American Cinematographer - December 1950 - 3

"Photographs color as you see it"
says JOHN ARNOLD, MGM Executive Director of Photography
"Here at MGM we have preferred and used Bell & Howell's Tay¬
lor Hobson Cooke lenses for many years-in fact ever since pan¬
chromatic and color films imposed much higher demands on the
lens. These lenses photograph color as you see it, with crisp, sharp
detail even to the very edge of the picture. We find them im¬
mensely superior for black-and-white, as well.
"Some of our current releases, such as BATTLEGROUND, ADAM'S
RIB, and FATHER OF THE BRIDE, are good examples of the superlative
photographic quality we obtain with Taylor Hobson Cooke lenses."

Look at the exclusive advantages this new
lens series offers you!

f

HIGHEST CORRECTION

ever developed in any lenses in the
16mm field. Sharpness and contrast are the same for all
of the lenses regardless of focal length.

UNIFORM-STEP MAGNIFICATION. Same type of focal length
series used by Hollywood studios . . . now adapted for
amateur use.

to give you absolutely uniform ex¬
posures at any given T-stop from lens to lens. A brand
new development for amateurs!

WIDE SELECTION. A family of seven lenses to choose from.
The four shown are now available.

T-STOP CALIBRATIONS

4-INCH T 2.5 (F/2.3)

,7-INCH T 2.7 (F/2.5)

B&H Super Comat. Click
stops, focusing mount, fits all
C-mount 16mm cameras.
Filmcoted.

2-INCH T 1.6 (F/1.4)

2.8-INCH T 2.5 (F/2.3)

Taylor Hobson Cooke Ivotal. Click stops, focusing
mount, fits all standard Cmount 16mm cameras... also
available for B&H snap-on
mount 8mm cameras.

Taylor Hobson Cooke Panchrotal. Click stops, focusing
mount, fits all standard Cmount 16mm cameras. Has
extra legible depth of field
scale.

Taylor Hobson Cooke Panchrotal. Same features as
2.8-inch lens. Nearly 50%
faster than the fastest of
other leading 4-inch lenses
-400 per cent faster than the
slowest!

See these fine new lenses at your dealer's today.

You buy for life when you buy

Bell & Howell
Chicago 45



American Cinematographer - December 1950

Table of Contents for the Digital Edition of American Cinematographer - December 1950

American Cinematographer - December 1950 - 1
American Cinematographer - December 1950 - 2
American Cinematographer - December 1950 - 3
American Cinematographer - December 1950 - 4
American Cinematographer - December 1950 - 5
American Cinematographer - December 1950 - 6
American Cinematographer - December 1950 - 7
American Cinematographer - December 1950 - 8
American Cinematographer - December 1950 - 9
American Cinematographer - December 1950 - 10
American Cinematographer - December 1950 - 11
American Cinematographer - December 1950 - 12
American Cinematographer - December 1950 - 13
American Cinematographer - December 1950 - 14
American Cinematographer - December 1950 - 15
American Cinematographer - December 1950 - 16
American Cinematographer - December 1950 - 17
American Cinematographer - December 1950 - 18
American Cinematographer - December 1950 - 19
American Cinematographer - December 1950 - 20
American Cinematographer - December 1950 - 21
American Cinematographer - December 1950 - 22
American Cinematographer - December 1950 - 23
American Cinematographer - December 1950 - 24
American Cinematographer - December 1950 - 25
American Cinematographer - December 1950 - 26
American Cinematographer - December 1950 - 27
American Cinematographer - December 1950 - 28
American Cinematographer - December 1950 - 29
American Cinematographer - December 1950 - 30
American Cinematographer - December 1950 - 31
American Cinematographer - December 1950 - 32
American Cinematographer - December 1950 - 33
American Cinematographer - December 1950 - 34
American Cinematographer - December 1950 - 35
American Cinematographer - December 1950 - 36
American Cinematographer - December 1950 - 37
American Cinematographer - December 1950 - 38
American Cinematographer - December 1950 - 39
American Cinematographer - December 1950 - 40
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