie Dressier and Wallace Beery; Nancy, the waif be- friended by Min, portrayed by Dorothy Jordan, and Bella, who proves to be the mother of Nancy, in the life Marjorie Rambeau.

Here are three veterans who would make much of even a weak tale. And it is in the convincing performance of this trinity that is to be found the reason for the "pull" of the story which persists from the openng to the finish.

The dialogue of this waterfront tale is noteworthy, and for it the credit goes to two women — Frances Marion and Marion Jackson. It has the qual- ity of spontaneity; in other words, of expressing the characters in their own language, not only those of the fem- inine persuasion but of the lesser num- ber of the masculine as well.

For after all the story is mainly of women — of a boarding house keeper who befriends from childhood the daughter of a mother who, speaking conservatively, follows ways quite un- conventional.

The conflict comes in the efforts of the old woman to protect the girl growing to womanhood especially from knowledge of the mother and incident- ally from attentions of those men she mistrusts, and on the other side of the house to keep the mother from know- ing even that the child is living.

The finish is a tragedy of blood that there may be no tragedy of the soul — that the daughter at last may have a break and be happy and that the black- mailing mother shall in no way inter- fere with the even tenor of her peace- ful existence. It would seem to qual- ify as a happy ending in spite of the tragedy.

George Hill directed, and commend- ably.

Doorway to Hell

Barney McGill, Cameraman

THE chief exploitation line em- ployed by Warners in its adver- tisements of "Doorway to Hell" set forth that this was the subject "gangland dared Hollywood to make." If the statement have any more foun- dation than the brainstorm of an alert advertising man it is difficult to un- derstand. Certainly the picture is the first agency yet uncovered possessing any tendencv to humanize or make less disreputable or in any manner to palliate the trade of bootlegging killer.

Instead of daring Hollywood to make the picture the parties allegedly quoted, if they be more than mythi- cal, should have expressed willingness to pay several millions for its mak- ing.

The production was one that stood high enough in the official Warner es- timation to be given a dual presenta- tion in Hollywod and downtown Los Angeles. The public response to the confidence reposed seemed to indicate it was fully justified.

Those members of that sizable pro- portion of picturegoers who abomi- nate underworld stuff but went along in order to see Lew Ayres were am- ply repaid. If they went fully ex- pecting to scoff they remained to praise.

The factors contributing to this re- sult were practically all that enter into the making of a picture — story, dialogue, script, direction, photogra- phy, sound, acting and editing.

Archie Mayo's direction was nota- ble, a statement which seemingly falls short of the mark. The script was from a story by Roland Brown, with dialogue by George Rosener.

One who for the first time looks upon the screen work of Ayres in this pictue is pretty sure to be deeply im- pressed by the capacity of this young man for portrayal of serious roles, whether dramatic or tragic. He has the earmarks of experience — abun- dance of poise, the words flow trip-

pingly from his tonp^e and as if they were his own, and he is convincing al- ways whether smilingly suave or frigidly menacing.

Why the producers choose to exploit James Cagney along with Ayres as chief in interest is their own busi- ness— really of course due to Cagney having been placed under contract. The work of this player in an un- sympathetic part is entirely satisfac- tory; in fact, worthy of praise. But in the particular picture under discussion Robert Elliott, playing O'Grady, captain of detectives, is the only person whose part and whose performance are of a quality enti- tling him to share honors with the leading player. They are as distinc- tive if not even more so than were those of Thomas Jackson, the inter- preter of the screen detective in "Broadway." It was Elliott, by the way, who created the stage detective in "Broadway."

The cast is top notch, with Dorothy Mathews in the role of the unfaith- ful wife of the hero; young Leon Jan- ney as the brother of the latter; Kenneth Thomson as the major of the military academy, and Jerry Mandy and Noel Madison as gang leaders.

Follow the Leader

Larry Williams, Cameraman

NOT without reason aplenty is Ed Wynn an idol of the New Yorker, male and female. His characterization, by himself or other- wise, as the perfect fool is entirely within the truth. Not only is he the perfect fool, but he does and says things that in the hands and mouths of others are absurdities, just plain silly; coming from him they may be devastating in their fun.

In the present instance Para- mount's New York studio has provid- ed Wynn with a skeleton of a story, even with one partly clothed, taking for its purpose the musical comedy by William K. Wells, George White and De Sylva, Brown and Henderson. Gertrude Purcell and Sid Silvers were responsible for the screen play, with Al Parker staging the dialogue. Nor- man Taurog directed.

"Follow the Leader" is of New York, of gunmen and of the stage. It is as an ex-vaude turned wai.er that Crickets is deserted by the gang of Hudson Dusters to serve a bad man of fierce reputation, the while they hide in an adjoining room. Through an accident the b. m. is floored, with the result Crickets against his wishes becomes gang leader.

But why waste space talking about a plot? Aids and abettors in the tom- foolery that runs through the picture are Ginger Rogers, feminine lead; Stanley Smith, Lou Holtz, whose Jew- ish characterizations may be a riot in New York and may not be in many smaller communities; Lida Kane, Eth- el Merman and Bobby Watson.

If you want to laugh surely some and maybe much don't miss Ed Wynn. (Continued on Page 18)

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Seventeen

THE. T075 Or A LOCATION

Eighteen

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Looking In on Just a Fezv Nezv Ones

(Continued from Page 15)

And without any fear you make take along the family, old and young. And if one thinks he is himself something of a fun-maker he will have opportu- nity to learn — perhaps — how to knock 'em over with bare hands and seem- ingly empty head.

The Command Performance

Charles Schoenbaum, Cameraman

JAMES CRUZE is credited with presenting "The Command Per- formance," from the play by C. Stafford Dickens and produced by Samuel Zierler. Cruze also is and al- ways has been credited with being a good showman — and a clean one — which is a very substantial reason for believing he is not responsible for the intrusion into this picture of dialogue bits that take it out of the family class even as they invite the inter- ference of the ever-eager censors.

The best thing in the picture is its conclusion — and this is said not in sarcasm but with entire sincerity. It is a moving and dramatic sequence, one that will top the finish of nine out of ten major productions.

It attains this result in spite of the fact the tale is of the "Prisoner of Zenda" kind — of mythical kingdoms, of costumes, of the takings of dual roles by the male principal; in spite of the fact the theme is one that gen- erally has been accepted as long since

relegated to the limbo of threadbare plots.

So when the action of the final se- quence rises to real dramatic heights we know it must have been of genu- ine strength so completely to over- come the preceding illusion killing handicaps.

Maude Fulton and Gordon Rigby wrote the continuity and dialogue, which were directed by Walter Lang. W. C. Smith and Frederick Lau su- pervised the recording.

The subject, slated for Tiffany re- lease, was staged in a manner becom- ing a major production. At the head of the cast was Neil Hamilton, play- ing both Peter, an actor impressed with his own importance, and Prince Alexis, whose chief decision in life seemed to be his determination not to marry the Princess Katerina, charm- ingly portrayed by Una Merkel. Inci- dentally the working out of the tale indicated the princess was not quite so much of an all-around wicked ter- ror as the dialogue would have led us to believe. Apparently she was not even mildly wicked.

Helen Ware as the mother of the dissolute prince who declined to lend his personal presence to the task of wooing the princess of the neighbor- ing principality handled her part as her admirers expected her to do, especially those who had seen and

heard her eloquent Defense of the West in "The Virginian."

Albert Gran as the democratic father of the princess supplied the good humor and comedy, and not even the king's ascribed addiction to walnuts, with its opportunity for cheap wisecracks, entirely succeeded in destroying the flavor of his jolly outlook on life. Lawrence Grant as the premier carried the part with dis- tinction.

Other players in an excellent cast were Thelma Todd, Vera Lewis, Mischa Auer, Burr Mcintosh, Wil- liam Von Brincken, Richard Carlyle and Murdock MacQuarrie.

And this is a gool place to reit- erate it was Miss Merkel, aided by effective dialogue and sympathetic direction as well as by the foil sup- plied by Hamilton, who in the final sequence by the force and tenderness of her appeal supplied the high spot of the production and sent home in highly chastened mood a somewhat hostile preview house that had come determined to chide.

Talkers Bring Dividends

The Sudfilm Company of Germany, after having paid no dividend for the four past years, now proposes a divi- dend of 15 per cent. The sharehold- ers meeting was held in December.

Sudfilm has had some outstanding successes lately with the Richard Oswald production "Dreyfus," the Eichberg picture "Night Birds," and Rene Clair's "Sous Les Toits de Paris."

Complete Portable Sound Equipment The

Audio Camex System

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January, 1931

The INTERNATIONAL PHOTOGRAPHER

Nineteen

Varges Sails Over Japan 's Fuji and Records Description for Fox Nezvs

ner in which the big, heavily loaded craft was skillfully maneuvered on every occasion when exceptional skill was needed.

ON September 3 last, the first sound pictures of Mount Fuji's summit from an airplane were recorded by Ariel Varges and Paul Heise of the Fox Movietone News. Heretofore the only pictures of the locale were stills.

The flight took four hours, the plane, a big tri-motored Fokker be- longing to the Japan Air Transport Company, leaving the field at Tachi- kawa at 10:30 o'clock.

Although the sky was overcast Varges decided to take a chance on finding the cloud ceiling not thick enough to hide the mountain's summit and, as a result, he got what he be- lieves are some of the most artistic and beautiful "shots" that he has taken in a long career of news photog- raphy.

"We climbed the first 6,000 feet in about a half hour and there ran into the clouds," says Varges in describing the ascent. "The cloud layer was about 3,000 feet thick and it took an- other half hour to rise through it. On top of the ceiling the sun was shining brightly and Mount Fuji was thrust upward through the mist bank, pre- senting a remarkably beautiful scene.

"Snow covered the summit and the slopes almost down to the clouds, only a small black band of earth being vis- ible. We photographed it from every angle, flying around it and over it. We passed over the summit at a distance of no more than 300 feet above the crater."

Plane Fights Currents

The plane attained a maximum alti- tude of 15,000 feet, which is nearly 3,000 feet higher than Fuji's crest. Attempting to get closer to one side of the great cone, strong upward cur- rents combined with a stronger hori- zontal gale shook the great craft like a leaf which brought into play some expert piloting on the part of P. S. Torii, pilot, and M. Y. Suzuki, assist- ant pilot. On the other side of the summit there was no upthrust of the atmosphere and from there close-ups were taken.

As the plane passed over the sum- mit, the shrine was plainly visible. Everything, of course, was covered with snow and the crater was partly filled in. The effect of bright sunlight on the snowy peak gave it an inde- scribable glow, tinged at times with a suggestion of pink and other colors. Cold Hits Camera

Shots were taken from every angle. Different lens and different films were used to get varying effect. Material for sound effect was limited to the clatter and hum of the plane's three powerful motors. As the plane ap- proached the mountain, Heise spoke into the microphone, giving a brief de- scription of Fuji-san, and another short bit was recorded as they were passing over the summit.

The camera was anchored to a spe-

cially made stand which was fastened to the floor at the edge of the cabin door. Varges sat on the floor to oper- ate it. Special care had to be taken to protect the camera from the in- tense cold at the high altitude, for it was more exposed than was the sound equipment.

Varges, who has flown throughout Europe in plane and dirigible, men- tioned particularly the efficient man-

Barlatiers Celebrate

Mr. and Mrs. Andre Barlatier cele- brated the twenty-fifth anniversary of their wedding December 19 at their home in Hollywood. Mr. Barlatier is one of the veterans of the camera, having come to the United States eighteen years ago. For the Imp com- pany in France he photographed "Absinthe," starring King Baggot, and was brought back to this country by Director Brenon. The Barlatiers are old Hollywood residents.

Six Months Old Today

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Comparative tests have proven the high efficiency of its light value. Light in weight, compact, low current and carbon costs, are features to be considered.

And COOL . . . get this feature of the Mute. A Cool lamp house with a Hot light. Scientific ventilation permits this.

This lamp is certainly the answer to the sound man's prayer.

In addition to our general rentals of incandescent and arc lamps, generator sets and wind machines, cable, etc., we are now in a position to do general machine work, designing and building of special machinery, tools, jigs, gear cutting, screw, machine and turret lathe work. See Frank Merritt for estimates.

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Twenty

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Under Tropical Skies-with Physioc

Artist - Philosopher Discusses Celestial and

Mundane Matters with Special Regard

to Old Sol and His Angles

By LEWIS W. PHYSIOC

Technical Editor International Photographer

Lewis W. Physioc

CHARLES DARWIN, in writing of the island of Borneo, spoke of that country as the land of topsy-turvy; and certainly, in reading his studies in natural history, we find some remarkable examples of those "topsy-turvy" dis- plays of nature.

It is to the trav- eler in those far eastern and tropi- cal countries that these natural para- doxes are more forcibly presented than is possible in written descrip- tions.

We who live in the more northern latitudes are habituated from child- hood to think of life and natural con- ditions as experienced only in our own clime. Our text books are written for this limited survey of the universe. Our astronomical charts show only those constellations in the starry heavens that lie within our native horizon. It is not surprising-, then, that the student, standing on the deck of a ship plowing its way through the southern waters, looks in vain for some of his old favorites of the skies, and feels far away and lonely among the strange new clusters he cannot name. No wonder he enjoys a thrill when he sees, for the first time, there beyond the bows of the ship a new constellation, and hears, for the first time, its name, "The Southern Cross."

