The Birmingham age-herald., 1910-11-05

From the New York Sun.
 IF you did not believe that flowers | have souls you would have been | convinced last night at the meet ing the New York Electrical society. There on the moving-picture screen were shown flowers opening up from bud to maturity. smiling and nodding their heads and opening their varf- colored leaves to the sun. In colors, too.
 It was the first public demonstration In New York of the newly patented system of animated photography in natural colors.
 A feeling almost uncanny was pro- iuced by the unusual pictures. The au- Hence saw in the space of few min ,,tes what nature takes hours to do and does so slowly that the unaided eye cannot follow 1t. This was accom- plished. the lecturer said, by taking nictures at intervals of from 15 min utes to half an hour. according to tbe rapidity with which the blossoms opened. There was trembling Of the leaves, an apparent gathering of energy by the plant, as a runner stiffens be- fore the signal to start is given, and then the leaves slowly swung apart, like portals pushed by an unseen hand, and the fully opened flower stood out enlarged on the screen.
 Other pictures represented scenes In the desert, where the Arabs wore the picturesque and many-colored costumes of life, and quaint dramas of olden times, where powdered-haired ladies and beruffled gallants stood out with the coloring of face and clothing all most perfect.
 Before the pictures were shown MT. Aymar outlined the principles of the art of motion photography and de- scribed the various steps taken in the development, which finally resulted in what he termed "the most wonderful advance ever made in the history of animated photography" He explained that by the Kinemacolor process all the actual colors of the objects photo- graphed are reproduced, an achieve ment which has eluded the photog- rapher since the day when visible image was first formed by lens.
 But how was 1t done? The speaker said that the inventors of the process were charles Urban and George A. Smith of England and that their pro- cess was the result of nine years of experimentation. The filtration system, which all photographers admit is the only practical basis of color photog- ranhv. was used, but they had re- duced the number of ray filters from three to two, and these two were red and green,
 The pictures. he said.. were taken with an ordinary moving picture ma chine. but twice as fast as with the black and white system. The film was highly sensitized, as is necessary for all color work, and in the case of the Kinemacolor process a secret agent was employed to make the film even more sensitive, In taking the pictures two screens were used, the red and the green. and the machine was keyed SC that the first snap was taken through the red Altering screen. the second tbroueh the green. the third through the rad. and so on. The negatives were 1 then 06Y6lORcQ anu A@hAAS~ ~SA ~s.> NS>>-S way.
 When the film was exhibited red and green screens were placed just bach of the lens and changed in the samt relation as they had been when ths photographs were first taken. Thus ao' tually the first picture shown was ret and It's allied colors. and the nex
 green. But they did not appear so tt the eye of the observer.
 They did not appear so to the ey'
 of the observer because of the per sistence of vision," an optical principle
 by which the retina of the eye retains an image thrown>on 1t an instant aftel the actual object has dropped iron l vision--one can wink ones eyes, for in
 stance. without losing continued view.
 This fact. which is the basis of al
 moving picture Illusions, he explained
 acts in the color scheme as well. ant
 the two complementary color screen and their tinted images on the scresl