LOYALTY-'-PROGRESS-.
- ART-'-tn~~~~~~ii~
THE- MEN WHO MAKE MOTION PICTURES
Copyrighted, 1921, by the AMERICAN SOCIETY
VOL. 2. NO. 13
-----_._--------------------'---------------'----
Too Much Johnston!
The Passing of a Genius
The motion picture industry
and all picture enthusiasts
mourn the loss of George Loane
Tucker, particularly known as
the producer of "The Miracle
Man." This picture was photo-
graphed by Philip E. Rosen,
who gave a brief account of his
association with Mr. Tucker.
He said:
"It was ten .weeks of very
pleasant relations. The out-
standing feature which en-
deared the staff to Mr. Tucker
was his enduring patience. As
a director he was artistic in
every sense of the word, He
paid great attention to detail.
As an example of his painstak-
ing methods, he spent two
months on the continuity of this
picture and three months on the
cutting."
------
Right and Religion
"It is better to be right than
religious. I prefer to dwell with
the wordling and be true to my
inner self than to live with the
saint and betray it."
So declares the Rev. D. He
Jones in commenting upon his
withdrawal as pastor of the
Huntington Park Baptist
Church during the present J3lue
Sunday law fight which is being
waged in the town. For be it
known that Mr. Jones has come
out frankly and openly in behalf
of good, clean motion pictures.
He believes that such pictures
should be shown any time and
anywhere and it is this belief
that causes his congregation to
take offense.
In taking the stand he does,
this minister is sacrificing
.much. He has lost many friend-
ships and perhaps some would
say, failed professionally. That
may be so but when Mr. Jones
puts character before profes-
sion, manhood before hypocrisy,
who can say he is a loser? He
sums up the entire blue law
situation when he says:
•
"It is a wonder to me how
many bad things good people
see in the movies; fortunately,
if you are so disposed, you need
never be disappointed. To con-
demn movies because some
things are objectionable is like
refusing to eat fish because it
contains bones."
Despite the evidence to the
contrary, it is possible to be re-
ligious and still remain right
even though some provincial
congregations can't see it that
.way and there are many of us
who would like to be in a congre-
gation over which presided the
Rev. D. H. Jones.
LOS ANGELES, CALIFORNIA, JUNE 24, 1921
Educational Pictures
By H. Lyman Broening
From the mind of man there
has been no greater invention
than the motion picture. As a
medium of entertainment it has
advanced to a position of unlim-
ited value. As an instrument of
real educational value its pos-
sibilities are yet to be more
fully realized.
The recent incorporation in
New York of the "National Non-
Theatrical Motion Picture Com-
pany" is a move worthy of note
-to those for whom it has been
created - it is worthy of sup-
port. The purpose of this com-
pany is to organize a system of
exchanges catering to the needs
of societies, schools, churches,
colleges, etc. This mayor may
not be the first time such a
scheme has been attempted-
but it is certainly time it were
made a solid institution. - but the burden could be divided tariff.
In the mad rush of the mete-
oric advance of the photoplay,
millions of dollars have been
spent in placing the motion pic-
ture upon a theatrical basis.
The recent slackening up of this
class of production may give a
few serious minds an opportu-
nity of devoting a bit of atten-
tion to the furtherance of the
educational film.
The theatrical and non-theat-
rical picture is as different as
day is to night, and to mix them,
as is being done, with the pres-
ent order of things, can hardly
be called a successful effort.
The mind of the grown-up does
not care to be burdened with
"dramatic-educationals."
Educational pictures will have
their greatest value upon the
minds of the young in the insti-
tutions established for that pur-
pose, such as colleges and
schools. It has been demon-
strated that the child's mind is
quick to remember by sight.
Much pondering can be done
away with by a mere animated
illustration which would other-
wise require lengthy descrip-
tion. To the average child a
school book is the most uninter-
esting thing imaginable, but
like bitter medicine-it must be
endured. The motion picture,
however, may help to "sugar-
coat" the same medicine.