Nor are the purely terrestrial fea- tures less anomalous to his native sur- roundings. In this strange land he traverses vast jungles amid a variety of trees and shrubs which he is unable to classify; he gasps at the idea of standing beneath a stately tree that nurtures a million dollars worth of the rare and beautiful orchids; he enjoys a childish ecstasy as he wanders

among the towering cocoanut palms, so closely associated with his boyhood readings.

Dramatic Extremes

Here walked Marco Polo! How well might one of those beautiful isles have harbored the Swiss family Robinson, or Robinson Crusoe?

Likewise, what could make him feel more the idea of being in a different world than moving among strange and varied types of peoples — queer customs, weird religious ideas; dra- matic extremes of life and living con- ditions.

A trip to Mars or one of the other planets could hardly furnish more thrills or surprises.

Let us now return to the astronom- ical argument which furnishes the purpose of this paper:

In reviewing the few anomalies just mentioned it is reasonable to suppose that a photographer might experience some conditions that would influence the application of the rules of his art. A superficial consideration of the sub- ject might deny the seriousness of any great diversity of conditions by re- minding us of the fact that the same old "Sol" lights all parts of the globe, and that there are only two variations of this source of light to be consid- ered, i. e., quantity and quality; and that the photographer's fundamental claim to proficiency is his ability to judge the extent of these variations.

Such a suggestion would seem to discount the oftheard admonition to photographers going into tropical countries to "watch out for overex- posures under that fast tropical light."

This supposition is true and places the responsibility solely upon the judgment.

Development of Judgment

Judgment: this is an awesome word. It is accepted with such suspicion that the scientist, in all ages, has striven

to furnish foolproof expedients to avoid expensive failures through er- rors of judgment.

But there are activities of the mind that seem independent of absolute sci- entific control, such as the aesthetic arts, among which we consider pho- tography, and the success of which de- pends upon the development of the judgment; and the reliability of this judgment reflects an inherent talent coupled with a wide experience and close observance of the variation of the elements connected with a par- ticular art.

It is with this thought in mind that students recount their experiences and observations with the hope that others may pick up some little fact that may help in the solution of a problem.

In our business of photographing motion pictures great importance is attached to the choosing of locations, for in this we are endeavoring to fur- nish various features: beautiful com- position, an adequate setting for the story requirements, and favorable conditions for photography.

The choice of this location is in- spired by our lifelong observations of the course of the sun on our native hemisphere.

We are accustomed to consider that a particular location will have the proper light, for certain effect, at such and such a time of day at a given sea- son of the year.

An account of a humorous incident may illustrate the persistence of a lifelong acceptance of these natural guides to our endeavors. Angle of Sun

While traversing the great Pacific Ocean, over the "northern course," we travel thousands of miles without ob- serving any great difference in the angle of the sun in its passage across the sky. After passing the Aleutian Islands, however, we begin on a de- cided change of direction to the south with its consequent influence on the sun overhead.

On reaching Yokohama we are con- scious of a great change, and finally when turning abruptly south and ar- riving- at Singapore, in the short peri- od of a few days, we are startled to find ourselves under a blazing sum- mer tropical sun.

Even now our consideration of this experience is more the thought of a

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-one

rapid seasonal transition, and little thought is given to the geographical or astronomical idea.

It was here that we had our first awakening. It was here that we had the unaccountable feeling that the sun rose in the northeast and set in the northwest. It was here that we went location hunting, equipped with com- pass and our inborn influences of life on the northern hemisphere.

We looked at our compass and ob- served that the sun was setting in the west, despite our feeling that it was northwest, and concluded that our lo- cation was satisfactory and that we would have favorable light all day.

The next morning we were there bright and early, with full equipment. The sun arose in the east quite prop- erly, but to our surprise as the day advanced not once did it reach a point where it shone upon our cherished lo- cation, for, instead of circling across the southern sky and casting its shadow to the north, it passed over the north, casting its shadow to the south, and we had to be content with re- flected light.

Sun and Photographers

Now our text books have given us satisfactory explanations for our sea- sons as due to the direct rays of the sun at various positions of the earth in its diurnal revolutions around the sun, and the inclination of its axis of rotation, and which likewise explains the prevailing equatorial tempera- tures, but no stress is laid, for the benefit of photographers, upon the sun's rays at different parts of the earth.

Let us refer to a simple diagram for the explanation. In the month of

V^Sii ««*>*.

Group of the Sakai tribe, remnants of cannibalistic people of the Malay penin- sula. Then use the blowpipe like the Dyaks of Borneo

June, the time of year under con- sideration, the earth's axis is inclined toward the sun as shown in Fig. 1, which throws the equator well below the direct line of the sun's rays. This angle is at its maximum on June 21.

Now if we follow the earth around its orbit to the 21st, or more accurate- ly 23d of September and also March

Here are shoimi great cumulus clouds that early in the dun acute photo graphic

disturbance, especially if company be working in jungles. Scene in foreground

is of natives of Bulak, Sumatra, beating on drum.

21, we find the axis inclined in a plane at right angles to the sun, which brings the equator into the di- rect rays, and it is at this time in equatorial regions that we observe the sun pass almost directly overhead, casting its shadow only from east to west, before noon, and west to east in the afternoon, with a slight inclina- tion to the north, or south, from June to September, or September to Decem- ber, and at places any distance either north or south of the equator.

A study of these diagrams will show the direction of the sun's rays at any part of the globe, at any time of the year. Or a more interesting experi- ment might be in placing upon the li- brary table a lamp of single source of light, and moving the terrestrial globe around it, with the ecliptic line on a level with the light, and by sticking a pin in any point on the surface of the globe the direction of the shadow will be easily determined.

Light Quantity and Quality

Now that we have established the direction of our light, there are other considerations of far more importance to the photographer — i.e., quantity and quality.

When we look out from beneath the brim of our topi the tropical light fairly dazzles the eyes, and we are reminded of that old familiar warn- ing "Look out for overexposures."

Nevertheless, when we squint through our monotone glass at a sub- ject lighted by this brilliant sun we are impressed with the fact that the shadows are very dense, heavy and lacking illumination, and we are re- minded of another rule among pho- tographers which recommends that we "Expose for the shadows and let the lights take care of themselves."

This fact is closely associated with

Twcn'y-two

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Gar son Expedition, Universal, moving up a jungle

the simple law of illumination which shows that the greater the source of light and the more direct its rays the more denned and heavy will be its shadow.

Now these considerations also re- mind us of another opinion held by photographers that good photography is more or less a judicious balance in exposure, between two great evils, i. e., extreme highlight and the dense shadows, and in working in tropical countries we are confronted with the problem of determining which of these areas, shadow or light, make up the most of our picture, and which of these features we shall humor or dis- regard.

Now if we study most pictures we find that flat ground surfaces are most highly lighted; the least interesting feature, and covering less area, and we can freely sacrifice this to the more interesting picture elements.

All this should suggest that over- exposing pictures in tropical countries is less to be feared than underexpo- sure, which can result in nothing but harsh, contrasty pictures.

Middle Tones

So far we have only considered ex- treme light and cast shadows. Let us now devote our attention to the middle tones, which give variety of color and tone to a picture, furnish the modeling or chiaroscuro of the picture.

Let us distinguish between heavy cast shadows and shaded portions.

This introduces a condition of light- ing in these countries which is very in- teresting, especially when the sun is high overhead. We are familiar with the rule in physics which provides that the angle of reflection is equal to the angle of incident.

Now, when the sun is high in the heavens, it is easy to perceive that the light is reflected back at a very acute angle, and consequently less scattered away from the subiect; and even when the sun apparently is at the zenith it inclines enough to the north or south (according to the season) to throw the object into soft shade, and with the

aid of reflectors on the side to build up light to nearly balance the strong top and back lights, and to avoid flatness, beautiful exposures, full of detail and softness, may be obtained.

Even in the shade of buildings and trees there is plenty of light for quick cinematograph exposures at the pres- ent rate of speed.

Varying Atmospheric Conditions

The trickiest light with which the tropical photographer has to contend is the slightly overcast sky. Here, in- deed, may our fears of overexposure be justified. And our own eyes can be considered fairly good actinometers.

When we have to squint painfully under such light, beware! It is very powerful, highly actinic, and greatly diffused; and heavy K filters may be used not only to control ex- posures but to increase contrast, for such light is very flat and uninterest- ing.

We have obtained ample exposures with K2 filter, stop F.8, shutter at 130

degrees, and at the present speed of 90. We have considered the brilliancy of the tropical sun. Let us now study a condition that few of us ever think of as l-egards those countries and which suggests a kindly compensation of nature for the benefit of the people who live in those torrid climes.

Our experience over a period of time from the first of June to the first of November disclosed the fact that Old Sol really shines but a small part of the day. At early morning the sky is clear and beautiful, but about 11 o'clock great cumulus clouds begin to gather in the heavens.

These clouds are very dense and heavy and are very annoying to the photographer, especially when work- ing in thick jungle locations, where all possible light is needed, and where he is nursing a sunspot, provided by cutting away heavy overhead growth and which he hopes to direct by aid of a battery of reflectors.

Especially on the Malayan Penin- sula, one could almost set the clock by the 4 o'clock thunder showers.

There is one feature of this part of the earth, however, that would delight the heart of any photographer. Never has the writer, in any of his travels, seen such magnificent sky displays, interesting cloud formations, light effects, delicate atmospheric condi- tions for the painter as well as photographer. Our good old friend Panchromatic is in his glory there.

Still Photography

It may be of interest to the "still man" to tell something of the still photography of those countries. Most of the photographers are Japanese, some Chinese, but very few, and none so clever as the Japanese. We made the acquaintance of Mr. Nakajima in Singapore, and after seeing some of his pictorial work conceived a sort of reverence for those Nipponese artists, but were a little surprised at their methods.

They know little or nothing about cut films, panchromatic stock, or tank

Natives transporting across Javan stream equipment of Universal company. Expedition moving up a jungle river.

January, 19.il The INTERNATIONAL PHOTOGRAPHE

Twenty-three

development. Glass plates which are used exclusively for fdms are easily affected by the extreme humidity. They buckle and bulge out, and are generally hard to handle. Natives resort to very rapid development, very stingy fixing and washing, and prefer very dense negatives.

Indeed, when we see some of their fine prints, we wonder how so much beauty can come out of those negatives that are so dense that we can hardly see the light through them.

The secret, probably, lies in the fact that they print almost entirely from bromide paper cut from rolls. The photographers are very careful and painstaking with their prints, and every one is toned in the hot hypo alum baths. It seems that there is little sale for black and white prints, and it is claimed this treatment makes them more permanent in that climate and shows less the stains that easily occur in the tropics.

In conclusion we may very readily sum up the facts, that in any part of the world the exposure is the funda- mental consideration, and in deter- mining this there are two elements to engage the photographer and which he is expected to judge:

Quantity and

Quality of Light.

Western Electrie for Indies

Electrical Research Products has issued a Western Electric theatrical recording license to Balsley and Phil- lips Inc., Ltd., of Hollywood.

This licensee will make Western Electric recording equipment and facilities available to small independ- ent producers who recognize the need for the prestige and destributing ad- vantages of Western Electric record- ing.

James R. Balsley formerly was connected with Westinghouse, Fox Case Corporation and Walt Disney Cartoons. J. H. Phillips was for a number of years with Fox Movietone News in the United States and abroad.

Typical group of Sahai the governm

civilize — Doroth

French Cinema Bank Plans

to Offer Finance Facilities

A FRENCH Cinema Bank or- ganized a credit institution for the motion picture industry, the Union Cinematographique Francaise, which has hitherto been functioning on a modest scale, is now reported to have changed its name to "Banque de La Cinematographie Francaise."

This institution is directed by M. Chalus. It is stated to stand in close contact with the Banque Lehideux, a well known private bank, but such important establishments as the Credit Lyonnais, Societe Generale and Comptoir National d' Escompte, that is to say the first French banks, are also credited with an interest in the new organization.

It is believed the cinema bank will act as central body for studies of film conditions and for arranging finance facilities for the film industry as is done for other important industries.

ent finds it practically impossible to y Janis in boat

This is considered to be an indication of the awakening interest of French financiers in the French motion pic- ture industry, the most conservative banking institutions apparently being involved in the scheme.

The activity of the bank is to ex- tend to every branch of the film busi- ness.

Russian Film Development

Reported as Vnsatisfactory

THE following information was furnished in a recent report of Trade Commissioner George R. Canty, Paris: At the first sound film conference of the Soviet Union it appeared that film developments in Soviet Russia are not as satisfactory as it was expected.

Ssutyrin, a member of the board of Sojuskino, stated that cinema build- ing was progressing very slowly in spite of the fact that the importance of the film as a factor of artistic and governmental propaganda was offi- cially recognized.

Still more so is the sound film. But. while in the United States the sound film has already entirely taken the place of the silent film, in Russia the changeover will be slow and difficult owing to technical production difficul- ties and to the la:k of professionals.

The conference approved of the de- cision of Sojuskino to produce 50 complete sound programs during the current season. The Sojuskino hopes to wire 1,000 theatres for the repro- duction of sound films during the same period. However, since the Electrical Trust of the Soviet Union is only able to install apparatus in 600 theatres yearly it was decided to make every conceivable concession in order to carry out Sojuskino's sound films plans.

