$ I 4 3 buys this Complete EASTMAN Outfit! On easy terms . if you wish

Cine ... , Model M, with p ermanently attach ed f·3·5 len s. In black, genuine leath- er, complete w ith portrait at- tachm en t and carrying case. $ 75· K odascope Screen No. o- "Silvered" s urface, 2.2. x 3 0 inch es. Price, complete with canvas case, $8.

K odascope, M odel C. Lens-Optiontal, 1-inch or 2-inch focus, projecting 22 X 30... inch picture at or 13 feet from screen. Motor-driven r ewind. Operates on a n y h ouse lig hting circuit of I05 t o I25 volts either AC or D C Price, $60.

OR A PRICE that almost anyone can afford, it ing is quick and simple, for there is but one sprocket. is now possible to buy a complete Eastman home A turn of the lens barrel gives the proper focus. F movie outfit ... camera, projector and screen. The rewind is motor-driven. C shows Cine-Kodak, Model M, is designed for movie mak- clear, sharp, fully illuminated pictures. ers who want to keep their equipment expenditure Kodascope Screen, No. o, completes the outfit. It down to a minimum, and still get pictures of highest is a regular "silvered-surfaced" movie screen. This quality. silver effect, together with the material used, makes Model M is the lightest weight, simplest 16 mm. the most efficient use of the illumination. camera made using 100 feet of film. It comes with See this dependable, high-quality Eastman home an f.3·5 built-in, fixed focus lens and a portrait at- movie equipment at your Cine-Kodak dealer's. H e tachment for close-ups. This model- simple and in- offers a convenient time payment plan that makes expensive though it is- takes the clear, brilliant ownership easy. movies one expects of a Cine-Kodak. For showing the movies you take, there is the high-quality, low-cost Kodascope, Model C. This EASTMAN KODAK COMPANY ROCHESTER, NEW YORK projector is exceptionally easy to operate. Thread,

Cine-Kodak Simplest of Home Movie Cameras The ClNE KODAK News

Published Monthly in the In terests of Amateur Motion Pictures by Eastman Kodak Company, Rochester, N. Y., Volume 8, N umber 1.

JUNE 1931

This Matter of Composition

A few rules of thumb which enable every scene to show its best hand

OMEONE HAS SAID that , to anyone who can painting, but in photography the elements which are to furnish hang a picture in right spot on a wall, photo- the picture are already given us- it is for us to place our camera graphic comS position should be easy. in a position so that the finders tell us that here is the best angle There is something to it. from which to shoot . There's a lot, also, to the more exact requirements of composi- Consider backgrounds. Contrast may not always be desirable tion, the " division of thirds"- which means the division of the in a picture, but in the proverbial nine out of ten poor pictures picture into equal sections by two horiz.ontal and two vertical it is precisely what is lacking. A perfectly clear picture will not lines. The intersection points of these lines are the best "spots" often reap credit as such when there is a lack of contrast, and, for locating the most important object or the most important conversely, contrast quite often flatters a none too clear picture. part of an object. There is likewise considerable value to the White sky is no background for a light colored sport costume, use of lines leading toward the important area of your picture, nor should a pickaninny be filmed against a coal pile. Try for circular observation, radiation, cohesion, and the like. All of opposites. Not too strikingly opposite, perhaps, but let the these matters are important and valuable, but- ! The average background set off the subject of your picture. And watch that movie maker has not the time or the inclination to make thor- background! A lovely likeness has more than once been spoiled ough study of composition- nor should it be necessary. by some unsightly element. It is so easy to forget, and it brings us He can, and will, however, observe and apply simple ruses of the studious cinematographer if they do not entail too much time and effort. The finders of your camera, whether eye-level or waist-high, are first to be considered. Although it is almost too obvious to mention, these finders have another purpose besides that of assuring you that the film will reproduce the principal object you desire . They show you just exactly how you will reproduce the scene! A s you point the camera with the eye-level finder you can see a great deal of the scene outside the limits of the finder and, consequent- ly, of the film . Your subject may be a child playing in a garden. In fact, you may have specially maneuv- ered the child into the location to improve your shot. Yet, on the screen, the lovely background is only slightly apparent. What has happened? You expected the film to reproduce more of the scene than was included within the finder limits. Sometimes the matter is reversed. You do not notice that material of no importance to your scene is intruding upon its interest . Study the aspect of your scene as shown by the finder. It is said that most of us recogni z.e good composition when we see it, but few of us can Figure I : The saving grace of com position-a dull day , dull sky, dull llake in fact, yet, as taken. create it. This is doubtless true when applied to a lovely picture. 3 The CINE-KODAK News

Left, Figure 2: Interesting composition and back lighting with reflected light (from a projection screen ) on the near side of the boy's face.

