American Cinematographer - December 1960 - 12

NEW BOOK REPORTS
END
OF
YEAR
CLEARANCE
SALE
Eyemo 71A camera, 47mm lens .$ 79.50
Eyemo zoom finders, lens fields from
25mm to 10" complete with cam¬
era door, no installation. Brand
new
$ 74.b0
Eyemo 71K camera, 2" f/2.8 lens....$149.50
Eyemo positive finders, 2", 4", 6",
each

$ 11.50

Eastman 16mm gun camera, 100'
cap, built-in motor, as is
-.$ 49.50
B&H Hi-Speed Filmo 128 fps, w/
lens $195.00
B&H Filmo model A, w/lens

$ 49.50

Filmo positive finders, 1" to 4",
each
$

6.95

Bolex H-16 camera, 3 lenses, ex¬
cellent
$189.50
Moviola 35mm optical reader w/
amplifier and speaker, excellent-.$ 39.50
Moviola UCS cutters model with
35mm optical-magnetic sound, ex¬
cellent
$595.00
Century 2KW spot light, excellent-! 45.00
750 Watt spot light, excellent-! 25.00
Quadlight w/stand, excellent

$ 59.50

Hundreds of other items included in
this sale but space does not permit
listing them all. W'rite, wire or phone
for brochure before it is too late.

caman
1845 BROADWAY
NEW YORK 23, N. Y. ,
Coble: Comeromort

s
718

-

American Cinematographer Manual,
compiled and edited by Joseph V. Mascelli. American Society of Cinematog¬
raphers, 1782 No. Orange Drive, Holly¬
wood 28, Calif. $7.50.
Publishing a handbook of facts and
formulas relating to professional cine¬
matography was a logical undertaking
for the American Society of Cinematog¬
raphers, which represents some of the
finest achievements in cinematography
as well as having in its membership
some of the most erudite and progres¬
sive motion picture cameramen in the
industry. From such a background an
authentic and reliable manual of facts
and workaday information for camera¬
men was a logical development.
It is the authenticity of the informa¬
tion contained in this 484-page book
that sets it apart from others, of its
kind, which have been published to
date. All of the charts and tables have
been specially prepared; nothing has
been "lifted" or reprinted from previ¬
ously-published handbooks or instruc¬
tion manuals.
In the research, preparation and edit¬
ing of the Manual, editor Mascelli not
only had the assistance of veteran Di¬
rectors of Photography Arthur C. Mil¬
ler and Walter Strenge, but also of
members of the recently-liquidated Mo¬
tion Picture Research Council of Holly¬
wood - all of whom contributed to the
book's volumnous data or checked on
its authenticity to insure complete in¬
fallibility.
Included in the Manual are all the
important charts and tables for filters,
filter factors, camera speed compensa¬
tion, depth of field, etc., plus data on
exposure, professional motion picture
cameras, lighting equipment, lighting
ratios, background process and many
others which limited space prevents
enumerating here.
Suffice to say the Manual is a "must"
for very professional cinematographer,
regardless of the field in which he
works. For it can provide instant an¬
swers to almost any motion picture
photographic problem.
Marilyn Monroe, by Maurice Zolotow.
Harcourt, Brace and Company, 750

Third Ave., New York 17, N.Y. $5.75.
This biography of one of Holly¬
wood's most controversial actresses is
of interest to anyone and everyone who
has anything to do with Hollywood's
motion picture industry, or whose am¬
bitions point in that direction. First,
because author Zolotow has provided
such an entertaining account of how a
typically introverted plain jane with an
inbred desire to be an actress ultimately
skyrocketed to fame; and second be¬
cause the author has boldly raised the
curtains to reveal typical daily goingson within major studios, and partic¬
ularly the personalities and whims of
major studio personalities. More than
once the part played by Directors of
Photography, particularly those assign¬
ed to photograph Miss Monroe, are in¬
terestingly related.
"Marilyn also got the right to name
her own cinematographer," Zolotow re¬
lates. "Among those listed in her con¬
tract as acceptable were Harry Stradling, Hal Rossen, James Wong Howe,
and Milton Krasner ' (all members of
the ASC.-Ed.)
Again: "An extreme conception of
the film as a director's art holds that
the director uses the camera the way a
painter uses a brush and that the actors
are inanimate models posing for the
artist. This was valid for the silent
film, but the sound film is not so com¬
pletely a plastic art. It is partly a dra¬
matic art. Therefore the words of the
screenwriter and his scenes of action
contribute to the movie; the actress
who can build a character is impor¬
tant ; the cinematographer is not a
dumb tool. This brush has a soul of its
own. Milton Krasner's photography in
Bus Stop and Seven Year Itch and
Jack Cardiff's in The Prince and the
Showgirl were vital in conveying the
mysterious phosphorescence of Monroe.
Earlier, Zolotow relates how Leon
Shamroy shot Marilyn Monroe's first
screen test-on a 20th Century-Fox
sound stage at half past five one morn¬
ing, starting her on the road to fame
and fortune. ■

AMERICAN CINEMATOGRAPHER
American Cinematographer - December 1960

Table of Contents for the Digital Edition of American Cinematographer - December 1960