Universal company holding a feast (or awaiting its serving) in the

Javan jungles.

If any International Photographer have in his files an exceptional picture shot under a foreign flag; the editor of this magazine is interested in it. The phone is HEmpstead 1128.

Twenty-jour

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Meeting

WE CANNOT understand how one man laboring under the heavy strain of an Eyemo can still have the strength to conduct meetings. Our president, Charles David, seems to show no wear or tear, as the December meeting of Lo- cal 666 was conducted in the usual way.

"Red" Felbinger and Urban San- tone seemed to have the floor most of the night. Can't really blame them much, as they had spent over $100 for additional furniture needed at the headquarters of Local 666, and it seems the general assembly voted "No" as to the paying of this bill. After this was settled Brother Fel- binger was elected chairman for the coming banquet of Local 666, which is to be held at the Sherman House Jan- uarv 29.

Bv HARRY BIRCH

SIX-SIXTY-SIX

S & A

Essanay has long been known to film fans, but the new S & A means Spoor & Ahbe, and here is part of this organization. A heading for this picture might be "Uncle Sam's Army at Work." A couple of good-looking chaps, aren't they? They are none other than Major Spoor and Private Ahbe — better known today as "Ma- jor Spoor" and "Bill Ahbe." Spoor looks all right, but we wonder what happened to Bill's mustache.

> I \ s I X M

Believe It or Not

Up to date Brother William Straf- ford has always claimed to be the onlv man in the world that could make

Stated, Eugene Cour, Alvin Wyckoff, president 659; Charles David, president, 666; standing, Urban Santone, Ralph Saunders, Harry Birch, "Red" Felbinger, Major Spoor, all of 666, and Jimmie Williamson, 659. Note how Chicago meets Hollywood on the level when Cour unlaces his high shoe to match Wyckoff's low one. The name of the maker of this excellent photograph will be reported in

the February issue

1000 pictures a second. It seems that some one is always taking the joy out of life, as several days ago Brother Strafford broke down and confessed that he had just reviewed a picture that had been made in Japan at the rate of 30,000 pictures a second.

It seemed impossible, and we asked Brother Strafford if he did not mean 3000 a second, but he still Maintains that 30,000 was correct. However, it is too much for us, and we pass it on to you for something to think about.

SIX-SIXTY-SIX

Telling the World

Harry Birch has made further use of the delegate's badge presented to him at the last I. A. T. S. E. conven- tion held in Los Angeles. Mounted on the front of his De Brie it will be impossible for any one being "shot" not to know they are being photo- graphed by an I. A. T. S. E. man.

SIX-SIXTY-SIX

Visitors

The past month saw Brothers Lem- beck and Conrad of Cincinnati in Chi- cago. Lembeck, as you know, is the "Sheriff in the Sticks," and although not being active lately has promised he will let us in on some of the gossip that we can get in no other way.

SIXTY-SIX

Wyckoff in Chicago

President Alvin Wyckoff of Local 659 rolled into Chicago with his as- sistant, Jimmie Williamson, on "Mr. Santa Fe's Chief." The members of 666 had their shoes shined and piants pressed and were down at the Dear- born Station as the official reception committee.

Wyckoff and Williamson were greeted by President Charles M. Da- vid of Local 666 and his body guard, composed of Gene Cour, Charles Ford, Major Spoor, Harry Birch, "Red" Felbinger, Urban Santone and Ralph Saunders. The march from the sta- tion was to the Sherman House, where a little impromptu get-together was held. Wyckoff posed for Chicago newspaper men. Time was up, as Brother Wyckoff had to take "Mr. New York Central's Century" on to New York. The march then proceed- ed to the La Salle Street Station, and the last word was "Adios."

SIX-SIX IV-

W ell Represented

Our Northern out-of-town brothers seem to be busy these days. While

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-five

Uncle Sam's Army at Work — Major

Marvin Spoor and Bill Ahbe,

"as they were"

Ray-Bell of Minneapolis were shoot- ing a production on the Northern Pa- cific Line three locals were represent- ed, viz., Charlie Downs of Local 644, Kenneth Styles of 52, and Herb Os- lund and C. E. Bell, both from 666. With this layout how can Ray-Bell help but make good pictures?

SIX-SIXTY-SI X

Apologizing First

With apologies to my "Slassiety Re- porter." I goes to McVickers Theay- tree and I sees a good show. It is "Min and Bill." Then comes on that silver sheet a title, "Chicago-Notre Dame Beats Army." I sees a crowd, then something that looks like a foot- ball game, then one of those close-ups in the spectators' stand. Young lady says "Why did he drop the ball, delar?" and on her right is a pile coat with a body wrapped inside that an- swered, "And I saved my week's sal- ary to buy your ticket!" By this time I realizes the body which the pile coat contained is none other than my "Sassiety Reporter." It sure is tough when you see these boids every day and then you spend your hard-earned jack at a theaytree to be entertained, and you find that you have still to look at these boids on the screen.

Whatahell!

SIX-SIXTY-SIX

In Focus — In Spots

By Birch's Sassiety Reporter

NOW that them hombres out thar in California found out why Notre Dame wuz winning all them football games back here in our stamping grounds I guess I might as well settle down and get out this month's dirt, which youse guys won't read until next year.

First of all I'll start the new year out right by giving you a hot exclu- sive story. We're going to have an- other one of our famous balls. Re- member the last one at the Palmer House? Well, the next one is going to be thrown over at Mrs. Sherman's Boarding House in the best room we can get over there.

All I got to say is set January 29 aside, and ankle the ball and chain, the sweetie, or the battleaxe, as the case may be, over to the Bal Tabarin and help make merry for the second annual time.

SIX-SIXTY-SIX

Red Doff's Lid

I wuz along with President David when he picked the Bal Tabarin and

what a joint it is! "It's the swellest place your humble scribe ever went into." You know how I always keep my hat glued to my head. Well, when I walked into this room I uncon- sciously took it off because I never been in such a swell place before, and I can't wait until the 29th to strut into the joint Jail decked out in an- other dress suit, like the one I made my glad rags debut in last year.

Well, the first thing I want to tip you brothers off to is you better call up the bozo what rents out these dress suits, right quick, because, when the information busts that the ball comes off on the 29th there is going to be one big rush for the soup and fish costumes and you might not get the right size.

I already got my order in because last time it wuz two sizes too big and then also I Wanted one that didn't have eggs on the lapel of the coat.

SIX-SIXTY-SIX

Socking Old Man Gloom

Now, getting back to the Bal Tabarin it is the place to treat your fair sex friend or wife to. The place is an evening's entertainment in itself. Also the brothers won't even need any giggle water to make themselves feel hilarious because there is an ever changing parade of lighting ef- fects on the walls of the Bal Tabarin, which ought to make any fellow feel like he was hittin' things up and see- ing things.

I understand this affair is going to surpass last year's by miles and that is admitting a lot, but I guess if Charlie David promises that — it's oke. So in case I don't see youse before that night I'll be there with bells on

LA. T. S. E. delegate badge adorning front of Harry Birch's camera

because it's going to be one grand night. Remember — the Bal Tabarin, January 29.

Line up your friends and show them how to start out the new year right and bring them up to help us participate in burying Old Man Gloom.

SIX-SIXTY-SIX

Ten Below in Open Crate

I see where Charlie Ford has gone out on a extreme economy wave. Any- how, he must be cutting down the overhead considerably on the lunch checks because I saw him arrive

Shooting a Ray-Bell Production — Platform at left, Charlie Downs, Local 6AA;

on ground, left, Kenneth Styles, 52; holding up camera,

Herb Oslund and C. E, Bell, 666

Twenty-six

The INTERNATIONAL PHOTOGRAPHER

January, 19-11

down at the Ohio Mine disaster and the first thing he did was bust over to the hut the Red Cross had put up for the rescue crews and get himself a free lunch of coffee and doughnuts. No kiddin', though, Charlie sure looks like he needed it. He flew down from Chicago in an open crate and the climate was 10 below up at 8,000 feet, and Charlie looked frozen even with all the winter flying regalia he had on.

SIX-SIXTY-SIX

Sheriff Gumshoes

Brother Ralph Lembeck has been snooping around town on a mysteri- ous errand, and after shadowing the sheriff from the sticks I discover he is here trying to line up some choice ringside seats for the coming pow- wow at the Bal Tabarin on January 29. Slick guy, this fellow Lembeck. Guess he knows what a big demand them ducats is going to have.

SIXTY-SIX

Wall Waits for Fred

The boys still get their picture. Fred Giese is I he latest example of how to get what you go after. Re- cently a big fire bust and Fred drew the assignment only to find on his arrival at the scene of the conflagra- tion that the firemen were about to

pull down a big four story wall. Fred got busier than the proverbial one armed paper hanger on setting up his outfit, yelling to the firemen to "Hold that wall up a few minutes longer!" Sounds like a big order. Well, any- how, we saw a picture in Fred's newsreel of a four-foot wall coming- down.

SIX-SIX I Y-S1X

But What Says Mother?

Brother Urban Santone has bust all the buttons off his vest with the ar- rival of number two candidate for Rockne's football team about twenty years from now. He calls this one Victor.

Due to the present business depres- sion Brother Santone cut out his Ital- ian custom of handing out the coronas to celebrate the event. Both father and child are doing nicely at this writing.

SIX-SIXTY-SIX

How Does an Editor Know?

Well, I submit with this column my choice for "The Still of the Month." This one is entitled "The Daredevil," and is posed by our versatile brother Bob Duggan, the lightning impre- sario.

Note the perfect equilibrium of nerveless steeplejack as he flirts with

Not Fair

Chicago, Dec. 15. — Something- should be done as to the professional motion picture photographer breaking into the 16 mm. field. Here is proof that one of Local 666's star men, who happens to be Secretary Norman Al- ley, is working with a 16 mm. camera.

We wonder from the expression if Alley really closed his eyes, being ashamed even to look at this little 16 mm. camera, or was it like the

Norman Alley shooting 16 mm. camera

story of the ostrich? It seems that Brother Alley is practicing up on these backbreaking jobs since he has watched President Charles David's heavv duties. H. B.

C

V l-4k

\

'■ . ■■

Picture of that daredevil Mr. Robert Duggan, lightning impresario of some- thin', rehearsing his slack wire act on the coping of a one-story building, the while an unidentified photographer aims to take a picture of his waistband and a second u. p. shoots the works so this summer Saturday afternoon idyl in Chicago may not be lost to posterity

death tottering on the brink of eter- nity one story above the ground. This is a rare print from the private col- lection of the said Mr. Duggan, and was smuggled away from the ever watchful eye of our modest hero.

It is the first public showing of the pose and casts our hero in a new role, as it is the first time we have seen him perform on the edge of a roof.

Western Electric Installs in 2495 Foreign Film Houses

Western Electric world wide in- stallations, according to the latest re- port, total 7222, of which 4727 are in the domestic field and 2495 abroad. Sixteen cities have 20 or more instal- lations. The list is headed by New York City with 356. Olher cities are as follows: Chicago, 166; Los An- geles, 86; Philadelphia, 82; Detroit, 76; Cleveland, 51; St. Louis. 46; San Francisco, 41; Baltimore, 40; Kansas City, 32; Cincinnati, 32; Milwaukee, 30; Seattle, 29; New Orleans, 26; Buffalo, 26, and Pittsburgh. 22.

There are 23 cities that have be- tween 11 and 20 installations, totaling 341 Western Electric wired houses.

In 75 cities there are from 5 to 10 installations, while 48 cities have 4 each and include 192 theatres, while there are 113 cities with 3 installa- tions. These total 339 theatres.

This total of 2491 is about half of all the Western Electric installations in the United States.

Revietv Rooms Install

There are 289 review rooms through- out the world equipped with Western Electric.

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Twenty-seven

Thirty-three Year Old Arctic Films Product of Eastman Kodak Works

DUE to the perfection already at- tained by the Eastman Kodak Company in the making- of sen- sitive emulsions thirty-four years ago the entire world is able to-day to see views of the disastrous Andree polar balloon expedition in 1897. The Roch- ester Sunday American of November 23 last describes in detail the inter- esting steps of development in film manufacture leading up to the prod- uct supplied when the order for the Andree expedition was received.

The material in question, iroduced about eight years after the Eastman company had begun to market trans- parent film, was manufactured at a time when experiments to yield large quantities of film of uniform quality were at their height.

The year 1896 brought this com- pany the record of 100,000 kodaks made, with film and photographic pa- per being manufactured at the rate of between three and four hundred miles monthly. Film base, at that time, still was produced by pouring the fluid nitrocellulose "dope" on to long glass tables to dry. The contin- uous drum system for manufacturing the emulsion support was not made practicable until several years later.

The arctic temperatures at which the film remained while it waited thirty-three years for discovery and development are understood to be largely responsible for the preserva- tion of the pictures, since it is known that cold retards chemical action with- in film provided the humidity is low. Films in Exploration

Regarding the methods used to de- velop the film found in the Andree camp no information has been re- ceived from Sweden by the Kodak Company. It is believed, however, no unusual procedure would be necessary except to work at lowered tempera- tures if the gelatin tended to be soft and to take such precautions as ex- perimenting with the developing of a single negative before any risks were taken with the whole group of nega-

tives. It is probable Dr. Hertzberg subjected the negatives to a glycerine balh since, in 1897, there was no gel- atin coating on the back of film — the side opposite from emulsion — to pre- vent curling.