Right, Figure 3. An example of how a picture was taken, and, as shown by dotted lines, how it should have been taken. W atcli the image in the view finder!

Below, Figure 4: Nice picture balance- an application of the "steel yard" principle- and also, good backlighting.

again to the finders- what you see there free from clouds. Where there are clouds your audiences will see on the screen. ("Pan" film and a color filter will get Balance is another matter which may them for you) they may be more im- safely be approached without this arti- portant to your picture than an unin- cle becoming pedantic. Notice Figure I teresting foreground. Let the horizon on the preceding page. The larger por- run across your scene about one-third tion of light gray sky and water bal- of the distance from the bottom of the ances the darker shore line. picture. When the foreground is more Students of composition refer to the important, have the horizon two-thirds most popular form of photographic from the bottom of the picture. You balance as the "steel yard" scale princi- will agree that these effects are more ple. Applied to photographic composi- pleasing than when the horizon divides tion, it can be interpreted as follows: When a the picture through the middle. larger or more powerful object is on one side of Scan through this article again, if you will, and the center, it should be balanced by positive save it for reference. Study the illustrations. They anchorage to some object of comparable value on were purposely not picked for their unusualness- the other side. all of them are scenes typical of those you film Light may compensate for a difference in size of every day. Yet there is something in each worthy balancing objects. Figure 4 is a good example of of comparison with your shots of similar subjects. this. The smaller, yet brighter, figure of the child The lake picture, Figure I, exemplifies an im- effects a balance with the larger and grayer dress portant point. So many over-water shots are made of her older sister. Yet the two balancing units The " steel yard" scale of bal- directly out over the water, which, as a rule, is ance and its application to may both be either light or dark. scenic composition. none too interesting. If there happen to be clouds Another popular camera ruse is framing. and you are equipped to get them with "Pan" Branches and trunks of trees are the allies most film and filters, an over-water shot would be commonly called upon. Framing not only lends interesting. Ordinarily, however, a wide expanse contrast to a scene- the branches invariably ap- of water with a distant, thin shore line or none at pearing darker than the balance of the picture- all is most unexciting. Look for an interesting sub- but it likewise gives depth. ject in the foreground and shoot along shore. An over-abundance of detail may sometimes Notice, too, the "steel yard" sketches. The pic- detract from a scene. A sharp background, with torial scenic sketch is obviously the logical treat- something unusual about it in shape or lighting, ment. How much better it is to have the tree to can easily draw the attention from the one side rather than in the center, and more important foreground. When there how much better, also, to have the tree is nothing particularly important about in the foreground to lend distance to a background, and its primary reason the view of the house. for being in the picture is to set off an The little lady in Figure 3 becomes object in the foreground, have your vastly more appealing when the picture subject well forward and focus on the is framed as indicated by the dotted subject. lines. Scenics, particularly, stand or fall Study your scenes and subjects- upon their composition. Most scenics watch those view finders- your pictures run too much to sky, especially when will then improve immensely in composi- the sky- as reproduced, at least- is tion and interest. . . .. Above, Figure 5: An example of framing - salvaging a scene otherwise quite without outstanding features.

Left, Figure 6: M ore framing. V isualize how this scene would look were it merely shot directly over the water without showing trees and branches.

Right, Figure 7: Fine composition and camera position. The background-the lake---other than that portion shown, was unimportant and uninteresting. 4 for JUNE 1931

Try Faking

How the veriest sand-trapper can break par with a movie camera

by Dwight Oxley, Jr.

