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e=EiBKeajy%iKik" 1930
Filmed
By Warren Boyer
CINE
SKI
SHOTS
an art gallery should convince you of this fact. If you investigate, you will find snow represented by pure white pigment only in the very highest lights of a snowscape. Instead you will probably find delicate nuances of tone of all colors, just a bit below white in value. Seen at a distance, these tones would hardly be discernible but the sum of these variously colored light tints makes the beautiful whole, giving the scene a lovely, natural look. These colors with which painters
represent snow are not put there by them just because they think they are "pretty." Remember that it is their job to search for beauty and if those colors are there you can be sure that they actually saw them. Amateurs must do the same thing if they want to get the utmost enjoyment from their hobby.
All that has just been said is not to imply that the amateur can take his color film and camera and produce in photography the equivalent of the painter's art. Indeed, even if such were possible, it would not be desirable, as it would be but imitation. What is suggested is that the amateur cinematographer can learn many things from the painter when it comes to color. The beauty that the painter sees iti snow forms is just one of a long list.
In actual practice, the color amateur can depict the
blue shadows reflected on the snow from the sky. Diaphanous and semitransparent, colored objects will cast colored shadows and objects of strong color will often cast shadows tinged with color by virtue of reflection and cross reflection on the long, clean sweeps of snow. Color portraiture is just as interesting in winter as in summer, more so, in fact, since complexions are ruddy from the vibrant snap in the winter air. The green of the pine and the tamarack, with branches drooping under snowy mantles, offer interesting color subjects. Then there are the winter sports of skating, skiing, tobogganing and many others in which the brilliantly colored scarfs, sweaters and other accouterments of the participants offer splendid material for color filming. A host of subjects can be found.
The fourth season is, indeed, replete with opportunity. For busy persons, exteriors will be made only during week-ends, but the long winter evenings can be employed in filming many interesting subjects from home comedy and drama down through animation, title making, microcinematography, ad infinitum. Keep your camera humming merrily through the winter months, indoors and out, and when spring comes there will be no spring cleaning necessary nor any winter film of oil all over the lens. Moreover, the camera owner will have had the opportunity to acquire experience that will add to his store of cinematic knowledge and will allow him to approach his summer shooting the more wisely. For it is the way he responds to special c o n d i tions that marks the resource and adaptability of the cinematographer. The demands of winter photography will develop the kind of experience that will prove valuable all the year 'round and pay rich dividends in increased enjoyment.
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