Photographic film, also made by Eastman, gave the world a pos- thumous photographic record of the expedition headed by Scott, the Brit- ish officer who reached the South Pole in 1913 only to perish with his com- panions in a blizzard that obstructed his return.

A kodak brought back records of Peary expeditions both before and after the Andree flight.

Admiral Byrd took larg-e quantities of Eastman still films to Antarctica, and photography has been an impor- tant instrument in the equipment of all other recent exploratory expedi- tions. Byrd's provision for the care of his film included transportation of the material under refrigerated con- ditions to combat the heat encoun- tered in crossing the equator. Film produced at Kodak Park in Roches- ter that needs to cross the equator to reach its users ordinarily is packed in sealed metal containers.

The experience of the Andree film is cited by Eastman officials as typi- cal of the vicissitudes through which film may have to pass and as a reason for the extreme care with which man- ufacturing operations and extensive testing at Kodak Park must be car- ried on.

'Doc'''' Travis First to Use Camera from Air in Regular Motion Picture Production

LITTLE thought was given by Norton ("Doc") Travis to the historical importance of his ac- tion when in 1908 at Hammondsport, N. Y., he climbed aboard a Curtiss machine to photograph from the air the pioneer sequences for a regular motion picture production. The sub-

Greetings to Dorothy

From a friend in Local 644 comes this word:

Harold McCracken, noted explorer and writer, is the happy father of another baby girl — Dorothy by name. For- tunately the baby can't be a cameraman.

Now just a moment. In these days of rapid change isn't that concluding assertion, looking ahead a quarter of a century, rather a strong one?

Then again Dorothy may be a cameraman's boss — even on occa- sion notify him in tones formal and businesslike the Sunday dinner will be served at 4:30 o'clock, golf or no golf, my dear sir!

ject was "The Line-Up at Police Headquarters" and the producer was Gus Hill. Featured in the picture was former New York Police Commission- er Dougherty.

Below at the left will be seen a reproduction of the very plane and the very "Doc" as he was nearly twenty-three years ago. On the right, standing- back to, is Frank Beale, the director,, then hailing from New York, but now a long time resident of Hol- lywood. To his left is De Witt C. Wheeler, Hammondsport, by the way, was the original Curtiss home plant

The years that followed have been busy ones for "Doc" Travis. He made a tour of the world doing scientific photography for the Rockefeller Foundation.. He was a captain in the Signal Corps, and did special camera work for the government during the World War.

Also the pioneer is a specialist in trick work, having perfected many rotable photographic effects in motion picture making.

Chicago Engineers Elect

The Chicago section of the Society of Motion Picture Engineers has elected J. Elliott Jenkins chairman, R. Fawn Mitchell secretary and Os- car B. Depue and Robert P. Burns as governors.

Members of this section now to- tal 77.

Twenty-eight

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Wherein We Set Forth Our Regrets and Make Our Amends to Lee Garmes

IN PRINTING in its December is- sue the portraits of those camera- men who were affiliated with sub- jects related to Academy awards in one department of effort or another International Photographer unwit- tingly miscredited the photographer

Lee Garmes

of "Disraeli." It was for his inter- pretation of the title part in this sub- ject that George Arliss received the award as the best actor of the year. The mistake came in crediting the photographer of the excellent "Dis- raeli" stills instead of the man re- sponsible for the motion picture pho- tography.

Lee Garmes is the cameraman to whom we convey our apologies. We take this action in spite of the fact that up to this writing no word of complaint or otherwise has been re- ceived from the person who had most reason to feel aggrieved.

Possibly the photographer of the more recent "Whoopee" and "Morocv co" feels he has been the recipient of sufficient honors these latter days to let the incident pass without com- ment.

By the way, this may be a good time to reprint the unusual compli- ment bestowed by the Christian Sci- ence Monitor upon the photographer of "Morocco." The comment is by E. C. S. of the Monitor's New York bureau.

The recognition of the important part played by the man behind the camera is so unusual and so delicate and complimentary in its phrasing

we are sure it will interest camera- men everywhere. It runs:

"Miss Dietrich is handsome of face in a thoughtful way. Her profile takes on beauty of modeling in light and shade under the thoughtful min- istrations of the cameraman, Lee Garmes."

Staaken to Reopen

The Staaken film studios in Ger- many, after a long period of inactiv- ity, have been inaugurated for sound- film production. A Tobis-Klangfilm set, with three microDhones and two cameras, has been installed between two halls so that shooting can be ef- fected in either one by a simple changeover of wires. The studios have been entirely lined with sound- insulating material.

The first picture produced for Klangfilm, under the direction of Gerhard Lamprecht, will be "Two Kinds of Morals."

Wyckoff in New York

Alvin Wyckoff, president of Local 659, is in New York for a brief stay in the interest of Multicolor. He is accompanied by James Williamson, his assistant.

While away Mr. Wyckoff will pho- tograph the first complete industrial picture that has been made in Multi- color. Also while in New York he will photograph sequences for Univer- sal^ novelty series, "Strange As It May Seem," all of which subjects are in Multicolor.

To the Photograhic Craft and the

Motion Picture industry

in General

MAX FACTOR

wishes A Prosperous

Telephone HOlly 6191

Max Factor's

Panchromatic

and

Technicolor

Make-up

for the

Screen

Max Factor Make-Up Studios

HIGHLAND AVENUE AT HOLLYWOOD BOULEVARD, HOLLYWOOD. CALIF. CHICAGO OFFICE— 444 WEST GRAND AVE. Other Foreign Branches London, England: 10 D'Arblay St. Sydney, Australia: No. 4-C Her Majesty's Arcade. Buenos Aires, Argentina: 500 Sarmiento.

Manila, Philippine Islands: No. 39 Esolta St. Lima, Peru: Edificia Mineria.

Mexico City, Mexico: Paseo de la Reforma 36%. Honolulu, T. H. : 720 South St.

Johannesburg. South Africa: Corner Joubert and Kerk St.

Cable Address "FACTO'

Max Factor's

Theatrical

Make-up

for the

Stage

fo*"2*k

Gream oth Stills

tOWo*.

Edward H. Kemp of San Francisco climbs into the wash and up over the rocks on Wall Creek in Bright

Angel Trail, Grand Canyon, Arizona, to get a perfectly unhoftile shot at these horsemen, who like the

world and his wife take a good rest while the photographer works.

.♦r^T'cu.

'°CR**T

Qream oth Stills

ct^L'O*

o6n^

Up in the Mojave desert Harry Mimura sets up alongside a Joshua tree in the early morning and across a bit of primitive earth makes a record of lonely Red Rock Canyon — as it is seen without Us unforgettable color.

A few miles to the

west of Mojave is

Antelope Valley,

favorite spot of the

inquisitive Los

Angeles tourist —

who finds himself

well repaid for

seeking out this bit

of desert if the time

be not too near one

of those rare days in

June. Ned Van

Buren slips over

from Palmdale and

uses his camera

to good advantage.

@m

.*?*r^.

"OCR**

Gream a th Stills

Fred Archer braves the biting of the whirling, tiny pebbles as he points his camera into a real desert sand- storm— also in the Mojave country.

Clif Kling forsakes the sound of ware* breaking over rock's and the cries of bathing girls danc- ing on the beach to enter the reser- vation of the Navajos in Arizona. Here under a for- bidding sky as they wait for the storm to drive them to shelter, silent mothers and chil- dren watch the piling clouds.

r

@ream oth Stills

From one of the production companies a girl steps down, to have a look at the Truckee River on a February

morning and to shoot it. The combination of maid and icy stream appeals to Frank Bjerring — and he does

a bit of shooting himself; for which we thank him — for ourselves and perhaps for the maid.

Janua>-y, 19J1

The INTERNATIONAL PHOTOGRAPHER

Twenty-nine

Real Romance ofHozv ' 'Home ' ' Films Bring Scenes of Home and Families to Lone Italians in Ontario Wilds

THERE is a Cine-Kodak opening up a wonderful new world (our every day world) to isolated groups of children and adults up in the top part of Ontario, just a hun- dred miles beyond the end of the last motor road.

The horizon of this world used to be a circle of gray rocks and burnt pine trees. Btit all this has been changed and greatly enlarged. There was a unique school that moved around. It was fitted into a railway coach that a freight train could drop at different points in the rock lands so that groups of four to ten isolated children could be given the elements of reading and writing for four days each month.

Then the teacher got the idea of adding a Cine-Kodak to the equipment of the movable school, and that was when the world commenced to take on new and amazing aspects. Ten men from sunny It' earning $3.20 a day helped the idea along by contributing toward the purchase of film. They were separated from their families and lonely, and for the sake of stran- gers' kiddies in this wide bush they were glad to do their part.

Through the magic of the Cine-Ko- dak, motor cars, three-story "sky- scrapers," marble floors, wonderful things like electric lights and water taps were visualized for the first time from a cinegraph of Charlie Chaplin totaling 100 feet.

When the Humdrum Thrills

Most of the children did not know moving pictures would move! And what an experience it was to see themselves on a white, living square of art-board. These "shots" did not have to have continuity or be embel- lished with elaborate details to be packed with thrills.

A man from Italy driving an iron spike to hold an iron rail; an Indian mother mending a canoe; a bush baby not overly- well washed; men encoun- tered every day reproduced lifting a handcar from the rails to let the In- ternational pass on time; or to see them eating a frozen lunch in the snow six miles from a shack with the mercury at 34 below — these were thrilling because they portrayed the life with which the audience was fa- miliar.

When one has traveled eighteen miles on a handcar to see a picture that will last only twenty minutes or thirty at the maximum he is prepared to enjoy every minute of the enter- tainment. What if the schoolmaster does wind out the film by hand on a "C" Kodascope with a Ford battery giving six volts of power to the lamp ?

There is no rush in this country where postage stamps are eleven miles away and letters are posted by tossing them in a bundle to an east-

bound freight conductor as he leans from the steps of his van. There is time to see the film two, three and four times. No one leaves. In the in- termission, while the film was being rewound by hand, a gramophone pro- vides entertainment until the film can be shown again.

Then the teacher got his great idea. Why couldn't the Cine-Kodak with its magic span the ocean and bring back scenes of Italy to the lonely men eco- nomically exiled from their wives and children? Immediately the plan was passed on to the Cine-Kodak News, and the magic, aided by coincidence, started working.

Real Romance

Six months later came the good news that through the kindness of a Samaritanlike American many of the families of the men had been found in Italy and hundreds of feet of film had been exposed. For the camera's benefit, toasts of red Italian wine had been drunk to the expatriates in far- off Ontario.

Finally came the red letter day when three reels of film reached their Canadian destination. All eager to see the scenes from home, the distressing discovery was made that the battery was dead — in a country where it had to go 133 miles to be recharged! Per- haps a radio battery could be found. Immediately ten Italians piled on to the section crew handcar and pumped twelve miles, where such a find might be hoped for. They found it.

Words adequately cannot describe the reactions of these lonely, isolated men to the scenes of their native land and loved ones. Only a camera prop- erly could reproduce it. The desire of an understanding, loving teacher to bring joy to drab, restricted lives had been realized and the camera had proved itself even more than the ver- itable box of magic it had seemed without such a convincing demonstra- tion as that of bringing, by means of "home" films, intimate home scenes of Italy to isolated Capreol, Ontario.

Prince of Wales Photographs Bobby Jones in Golf Action

THE Prince of Wales is an en- thusiast on the subject of taking golf movies, according to Golf- dom magazine, and used his own per- sonal Filmo movie camera to take pictures of Bobby Jones when tht- latter was placing in Britain last summer.

The Prince also is greatly interest- ed in the project which the Profes- sional Golfers Association of Amer- ica has been carrying through of making super-slow golf demonstra-

tion movies of such stars as Jones, Vardon and Wethered.

After he learned of the taking of some of these movies in England he requested that a complete set be sent to him at the earliest possible mo- ment. This was done by George Sar- gent , a director of the association, who was abroad for some time in con- nection with making the Vardon and Wethered golf pictures. At the same time Sargent transmitted to Wales an invitation to attend the Ryder Cup in- ternational professional matches at Scioto Country Club, Columbus, Ohio, next summer.

A Lot of Film Anyway

According to statistics published by the British Board of Censors 60 new feature films (3,000 feet or over) were censored in Great Britain during October, 1930. Of these 48 were sound synchronized and 12 were silent.

No, reader, gentle or otherwise, thin i& not the photographer you think it is. The sturdy subject hails not from the sunny shores of the Mediterranean. Rather his home is in Northern Europe. Believe it or not (with what- ever apologies are necessary for so saying), it is Knud Rasmussen, fa- mous exlorer. He is taking a pet k through the finder of his Cine-Kodak. Incidentally there is nothing synthetic or stage>/ about the foreground or background. It really is snow. The locale >s Thule, Greenland

Thirty

The INTERNATIONAL PHOTOGRAPHER

January, 1931

With Portable Reproducer Operator May Cut In on Audible Film Show

A SPECIAL microphone arrange- ment which will enable an op- erator to interject remarks rel- ative to any picture which is bsing shown and to have his voice come from the loud speaker in entirely sat- isfactory volume is hailed as a revolu- tionary feature of the new Bell & Howell portable 16 mm. talker repro- ducer, the Filmophone.