WAS FIRST introduced to a what extent "faking" could be stretched Then came a long snaky putt. The best I Cine-Kodak about two years without becoming noticeable. golfer of our group was called upon to ago. With the abundant confidence of the Our opening scene was a long approach "acclimate" himself to a certain green. He beginner, my very first effort was a movie shot to the green. A s all golfers know, and finally got so that he could sink about half version of a short story I had written. for the benefi t of those who do not, the of his putts. This percentage was good Several friends became interested, and we approach shot is one of the most difficult enough, but we made three film attempts re-hashed the story into a perfectly good of golf. The fir st scene showed our young before he finally sank the ball. The camera, scenario . It took about four weeks and hopeful tak ing his stance and a few for this shot, was placed on the green about 8oo feet of film to transfer this epic into three inches from the cup, pointing directly fi lm form . W e prepared our titles, did our toward the player. The golf ball grew to own editing, and presented the world apparently enormous size as it rolled almost with an unheralded and unsung cinema- into the camera's lens before dropping tic masterpiece. We still think it is good. out of sight. But it is as nothing when com- The next two shots were indis- pared to the reel just finished . putably the highlights of the reel. And the remarkable part is Our star performer w as seen in that this latter film was much the rough playing an iron shot. easier to make and is heaps After a few practice swings he more entertaining to see. stepped up to the ball and The answer- " faking. " gave it a mighty clout, im- By "faking" I am not mediately looking upward, referring to any compli- with arms akimbo, as he cated camera work, but followed its imaginary at- merely the utilization of tempt at a new altitude the full powers of the record. The third assist- movie camera to assist the ant cameraman then took audience's imagi nation in a ball and snapped it into achieving screen elfects. the ai r about a hundred Our picture is based up· feet, the camera catching on the grand old game of it at the top of its fli ght golf. We decided upon the and following it earthward, golf links because, in our esti- our golfer catching it in his mation, there are more oppor- cap. It merely called for a tunities for "trick" photog- little fielding skill on the part of raphy in the ga me of golf than the "golfer," and the ability of . in any other outdoor sport . Our the cameraman to follow the ball. original plan was to produce a film The fin al sequence was staged at that contained nothing but "trick" the eighteenth hole. On this green our shots, but in going over our old film we hero was stymied by an opponent's ball. fo und a lot of splendid footage taken at We cut short our shot of his putt, and, last summer's State Golf T ournament that after changing the position of the camera to was far too good to lie idle. In order to A worm's·eye view of a long putt- you wtil find a steady support, showed his ball cutting use this, we needed a buffer to sandwich that unusual camera angles will do much to im · around his opponent's- circling it- and in between the news shots and our "trick" prove the interest of every picture. fina lly dropping into the cup. It took a shots, 'so we made a complete sequence of little patience, but how our audiences the repertoire of our local golf professional. practice swings. We then panoramed from appreciate this shot! All we did was to These, as well as our "faked" shots, have our hero to the green. The camera next move the ball about an inch at a time, proved most interesting to the golfers in caught him as he hit the ball, and for the " flick ing" the camera lever for each new our audience- which is just about com- following shot our camera was trained on position. plete coverage these days. the green in a semi-close-up as one of our There must be many other themes be- W e descended upon the golf course on crowd tossed a ball on the green within sides golf in which you can use "trick" one of its idle days, with no definite idea ten feet of the cup. Bobby Jones couldn't photography. You may find that a little of of what we were going to do, for the have done better, nor an honest camera it will provide the finishing touch for many simple reason that we did not know to version been more convincing. a reel. 5 Th e CINE-KODAK News

ACH MONTH your atten- Etion is called to the generous offer of the Amateur Cinema League of 105 West 4oth Street, New York City, to send you, gratis, an introductory copy of "Movie Makers." There must be some reason for this persistence on our part. There is-and the most satisfactory way by far for you to appreciate it is to send for a copy of this excellent publication.