Let us suppose, for instance,
that the government would pro-
duce an historical picture of the
History of the United States.
Can you imagine the value of
such a picture, if carefully pro-
duced, upon the mind of every
child for generations to come?
Propaganda should commence
at home and it's never too soon
to begin. The cost of such it
0, C .;\/b;Mr\ ,UGKAPHERS.
. TEN CENTS A COpy
The Black? "We do not want a protec-
Card Controversy tive tariff on foreign pictures."
So writes Mr. William A,
By Charles H. Thimme J ohnston, editor of Motion Pic-
It has come to the attention ture News.
of the undersigned, in numerous WE? Now just whom does
instances, that there has been, the writer mean by we? Pre-
and still is, a decided difference sumably he means Mr. John-
of opinion prevalent among ston, the Motion Picture News,
many connected in one capacity and such other interests as he
or another with the title indus- may represent.
try, as to the value or advisabil- NOT the great mass of fair
ity ofa highly glossed black thinking public spirited Amer-
card for lettered ti ties, as ican citizens.
against the ordinary dull black NOT the vast membership of
in common use. It is my pur- the American Legion.
pose in this article to describe NOT the majority of Amer-
as clearly as possible, in plain ican producers, directors and
terms, the actual advantages affiliated workers, and
and use of this particular meth- NOT US.
od, as against that most fa- We, the American Society of
miliar in general USe. Cinematographers, consisting of
It is no easy task to combat a majority of representative
(Contiued on Page Three) American cameramen, as well
as the others we have men-
picture. would naturally be high, tioned, DO want a protective
among the states, each contrib-
As an excuse for his state-
uting according to its size or ment against protection of
population. The life of a picture American industry, Mr. J ohn-
of this sort would be indefinite ston resorts to criticism of the
and could be preserved for a Actors' Equity Association.
permanent reference.
We know little about that or-
Scientific pictures offer an un- ganization but we do know the
limited field to draw upon, es- aims and ideals of our own. We
pecially with the methods of are not attempting organization
"stop-motion" iluustrations so or a dues paying campaign, nor
well developed. Geography are we a band of agitators in-
would be a day's outing with dulging in so-called bunk.
the aid of the cinema camera So much for that.
and scenes and customs of the
Like ancient Gaul, the motion
"four corners" of the universe picture industry seems to be
are easily accessible with travel divided into two parts.
The
films. Then there are Biblical part which Mr. Johnston repre-
and industrial pictures which sents and which cannot be taken
occupy important places upon seriously by the thinking Amer-
the curriculum. Of course, pic- ican public, is quoted above.
tures cannot be applied to all The other part consists of the
studies, but it helps the monot- American producer, the Amer-
ony of book-learning.
ican director, the American
To make the motion picture actor and the thousands of
truly successful as an educator, other allied American workers
a national move must be made----- in the motion picture industry
the instructors themselves which can and will be consid-
would have to study the value of ered by that self-same public.
pictures and just how to apply
Mr. Johnston says that a
them to advantage. The few tariff will be a monopoly for the
schools and colleges equipped American producer, but he does
for the purpose are insufficient not give any .of the following
to make it worth while-a more facts and figures:
concerted and unanimous effort
"Passion," the first foreign,
must be instituted.
made picture shown in this
The problem is a big one and country since the war, cost
require- big men to handle it,
about $20,000. In two weeks at
but success cannot be attained the Capitol Theatre in New
if commercialism and graft are York City it earned in excess of
tolerated A greater use of the $100,000. This represents the
cinema for education and there earning power in but one the-
will be less condemnation of pic- atre in but one city.
tures as an "inspiration of
Will American producers
crirno and evil."
spend half a million dollars to
Children want to see "movies," make a feature here when it
so we hope the school systems can be purchased for $20,000
of America will give them the from the Germans?