This combination is especially valu- able for business, educational, church and small theatre use. Also it will be warmly welcomed in the home, in the event of impromptu entertainments, for instance.

The Filmophone itself is portable in the true sense of that word. It comes in two cases, of approximately equal size, shape and weight, totaling 88 pounds. It employs a Filmo projector for showing pictures, using 16 mm. amateur size film. Sound is obtained by a synchronized phonograph type of disc, the same as used in theatres.

The Filmophone, it is stated by its makers, presents the ultimate in tonal qualities in portable sound repro- ducers. It yields volume sufficient for audiences of several thousand. With it perfect synchronization is achieved. Operator May Plug In

It has a worm drive of unique design, thus eliminating the double motor feature and avoiding any possi- bility of slack in the mechanical coup- ling. The Filmophone is a product of the Bell & Howell engineering labora- tories and carries with it the Bell & Howell manufacturing guarantee.

The microphone feature permits the operator to plug in conveniently at any time, automatically cut out the musical or verbal record accompani- ment and make any comments desired in order to emphasize points of a film which may need stressing to meet a specific situation. When the switch on the microphone is released the record sound accompaniment is resumed.

A notable advantage of this micro- phone arrangement lies in the fact it will obviously make it possible to use many silent pictures to good advan- tage. A salesman, for instance, can talk into the microphone while show- ing a silent film and explain his com- pany's product and have his voice ac- company (he picture in a volume equal to that of the Filmophone when it is presenting a sound picture, so that a large audience can hear him easily. The Filmophone will be mar- keted with the microphone attach- ment or it may be secured without the microphone feature, which can then be added later.

One of the two cases which house the Filmophone contains turntable with flexible shaft connection to the Filmo projector, magnetic pickup, amplifier with power pack, tubes, nee- dles, needle cup, pocket for three 16- inch records, and necessary accesso- ries. The second oase houses the loud speaker permanently mounted in the case itself, together with the projec- tor, three extra reels of film, empty reel, connecting cords, cables and ac- cessories.

Filmophone — Showing turntable unit coupled to Filmo projector in operat- ing position

Over 2000 Follow on Screen 16 mm. Football Game Film

A decisive demonstration of tre- mendous reserve power was given by a regular factory model Filmo projec- tor when it showed brilliant twelve- foot-wide motion pictures of the Northwestern University football team in action against competing teams to an audience of over 2000 at the second annual University home- coming rally held in the 122d Field Artillery Armory at Chicago recently.

The projector, back in the hall, al- though perched up on two tables, one on top of the other, was all but lost in the immense crowd. Nevertheless, although small in size, it did a big job.

Charles T. Chapman, veteran pho- tographer, who took and projected the 16 mm. football films, writes as follows relative to the rally: "The football pictures were taken with a 70-D Filmo camera and were shown with my Model C Filmo projector, using a 2 ¥2 -inch extra-lite lens.

"I feel that since both the size of the picture and the size of the audi- ence were so much greater than is or- dinarily recommended for good show- ing, there should be some record of it. I may add that the clarity and bril- liance of the pictures caused consid- erable comment after the showing."

Salesman by means of special microphone arrangement cuts in, in the midst of a Bell & Howell Filmophone talkie sales presentation, to give w special- oral explanation.

Says Studios W ill Install

16 MM. Reduction Printers

INSIDE of another year there will not be a major studio on the West Coast but will have in its labora- tory equipment a 16 mm. reduction printer. This is the statement of a large dealer in cine equipment in Los Angeles.

Explaining his prediction, he said there is not a. studio in the west but has in its personnel what he described as a whole nest of 16 mm. fans. This extends from the highest executives and principal nlayers down through the various employees. The dealer told of one well known cameraman who the day before had given an order for 16 mm. equipment for which he laid down a check for $536.

The cine dealer referred to a prom- inent producer-star who that day was accepting delivery of a complete 16 mm. equipment for his home in Bev- erly Hills. "The interest among pro- fessionals in 16 mm. equipment is almost unbelievable," the dealer de- clared.

January, 19.11

The INTERNATIONAL PHOTOGRAPHER

Thirty-one

With Films Men 9s Club Finds Way to Boost Treasury at Church Fair

TWO instances have just been re- ported from Chicago as to how motion picture projectors can be used to raise money for church pur- poses. It will be seen that instead of being an expense a projector easily becomes a source of income.

At the Lutheran Memorial Church, 2500 Wilson Avenue, on the occasion of the annual fall bazaar the men's club elected to conduct a motion pic- ture booth as its part of the activities. With a Filmo projector such films as "Felix the Cat" animated cartoons, two UFA educational subjects, "Hunt- ing and Fishing in Siberia" and "Taming the Taiga"; Boy Scout pic- tures and miscellaneous comedies were presented. Each reel took about fifteen minutes to show, and an ad- mission charge of five cents a reel was levied. So intense wias the inter- est in the pictures that there was al- ways a line at the entrance of the booth waiting for the beginning of the next reel.

All ihe Show Nol on Screen

The accompanying photograph shows August Schmidt, head councilman of the church, operating the projector.

Also it will be noted the audience was miade up of people of all ages.

About $40 above expenses were cleared from the booth operation, and the pastor, the Rev. Edwin Moll, ex- pressed himself as delighted with the idea of discovering a source of in- come which was so rich in high-grade entertainment qualities.

The other instance of revenue rais- ing in Chicago was at the Granville Methodist Church. Here Mr. and Mrs. John Skinner, Chicago school teach- ers, presented 16 mm. motion pictures which they had made during a trip to Europe last summer.

They had shown these pictures to some of their friends who had felt that the films should be viewed by a larger audience. It was arranged the pictures should be shown in the church with an accompanying travel talk by Mrs. Skinner. An admission charge was made with the under- standing that the proceeds should go to the church. The sum of $85 was realized.

Fraternity Chapters to See National Congress Pictures

THE outstanding events of the tenth Grand Chapter Congress of the international commerce fraternity Delta Sigma Pi, held at Detroit September 10 to 14, are being presented in motion pictures to chap- ters of the fraternity throughout the country.

The film was made with a Filmo 70-D by J. Robert Johnson, Chicago, a member of the fraternity, and is re- ported to be a masterpiece of ama- teur cinematography. Not only are the official happenings of the conven-

tion vividly depicted, but a delightful romance is introduced which adds splendidly to the interest, as do also close-ups of the members in attend- ance at the Congress.

The premier official showing of the film was given in Chicago recently, two Filmo projectors being used al- ternately to obviate any waits be- tween reels.

Malaysian and Situth Sea

Pirtares to Be Ready Soon

PHILIP M. CHANCELLOR of the Chancellor-Stewart expedition, which was conducted under the auspices of the Field Museum of Chi- cago, is due in Hollywood early in January. The expedition went into Malaysia to Seloe-Pedarig and the Island of Flores early in the spring of 1929 and returned a year later.

While in the East the expedition had the full co-operation of the resi- dent Dutch officials. Thus they were able to take in Cinematographic equip- ment. As a result they brought out for the first time actual motion pic- tures of the commodus varanidae, a lizard generally considered prehis- toric. Not only did the expedition return with many photographs of the reptile but with living specimens of the varanidae. The pariy worked under very rough conditions.

These pictures are going to be cut, titled and edited and will be issued as silent pictures. Also they are going to be recorded with scientific- lectures on sound on disc. The sub-

jects will be ready for showing in February.

Since his return last spring from Malaysia Chancellor has conducted an independent expedition of his own to the South Seas, where he secured with sound equipment many records of the native dances. These with the history of the legends the dances are supposed to interpret will be prepared for the educational market and pos- sibly for the theatrical. They will be cut into from 15 to 20 one-reel subjects in three forms — as silent, sound on disc and sound on film.

The laboratory work and recording will be done by Hollywood Film En- terprises. F. K. Rockett of the Hollywood company is acting as the personal representative of Chancellor.

Fairbanks While Abroad

W ill Make Sound Pirtares

WHEN Douglas Fairbanks sails for his trip around the world Ipnuaiy 3 he will take with him a portable sound equipment. The re- cording apparatus, which was espe- cially built to his order by the Tanar Corporation, will be complete in two cases, each 10x10x20 inches and weighing in all but 120 pounds.

The batteries will total in weight 20 pounds, three of which are the 144 volt airplane variety each weigh- ing 5 pounds, and the other three weighing but 5 pounds all together.

The contract was given to Tanar following tests of the standard size equipment at the United Artists stu- dio and was built under the super- vision of Victor Flemming, represent- ing the buyer.

With the sound apparatus will go a complete Bell & Howell camera equipment. Fairbanks is sailing on the Belgenland on January 3, stop- ping off for a visit in Siam.

Rare shot of group motion picture shoiv in Lutheran Memorial Church, Chi- cago, where ivith a Filmo the men's club clears $40 for the church's fair

Thirty-two

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Prince Axel of Denmark

Royalty and the Camera

Devotees of amateur picturemaking may boast of two enthusiastic mem- bers of royalty in their ranks. Two pictures of Danish princes are offered as evidence. In profile is Prince Axel, the first person in Europe to have a model K Cine-Kodak. His brother, Crown Prince Fredenk, indicates on the opposite page he is just as proud of his model B.

A Couple 0' Columns

(Continued from Page 8) Jesse L. Lasky, who at the time was g'ivi" his nersonal attention to cast- ing "The Covered Wagon."

"The interview was not very old," continued Torrence in his easy way, for the player has infinite capacity, like all finished speakers, of simul- taneously thinking and talking when on his feet, "when Mr. Lasky leaned over his desk and said to me:

" 'Mr. Torrence, I am convinced you are the homeliest man I have ever known, but I am equally convinced you can act. I am going to offer you an important part in "The Covered Wagon." ' "

That interview was held over eight years ago. It is a matter of common knowledge there has been no tough sleddin' in films for Ernest Torrence since that period.

By the way, at the luncheon this writer was sitting alongside Frank Pope, then press representative for the Criterion and now city editor of the Hollywood Reporter. The for- mer inquired of Pope as to the height of Torrence. To settle the question a note was sent up the table to the player. It came back indorsed at the foot:

"Five feet 15% inches." G. B.

Paramount Stocking Up

To start the new year in fitting- fashion, Chief Electrician Earl Miller of Paramount-Publix Corporation re- cently ordered 100 Laco Lites, which have been delivered by Lakin Corpo- ration.

The deal was consumated by Frank Arrousez, sales manager of the Laco concern. The order called for units ranging in size from the Laco 18-inch to Laco 36-inch sun-spots as well as other apparatus.

Camera silencing blimp provided for

independent studios by Hollywood

Camera Exchange

Local Exchange Marketing

Camera Silencing '"''Blimp''''

THE Hollywood Camera Ex- change so far as is known is the first studio supply house to place on the market a camera silencing blimp. Heretofore the device has been made by each studio for its own use, leaving those plants without manufacturing facilities to adopt other expedients.

The contrivance weighs but a dozen pounds and is designed to fit either a Bell and Howell or Mitchell camera. It is opened by means of four zipper fasteners. The fabric is about four inches thick. Several already are in active use in studio and on location with production companies.

The finder is operated easily by means of a special zipper opening. Provision also is made similarly where there is a friction head. Ad- justable buckles take care of any looseness around the tripod head.

Cameramen Get Charts

Jackson Rose has made a special design of focusing chart for Techni- color, which the color company has had bound in maroon morocco leather. These have been sent to the first cameramen with their names printed in gold. A majority of the recipients are photographers in black and white.

Represent German House

Hollywood Film Enterprises is clos- ing negotiations with Arnold and Richter, optical reduction printers of Germany, to represent that company in the United States.

With cine-kodak a Samoan chief photographs the American-Samoa n Commis- sion. He was caught in the act by Merl La Voy with his everready camera'

New Tanar Equipment

Early in the new year the Tanar Corporation will begin distribution of a new motor drive and a new ampli- fier.

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-three

WE WISH TO ANNOUNCE that in addition to the Dunning Process patents controlled and operated by us, we have acquired an exclusive license to all "Transparency" patents owned by PARAMOUNT PUBLIX CORP. and ROY J. POMEROY.

A few current releases containing Dunning Shots

"What a Widow" — Gloria

Swanson "On the Level" — Fox "Soup to Nuts" — Fox "Her Man" — Pathe "Romance" — M-G-M "Half Shot at Sunrise"— R-K-O "Holiday"— Pathe "The Lottery Bride" — United

Artists

"Feet First" — Harold Lloyd

"Beau Ideal"— R-K-O

"Dirigible" — Columbia

"Assorted Nuts"— R-K-O

"East Lynne" — Fox

"Millie" — Charles Rogers Prods.

"See America Thirst" — Uni- versal

"Discontent" — James Cruze

DUNNING

Process Company

)rrow"

Hollywood, Calif.

"You Shoot Today — Screen Tomorrow 932 No. La Brea Ave GL 3959

Crown Prince Frederik of Denmark, one of the keenest of amateur photog- raphers 'in Europe

To the Industry

we

f<

r our sincere wishes HaiDiDV and Prosi New Year

Mole-Richardson, Inc.

941 No. Sycamore Ave. Hollywood, California

Thirty-four

The INTERNATIONAL PHOTOGRAPHER

January, 1931

The Sakai under their own roof as they were found by Universal's "The White Captive" company in Asian jungles.