ROM Mr. F. W . Anderson, Fradio man on the S. S. Admiral Rogers, plying between Seattle and Alaska: "Largely contributing to my decision to buy a Cine-Kodak was the increasing num- ber of tourists aboard the Admiral Rogers carrying similar cameras. Surely if they found interesting shots in Alaska, I could find them too, infinitely more so than the casual traveler. "I, therefore, obtained a Cine-Kodak BB f.1.9 and an f.4.5 telephoto lens which Cine I have used in every town and native village within reach, and over 245,000 miles of Alaskan waters. "Thousands of travelers visit Alaska in the summer. Perhaps a few of my camera experiences will be of assistance to them. Chat "In midsummer, normal exposure pro- cedure may successfully be followed. At other times, one diaphragm stop larger than that indicated by the exposure guide is recommended. The helpful Cine-Kodak ex- posure guide on the front of Cine- Gathered from ou r is obviously designed for temperate climes, as it should be, and not for the extremes of lighting- such as are found in the far north mailbag and notebook and the tropics. A bright Alaskan sun in the spring and fall is none too bright when compared to its more southerly intensity. One stop larger, then, except in July and NEW AND VALUABLE tained, not exceeding the list price of the August. A service is now at the com- articles insured. "And by all means bring along a color mand of owners of Cine-Kodaks and Koda- The annual cost of such insurance cer- filter! Alaskan settings, especially distant scopes- insurance of amateur movie equip- tificates is I % of the list price- minimum scenes, glaciers, mountains, and the like, ment at a most nominal cost! premium $1.00. are apt to be a bit hazy. The way a color Arrangements have been completed by Application blanks for this important filter will cut through this haze is remark- the Eastman Kodak Company with the service may be obtained Insurance Company of North America either from your Cine-Kodak whereby owners of Cine-Kodaks and dealer or from the Eastman Date Kodascopes may secure full coverage of Kodak Company, Rochester, EAsTMAN' KooAK CoMPANY, their equipment for an annual premium of New York. A check or money ROCHESTER, NEw Y oRK, I % of the list price of such equipment. order made out to the Insur- Gentlemen: This insurance will cover the property, ance Company of North Amer- In consideration of the enclosed check (or money order) for $ ..... ,(m in- imum premium $1.00 per certificate) payable totheorderofthe l nsurancc wherever it may be, anywhere in the ica should accompany each ap- Company of North America, please have sent to me a certificateofinsur- world, against all physical loss or damage plication, and both should be from external causes, including fire, theft, sent to the Eastman Kodak ance to be issue in the name of attaching from the date of issue, covering for one year the undermen- and risks incidental to transportation, but Company at Rochester. Cer- tioned property. This premium is calcu lated at the rate of one per cent will exclude loss or damage occasioned by tificates of insurance will then (one dollar for each one hundred dollars of insurance). war, riots, civil commotions, and losses due be issued by the Insurance Cine-Kodak Model. .... Serial No ...... List price $ to moths, vermin, wear and tear, and Company and forwarded to Kodascopc Model ...... Serial No ...... List price $ .. gradual deterioration. those taking advantage of this Year of purchase ...... T otal list price $ ...... In case of damage or loss as covered by special arrangement. the certificate, the Insurance Company Cine-Kodak and Kodascope Purchased from .. undertakes to pay for all necessary repairs owners should be quick to ap- .. Ci ty . . . Signature of owner (in whose name or to replace the lost property with mer- preciate this service. certificate is to be issued) chandise of like kind and quality manu- Address ...... factured by the Eastman Kodak Company. The insurance application blank in miniature. Full size blanks and com· The Insurance Company, however, has the plete information may be obtained option to pay in cash the actual loss sus- from your dealer or this company. 6 for JUNE 1931 able. You can get one for a long-focus lens WNERS of M odel K Cine- had the whole story on the movie reel? So, as well. O Kodaks will be interested when bathing time came next day she got "No Alaskan visitor should miss shots in the new f.2.7 Wide Angle Lens, an- the bath ready, set up the projector in the of salmon splashing, surging and fighting nounced on the inside back cover of this nursery, ran Elizabeth 's reel through to fa- their way upstream, or at the shallow issue. Fast enough for indoor movie mak- miliarize herself with the job ahead of her, spawning grounds. You can get it all. Shoot ing, it is especially suited for including the and then rewound the film ready to run it with your back to the sun to avoid lens flare largest area possible from the shortest again if she got stuck as to what to do next. from reflected sunlight on water, and so distance. The illustration in the advertise- She didn't- and home movies may deserv- that the fi sh will reflect the most light. ment