Living pictures; their history, photoproduction and practical workingWith a digest of British patents and annotated bibliography . Fig. 206. 194 LIVING PICTURES. of good character may be employed, as for instanceBrowns, Fig. 206. An advance on this is made byMessrs. Gaumont, who have introduced a stand withsohd top, bearing metal sockets into which three metaltubular legs screw. When fastened together, this standis practically one piece, and hinged joints being absent,vibration is reduced to a minimum. For photographingset pictures—that is to say, the reproducing of actedepisodes—any solid for
Living pictures; their history, photoproduction and practical workingWith a digest of British patents and annotated bibliography . Fig. 206. 194 LIVING PICTURES. of good character may be employed, as for instanceBrowns, Fig. 206. An advance on this is made byMessrs. Gaumont, who have introduced a stand withsohd top, bearing metal sockets into which three metaltubular legs screw. When fastened together, this standis practically one piece, and hinged joints being absent,vibration is reduced to a minimum. For photographingset pictures—that is to say, the reproducing of actedepisodes—any solid form of studio stand will meet allrequirements; but special cases need special devices,and it will be remembered that the Mutograph, with. Fig. 207. its larger views, requires a support which can only beregarded as almost a basement, speaking in an archi-tectural sense. As an example of the elaboratedevices necessary in commercial work, the open-airstudio of the Mutograph Company may be referredto. It is, of course, necessary to have sunlight for allpictures, even when they represent interiors, and themanner in which this is secured will be seen inFig. 207, a view on the roof of the Companys NewYork premises. It is not only the stand which needs attention. We 195 all know how fortunate some photographers are inhand-camera work, but, after all, this is only an equi-valent expression for competent. It is certain that agood operator is necessary in the successful manage-ment of any kinetographic machine; for not only mustfocussing and selection of time and subject be morecarefully considered than in all ordinary photographicwork, but, while in actual operation and guarding hisview from foreground intruders, he
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Keywords: ., bookcentury1800, bookdecade1890, booki, booksubjectmotionpictures
