Amateur Cine World (June 1935)

Fig. 4. Col. 4. ‘Light monuments and fountains.” Fig. $< Coles: of the monument. Suppose, however, our cameraman had shifted his position to the right so that he were photographing the shadow side; what then ? Would it still have been a Col. 4 subject, or would it have become a ‘‘dark monument” (Col. 3) ? It would still be a “‘ light monument’”’; but although the sun is shining brilliantly it is not shining on the part which would then constitute our picture; therefore we must take the reading opposite the appropriate “‘lighting”’ description: it might be “ bright diffused ’’ (Col. B) or “diffused ’’ (Col. C)—that is something which the operator must decide for himself according to the local conditions. However, before taking up the question of lighting we will finish our brief survey of typical subjects. Fig. 5 represents a typical Column 5 subject. Here we have a large expanse of sky illuminating our subject and an expanse of water reflecting the light from the sky. There is an abundance of light and consequently a smaller exposure is necessary than with the previous subjects. Nevertheless, we have a near object (the deck of the boat) and a not very distant pierhead and lighthouse ; consequently we are not able to cut down our exposure to the extent that would be necessary for an open seascape. That pier and lighthouse are much the same, in effect, as a “near ship at sea.” Under-Exposed for Moonlight Effect For an illustration of a typical Col. 6 subject we cannot do better than refer our readers to Fig. 3 of last month’s article. That is definitely the type of shot visualised by the compiler of the Amateur Cine World exposure tables; but we show, in Fig. 6 herewith, a seascape such as would also come within Column 6. The present illustration, however, was deliberately under-exposed in order to get the moonlight effect as shown. Actually the photograph was taken at 3 p.m. on a brilliantly sunny afternoon; but, stained blue, it has yielded a most realistic ‘‘ moonlight” seascape. Open landscapes and seascapes are not subjects that cine-photograph well in the usual way, and Column 6 has been computed with a view to making the most of such cloud or atmospheric effects as may be present. In other words, the exposures in Col. 6 are a little on the “short” side, but not so short as would normally render quite such an exaggerated effect as shown in Fig. 6. Nevertheless, Fig. 6 exposed in accordance with Col. 6 would yield a good result, probably a little more ‘‘ dramatic ’”’ than the actual original scene. “Open harbour scenes.”’ Fig. 6. Col.6. ‘Seascapes ; cloud effects.” Let us now consider the question of “ Lighting.” As stated last month, the horizontal (or lighting) columns will be referred to as A, B, C, D and E, A being “brilliant sunlight ’’ and E ‘‘ gloomy, or very dull.” Few readers should have any difficulty over Column A. ‘ Brilliant sunlight ’’ speaks for itself; but it is well to bear in mind the remarks made (above) when dealing with Fig. 4. It is the light on the subject which counts : the mere fact that the sun is shining brilliantly stands for very little if it is not falling on our subject. True, there may be an added value due to increased reflected light on the subject; but the subject itself, in such cases, is in a “‘ diffused” light which may, or may not, be ‘bright.’ In cases of extreme shadow the subject might even be in a gloomy light (Col. E) and the exposure must be adjusted accordingly. Classifying the Light Column B may cause a little more difficulty. What is ‘weak sunlight”? or ‘‘ bright diffused”? Weak sunlight is the condition when the sun is shining through a thin film of clouds so that only very faint shadows are cast. Also, the somewhat yellowish light caused by the sun in the evening may be regarded as ‘‘ weak sunlight.” ‘‘ Bright diffused,’ which is regarded as of approximately the same actinic value as weak sunlight, is that condition in which the light is brilliant, although there is no actual sunshine. Perhaps our eyes are more susceptible than some, but we ourselves can judge this “bright diffused” by the fact that it causes us to frown slightly ! “Diffused” (Col. C) also refers to light without sunshine, but while still reasonably bright, it is not of that intensity which causes ‘‘ crow’s feet’’ in our foreheads. It is the normal light of a fine day in which the sky is obscured by an even layer of greyish cloud: when the sky and large white areas may be viewed without any discomfort to the eyes. Column D represents dull weather, when the sky is definitely grey and overcast and “rain is in the air.” The light is, of course, diffused, but of inferior actinic quality—dull, in fact : we can find no better description. ‘Gloomy, or very dull” (Col. E) represents those depressing days of leaden skies which we in London, and you in Manchester, know so well. When, short of actual fog or night-time, the light is about as bad as it can be; when only super-optimists would have the courage to use a cine camera at all. 113