Society of Engineers Planning to

Create Museum of Cinema History

ABSTRACTS from a number of Motion Picture Engineers com- mittee reports of the society are here presented. They will be found of marked interest to those re- lated in any manner to the making of motion pictures.

HISTORICAL COMMITTEE

By Carl L. Gregory, Chairman

The Historical Committee of the Society of Motion Picture Engineers has recently been reorganized, but in the short time since its reorganization it has collected a vast fund of histor- ical material concerning the early days of the industry and the work done by the various pioneers who established the foundation of this great industry.

For a number of years the society has advocated the collection of his- torical data and of originals and rep- licas of cameras and other cinema- chinery used in the early days. The nucleus of such a collection will prob- ably be started in the very near fu- ture and the following museums are under consideration for the housing of this collection :

Museum of Peaceful Arts, New York City; Smithsonian Institution, Washington; Julius Rosenwald Mu- seum of Science and Industry, Chi- cago, and University of Southern Cal- ifornia Museum, Los Angeles.

Another matter which is receiving the consideration of the committee is the seeking out of the few surviving pioneers who labored in creating the

foundation of this mighty industry. A few of the old men who worked in the early days still survive.

Only a few of them, like Thomas Edison, have reaped any financial re- ward and some of them are now reaching the end of their lives in ob- scurity, in poverty, in sickness and in the shadow of death. Most of these surviving pioneers failed to protect their inventions with patents or have met with financial reverses, and now through pride or modesty or separa- tion from the industry through the trend of changing events have become lost to the present generation of workers, and the society feels that it should give whatever recognition lies in its power to the fast decimating row of early pioneers.

MICROPHONE CONCENTRATORS

By Carl Dreher, Hollywood

By means of microphone concentra- tors high quality sound pickup is (Continued on Page 38)

Exchanges Seeking Theatres

According to a recent report rom Trade Commissioner George R. Canty, in Paris, a push towards the control of cinemas by renting concerns is at present underway in Vienna. At the moment "Kiba" controls several suburban cinemas and the Schweden and Appollo Cinemas in the West End.

Engel has in addition to the Lust- c-",'el theater on the Prater secured one of the largest cinemas, namely, the Elite. Wirtschafter Brothers have come forward as leaseholders of numerous smaller cinemas. Most of these are equipped with sound ap- paratus.

Rarely Eventuate Here

A building company in the West of Berlin has changed its name into "New Hollywood Ltd." and intends to erect studios, laboratories and dwelling houses, forming parts of a future city near Berlin.

These plans may not eventuate in the near future, since the company has no important financial backing.

DU CW£9^LE FILM SYSTEXf

6723 Santa^MonicaBlvd.

Hollywood, Calif?

Red Ortho Front Negat

lve

Red

Pamcnoo- MATIC

SPECIALISTS IN FILM FOR COLOR AND PROCESS PHOTOGRAPHY

Producers Make Their Own Color Selec- tion Negatives with Their Own Cameras

SOLD BY SMITH & ALLER, HOLLYWOOD, CALIF. DU PONT-PATHE FILM MFG. CO., NEW YORK, N. Y.

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty- five

Erpi Speruling $250,000

on Reservicing Theatres

TO ASSURE that the quality of the Western Electric new pro- cess noiseless recording can be adequately reproduced the service staff of Erpi is beginning- a worldwide inspection of the 7,500 Western Elec- tric equipped theatres.

The purpose of this inspection is to eliminate all system noise in the re- producing equipment which hitherto has been completely masked by the ground noise in the sound track but which would be audible when the new type recording is used. Also it will be necessary to instruct the operators in all theatres in the additional main- tenance requirements in order to keep the reproducing system to the high state of perfection necessary to obtain the full value from the noiseless re- cording.

It is estimated this service which is being given bv Electrical Research Products to exhibitors without extra charge, and which is outside of the service called for contractually, represents about 8250,000 on a mone- tary basis, in extra work for the service engineers and in incidental expenses.

H. M. Wilcox, Operating Manager of Electrical Research Products, stated that it would take about three months to complete the "tuning up" of equipments in the 7,500 houses.

Academy To Meet in January

The Academy Comittee on Art and Technique Programs, through its Chairman, Frank Reicher, announces that a meeting of the general Academy membership will be held January 21 on the toDic, "A Sympo- sium on the Art and Technique of Motion Picture Production." The speakers will be Lawrence Grant, chairman ; Milton Schwartz, William K. Howard, Clara Beranger, and Jesse Lasky.

This will be the first of a series of meetings of the Academy to be held during the Winter and Spring for the study and discussion o the art and technique of talking motion pictures.

A HEAP OF "HAS-BEENS

!>5

RELEGATED to the "scrap-heap"' — kicked into the discard by progression, lighting apparatus representing a cost of more than $80,000 recently was junked by a number of studios, to make way for modern efficient products.

Mute mockery of the past — these lights. What tales they could tell! The pomp and glory that has passed before them. Countless luminaries in silks and satms parading their flippant finery with peacock pretence, that strutted their hour or two — and many of them, like this antiquated equipment, are but pages in the book of motion picture history.

Like climbing the stairs to an old, musty attic where hair-sofas and whatnots are covered with the cobwebs and dust of time, most every studio as well as the allied industries are forced to maintain a store- room or yard where discarded or antiquated equipment is junked. Most of it represents all makes of apparatus that in its day proved fairly dependable, but with the demand daily for equipment that will meet today's modern requirements, a great deal of it finds its way to the scrapheap over night.

The antiques on this page represent a motley array of discarded lighting equipment that has been replaced bv modern LACO INCAN- DESCENT LIGHTING PRODUCTS.

ROY DAVIDGE FILM LABORATORIES

Aii Exclusive ' 'Daily ' ' La boratory

670 1-67 15

Quality and Service

SANTA MONICA GR unite 3108

BOULEVARD

Thirty-six

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Hozv Old World Artist Home Grew On Bleak Arroyo Seco Wasteland

By EDWIN M. WITT

NOT many years ago, on a slop- ing- hillside near the Arroyo Seco, situated between Los An- geles and Pasadena, sat Clyde Browne, In his ears the hum of insect life and the soft whisper of the trade wind blowing through the broad expanse of wild oats, cacti and sage spread before him.

Browne saw not the weeds and the waste. Instead, materializing in the dreamy haze, there grew before his eyes high-domed towers, cloistered halls, flagged court, broad tiled roofs, hand forged grills, and in the towers appeared old bells with mellow chimes.

He visualized a congenial workshop for artists, writers and musicians, to- gether with those of allied crafts

seeking- their ideal in studio require- ments, one perfectly suited to them and their work.

Builder, artisan and poet, with skill and patient industry Browne wrought and built the Abbey San Encino. The countryside was culled for stones of every hue — bricks from the mission's crumbling walls, forts and hacienda. Old doors and timber also were gleaned. He molded the clay upon the place where he would build, dried the bricks, built an immense pyre, burned them to a ruddy hardness, and the walls and arches were formed.

Old World Romance

From the Old World came ship's lanterns, cathedral glass, old cathe- dral organ pipes, marble altar rails

The Abbey San Encino, built as a workshop for artists by Clyde Browne

from Italy, iron from a Spanish pal- ace, Roman nails, a sad-voiced bell from Cathay, crosses from the Mount of Olives, burial jugs from the Incas. In the patio and on the terraces he created the atmosphere of Old World romance. One seems to see dark maidens strolling, casting shy glances or sitting upon the crum- bling walls whispering secrets and gossip of gay caballeros.

Within the walls of the high-arched chapel is the organ flanked by the stained glass windows, the glass from a Belgian cathedral, shell-ruined in the World War, the soft colored light filtering through, a setting for a St. Cecelia. Tall hand-carved candlesticks on either side complete the picture.

From the organ now we may turn to the nave, and down the center be- tween the high-backed, hand-carved pews, see an immense fireplace with carved ledges, and to the right a study filled with old arms and old pictures, relics of the World War, old books and furniture. Then we may notice a stairway winding- down- ward to dungeons, with steel-doored cells, all reeking of mold and age.

Towers, chapel, gardens, walls, dungeons, old arms, weird gods of forgotten people, tinkling fountain, soft shadows on old stone and colored tile, soft mellow notes from chapel bell — -where is the care-worn world of today?

Visiting the abbey, seeing and feel- ing its atmosphere, gives one the rar- est of all sensations today, a beau- tiful, tangible, romantic loveliness that we dream from seeing old pic- tures and reading old books.

Mitchell and Bell & Howell Cameras

Sales and Rentals

For Rent Three Mitchell sound cameras complete, including two 1,000-ft. magazines

with each camera at regular camera rental. For Sale Bell 6c Howell cameras complete and in first class condition. Prices on

application.

J. R. LOCKWOOD

GRanite 3177 Phone

1108 North Lillian Way Hollywood, California

Cable Address "Lockcamera" Hollywood

January, 1931

The INTERNATIONAL PHOTOGRAPHER

Thirty-seven

After 200 Years of Opera House Is Wired for Sound

AFTER two hundred years of uninterrupted use for its de- signed purpose the opera house of Malta will be transformed into a sound film theatre. Uncle Sam so reports to the Motion Picture Bu- reau in Washington through one of his vigilant correspondents.

The message would seem to be of larger import than the cryptic- one of less than two score words with which it was sent out to the public.

Here is a structure that was ded- icated to the highest form of en- tertainment a year before the Father of His Country saw the light of day, has so continued as a home of opera through the more important colonial period of this land, through the Revolution and all the wars this country has known.

For 67 years it was operated un- der the rule of the Order of St. John of Jerusalem, for 2 under Napoleon and for 131 under Sir John Bull.

From now on its old walls will ring with the voices of singers whose notes may have been ut- tered across the Atlantic — in days to come even with voices of sing- ers whose vocal chords long have been silent.

And so passes the old order.

Belgenland Installs Sound

for Its 135-Day World Trip

When the Red Star Liner Belgen- land sailed out of New York Decem- ber 15 for a 135-day cruise around the world it carried with it a Western Electric dual portable sound system specially designed for service on steamships. Talking pictures will be shown over this equipment to passen- gers on board throughout the entire cruise.

Installation of the equipment was rushed to completion by Erpi engi- neers during the Belgenland's short stay in New York.

Picture Photographed by War Pigeon

Hominy pigeon with automatic cam- era attached for use in -war. These cameras are automatic and will take only one shot, a sample of which is shown below. An Englishman writ- ing of the use of animals and birds in war said recently: We do not need reminders of such aid to make us fond of our birds and pets, and the tragic events in Belgium, where ruthless cruelty made the people of ivhole towns homeless, have brought out evidence of this abiding affection. An Englishman in Lou rain triumphantly saved u canary from the perils of a blaz- ing house, and another brought away his favorite dog and her puppies and carried them across Belgium with dauntless devotion. Another pet has deserved equally as well as the canaries of its owners, and that is the ho m i n g pigeon, of which the clever Belgians ha,ve made excel- lent /'.ST.

Th esc pigeon C a m e r a s are so light and so per- fectly balanced that they do not seera to hamper the bird's flight in the least and the pigeons ap- pear to be rather proud to wear them.

The snap shot herewith, consider- ing murky weather cud the flight of the pi g e o n, is pretty good. The b r i d g e is plain enough as is also the steamer pass- ing beneath.

Among the passengers sailing were Professor Albert Einstein and his wife, bound for California. Officials of the line were wondering whether the talkies on board would lure the noted scientist.

As the famous German requires the presence of an interpreter when English is spoken it is probable his fondness for talking pictures, if any, will not extend to those reproducing that language.

King

WHETHER WHETHER

Charney says . . .

IT BE CARBON OR INCANDESCENT LIGHTING IT BE TALKIES OR SILENT

Insist ^ 4

r~

For definite results

AGFA RAW FILM CORPORATION

Thirty-eight

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Committee Reports

(Continued from Page 35)

made possible at distances of the order of 20-40 feet. One such device utilizes a metal horn with the micro- phone placed at the throat. In an- other form, applied commercially by RKO Studios, sound is picked up by an ellipsoidal or parabolic reflector and focused on a microphone, with the sensitive face of the transmitter turned away from the action.

The advantages of this type of con- centrator are relatively high gain, ability to record against wind or noise interference, and suitable acoustic- characteristics for high quality pickup at a distance.

The importance of these factors in lowering moving picture production costs is described.

PHOTOFLASH LAMP

By Ralph E. Farnham, General Electric

The paper on the photoflash lamp first discusses in a tabular form the various phases of photography for which a flash source is advantageous. The particular needs of each type of photography establishes the require- ments of a satisfactory flash light and associated equipment. The new photo- flash lamp is then described and its operating characteristics given.

The design features of two suitable types of reflector equipments also are shown. Following this, methods of employing the photoflash lamp are de- scribed. The application of this lamp to motion picture photography is men- tioned.

COLOR PHOTOGRAPHY

By Palmer Miller and P. D. Brewster

Our paper first considers the nec- essary requirements in the camera — the comparison of advantages of using a single negative to record the three- color separations and the use of three separate negatives — followed by a study of the advantages of using sep- arate films sensitized for different col- ors, to aid in obtaining sharp separa- tions in comparison to the use of pan- chromatic film and filters.