demonstrates its advantages for this edly take another bow." "When your boat puts in for a time at purpose. Outdoors, too, the new Wide some cannery, take your camera ashore for Angle Lens will be found helpful for ob- R. MAHLON ELY of a hike through the woods. Bring along taining maximum coverage of a scene with- M Hutchinson, Kansas, is a your long-focus lens, for you may easily out panoraming. very busy man every Saturday afternoon . run across considerable game. The view finder of the new f.2.7 Wide The idea that the neighborhood young- "Alaskan scen- Angle Lens shows you exactly what the sters might like his pictures as well as his ery and Alaskan film will register. own family is the reason for Mr. Ely's life are different Saturday P.M . industry. from a nything REES, so Mr. A.M. A lsgard caught in the us- Tof Powell River, B. C., Can- ual run of movie ada, discovered, are in themselves quite making. Visitors deserving of an individual reel of home to the North will movie film . find much to shoot Throughout a period of six months, Mr. ofinterestto them- Alsgard kept his camera eye cocked for selves and their worthy representatives of the tree family. friends at home." In his film there are trees in snow, barren trees, trees in bud and in full leaf, trees Mr. A nderson at the h elm of hi s Cin e- grotesque and trees beautiful, trees so Kodak in Alaska. windblown that their branches grow only on one side, trees silhouetted against cloud Som e of Mr. El y's film fan s gather for a NE READER from New effects, and trees mirrored in water. Saturday matinee. O England recently wrote in When projecting this reel, Mr. Alsgard to tell of the enthusiastic use to which his plays a concert arrangement of Rasbach's Mr. Ely has salvaged waste space in the youngsters are putting their Kodatoy. The lovely melody, "Trees," on a phonograph. basement of his home and transformed it children belong to a garden club, each With a little timing and film trimming, into a miniature theatre. An empty coal member caring for his or her own garden. Mr. Alsgard has found that the period of bin serves as a projection room for his Movies are periodically made of each the musical accompaniment will exactly Model C Kodascope. The films are Koda- child's garden and its progress is shown match the projection time of his reel. scope Library feature comedies and educa- by the children with their Kodatoy at the tional reels- the latter obtained from the Club meetings. ROM Mr. Fred H. Colvin of local Y. M . C . A., who in turn obtain There are so many film s the children FNew York City, the following them from the Y. M . C . A. Motion Pic- can show with a Kodatoy- Kodaplays, highly interesting story: ture Bureau in Chicago. Every so often specially selected comedies in short lengths; "Little Eli;:;abeth is a much photographed Mr. Ely films his audiences, and shows Cinegraphs, 100-foot reels on sport, travel, baby. Both Daddy and Gramp are 16 mm . these pictures the following Saturday history and comedy ; duplicates of films of fans with a keen still picture interest on afternoon. your own making in which the children the side. Dad began to shoot movies in the The shows, of course, are free and ex- are featured; little mo vie skits similar to hospital when Elizabeth was ten days old tremely popular with the really youthful those in "Your First Fifty Pictures." and so captured, not only her early arm younger set of Hutchinson. and facial exercises, but a fleeting glance More and more reports of similar little of the nurse as well. Then Gramp took a theaters reach us each month. The audi- hand when she was two weeks old and a ences, in most cases, are solely the family little later shot a whole reel of the morning and intimate friends. The motivating idea bath, filming practically the whole show is the same, however- a useful adapta- from start to finish. And thereby hangs a tion of unused space to further smoother tale- a really practical tale that shows a movie projection. There's an added some- new use for the home movie. thing which spells heightened interest to "The nurse, who came to take care of home movies presented in a room dedicated Elizabeth, was one of the kind you read to their enjoyment. about. Kind and competent, but- ! Full Perhaps all or part of of notions both as to baby and herself. your basement or attic A n exciting m om ent in Doodlebugville- a mythical Sensitive, and at times, domineering and may be so adapted. land where children's dream s com e true. impossible to live with. One day she flew Special mention must be made of those into a rage and decamped- and the new three adored Cinegraph creations, "Snap, mother had never bathed her the Gingerbread Man," "Chip, the Wood- little daughter ! en M an ' and "Doings in Doodlebugville." "But why worry about a lit- There's no reason why the youngsters tle thing like that when she should not have their own film library and their own projector- particularly when This is not Elizabeth , but the Kodatoy is so reasonably priced and anoth er young lady who all Cinegraphs, with but few exceptions, glad Iy consented to pinch- have been reduced to but $6.00 per feet. hit for her story. 7 The CINE-KODAK News

