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ATMOSPHERE Is Achieved in this Study by Delicate Manipulation of Values
Photograph by Walter D. Kerst
The VALUE of VALUES
VALUES may be defined as the varying intensities of light reflected through the lens to the film from objects in a scene.
The light is the brush of the cinematographer, the silver emulsion of the film the pigment which he applies, poorly or skillfully, depending on the knowledge he has of the medium with which he is working. It is the values registered by this silver emulsion with which we are concerned in this article. For upon knowledge of them depends much of the success of our efforts.
The ribbon of film that runs through the amateur's camera is a non-inflammable substance called acetate of cellulose, on which a gelatin, holding in suspension minute particles of silver bromide, has been coated. This substance, after being acted on by light of varying intensities, is reduced to a metallic silver by the action of chemicals, and forms the tones of the image we project on the screen. These areas of metallic silver range from black to white, their differences depending on the intensity of the light reflected from each point of the actual scene, the color of each point, and the length of time the light is allowed to act.
By Walter D. Kerst
3 am an Amateur.
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There are very few cases where the actual values of a scene can be
reproduced, for the range of tones in most scenes is far greater, from deepest shadow to highest light, than can be registered by the silver emulsion of the film. For example, assuming that we are photographing the sun, with its millions of candlepower of light, the brightest value we have at our command to represent it is the clear cellulose of the positive film which, in turn, lets through all the light from the projection bulb to the screen, a value far removed from the sun's actual intensity. Likewise, black velvet, the blackest known substance, presents a value far deeper than any that could be rendered by the silver of the film.
So we see that we have to re-adjust our scale of value, making them relatively true to the actual scene, so as to get a satisfactory representation of the scene photographed. At first glance this might seem to be a great handicap, but in reality certain advantages are to be gained.
It is very often not desirable to impress the actual values of a scene, but to falsify them for more pleasing pictorial representation. For this falsification, the amateur has certain things at his command, such as the use of color filters, which change
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