The question of the speed and the range of focal lengths of the lenses

required in the cameras for practical use in the studios is then considered.

Different possibilities for the pro- duction of the positive prints are then considered with special attention to dye mordaunting processes. Require- ments as to definition of the image, range of color and clarity of color are discussed.

The paper concludes with a number of slides, showing curves of filters, curves or desired color separations and transmissions of H & D strips. The effect of superposing different color strips is demonstrated.

hk;h intensity carbons

By D. B. Joy and A. C. Downes, National Carbon

The effect of the variation in the relative positions of the positive and negative carbons in a commercial high intensity lamp burning 13.6 millime- ter carbons is investigated. The fu- tility of specifying an arc voltage without fixing the position of the pos- itive carbon with respect to the nega- tive carbon is illustrated.

It is also demonstrated that a rela- tively small movement in the position of the positive carbon crater along its axis has a greater effect on the steadiness and quantity of useful light from the high intensity arc than is ordinarily supposed.

The positions of the carbons at which maximum light and the maxi- mum steadiness of light are obtained are defined, and it is shown that for the same current the position of max- imum light is not necessarily the po- sition of maximum steadiness.

PHOTOGRAPHY IN COLORS

By Glenn E. Matthews, Eastman

Almost from the first years in which motion pictures were used com- mercially, about 1895 to 1900, experi- menters have been working on meth- ods of producing them in natural col- ors. The only practical processes en- joying any extensive commercial use in the theatres, however, are subtrac- tive processes in which the color is incorporated in the film.

One additive process has had exten- sive application for amateur motion pictures for over two years. Within the past year a large number of color

Aerial Photography

WM. H. TUERS

Special Motor Camera

Aerial Stunt Shots Process Backgrounds

Releases — ''The Flying Fleet,"

"Lilac Time," "Border Patrol

Series," "HelVs Angels," "Young

Eagles."

GR. 9097 HE. 1128

motion pictures have been released with sound accompaniment so that the ultimate is being approached in mo- tion picture photography, namely pic- tures in color and sound.

No practical methods of obtaining steroscopy or relief have as yet been found. The subtractive processes which have been used, however, are only two-color methods and therefore a true spectral record is not realized.

Although a simple process of color photography yielding a print which faithfully reproduces the colors of na- ture is greatly needed, most of the research at the present time is being directed to the perfection of color mo- tion pictures.

Another equally important field is the use of color photography in pho- to mechanical printing processes as colored illustrations have come into very extensive use during the past 15 years. The work of different investi- gators may naturally be viewed by transmitted light and by reflected light, and (2) motion picture color photography.

The discussion of the different proc- esses as given in the lecture is pref- aced by a description of the princi- ples involved in the photographic re- production of color.

A Catholic film review, La Revue du Film, has been founded in Belgium. It will be the official organ of the Central Catholic Film Organization and affiliated bodies. Important funds, it is stated, have been put at the dis- posal of the Catholic film organiza- tions for production and distribution.

Negative Developing and First Print

Sound Track Specialists

The Laboratory of Personal Service

ASSOCIATED FILM ENTERPRISES

Phone GLadstone 5118

1056 Cahuenga Avenue

Hollywood

Janunnj, 19-11

The INTERNATIONAL PHOTOGRAPHER

Thirty -nine

Trueball Tripod Heads

MODEL B

Their use for follow shots assures smooth operation, having an equal tension on all movements. Also, their action is unaffected by temperature.

Fred Hoefner

Cinema Machine Shop

5319 Santa Monica Blvd.

GLadstone 0243 Los Angeles

MELROSE

Trunk Factory

UNION MADE Camera

Cases for UNION CAMERAMEN

UNION MADE Camera Num- ber Boards

Trunk and Luggage Repairing Our Specialty

Automobile Trunks, Sample and Make-Up Cases to Order

GLadstone 1872 646 N. Western LOS ANGELES, CALIF.

V><2lSfl . . .

For professional Bell & Howell and DeBrie cameras. Send full description for cash offer. Or telegraph Bass Camera Company, 179 West Madison street, Chicago, Illinois.

With Compliments

Earl (Curly) Metz

Assistant Cameraman

James E. Woodbury

Portrait and Commercial Photographer

GRanite 3333 5356 Melrose Ave. Los Angeles, Calif.

RIES BROS., INC.

PHOTO SUPPLIES GR 1185 1540 Cahuenga

Dr. G. Floyd Jackman

DENTIST

Member Local No. 659

706 Hollywood First National Bldg. Hollywood Blvd. at Highland Ave.

GLadstone 7507 Hours:

And bv Appointment

9 to 5

Cinex Testing Machines Cinex Polishing Machines

Developing Machines

Printing Machines rebuilt for

Sound Printing

Special Motion Picture Machine

Work

Barsam - Tollar Mechanical Works

7239 Santa Monica Blvd.

Hollywood, California

Phone GRanite 9707

The new "Local 659" emblem. Small, chic and attractive. Or- der from your Secretary or direct from manufacturers.

J. A. Meyers & Co.

822 South Flower Street The largest jewelry factory

in the West Diamonds — Watches — Jewelry

Phone GLadstone 4151

HOLLYWOOD STATE BANK

The only bank in the Industrial

District of Hollywood under

State supervision

Santa Monica Boulevard at Highland Avenue

Turn your scrap film and short ends into cash

HORSLEY CHEMICAL COMPANY

1123 Lillian Way GLadstone 5490 Hollywood

Forty

The INTERNATIONAL PHOTOGRAPHER

January, 1931

Wishing everyone success for theNeivYear

VERNON L. WALKER

Specializing in

PROCESS Miniature, Trick and Unusual Shots

Address 601 West Fairmont, Glendale, Calif. DO. 5032-R HE. 1128

TO MY FRIENDS ./// over this Old World.

i wish you Health Happiness Success

Glenn R. Kershner

42+5 Jefferson Ave., Culver City

W. A. SICKNER

FIRST CAMERAMAN

Complete Akeley Equip- ment for Photographing Sound Pictures

CRestview 7255 GLadstone 5083 HEmpstead 1128

Walter J. Van Rossem

PHOTOGRAPHIC LABORA- TORY. MITCHELL CAMERA No. 225,

COMPLETE, FOR SALE

HOlly 0725 6049 Hollywood Blvd.

Hollywood, California

E. J. OTOOLE

Assistant HE 2539 HE 1128

Alvin Wyckoff

Multicolor

CLASSIFIED

FOR SALE— Cameras— Mitchell, Bell & How- ell, Akeley ; lenses and accessories of all

kinds ; new and used. HOLLYWOOD CAM-

ERA EXCHANGE, 1511 Cahuenga Boulevard.

FOR RENT — Three Mitchell cameras, high speed movements. 1000 ft. magazines. J. R.

Lockwood, 1108 N. Lillian Way. GR. 3177.

FOR SALE— CAMERAS

FOR QUICK SALE; — one Universal camera complete with tripod «tnd good F3.5 lens, magazines and carrying case. Guaranteed in good condition and will sell for $100 cash. Write Ray-Bell Films, 817 University Ave.,

St. Paul, Minnesota.

FOR SALE— Turret model Universal 2", 3" and F:1.9 2" lens — four magazines, good tripod, carrying case, dissolve, footage indi- cator, in excellent condition. Cost over $700.00, will sell for best price offered. Ray-Bell Films, 817 University Ave., St. Paul, Minn.

FOR SALE— MISCELLANEOUS

3 COOKE F:2.5 lenses— 3, 2 and 1%-inch, all in micrometer mounts ready for mounting B & H camera. A sacrifice price will be quoted for cash. Ray-Bell Films, 817 Univer-

sity Ave.. St. Paul, Minn.

MITCHELL high-speed Camera No. 225. Van

Rossem, 6049 Hollywood Blvd. HO 0725. FOR SALE— Bell & Howell Cinemotor. Used

one picture. $175. J. R. Lockv/ood. 1108 N. Lillian Way. GR 3177.

MISCELLANEOUS

WANTED— FROM GLOBE-TROTTING CAM- ERAMEN FILM OF FOREIGN COUN- TRIES. ADDRESS REX GORDON, 1215 JUNE ST., HOLLYWOOD. PHONE GR 6933.

SAVE 25 to 50% on Voigtlander, Zeiss, East- man and Graflex Cameras. Hundreds of new and used bargains to choose from. All guaranteed for one year. Also Cameras re- paired, rented, bought for cash, exchanged at Peterson's Camera Exchange, 356 S. Broad- way. Upstairs entrance Room 321.

WEBB-DOUGLAS PRODUCTIONS

Completing

"SWANEE RIVER"

with Grant Withers, Thelma Todd

and Philo McCullough

for Sono-Art-World-Wide Release

Directed by Raymond Cannon

Harry Webb Supervising

ELMER G. DYER

HE8116-HE1128

Art Reeves Cliff Thomas

Phone HOHywood 9431

/(AMIM

EXCHANGE

The Clearing House for Cameramen

Mitchell and Bell & Howells FOR RENT

Cameras and Projectors and Accessories bought and sold

Commercial Photography

1511 N. Cahuenga Blvd.

HOLLYWOOD, CALIFORNIA

Kodak Supplies

Still Finishing

16 mm., 35 mm. Developed and Printed

>**"^Y /#n'r,e^

FEBRUARY • NINETE

A Few More of Our Current Photographic Successes

Negative? (11 M I IN T ) Naturally!

«EG. U.S. PAT. OFF

CAMERAMEN

"Cimarron" R. K. O Eddie Cronjager

"Beau Ideal" R. K. O Roy Hunt

"The Royal Bed" R. K. O Leo Tover

"Stampede" Paramount Archie Stout

"Scandal Sheet" Paramount David Abel

"The Gang Buster" Paramount Harry Fischbeck

"Tom Sawyer" Paramount Charles Lang

"xi r> . m i tui r aa \ William Daniels

1 he L»reat Meadow M. d. M , -,, , ^ , T.

{ Clyde De Vinna

"Reducing" M. G. M Len Smith

"The Bachelor Father" M. G. M Oliver Marsh

"One Heavenly Night" United Artists , r> -ri i

J ( Gregg 1 oland

.<r>. i • i " /-i i- i i • i a \ Rollie Totheroh

t^ity Lights Chaplin-United Artists , ^ j D n i

J ^ I Gordon rollock

"Third Alarm" Tiffany Max Dupont

"Aloha" Tiffany Charles Stumar

"Sin Takes a Holiday" Pathe John Mescall

"The ''tiFPONP Trade Mark Has Never Been Placed On An Inferior Product"

SMITH & ALLER. Ltd.

6656 Santa Monica Boulevard HOllywood 5147

Hollywood, California

Pacific Coast Distributors

For

DU PONT PATHE FILM MFG. CORP.

35 West 45th Street New York City

February, 19-31

The INTERNATIONAL PHOTOGRAPHER

Ow

Bell & Howell

EYEMO

.... three-lens turret . . . seven film speeds

• Bell & Howell's characteristic precision of design and workmanship has been carried even a step further in the new Eyemo 71-C Camera, which establishes a new record in flexibility of 35 mm. hand equipment.

The variable speed governor has seven speeds rang- ing from 4 to 32 frames a second: 4, 6, 8, 12, 16, 24, and 32. A speed conversion dial is built into the side of the camera, giving correct lens openings for any speed.

The permanently built-in hand crank in addition to the spring motor is a new feature. Its use is optional with the operator. The rotation of the crank is regu- lated according to the setting of the speed indicator. The governor acts as a brake, enabling the operation of the crank at no greater than the speed for which indicator has been set.

The turret will accommodate all lenses ordinarily employed on the non-turret Eyemo. Lenses used on previous Eyemo models may be remounted at the Bell & Howell factory or branches for use with the new 71-C Turret Head Model. Write for folder No. 36-E.

• B & H AUTOMATIC COMBINATION • 16-35 MM. FILM SPLICER

Bell & Howell Standard Film Splicing Machines are well-known for the quick, permanent splice which they make — a splice which does not affect film flexibility or encroach upon picture space. A film joined on a B & H Splicer is perfectly welded in accurate alignment, eliminating misframes and other evils of inferior patching. With its new style cutter blades and the heating unit which maintains at a steady temperature all parts of the machine with which film comes in contact, the B & H Splicer does its work at highest efficiency. The new safety lock grounded plug more than meets the rigid require- ments of insurance underwriters. The Model No. 6 Film Splicer, a standard 35 mm. positive splicer, is equipped with disappearing pilots for splicing 16 mm. film. These pilot pins are set diagonally, producing the B & H diagonal splice with nearly 30% more bonding sur- face than a right angle splice. A lever drops the 16 mm. pins out of sight for 35 mm. splicing. Write for catalog No. 36-S.

BELL & HOWELL

Bell & Howell Co. 1849 Larchmont Ave., Chicago, 111.

NewYork, 11 West 42nd St. Hollywood, 6324 Santa Monica Blvd. London (B & H Co., Ltd.) 320 Regent St. Established 1907

Two The INTERNATIONAL PHOTOGRAPHER February, 1931

A PLEDGE

To Theatre Owners, Managers and Projectionists to Maintain

TRADE MARK REG'D.

SUPREMACY

It has been our responsibility to satisfy the needs of the motion picture industry and to meet many emergencies created during a period of extraordinary expansion and unparalleled activity.