Going After Color With

by E. T. Scoyen Superi nte ndent of Glacier National Park

Photos by C. D. Ford

HE OPINION endless variety by light, Tis prevalent that shade, and reflection of our southwestern country light. And, as if this was - northern Arizona and not enough for the eye to southern Utah- has very feast itself on, the peculiar, little to offer the scenic tenuous blue haze of the enthusiast. A hot, barren desert air works even country, for the most part, greater magic in softening where water is scarce and any harsh contrasts of generally muddy. As one color. old timer puts it, ·'This No one can view these here is a country where scenes without thinking, everything either bites, "Oh, if I could only get pricks, or stings you." a picture to take home Closer inspection, how- that would show the ever, will reveal many colors just as they are." fine forests, springs, and Until last summer, if I had clear, cold mountain heard anyone express this streams, which, because thought, I would have they are few and far be- promptly stated, "It can't tween, seem even more be done." beautiful than when found The Grand Canyon-a striking picture in black and white- but a scene Early last spring, how- of incomparable beauty when filmed with nature-mirroring Kodacolor. elsewhere. ever, I decided to do a The scenery for the most part is expan- easy day's drive of each other. The can- little experimenting with Kodacolor Film. sive and, from the standpoint of the fifth yons, mesas, plateaus, buttes, and moun- I shot about 2,ooo feet of Kodacolor during and sixth directions as taught by the Hopi tains present a riot of color as exposed in the months of June, July, August, and Indian, gigantic. The Indians, you know, the great bands of different sedimentary September. As a result, I can now say with believe in our four cardinal points of the rock formations which dominate this area. much enthusiasm, "It can be done. You compass, and in addition, in two other The names indicate the place color holds can take those grand landscapes home with directions, up and down. in the scheme of things. The Vermilion all of the colors faithfully reproduced. Even Typical of the scenic features of this Cliffs, Painted Desert, Sunset Mountain, the atmosphere can be photographed." area are the Grand Canyon of Arizona, Zion Burning Sands, Prismatic Desert are typical I have secured splendid results, under Canyon, and Bryce Canyon-now all of this region. Red and shades of red pre- conditions ranging from stormy weather National Parks, and located within an dominate. These are worked into an almost with clouds over the mountains to the

