International photographer (Jan-Dec 1934)

Twenty-eight T h INTERNATIONAL PHOTOGRAPHER .September, 1934 COMPOSITION IN PRACTICE (Continued from Page 19) diffused and the following one is not the difference will naturally be noticeable. This is, however, permissible where the contrast is desired, as, for example, a diffused scene of a group of children at play followed immediately by a harsh scene on a battlefield. A combination of diffusion and fog filters may be used advantageously to produce fog effects when there is no fog and to diffuse and subdue backgrounds, as in the desert scene. The importance of the lens is often overlooked in pictorial composition, not only in connection with the softness or sharpness of the different types of lenses but especially with the difference in perspective produced by lenses of different focal lengths, and with the depth of focus of the various lenses. The most useful all-round lens in 16 mm. photography is, of course, the one inch lens, which gives normal perspective and a considerable depth of focus, in some cases being universal even when wide open. A focusing mount lens is desirable in very close shots, however. Shorter focus lenses, such as the common 15 mm. lenses, produce a wider angle of view, thus distorting the perspective to the point where they cannot be used for normal close-ups because the parts of a person which are closer to the lens become too large in proportion to the other parts. For normal close-ups it is best to use lenses of longer focal length, preferably the two inch lens, for this lens gives the best perspective in close-ups, cuts down the angle of view so that the background becomes minimum, and has small depth of focus so that the background can readily be thrown out of focus. These three lenses — 15 mm. one inch, and two inch — are the best for amateur use, and should be part of every serious amateur's equipment. Longer focus lenses are difficult to handle, and are useful only in travel and sport pictures. The depth of focus of telescopic lenses is limited and special care must be taken in focusing. It is not advisable to pan with a long focus lens, unless the panning is very slow and steady, for, because it brings objects closer, the movement produced is much greater than with short focal length lenses. The 15 mm. lens, because of its wide angle, its universal focus (the shorter the focal length the greater the depth of field) and its greater speed has as many uses as the one inch lens. Its wide angle and speed make it especially indispensible in filming interiors, while in exteriors it is valuable because it gives a feeling of space, again due to its wide angle. Since the size of objects diminishes rapidly with the distance, the distance seems to be increased. It is, therefore, useful in photographing exteriors in which it is desired to include a lot of territory without panning, or to give the feeling of great space and loneliness. Its depth of focus permits objects in the immediate foreground to be in focus without throwing the background out of focus. This was desired in close-ups of Wallace Beery in "Viva Villa" so that the background of the people, of which Villa was an inseparable part, would always be clear. The wide angle lens further permitted a wide expanse of background. Telescopic lenses, from the two inch up, produce an opposite effect from the wide angle lens — they give a feeling of closeness and confinement by limiting the angle of view much as do binoculars. For this reason they were used in "Viva Villa" for the full shots of the battles in order to mass the mob more closely together and make the fighting seem more intense. 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GRETSCH, Representative I 6521 Sunset Rlvd., Hollywood, Calif. cameraman may be a great pictorial artist, but unless he is also a good technician and understands his camera and its accessories he will be unable to properly transfer a scene onto the screen as he wishes. The amateur should remember, therefore, that an understanding of his equipment is of first importance, then the understanding and practice of the principles of composition, which will enable him to make pictures of lasting beauty and appeal. PARAMOUNT "READY FOR LOVE." Director, Marion Gering; original. Roy Flannagan and Eulalie Spence ; screenplay, J. P. McAvoy, Virginia Van Upp and William Slavens McNutt; first cameraman, Leo Tover ; sound, Jack Goodrich; producer, Albert Lewis. "LEMON DROP KID." Director, Marshall Neilan ; story, Damon Runyon; screenplay, Howard Green; first cameraman, Henry Sharp; sound, Earl S. Hayman; producer, William Le Baron. "ENTER MADAME." 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