Fewer "Love Letters," Please

The articles in the February issue concerning Conrad Hall are interesting to a point but, as usual, too much emphasis is placed on the relationship of the director of photography to the director and vice versa. It's nice that the director of photography "loves" the director and the director "can't live without" the director of photography, but, really, who cares?

We who are roughing it out here away from the "big time" need articles and information that are more technical in nature, especially those of us who are trying to teach neophytes the tricks of the trade.

Please, let's have less of the "love letters" and more diagrams and detailed information concerning lighting and camera problems.

Let the directors of photography and directors admire each other on their own time.

- Robert E. Rogers

Dallas

More Historicals

I'm a longtime, cover-to-cover reader of American Cinematographer and consider it to be the finest publication in its field. Only one thing is lacking at this time: the wonderful historical articles which in the past have been such a fine tradition. Why have you stopped running them? I realize that the main thrust of the magazine is the current scene in filmmaking, but the historical features provide a fine perspective on our industry and our art form. Can't you have Turner, Behlmer, and the other notable authors back in your pages with more of those terrific stories about the great filmmakers of the past?

- Robert Tarver

Glendale, CA

From time to time the historicals get preempted by other editorial material. You'Il find we've resumed them in this issue.- Ed.

A Black & White Problem

While reading your article on Schindler's List (January '94), I was reminded of a similar situation I had a couple of years ago regarding static lines on the negative. The combination of the dry Southern California air, the cold February temperatures and the high silver content of the black & white Ilford film we were using led to hideous streaks appearing on a significant proportion of our dailies. Upon the advice of a still photographer, I purchased an anti-static cloth at a local photo supply store for a few bucks. For the remainder of the film, I wiped the gate of the camera with this cloth between loads, carefully checking for any lint deposit. To my amazement, the problem was solved. Long live black & white!

- Brian Louks

Los Angeles

For more information on fighting static, please see the American Cmematographer Manual 7th Edition, page 509.-Ed.

The 70mm Question Answered

Regarding Carlo Piaget's question about the difference between 65mm negative and 70mm print stocks (February Letters column): it's another case of "if it ain't broke, don't fix it" that goes back to Dr. …