kind that will do them the most
In a very short time the pic-
good - Educational Motion Pic- ture market of this country will
tures! (Continued on Pag-e 'I'wo)

THE AMERICAN
CINEMATOGRAPHER
325-331 Markham Building
6372 Hollywood 'Blvd.
Los Angeles, California
Hollywood 4404
MARY B. HOWE, Editor
Associate Editors
ALVIN WYCKOFF
H. LYMAN BROENING
KARL BROWN
PHILIP H. WHITMAN
A Semi-Monthly Newspaper
to the Cameramen. An Educational
Instructive Publication Espousing
gress
tography,
and Art in Motion Picture
while Fostering
the Industry.
Published by
AMERICAN SOCIETY OF CINEMA-
TOGRAPHERS
Subscription Price;
$2.50 a Year, in Advance
We Cordially
Along Instructive
Invite
and
News Articles
Constructive
Lines of Motion Picture Photography
from Our Members and Directors
tive in the Mo t io n Picture
All Articles for Publication
Signed by Name of 'w rt ter ,
Meetings of the Amer-Ican Society
of Cinematographers are held every
Monday evening. in their rooms
the Markham .tsuildtng, No. 325. On
the first and third Monday the open
meeting is held, and on the second
and fourth is the meeting of the
Board of Governors.
TOO MUCH JOHNSTON
(Continued from Pag'c
have to compete, not only with
the German film, but with the
output of Italy, France, Eng-
land and other foreign coun-
tries. All of these competitive
pictures, because of the low for-
eign exchange rate, can be made
at from one-twentieth to one-
third the cost of similar produc-
tions in the United States. If
an unrestrained influx of for-
eign pictures is in full posses-
sion of the American market
who will suffer?
First, the American picture
loving public, who will suffer
from the display of cheaply pro-
duced inferior foreign films
(and we believe that even Mr.
Johnston will admit the supe-
riority of the American product
both morally and artistically).
Second, the American exhibitor,
who will be forced to carry a
I load of bookings of these impor-
tations which he will find un-
productive of permanent finan-
cial gain, So if, as Mr. J ohn-
ston says, the box-office sup-
ports the motion picture indus-
try and every single concern
and individual engaged in it,
what is to happen to the Amer-
ican producer, the director, the
actor and the other mass of
workers? Will even the great
-.hmerican Trade J ournals es-
cape?
The motion picture in vest-
ment in this country is largely
of a permanent nature, consist-
ing of studios, lighting, con-
struction and transportation
equipment; the principal pro-
ducing centres being California,
New York and New Jersey.
Surely this investment and the
livelihood of the workers are
entitled to reasonable protec-
tion. It is unfair that tens of
millions of dollars of invested
capital be placed in jeopardy.
The proposed ad valorem duty
upon the imported exposed film,
based upon the replacement cost
in the United States, would
place the foreign and domestic
products upon an equal financial
footing.
Two elements in the industry
are now trying to control pro-
--._----
PANS AND TILTS
By A. CRANK
Announcing the return to the
fold of Fred Jackman, Great
Mogul of the A. S. C. Jack re-
turned this week from Florida,
where he has been locationing
for Mack Sennett. His recol-
lections of Pensacola are slightly
hazy, a kind of gauze-like ef-
fect you might say. We are
glad to get him back.
Devoted
and
Pro- It's a cruel, cruel world, ac-
Pho-
cording to Ben H. Kline, cine-
matographer for Tom Mix. It
all happened this way.