Wiry horses silhouetted against a dark blue sky--gay and colorfully garbed vacationists-only Kodacolor could do this scene full justice. 8 For JUNE 1931 bright, burning noonday desert sun shin- when the sun is at right angles ing from a cloudless sky, equipped with a to your lens, and still better camera with a half-speed button, like the results when shooting against Cine-Kodak Model "K," and a set of the light. The best thing to do Neutral Density Filters. is to walk about until you find When using Kodacolor for scenics in the point from which you get regions of brilliant sunlight and a clear the most pleasing color effects atmosphere, during the summer months, to the eye and then take the keep the No. I Neutral Density Filter on picture from that angle. Take all the time. Under average conditions, it your time. Many movie makers will give the best results. just can't wait until they get a I have found that the same principles scene shot-no matter how. apply with reference to lighting as in In the matter of composi- ordinary black and white photography. tion it should be remembered Side lighting-the sun over one shoulder that you not only have to - is preferable to having the sun directly secure a pleasing arrangement behind the camera, and it is seldom neces- of objects, as in the case of sary to vary from the No. I Filter under black and white film, but the this condition. When you have more than scene should also be filmed one-third sky in the picture, use a No. 2 from an angle which will give Neutral Density Filter, provided the sun you good color composition. is within two hours of noon. With the sun I think the best scene I have directly behind, always use a No. 2; but made so far was looking up I have seen few pictures, even in color, the road toward the Angels' completely appealing with this lighting. Landing in Zion Canyon. The Pictures can be taken against the light sky was an intense blue, the very satisfactorily if there are no large mountain a deep red, in the areas of sunlit landscape in the picture, middle distance was a group If you like this vivid landscape in black and white, imagine and if the lens is shielded from the sun. of large green cottonwood how much more lovel y it would be in full color- Kodacolor. You will be amazed at the against-the- trees, and lining the road on light results-especially if there is plenty both sides was a thick stand of sun-flowers. not satisfactory in color, are excellent of color in the shade. If you are about to join the fast growing when projected as black and white- so in The above rules of thumb, of course, group taking movies in Kodacolor, remem- the long run you will find use for practically apply to my country. Nevertheless, they ber that you are not going into a difficult all the Kodacolor Film you take. will be of value anywhere in determining branch of photography. If you have mas- Kodacolor is my choice in film. Our relative exposures. tered the operation of your camera on climate, admittedly, is an important ally If you are just starting with Kodacolor, ordinary film, you will soon be securing in enabling me to follow this fascinating I suggest an experimental roll. Pick out marvelous results with Kodacolor. I have pastime, and preserve, in the full glory of some stene representative of average light- found, too, that some of my Kodacolor their natural coloring, the scenes which ing conditions. Run a few feet with no Films which, for one reason or another, are have interested me. filter, with a No. I Neutral Density Filter, and then with a No. 2 Filter. Project this film and study the results. In a short time you will become an expert in judging light conditions and will seldom miss a correct exposure. The very fact that you have no choice of diaphragm stops when using Tune Up Your Golf Kodacolor is a decided help. With the lens locked at f. 1.9, you have merely to decide Let Bobby Jones Teach You which, if any, of two Neutral Density Filters to use. One method of judging the sun 's brilliancy is to study your shadow. On \ Y /ITH SKILLFUL coaching, You can splice your shots right in with his clear days its borders are crisply abrupt; narrow fairways miracu- if you have a copy of "Slow Motion on slightly hazy days, rather indefinite. lously widen, stone walls effect no caba- Analysis of Bobby Jones." Before long you'll find your shadow a most listic slices, lily-studded ponds are admired Your Cine-Kodak dealer has, or can helpful fellow. and not cursed- golf is a different game obtain it, for you. No. 1567; 400 feet ; Always study a scene before you use altogether. No one questions the value of price $24.00. Kodacolor, for the film will get the coloring coaching. just as the eye sees it. If there is very little A recent Cinegraph, "Slow Motion color and the shades are thin and flat due Analysis of Bobby Jones," enables you to to adverse lighting, you need not look for understand every stroke of the greatest satisfactory results when you project the golfer of them all. With normal speed, slow films. If certain landscapes have more color motion and dotted graphs, this Cinegraph early in the morning or late in the evening analyzes every department of Bobby's than at other times, film them only under game. It shows you how he handles his such favorable conditions. Avoid scenes club and why he is able to manhandle the with a large percentage of shadows. ball. Every golfer should get this Cine- I have found that photographs of trees graph- and here is a suggestion! Have with colored leaves, flowers and other movies made of yourself playing the same translucent objects, are seldom satisfactory strokes as Bobby, and then compare your An actual enlargement from the film showing how when taken with the light source in back style with his. Readers tell us that this the path of the club head wends its merry way- of the camera . Much better effects result plan has worked wonders with their game. and straightens perfectl y for the hit. 9 The CINE-KODAK News

