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A New Viewpoint on Lighting Agfa Supreme Negative
By ARTHUR MARTINELLI
AS LONG as there are cinematographers there will be different ideas as to
\ how photographic problems should be solved. I have enjoyed reading ' 'in previous issues of AGFA MOTION PICTURE TOPICS the views expressed by several representative members of the profession about the best ways of using Agfa Supreme negative and its additional speed. Some, I recall, favor keeping lens apertures normal, and reducing the amount of light used. Others keep the lighting normal, and stop down the lens.
My own method is different from either. I won't say it is the best, but it has the advantage of giving me the type of photography I want. To me, this is an important thought in approaching any problem: for while each of us is striving for better photography, each has a slightly different idea of what he wants in order to bring it about. Some of my friends, for instance, favor extreme low-key lightings. Others favor increased depth of focus.
For my part, I favor softness. Our modern lenses, intelligently used, will give us adequate definition. But extreme visual contrast is and always has been a photographic bugaboo.
Soft Lightings
For this reason, regardless of what type of film I may be using, I plan my camerawork and lightings, indoors and out, to give me softer, more natural effects.
I have found the added speed of Agfa Supreme negative a definite advantage in gaining this end. It gives increased opportunities to soften my lightings, and to gain more pleasing effects.
With a faster film, it is of course possible to reduce the size and power of the lamps used. But this in most cases, if not perhaps in all, might mean an increased use of bare, undiffused lamps. To me, the quality of light emitted by an undiffused lamp is distasteful — unnatural. I infinitely prefer a diffused beam.
Therefore in my use of Supreme negative I keep the lens at its normal, maximum aperture, and I balance the speed of my emulsion by taking advantage of a very welcome opportunity to use additional diffusion on my lamps.
The effect of this style of lighting is much more pleasing to me. I get a soft naturalness that does a great deal to rob the picture of the dangerous effect of being obviously the product of a studio sound stage. There is a further advantage in that the additional diffusion so spreads the light that I
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