Tom, while making prepara-
tions to journey to New York
for the big fight, suddenly real-
ized that he would miss the
handsome face of Bennie. He
immediately secured an addi-
Ac-
Industry. tional ticket and invited the
Must be cinematog to go along. Invita-
tion accepted - all in readiness
to leave when it is decided that
Bennie must stay and photo-
in
graph another William Fox pro-
duction for a new director. Now
Kline wishes he wasn't so pop-
ular as a cameraman. -
Reggie Lyons emerges from
out of a bullet proof cellar hack
One)
in Tulsa, Okla. ,long enough to
assure us that he survives the
recent race riots. In fact he
"M an, 'Woman, M·"
arrlage says he didn't mind his enforced
sojourn a bit. Yes, Reggie, we
used to have a cellar like that in
A wonderful subject - A Big past we find the subtlety of the old days.
Idea, which has been uppermost Woman the ruling greatness of
in the minds of Men and Wom- the time; thru her influence Roy Klaffki is still searching
en thru all the ages. No mat- only has Man been successful, around town for a projecting
ter what historical work we are and then - the same influence machine lamp, but alas, when
prompted to refer to we find has been dropped by him into Roy says, "Let there be light,"
that as far back into the dim oblivion. there is no light.
past as it is possible for us to There are moments when this
penetrate, Woman has fought picture is entertaining, but not Wanted-One ten-gallon bar-
for her place beside the Man. convincing. The photography rel in good condition. Nobody's
She fought for the life she has is very good, and Messrs. Ly- business for what purpose I
brot into being, she has fought man Broening and William Mc- want it. Apply to Hugh Me-
for all that was rightfully hers, Gann are to be complimented on . Clung.
and her battle still rages, peace-the finish of their efforts and co-
fully or furiously, according to operation. The technical de- Victor Milner, Esq., hasn't
her enlightenment, environment partment is deserving of praise been seen around since the last
or government under which she for some beautiful sets and session of the Casino Club. It
lives. Man has fought equally is rumored that he is on an ex-
hard to be the dominant sex, properties. The work of Miss
tensive shopping expedition in
and again if we study the his-
tory of the great nations of the
Dorothy Phillips is very good, the city.
which is just what is expected.
Homer Scott was recently let-
"Chats on Composition" by J. Another New Member ting the boys in on a good recipe
A. Dubray and "Motion Pic-
tures and Censorship" by Lewis We are glad to welcome to for a hot weather drink.
our membership, Mr. Virgil E. "All you need," he said, "is a
W. Physioc will be continued in Miller of the Universal Film half dozen lemons, three dozen
the next issue. Company. Mr. Miller's first oranges and a gallon of water."
studio experience was in the "That's pretty soft," observed
Harry Gerstad has finished electrical department of this one 0 fhis listeners.
photographing Wm. Desmond company, from which he moved "Yes," replied Scott, "but the
in "Fightin' Mad" on the Brun- to the camera shop. After two other ingredient is HARD-to
ton lot. The next picture will years he was given a camera, get. "
start in a short time.
which position he has filled for
three years and a half. He has King Gray has just returned
posed legislation in Washing- been associated with such direc- from Big Bear, at which loca-
••
ton. In one group are the men tors as Elmer Clifton, Thomas tion he has been shooting the
who profit from such business Heffron, Douglas Gerrard, J. P. latest Ben Wilson production
as was done with the German McGowan, Reeves Eason and under the direction of Roy
film "Passion"; in the other, King Baggot. Clements. In telling of his trip
those of us who are endeavoring King says:
to keep America for Americans. "We experienced the worst
George Schneiderman has be-
If the former wins in the gun a picture with Howard possible kind of weather. One
struggle our extensive invest- Mitchell ,on the Fox lot, starring minute rain, another snow and
ments and the hosts of trained Shirley Mason, then came both together. After
specialists supported by this ten days of trying work, we
great industry will be valueless. R. J. Bergquist has just com- managed to steal the scenes be-
This would give the opportunity pleted "The Hunch" in which tween clouds. What makes me
so generously desired by Mr. Gareth Hughes is starred under terribly mad about iXJ.e whole
Johnston to have pictures made the direction of George D. .affair is the fact that upon our
in Rome, Capetown, Bombay, Baker. The same combination return to Los Angeles, the sun
London, Berlin, Paris and has started the second comedy shone so brightly that it almost
Shanghai shown thruout the of the series. "Garments of blinded me. I feel like saying
country, while the American Truth" from the pen of Free- Da--"
film remains on the shelf. man Tilden. Miss Ethel Gran- Easy there, King old boy, re-
But believe us, Mr. Johnston, din will appear in this picture member you are among gentle-
IT SHALL NOT BE. also. men.

