CINE-KODAK NEWS VOL. FOURTEEN MAY-JUNE 1938 NO. THREE Published by Eastman Kodak Company, Rochester, N.Y. this page are On s the .tour moVie 16 On the taken by Mr. page you his Still camera IN YOUR KNAPSACK is finds that "stills" work By Mr. M.A. Linton of Philadelphia together. HE sport of mountain climb- T ing can be fully appreciated only by the mountain climber. To many people it appears simply as a manifestation of abnormality. From experience alone can one appreciate the ever-expanding view that accompanies the up- ward climb, culminating in the panorama from the top; the soli- tude in the midst of beautiful sur- roundings; the sense of being away from the hustle and bustle of a feverish civilization; the satisfaction in overcoming difficul- ties and solving problems that vary with each glacier and each stretch of rock climbing. Of course there are all kinds of mountain climbing-from the wooded mountains such as we have in the Eastern United States, to the cruel, unsealed heights of Mount Everest. Many of us who enjoy mountains up to 15,000 feet in altitude, find it difficult to understand the enthusiasm of those who are willing to endure weeks and weeks of the most extreme hardship and danger in order to reach the top of the world. So we aren't very different after all from those to whom a climb of a few thousand feet under their own power would be anathema. Where every ounce counts Last summer in Switzerland we climbed several mountains of varying heights and difficulties. First was Pilatus, a modest mountain of 7,000 feet, rising about a mile above Luzerne. Next was the Faulhorn, some 8,800 feet in height. For 107 years there has been a shelter on top where one can spend the night. You can imagine the sunsets and sunrises! The two climbs had helped to get us in training for the more strenuous things ahead. They were especially helpful in tuning up the "downhill" muscles. Going up is strenuous exercise- but try coming down 5,000 feet of trail when you are not in training and see how you feel the next day. The Jungfrau, 13,669 feet, was our next objective. It is per- haps the easiest of the higher mountains to climb as there is a railroad-tunneled in the rock-running to the Jungfraujoch, 11,340 feet up. The difference in altitude to be negotiated is therefore only about 2,300 feet. (Continued over the. page ) Then came the Breithorn, slightly It is not hard to understand why Mr. Linton conditions are right. The guides use higher than the Jungfrau and lying prefers the compact Magazine Cine-Kodak and the Rimpfischhorn as a test mountain south of Zermatt on the Swiss-Italian the Kodak Bantam Special for picture making for the Matterhorn. A person who can border. We stayed an hour on the at high altitudes. These are monochrome prints do one can do the other. summit enjoying the magnificent pan- from his Kodachrome "stills." It would have been fun to have orama. By 8:30 a. m. we were away stood again on the top of the Matter- and decided to climb a small rock horn; but perhaps it was just as well spur of the Breithorn known as the pheric effect. Gradually the glow that the time ran out. I'll leave it to the Little Matterhorn. It added about an came lower and lower until it lit up children. Besides, I've got my pictures hour to the trip. From the Little Matter- the tops of the mountains so that they -both movies and "stills," in both horn we noted a large group of men looked almost as though ready to black-and-white and Kodachrome. come up from Italy through the Theo- burst into flame. Lately, the latter film has become our dule Pass and go over the glacier- heads-on favorite. If there is one thing some on skiis. Picture-makers' paradise a climber of mountains has to watch Our next objective was the Rimp- With four on the rope we reached more carefully than calories it is the fischhorn lying east of Zermatt. The the topmost peak of the mountain weight of his equipment. I wanted first two hours of the climb, begun at about six and one-half hours after the good cameras-cameras that would 2:30 a.m., if you please, led over easy start from the hut. The day was one of do things. In movies, this meant a paths and boulders, lighted for a the most perfect that could be imag- "Sixteen," and one couldn't make a while by the guide's candle lantern. ined. We could see the whole of Swit- happier choice than the compact, ca- As the glow began