International photographer (Jan-Dec 1934)

Six The INTERNATIONAL PHOTOGRAPHER May, 1934 SMALL-FILM-IANA Part II THE AMATEUR FILM AS AN ART MEDIUM By Walter Bluemel Chief of Workshop Dept. of Cinematography, University of Southern California Like the lack of color, and even the lack of sound, the lack of the third dimension is not particularly felt, for the imagination takes care of this deficiency. When a person watching a motion picture sees one object larger than another when he knows they should be the same size, or when he sees the curbs of a straight street converging when he knows they should be parallel, his1 mind transforms this distortion into terms of perspective, knowing subconsciously that the difference in size and the converging lines are due to a two dimensional representation of a three dimensional scene. The mind, therefore, corrects the two dimensional picture into the third dimension. Actually, the eye sees perspective in much the same way as the camera (with the addition of the third dimensional effect produced because each eye sees objects from a slightly different angle), that is, distant objects seem smaller than close ones of the same size, but experience has taught the mind to compensate for distance, and the two objects are seen to be the same size. In pictures, the eye attributes the difference of size of objects which it knows should be the same size to the distance between them, even though distance does not actually exist on the screen, and hence the illusion of depth is created. That the lack of third dimension is an advantage rather than a handicap is not at first evident, but without it many valuable illusions in pictures would not be possible. The use of miniatures and glass shots, for instance, is possible only because the camera records near objects larger than distant ones. Much of the process and special effect photography used in professional pictures likewise is possible only because of the lack of the third dimension, but as this does not particularly concern the amateur I will not go into that. What the amateur is concerned with, however, is how to increase the illusion of depth and how to use the limitation to the best advantage. Lighting is the most effective tool in creating the illusion of roundness and depth in motion pictures. Almost any modern photoplay contains numerous examples of depth lighting, and, as I suggested last month, the amateur would do well to study how the effect is obtained. The lighting in Hollywood-made pictures is in many instances unnatural, but it does not impress one as such, for the effect is pleasing and approaches more nearly art than if the lighting were 100% natural. The cinema artist actually paints with light, using it not merely to make his subject visible, but also to effect depth, to make up for lack of color, to build up composition, and to create the desired mood. Not only does he use light, but also shadow, for shadow is just as important as light, especially in creating the illusion of roundness and depth, and for contrast. Keeping the foreground in shadow and highlighting the background is very effective for producing depth, as is also the alternate distribution of light and shade in various planes of the picture, and the use of backlighting. Lighting is really an art in itself, and requires considerable study. As with the other limitations, the limitation in screen size is really an advantage to the cinematic artist. It is not natural to see everything in a confined area as on a 3x4 screen, for the eyes are practically unlimited in their field of vision because of their mobility and that of the head. Although a person can look in only one direction at a time, the movement of the eyes and head is so easy and unconscious that he can perceive everything around him in a second's time. Thus, when he is looking at one thing, he is still conscious of what is all around him, and he sees what he is looking at in its relation to its surroundings. Not so with the camera, however. It is conscious only of what it is pointed at, and everything out of the picture area might just as well not be there. It is left to the imagination of the audience viewing the picture what is beyond the edges of the screen, which is in itself an advantage. The absence of space orientation due to the limited size of the screen permits the photographer to show what he wishes without its being effected by undesirable surroundings (they being inserted by the imagination of the audience), and the creation of an illusion of reality is thus possible. Should it be necessary, on the other hand, to show these surroundings, it can easily be done by panning the camera, or inserting a separate shot, or by means of a trucking shot, thus producing an effect much like in real life. Because of the absence of space orientation it is possible to go even further than this and make two widely separate places seem to be adjacent simply by cutting from one place to the other and continuing in the second action in the first (continuity). Because there was no lapse of time and the audience cannot orient itself between scenes, the illusion of their being adjacent both in time and location is complete. It is easy to see, therefore, where the limitation in the size of the screen and the fact that within this limited area the cinematographer can include or omit (compose) whatever he wishes, and jump from one place to another with the audience (necessarily) being conscious of it, is of considerable advantage. Another peculiarity of the motion pictures results from the fact that the screen is vertical and the audience has no way of knowing that the picture on the screen was not photographed from a vertical position. Common sense, however, tells everyone that a street lies horizontally, even though it may run up and down on the screen, and that a man is vertical when walking even though he may be photographed from above and appear to be horizontal. If a shot is taken of a tall building from below it appears to be leaning over backward, almost in a horizontal position, but the spectator knows this is not the case. However, if the building could be laid on its side and photographed, it would still appear to be vertical, though it is actually horizontal. This is due to the fact that the camera cannot transfer the sense of gravity to the spectator, and his only guiding sense in connection with the picture on the screen is that of sight. Since the picture is projected on a vertical surface he cannot tell what angle the camera assumed in (Turn to Page 28) Please mention The International Photographer when corresponding with advertisers.