Jimmie; the Assistant
Listen here -folks, I ain't no
Solomon or nuthin' like that. I
ain't going to ask you to take
no stock in my personal ideas,
but--us poor working bums is
so close to the bottom that
sometimes we hears the rumbles
of approaching storms before
anybody else. I'm just a bum
assistant, and so maybe I don't
know what I'm driving at, but
I've followed the game a long
time and I've seen a lot of things
happen, and I'm basing my gab
on past occurrences.
This here movie business of
ourn is in for the biggest shake-
up it ever had, and when the
dust clears you won't know the
old place,
No, I ain't got no inside dope,
and there ain't no availeable
facts to back up that there
statement. It's just a hunch,
and a darn good hunch based on
Old Lady History's celebrated
habit of repeating herself.
My line of dope is just this.
Every big money making game
sooner or later boils down to a
monopoly, and pictures ain't no
exception. They started this
merry stunt early in the picture
game with the Trust, Remem-
ber when there wasn't nothing
else but Biograph, Vitagraph,
Kalem, Essanay, Edison, etc.,
anywhere to be seen? That par-
ticular Trust had it on 'em all
because of the patents they con-
'trolled, They had about the
most air-tight cinch anybody
ever had since Joseph played his
little corner in Egyptian wheat,
Then Old Lady History steps
in and repeats one of her fa-
vorite old time repetitions. Said
Trust, holding all the trumps,
perceeds to play the game to
suit itself. So they percolated
along, grinding out their little
one, two, and maybe as a grand
adventure, three reel drarnmers,
spending no more than they had
to, and making no progress,
Why should they attempt any-
thing new? Why fritter their
perfectly good dough away on
fool experiments such as direc-
tors with unusual ideas, and real
sets instead of painted flats, or
idiotic cameramen who wanted
to try new things in photog-
raphy?
Then a lot of what was con-
sidered half-wits busts loose.
and makes pictures the way the
Trust wouldn't let 'em. In this
they showed more nerve than
good judzrnent, because most of
'em was bucking big money and
patent suits. But they got away
with it, and when a certain one
of these crazy guys named Grif-
fith showed the world a new
standard of pictures, the rest of
AMERICAN CINEMATOGRA PHER
his crowd followed him up and THE BLACK CARD
just naturally snowed the poor CONTROVERSY
Membership Note~
old Trust under, Henry Cronjagor writes from
If the Trust had squenched (Continued (rom Page One)
New York that he expects soon
these here upstarts, where prejudice and stupidity, in de- to be back in sunny Southern
would we be now? Pretty hard fending a new idea or method, California. They all seem to be
to tell, but the chances are we especially when it conflicts with coming this way now. Next?
would be just experimenting the self-interest or set standards
with the idea of just showing of the majority, I have been Arthur Edeson is a busy cam-
one five reeler at a time instead forcibly impressed with that bit- eraman these days, photograph-
of two or three short subjects. ter fact in the course of over ing "The Three Musketeers" on
Maybe not, tho. It's a cinch two years of very successful the Fairbanks lot. When we
there wouldn't be no stars, and demonstration of this method, called upon him there was a
such perductions as "The Mir- so far as one man's capacity for crowd of . near Frenchmen on
acle "Man" wouldn't even be a work is concerned. The time the set, surrounded by a crowd
possibility. has passed, however, when a de- of interested American specta-
But as it turned out, these in- fense was necessary. and in this tors. The picture has been in
dependent birds was hot to article I will confine myself to a production about seven weeks
outdo each other, and from 1914 description and comparison for and is progressing satisfac-
to 19] 6 the movie industry, in it the benefit of those of the craft torily.