in the east the zerland, into Italy to the south and pable Magazine Cine-Kodak. Its "still" lantern became unnecessary and it into France to the west. We rested. picture companion is the equally was folded up and put behind a con- Our cameras went to work. able Kodak Bantam Special-a pint- spicuous rock to be picked up on the Our time in Switzerland was rapidly sized camera that takes full-color return trip. Above the rocky path we drawing to a close and it was neces- "stills" which I can show on my movie encountered a long stretch of glacier sary to leave Zermatt. Had we had a screen, and study for minutes on end, over which the going was easy on few more days the lure of the Matter- searching out the trails along familiar account of the frozen surface. Shortly horn would probably have been too ridges. My movies, on the other hand, before 5, we paused to watch one of strong to resist. Although higher than keep the story of the climbs-not just the grandest sights in nature, the sun- the Rimpfischhorn, the actual climb the highlights. I find the two phases of rise in the high mountains. Well above on the day of the ascent takes only picture making go hand in hand, and the horizon we could see a pink glow about five hours over the standard would be hard pressed to vote in favor below which was a deep blue atmos- route on the northeast ridge if the of one at the expense of the other. PAINTING FOR KODACHROME UR thanks are due Mr. G. E. Mr. Prentice's informal movie shows painting with his movie camera. Prentice of New Britain, Connec- of family and travels, and was particu- Which was done, as the enlarge- ticut,O for this unusual story. larly intrigued with his host's full color ments below, made from Mr. Pren- Mr. Prentice is a collector of the film record of Cape Cod. The artist, in tice's 16 mm. Kodachrome reels, bear work of Leon Lundmark, one of the fact, enviously pronounced the colors testimony. With only the gaps neces- world's outstanding painters of ma- of the marine movies the most beau- sary for rewinding the camera, he rine scenes. Through his interest in tiful color pictures he had ever seen. captured almost every brush stroke as the artist's products, he has come to Mr. Prentice modestly disagreed, and the painting progressed from canvas know Mr. Lundmark rather intimately suggested that perhaps the artist and palette to a finished picture-a with the result that the talented artist would be agreeable to a real test truly remarkable movie record. frequently visits the Prentice home of Kodachrome's color faithfulness- It is really too bad that we cannot when in the States. Mr. Lundmark to dash off a copy of reproduce here, in full color, both the Mr. Prentice, too, is a worker in col- one of his bold and colorful marine original oil painting and Mr. Pren- ors, his medium being Kodachrome. paintings already in Mr. Prentice's tice's "copy." Mr. Prentice, who owns Quite naturally Mr. Lundmark be- possession while he, Mr. Prentice, them both and should certainly know, came an interested onlooker at one of filmed the progress of Mr. Lundmark's pronounces them identical in colors. A perc entage of all movie films processed--8 mm. and 16 mm., Kodachrome and black-and-white- are projected at processing laboratories as the ultimate test of quality. The Editor of the "News" h as taken the liberty of "sitting in" on this projection. In this new department will be reported the faults, flairs, and filming formulas of cinamateurs as evidenced in their p rocessed reels. Even though you do not recognize your initials in the paragraphs below, you may find many pointers equally applicable to your filming efforts. Mrs. H. F. N., Chestnut Hill, snowstorm darkened the sky-then you over- And watch your finders! If your camera, like Philadelphia, Pa. exposed again when the sun came out. It's 1.8 Cine-Kodak E, has an inclosed direct-view with Cine-Kodak Eight "Pan" Film for a scene finder system sighting along the same level as 16 mm. regular Kodachrome of average brightness in direct sunlight. your camera's lens, you needn't worry about Good exposure on most of your south- Either you gave' em about / .3.5 or your camera cutting off the tops of heads when filming up is running slow-which is unlikely. close. But if your camera has an eye-level finder ern beach scenes. But try to avoid system on the top of the camera, don't forget camera waving.