Three Fine Comedies

Kodascope Libraries present three two-reel comedies for June

ENTLEMEN any of the following Branches. GPREFER SCOTCH If none are convenient to your - bristling with thrills and ad- address, write Kodascope Li- ventures of a novel sort, quite brary at 33 West 42nd Street, out of the ordinary. Everything New York City, for the address from bathing beauties at a of the nearest Distributor. country club to a clan feud Comedies, dramas, sports, tra v - between Highlanders. An un- el, history, popular science- all usual comedy cast makes the are available from Kodascope most of its opportunities in this Libraries. fast-moving picture. No. 4I I8; Atlanta, Ga.- I83 Peachtree 2 reels; base rental $2.50. Street. Boston, M ass.- 43 8 Stuart Street. Chicago, Ill.- I37 EAR KNEES-a N .W abashAvenue.Cincinna- Bjuvenile Gang ti, Ohio-110 West 8th Street. comedy built around an ingen- Cleveland, Ohio-8o6 Huron ious and elaborate home-made Road. Detroit, Mich.- 12o6 merry-go-round. The Gang W oodward Avenue. Kansas crosses swords with spurious City,Mo.-916 Grand Avenue. amusement promoters and emer- Los Angeles, Calif.- 643 South ges victorious after a side-split- Some Scotch whom Nick Stuart obviously does not Hill Street. M inneapolis, ting series of situations. No. prefer- and one he does. Minn.-112 S. 5th Street. New 4125 ; 2 reels; base rental $2 .50. York, N . Y.- 33 West 42nd ODASCOPE LIBRARY films Street. Philadelphia, Pa.- I32 South 15th WENTY LEGS UNDER THE Khave recently been reduced in Street. Pittsburgh, Pa.- 6o6 W ood Street. TSEA-a bathing beauty comedy price. Library members may now rent film s Rochester, N. Y.-343 State Street. San built around an international beauty contest for 10% less than the prices shown in the Francisco, Calif.- 545 M arket Street. for a diamond garter prize not owned by the Kodascope Library catalog. Non-members Seattle, Wash.- I I I Cherry Street. To- promoters. The unexpected arrival of the may obtain films at the catalog price- ronto, Ont.- 156 King Street, West. Mon- owner of the prize in the midst of the hitherto offered only to library members. treal, Quebec- 104 Drummond Bldg. Win- contest provides ample comedy situations. A copy of the new Kodascope Library nipeg, M anitoba- 205 Paris Building. Van- No. 4II9; 2 reels ; base rental $2.50. catalog and films may be obtained from couver, B. C.- 3 10 Credit Foncier Building.

In " Bear Knees" villainizing certainly has its ups and downs. "Twenty Legs Under the Sea"" - and eight which are not. 10 7 The mm. f.2.7 Wide Angle Lens is inter- changeable with the f.1.9 or the f.3.5 le»s Cine-Kodak, Model K. For u se only with the eye-level finder. Price, $45·

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greater of view ...

This is the area you would photograph with the 25 mm. f . I.9 Changing to the mm. f.2.7 Wide Angle Lens you would lens, standing about r o feet away from your subjec t . increase the area photographed without moving back.

OVIE MAKERS will welcome this new lens The Wide Angle Lens is of "fixed-focus" type. Sub- for the Cine,Kodak, Model K , because it ex- jects that are 5 feet or more from the Cine-Kodak M tends the camera's usefulness. will be sharp and distinct when using the largest dia- This n ew lens is particularly advantageous when phragm opening, f.2.7. If a smaller opening is used, making indoor movies in small rooms, where it is the subject may be closer to the camera. not possible to get far enough away from the sub- The folder accompanying the I5 mm. f.2.7 lens ject to include the area desired. This advantage is gives full instructions for mounting and using it, clearly shown in the illustrations above. together with tables of distance and diaphragm open, Sometimes, when photographing out-of-door sub- ings. See this new lens at y our Cine-Kodak dealer's. jects, there are trees or other obstructions not de- sired in the picture. Such pictures can be improved by using the Wide Angle Lens which makes it pos- sible to get closer to the subject than when using the 25 mm. f.1.9 or the 20 mm. f.3·5 lens. The new EASTMAN KODAK COMPANY lens is interchangeable with these lenses on the Rochester, New York Cine-Kodak, Model K . Now-the Children's Own Projector Can Run a 400-foot Reel

KODATO'Y steps into the ruption. A 15-minute non-stop motor-driven Kodatoy, with "400" class. The addition program of Kodaplays, Cine- the new Extension Arms. of Koda toy Extension Arms graphs or films borrowed from Kodatoy, complete, costs enables this simple, sturdy toy the family collection. only $12. Motor-driven model, projector to run 400 feet of Kodatoy comes with two $18.50. Extension Arms, avail- 16 mm. film at one threading. empty 100-foot metal reels and able wherever Kodatoy is sold, This means a 15-minute a miniature theater with "sil- $2.50. Eastman Kodak Company, playroom show without inter- vered" screen. Below is the Rochester, N. Y.

KODATOY The Child's Movie Projector by EASTMAN