series of dazzling triumfs, who are open to conviction and Roy Klaffki will photograph
leaped from its disrepertable concerned with cold facts, Alice Lake in her production
nickelodeon standing into the rather than fancies, I base my just starting under director
field of Art, Of course, a lot of claims to your attention as being Dallas Fitzgerald at Metro,
dough was made, As we said, the first and so far, the most "The Infamous Miss Revell" is
any big money maker gets mo- successful in this particular from the pen of W. Carey Won-
nopolized, and pretty soon, be- line, having as clients the high- derly.
fore we knew it, nearly all our est class of patronage in the in-
business got into two or three dustry. Ross Fisher is enjoying the
groups, and then these groups It has not been so many years . unique experience of photo-
practically rolled into one, The since anything in the nature of graphi ng "The Lotus Blossom"
new combine founded itself on a highly glossed surface, for under Director Francis Gran-
control of the theaters, and title work, either for lettering or din, for the Leong But J ung
made a pretty darn good job illustrations, was regarded as Productions, at the . Boyle
of it. highly impractical, owing to the Heights Studio. Tully Marshall
Now, at present, about 80 per difficulty in overcoming halation is the only American in the cast.
cent of our perduction is com- or reflections, and all lettering Jack Mackenzie is at Lake
bine, and the rest independent and illustrating was executed Tahoe photographing Earle
perducers, The ir.dependents on as dull a surface as possible, Williams in the "Man from Cal-
are Iucky to break even; the for that reason. gary," a story of the North'
others are making big dough. It has only been lately that, west Mounted Police. Bert Ens-
Why? Because the independ- through the untiring efforts of minger is directing.
ents are progressing, the others a few progressive souls, striv-
playing safe, Progress means ing for something better, this Tony Gaudio is in the midst
risk: a new idea may clean up technical stumbling block has of shooting "The Black Fox,"
for you, or give you an awful been removed. Especial credit story by Phillips Oppenheim,
jolt. for this advance is due to such adapted and directed by Ed-
As near as I can see, the big men as Ferdinand Earle, the ward Sloman. The all star cast
group lets the little group ex- artist, whose title paintings and includes Lewis Stone, Raymond
periment, and profits by their double exposure work are too Hatton, Ruby DeRemer, Kath-
leen Kirkham, Frank Lee and
mistakes. "The Miracle Man" well known to require much
was a winner and we had a lot comment. By the proper plac- Walter McGraiL The tale is laid
in France and England. Mr.
like it. "Broken Blossoms" ing of lights, on even the most
flivved and they laid off it, highly polished surface, and the Gaudio promises some new
shadow effects,
But it takes more than a 20 proper timing and exposure, re-
per cent effort to make real flection is eliminated entirely, Victor Milner has just fin-
progress, and it's a lead pipe thus allowing the photography ished shooting "The Come-
cinch that we ain't doing much of oil paintings in all their rich- Back" under Director Bill How-
more than marking time at ness of detail, density of blacks ard. This picture features
present. That's almost a dupli- and delicate values, allowing Johnny Walker and Edna
cate of the old Trust days, and the artist to work his medium Murphy. Five weeks of day
that's where' I get my hunch. in a far more subdued key, and and night work were spent on
At the rate the Combine is run- bringing his lighter tones cor- this production and all are glad
ning things, we're due for a respondingly higher without to have a chance to take a long
smash, and unless they makes a conflicting with the pure white breath.