With increased manufacturing facilities and closer contact with our selling organization we pledge this great industry that we will render even greater service and maintain the high quality which has won a world- wide supremacy for

m

TRADE MARK REG'D.

THE INTERNATIONAL PROJECTOR

INTERNATIONAL PROJECTOR CORPORATION

90 COLD STREET NEW YORK

INTERNATIONAL PHOTO GPAPHE R

Official Bulletin of the International Photographers of the Motion Pic- ture Industries, Local No. 659, of the International Alliance of The- atrical Stage Employees and Mov- ing Picture Machine Operators of the United States and Canada.

Affiliated with

Los Angeles Amusement Federa- tion, California State Theatrical Federation, California State Fed- eration of Labor, American Fed- eration of Labor, and Federated Voters of the Los Angeles Amuse- ment Organizations.

Vol. 3

HOLLYWOOD, CALIFORNIA, FEBRUARY, 1931

No. 1

"Capital is the fruit of labor, and could not exist if labor had not first existed. Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.

CONTENTS

La Voy Sees Samoans in Royal Ceremonials 4

All in Cameraman's Day's Work 6

Dirt and Scratches 8

Conducted by Ira Hoke

Chicago 10

By Harry Birch

Teamwork and Cameramen 12

Recording Improvements Require Higher Standards 14

Royal Families Real News Material. .15 By Ray Fernstrom

Theatre Installation Costs to Gain. .16

Long List of European Film Magazines 17

European Film Items of Interest 19

Hatian Glories Vividly Portrayed by

Parichy 20

By Esselle Parichy

Chaplin's "City Lights" to Open in Splendor 23

Dr. Mackenzie Chairman of Western Engineers 23

Looking In on Just a Few New Ones. .24 By George Blaisdell

Eastman Plates Create Standards .... 28

Amateur Department 29

Will Manufacture Wax Records 29

How 16 mm. Hurdles Over Radio 31

When Industry Calls on 16 mm 32

How Operations Are Photographed. . .35 Amateur Magicians Make Sound Screen Record 36

The International Photographer is published and M.P.M.O.of the U Entered as second class matter Sept. 30, 1930,

Howard E. Hurd,

George Blaisdell Editor

Ira Hoke ------ Associate Editor

John Corydon Hill

Subscription Rates — United States and Can

Office of publication, 1605 North Cahuenga Av

monthly in Hollywood by Local 659, I. A.T.S.E. nited States and Canada

at the Post Office at Los Angeles, Calif., under arch 3, 1879 M. P. M. O. of the United States and Canada

Publisher's Agent

Lewis W. Physioc 1

Fred Westerberg S

- - - Art Editor ada, $3.00 per year. Single copies, 25 cents enue, Hollywood, California. HEmpstead 1128

Technical Editors

The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of motion pictures in the United States and Canada. Thus The International Photographer becomes the voice of the Entire Craft, covering a field that reaches from coast to coast across North America. Printed in the U. S. A. 1-^^>2 at Hollywood, California.

Four

The INTERNATIONAL PHOTOGRAPHER

February, 1931

La Voy Sees Samoans In Royal Ceremonial*

WHILE many of the assign- ments that fall to the news weekly cameramen come within the category of "tough" that is not true of all 'of them. So thought Merl La Voy when he got word from Pathe that he was to be its representative to accompany the American members of the Ameriean-Samoan Commission on its long journey across the Pacific. The American representatives were Senators Bingham of Connecticut and Robinson of Arkansas and Congress-

Panel at left reading down: U. S. cruiser Omaha, on which the Amer- ican commission sailed 10,500 miles on its Samoan visit. Samoan stages a cockfight in front of his home for the Pathe News' man. Old Nature stages a cloud formation

men Bedy of Maine and Williams i Texas. Accompanying them was Ca! tain Furlong, chief of island gover' ments of the navy. For transport tion Uncle Sam assigned the cruisi Omaha, and in the course of its jou ney the stanch craft logged 10, 5( miles.

The party left Los Angeles Se tember 11 last and returned Octobi Id, thirty-eight days later. Twent; three days were spent at sea, thn days at Honolulu and twelve days American Samoa.

The primary objective of the cor;

Upper left centre: Commission hoW session in headquarters of the Ma Samoan political organization. Oi posit e ■: Samoan girls dance for tl Americans

February, 19-11

The INTERNATIONAL PHOTOGRAPHER

Five

ission was to investigate conditions American Samoa and on the return this country to draft a bill of rights br the islanders for presentation to bngress. It was the aim of the com- ission not only to secure the opin- Ins of the high chiefs of the islands at to throw open the hearings and [cure views from any one who cared i come forward and talk. Uncle Sam takes the Samoans seri- iasly and seeks to legislate for them I such manner as really will bring I them the greatest good. It is in jiat spirit that the United States lavy has governed the islands for ae preceding thirty years. It has Itevented from getting a foothold the 'hite beachcomber element as well as i her contaminating and degenerating ifluences from which a majority of land peoples have suffered through jo close contact with certain types of .hite men.

[ As a result of this policy and aided V a progressive system of hospitali-

ower left centre: Kiru/'s kava cere- oiiii held in honor of the Americans, ■pposite : Samoan ivarriors in hollow mare put on one of their more formal ceremonies

zation and related medical attention the ten thousand islanders so far as concerns health and living conditions are better off than any other parallel group in the Pacific.

The commission had under consid- eration in the formulation of its re- port three plans:

1. Setting up civil government.

2. Continuing as in the past under naval administration.

3. Constituting American Samoa as an ethnological park wherein the natives may live their own lives as the climate and environment in gen- eral may indicate and remain free from the untoward influences previ- ously referred to and making them in- dependent of the ordinary United States civil administration.

In the twelve days the Americans were in the islands they were royally entertained by the Samoans, headed bv Chiefs Pallee, Tufele, Monga and Mongale. The visitors were strongly impressed by the wisdom of the lead- ers and the high standard of intelli- gence noted in the Samoans generally.

Panel at ri<jht : Ceremonial dances pat on by the Samoans in honor of the American members of the commission

A^tAjJk u4 ,y/4 H

Six

The INTERNATIONAL PHOTOGRAPHER

February, 1931

All in Cameraman "s Day "s Work

It's Same to Him Whether Locked Up with Crazy

Bear or Recording- Women Convicts

Chanting- Lord's Prayer

BLACK bears may be all right in quiet surrounding's if caught in cub days by a human who sort of pals with the critters, as such are known on the ranch near La Junta where Everett Marshall had reared one fine specimen of the species.

But when that black bear gets into an arena surrounded by cages with other and strange bears — the first of his kind the visitor had any recollec- tion of seeing: — and 1500 shouting hu- mans he is not good company.

All of which was suddenly and somewhat thrillingly borne in on the comprehension of J. L. Herrmann, Local 659, Paramount sound news cameraman, not so long ago at the Swope Park Zoo in Kansas City.

Just as a preliminary to or ex- ploitation stunt for the wrestling- bouts for that evening in Convention Hall Marshall had agreed to show that a human could whip a husky bear in the wrestling game. Back there on his ranch he often had done it, he insisted.

That looked like a story for the news man, so Herrmann made ar- rangements to get it, and exclu- sively. Not to be handicapped by shooting through troublesome and in- tervening bars the cameraman sug- gested that he be permitted to enter the arena with the contenders. That was okeh with the zoo man — but per- sonally the outside looked very allur- ing to him.

Okeh With Wife

When it came to the selection of a referee there followed a series of declinations. One was certain he wouldn't photograph to advantage, another was married, although his wife expressed her entire willingness he should take the chance; another decided his sister would be unable to drive the car home. Finally Frank Cromwell, a member of the park board, said he would oblige. "I'm get- ting old, anyhow," he added.

But when Cromwell got a look at the bear he decided to climb the bars to the top near the microphone. "No doubt you will want my decisions re- corded on the film," he suggested.

The crowd yelled as the bear en- tered the arena and the attending grizzlies growled furiously. Smacks on each ham by the flat of large shovels tended in no noticeable de- gree to impi-ove the temper of an an- imal already quite flustered. In fact, Bruin was frothing at the mouth and plenty ugly. His claws were extend- ed, his teeth bare, as the Kansas City Times explained in more detail. Ke bounded, feinted and snarled. Sweet and toothsome chocolate temptingly

and timidly proffered seemed of no avail.

In the meantime Herrmann and George L. Graham, of Local 644, his sound man, had been unable to se- cure a picture. As a matter of fact they were wondering how to avoid supplying the animal with discon- tented white meat. They took no stock at the time in that herbivorous stuff anyway. The signs were against the truth of common report. They wanted to go home, but the bear was nearer the gate.

Finally after much excitement the bear was shooed near the exit by the hefty shovels that had welcomed him into the arena. Disregarding the warnings and aided by the aroma of peanuts and chocolate they finally got Bruin through.

Christmas Behind Bars

Herrmann and Graham breathed not more easily but just breathed. Not only had they saved their equipment but their hides, too. And in the cir- cumstances they considered it now their turn to do a bit of celebrating themselves. And Kansas City is a hos- pitable town, even if some of its more outspoken citizens did seem a bit put out because of the inability of Mr. Bruin to stage a Roman holiday over a couple of cameramen.

It was the day before Christmas when Herrmann and his sidekick dropped into Jefferson City, where is situated the Missouri Penitentiary. They met up with the warden of the institution, Leslie Rudolph, who for twenty years has presided over its destinies and within the past year has had to combat two rather serious riots.

Yes, he thought it would be all right for the two men to come out the next day and bring their equipment and take a few pictures. He ex- plained that conditions were rather crowded, with 4400 on the roster and many more arriving every day. Cells designed to hold one person were loaded with three or four.

After shots had been taken of men parading by the guards and receiving their Christmas dainties and of near- by windows each filled with deeply in- terested faces the warden conducted Herrmann to the women's quarters, where there is one ward for the white women and another for the colored.

To the surprise and also the delight of the news men the warden decided to contribute to the holiday spirit by bringing out on the lawn fourscore of the women prisoners, all garbed in white uniforms.

With the grim walls of the build- ings forming a picturesque if forbid- ding backkground the whole company

John L. Herrmann

sang "Smiles." After a lot of close- ups the negro women sang revival hymns. The same group indulged in a dance. There followed many close-ups of nimbly moving feet.

From "Smiles" to —

Then with the white women in front and the colored ones in a row behind the group chanted the Lord's Prayer.

The gayety that had marked the faces of the women for a few too brief moments no longer was in evi- dence. Countenances now were set and serious. Only too plainly revealed be- hind each were crowding memories of other and tender days, of circum- stances under which there first had been implanted in the mind the sim- ple words of the ages old prayer.

Even the spectators, many of them hardened and all of them more or less immune to unusual scenes, were deeply moved.

A couple of days later in Holly- wood, where Herrmann had come to spend the holidays with Mrs. Herr- mann, the cameraman admitted he never had experienced a moment quite like that strange one at Jefferson City.

Herrmann left the coast on the morning of December 31, arriving at Wichita at 7 o'clock that evening. At noon the next day he again took the air, and in 2 hours and 20 minutes he landed in Omaha. From there he took the train to Minneap- olis.

In the last few months in the course of a good-will tour to Paramount ex- changes Herrmann has covered Louis- iana, Mississippi, Arkansas, Okla- homa, Texas, New Mexico, parts of Arizona and Northern Mexico.

JVi.A^D A - ~ not the name of a thing, out the mark of a research service

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Eight

The INTERNATIONAL PHOTOGRAPHER

February, 1931

era

IRA HOKE

Cousin Albert?

Assistant Cameraman — Who you shootin', Buddy?

Still Man (about to photograph Einstein) — Whv, don't you know? That's one of the greatest men in the world.

Assistant (in awe) — The Pope?

Still Man— Oh, no. That's Profes- sor Einstein, the —

Assistant — Say, I heard about him ! He's the man Universal brought over here to untangle the relative-ity situation at the studio.

Not a Chance

First Actor — I hear you have a part in the new R. O. W. feature talkie?

Second Actor — Yeh, I finally landed a bit.

First Actor — Is it a speaking part?

Second Actor — No. You see I play the part of the leading woman's hus- band.

Perfect Alibi

Business Agent — What are the charges, Pat?

Pat — It was like this. Mike bor- rowed a still camera from me and when it was returned the ground glass was broken.

Business Agent — Mike, what havj you to offer in defense of yourself.

Mike — I have been accused un- justly. In the first place I did not borrow any still camera from Pat. In the second place it was in good condition when I returned it. And in the third place the ground glass was broken when I received it.

The Danger Line

Otto Dyar, publicity photographer for Paramount, says his idea of a successful actress is one who has two sets of teeth. One for eating, the other for posing for tooth paste ads.

Strange as it Seems

Cannon and Ball operate a portrait studio on Sunset Boulevard.

Them Satchels

Director — Quick, Props, the leading lady is looking for her rings. Find them, somebody.

Cameraman — That's easy. They're right under her eyes.

Like X in Soap

The company had just emerged from projection room "B" after see- ing the daily rushes. One of the big- shots remarked casually to the direc- tor: "Mike, the last scene vill haff to be retaken."

"What was wrong with that one?" asked the director.

"Diction," answered the big shot.

"Diction?" gasped the director. "Why, I heard every word perfectly."

"Oh, you did, did you? Veil, I didn't. I couldn't hear the final k in swim- mink."

A Light Task