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24 CINEMATOGRAPHIC ANNUAL
the screen that something which burns within him. He will lead you a merry race, for he is an artist.
The Elements of Art in Cinematography .
Let us now consider what a cinematographer must study to distinguish himself in his vocation. To again quote the authority: "what must I do in order to know, is art subservient to science; what must I know in order to do, is science subservient to art?"
Lighting
The lighting of motion picture photography has developed to a very high degree and it is not boasting to say that photography, in general, has been influenced and improved by the work of some of our talented cinematographers. The use of artificial light has revealed marvelous possibilities to all photographic enthusiasts. We feel that this fact has resulted in the general use of artificial light by portrait specialists and commercial photographers. However, there is yet much to be learned, greater excellence to be attained.
It is probably far-fetched to talk of a cinematographer studying drawing or painting, especially some of the busy ones who are committed to such long hours. But lighting is so closely associated with the thought of painting that it would be very fine if the cameraman could spend some of his spare time in the academies. If not to learn to draw, at least to enjoy the association of the masters and subject himself to the influence of the art world traditions and profit by the accumulation of knowledge that has come down to us through the ages. It is through such association that we cultivate the artistic sense; when we begin to think with the artist's mind; when we begin to see beauty that was formerly obscured by a nescience that had not been illumined by the light of aesthetic studies.
You may think that we lay out, for the cinematographer, a rather severe course of study, but let us recall Bouvier's admonition, that any form of art is an exacting school and that the life of an earnest artist is a busy one. There is nothing that demands such a long and tedious apprenticeship. Consider how long a painter must toil, how much valuable material he must waste, how much discouragement he must suffer before his work can bear intelligent criticism. Think of the persistent tutelage of a Kreisler before he can graduate from a mere fiddler to a virtuoso. There was a day when most anybody could go out with a camera and bring back something that would be fairly acceptable to the patrons of a novelty, but not at the present time — we have gradually evolved a great and beautiful art from this novelty and its patrons have become connoisseurs. Therefore, motion picture operators must submit to the same rigid training that the other arts demand.
If, in contemplating this severe schooling, we are inclined to be stingy with our time, become discouraged with the meager results, or if we fall into the habit of easy enjoyment of the sometimes generous earnings accorded the clever ones, we may be aroused to greater efforts by reviewing the energy of some of those who have gone be