awful lot of changes they're 'the of the lettering, producing- ef-
ones to get it worst. They have fects of realism and beauty, not with double exposure work,
the money, equipment and tal- possible in other mediums, such knows without argument that it
ent to develop the big things of as chalk, water colors, etc. I is virtually impossible to get a
the future, like color pictures, might say, incidentally, that the clear negative on a dull black
old idea that an illustration had
stereoscopic pictures, new dra- card, for doubling on action or
matic ideas, new every things to be subdued to the point where illustrations, no matter in what
that is bound to come. Instead, the audience was kept guessing medium they are executed. The
just what it was that the artist
they makes such brilliant black velvet screen, commonly
cracks as bringing up this here intended to portray - and re- used in doubling on action, is
German picture disgrace, and sulting in most cases in their not adaptable for lettering, so
cultivating hokum patches missing the whole thing, let- necessity has evolved the var-
abroad, They have before 'em tering- included-is a bit out of nished card. which, while re-
a grand example of what hap- date in the best informed circles, quiring special equipment and
pened to the Trust, but it don't since it has been very clearly radically different methods in
look like they're going to pay no demonstrated that an illustra- photography - gets the results.
attention to it. tion can be painted and photo- To those who are skeptically in-
graphed, realistically, to clearly clined, I would suggest a simple
show all interesting detail, yet comparison: Take a square of
How Would Thos. A. not so high in tone that it black cardboard, such as is ordi-
Edison Answer These? clashes with the lettering, for
after all is said, the lettering is
narily used in title work, draw a
line through the center of it
1. How close is a "close-up 7" the thing. An illustration, alone, with a pencil, dividing it evenly
2. Would F -stop if yOUturn- would often be meaningless, no into halves - varnish one half,
ed.X-i;Jack? matter how cleverly or symbol- leaving the other half plain.
ically done, A lettered title, oIJ You will notice a striking dif-
3, If a glacier melts in one the other hand, 'can stand alone,
month, what time is. required to if necessary. A perfectly bal- ference in the density of the
black that has been varnished,
make a "lap-dissolve 7" anced title, where lettering- and
so strong, in fact, that the card
4. Why is a "crank-turner?" illustration harmonize and help that originally appeared black is
5. How high is Hy-po? each other-that is a goal worth now gray, by comparison with
6, Why are the terms "alibi" striving for. the surface that has' been var-
and "stock-static" synonymous? In regard to the lettered card, nished, I will state. inciden-
-v, D. Miller. any cameraman, conversant (Continued on Page Four) ,r"

THE BLACK CARD
CONTROVERSY
(Continued from Page Three)
tally, that the marked contrast
observable between the two
halves of the card, is also seen
in the developed negative, which
may also be readily proven by
having an artist run a line of
white lettering across both
halves of the card, set up and
photograph with lights placed
at an angle to avoid halation.
using negative stock, develop in
usual manner and note the con-
trast-and if this simple test is
not convincing consult a brain
specialist!
AMERICAN CINEMATOGRAPHER
lettering on all four sides-and
double expose on your painting
or other subj ect which has been
previously taken, the camera
remaining stationary through-
out the two operations. You
will find on developing the neg-
ative that the space which has
been vignetted out is perfectly
clear, and also the space con-
taining the lettering which has
been exposed, is perfectly clear,
demonstrating beyond all doubt
the value of this method. Try
the same method, using an ordi-
nary dull black card containing
printed or hand-lettered type-
and note the difference.
experiences I wish to empha-
size the fact that the basic prin-
ciple I have here described re-
mains the same----and applies to
all double exposure work,
whether it is action stuff, oil
paintings, chalk or water colors.
