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need give less thought to placing a specific "filler" light to illuminate each shadow.
Exterior Softness
The same principle is of equal value in exteriors. If anything, it is more valuable. Any modern film is really too fast to permit us to use full lens and shutter apertures outdoors. The answer ,far too frequently, is sought simply in closing down the diaphragm. This effectively cuts the exposure, but at the same time it also increases contrast.
On exteriors I use my lens at the largest aperture possible, and "stop down" my shutter to equalize the exposure.. 1 1 n addition I generally apply a Wratten 21 filter. I lhave found this a most excellent filter for all-around exterior photography. It gives a pleasingly normal correction.
In this connection I might point out something which, while an old story to the older members of the profession, may not be so familiar to some of the younger men. This is the fact that when working under unusually brilliant exterior lighting conditions, as in snow scenes, at the beach or in the desert, the natural tendency is to stop down to offset the additional brilliance of the light. This, however, also adds further contrast to the contrast inevitably produced by the brilliant natural light. It is much better to control exposure with reduced shutter apertures, and if necessary with filters as well, and to keep the lens as wide open as possible — even overexposing a trifle at times. This minimizes optical contrast, and aids in maintaining well-matched photographic quality between interiors and exteriors.
Photographic Quality
In general, I have found Agfa Supreme a thoroughly satisfactory film. The increased speed, of course, is an advantage in lighting. The fineness of grain has been most satisfactory, as have the color-balance and gradation. The stability of the film has been very pleasing. I have used the film on a good number of pictures for several different producers. Those of us who have been in the business for many years naturally grew up in the tradition that added speed must be purchased by sacrifices in stability and uniformity. But although I have used Supreme on several locations which would be a good test of any film's keeping quality, and have employed footage from many different emulsions, the consistent performance of the film has been equal to that of any I have ever used.
It is only natural that, since a cinematographer's living depends upon what he can put on the negative, he should approach any great change in film characteristics with caution. But in many ways I think we overdo this caution — as witness the way some clung to the old ortho emulsions long after panchromatic was introduced. After all, film is film, and a cinematographer worthy of the name should be master of it. Certainly there should be no doubts about testing and adopting an improved type which helps us on toward our goal.
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