We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
MIRROR MOVIES
By Don Bennett
A BEAUTIFUL way of framing a closeup, so simple and yet with a few pitfalls for the unwary cinematographer, mirror photography offers a new field of experiment to the amateur.
The camera is so placed that it is not reflected from the mirror back to the lens. Space must be allowed for the operator to move around without showing, the allowance being best determined by the trial method. The subject takes his place so that he can see the camera clearly, facing towards the camera's reflection, regardless of whether or not he can see his own reflection. Then in acting he looks at a point to one side of the camera reflection, not into the lens. Whatever lighting equipment you use should be placed so that it will not be reflected into the camera. The next step and the most important of all is that of focusing. If your lens is equipped with a focusing mount, accurately tape the distance to the mirror, from the lens, and then measure on to the face of the subject. For example, your subject is placed three feet from the mirror, your camera is five feet from the mirror, the total focal distance is therefore eight feet, set your lens at that mark and you are ready to
Photograph by Metro-Goldwyn Mayer GRETA GARBO IN LOVE
shoot. If your lens is a fixed focus no adjustment is necessary. The diaphragm stop is governed of course by the light conditions at the time you are shooting for natural lighting and should be calculated from your exposure card the same as any other scene.
The illustrations of Ramon Navarro on this page shows another actor in the background. The sketch
Photograph by Paramount-Famous-Las\y Above: POLA NEGRI IN A WOMAN OH TRIAL. Below: RAMON NAVARRO 1H THE STUDENT PRINCE.
Photograph by 'MetrO'Goldwyn Mayer
at the bottom shows how he is placed and you will notice he is nearly in a line with the actor in the foreground in relation to the mirror.
The illustration of Greta Garbo shows her in line with the mirror and the camera. This picture has been very cleverly made and it is impossible to tell the exact location of the camera. It is in either one of two locations, she may be shielding its reflection with her body, or, and this conclusion seems more logical, the camera is concealed by the partition visible in the background of the reflection. Having the camera placed in the open room would hamper her movements considerably and we may assume that the lens is focused through a concealed aperture in the partition.
The photograph of Pola Negri is clearly explained by the line drawing which shows how to place the camera and subject in relation to the
mirror.
Ml HH OR.
t)
CAMERA
SUBJECT*!
SU&JECT*2 O
Ninety-five