There is nothing commercially
manufactured in the nature of
a black card that will compare
with the intense black of the
varnished card, and it is the
only known means for obtain-
ing an absolutely dear, fool-
proof negative. For ordinary
black and white titles, requiring
single exposure only, the dull
card, photographed in the ordi-
rectly on the illustration, photo-
graphing both in one operation,
thus saving the expense of dou-
ble exposure. The trouble with
this brilliant scheme, as any ex-
pert can testify, is the fact that,
in order to obtain the best re-
sults" the lettering requires dif-
ferent timing and exposure
than the illustration, The result
of photographing both at the
same time simply results in sac-
rificing one or the other, and do-
ing justice to neither,
In conclusion I cannot refrain
from commenting on what has
been a source of continual won-

One of the most valuable fea-
tures in connection with the
varnished card is the fact that
no matter on what part of the
card the lettering is done, orig-
inally, it can be shifted to any
location desirable to suit the il-
lustration, by simply shifting
the entire card containing the
lettering to the proper location,
vignetting in to the edge of the
In the course of my experi-
ence as a title artist, I have seen
and heard of as many different
ways of photographing titles as
there are patent medicines-
and in my opinion, just as po-
tent of results. Each camera-
man seems to have evolved a pet
theory of his own as to the
methods to employ. With all
due respect to their combined
nary way, using positive stock,
is very satisfactory, and I an-
swers the purpose admirably,
but for work requiring double
exposure - well, if you are not
particular as to results.
One method, quite popular
with producers who are more
concerned with false economy
than in getting the best results,
is to have the lettering done di-
..
derment to me, viz., the placid
persistency with which many
producers will expend hundreds
of dollars for beautiful and ex-
pensive illustrations, only to
have them dimmed and their
value killed by being fogged in
the photography by the use of
the dull black lettered card, es-
pecially after they have viewed
the results obtained by the
method herein described.

-
IF YOU ARE IN A

PANIC
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THE AMERICAN SOCIETY OF CINEMATOGRAPHERS

Holly 4404
Our membership comprises the following known men of repute:
OFFICERS
Fred W, Jackman . President
Alvin Wyckoff First Vice-President
Frank B. Good Second Vice-President
William C. Foster Treasurer
John F. Seitz Secretary
BOARD OF GOVERNORS
John Arnold Frank B. Good Jolin F, Seitz
R. J. Bergquist Fred W. Jackman James C. Van Trees
H. Lyman Broening Roy H. Klaffki Philip H. Whitman
William C. Foster Philip E. Rosen L. Guy Wilky
T. G. Gaudio HOI',lerA, Scott
MEMBERS
Alvin Wyckoff
,
David Abel Perry Evans Sam Landers B. F.' Reynolds
John Arnold William Fildew John Leezer George Rizard
Joe August Ross G. Fisher J. R. Lockwood Jackson J. Rose
Friend F. Baker Wm. C. Foster Walter Lundin

•
Philip E. Rosen
George S. Barnes Harry M. Fowler Chester A, Lyons Charles G. Rosher
Wm. J. Beckway T, G, Gaudio Reginald Lyons C. E. Schoenbaum
Georges Benoit

•
Harry W. Gerstad Jack Mackenzie A. Scholtz
R. J. Bergquist Frank B. Good Wm. M. McGann George Schneiderman
H. Lyman Broening Fred L. Granville Hugh C. McClung ,
Homer A. Scott
Norbert F. Brodin KingD. Gray Virgil E. Miller JOhn F, Seitz
Karl Brown Walter L. Griffin Victor Milner Al Siegler
L. Dal Clawson Rene Guissart Ira H. Morgan W, S. Smith, Jr.
Henry Cronjager Alois G. Heimerl Robert S. Newhard Harry H. Thorpe
A.M.Davey George William Hill Stephen S. Norton R. H. Totheroh
Faxon M. Dean Fred W. Jackman Roy F. Overbaugh J. C, Van 'I'rees
E. S. Depew Roy H. Klaffki Ernest S. Palmer R. W. Walter
Robert V. Doran Ben H. Kline Paul P, Perry Gilbert Warrenton
J. A. Dubray H. F. Koenekamp G. C. Peterson Philip H. Whitman
Arthur Edeson Edward Kull Marcel LePicard L. GuyWilky
R. B. Kurrle Sol Polito Alvin Wyckoff

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