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CHAPTER FIVE
Interior Lighting
We have seen before that in any photographic process we must have both illumination and lighting, both chemical and visible effects of light. As illumination bears a direct ratio to the lens aperture used, we have our camera lenses equipped with an iris diaphragm which controls the amount of light permitted to pass through the lens. This control is exerted with any kind of light either natural or artificial. To this extent we control illumination. The lighting is, as Ave have seen, susceptible to control only through the medium of reflectors, screens and similar devices. Even so we can alter the direction of fall of only the reflected light, and we can control the intensity of the light to only a limited extent.
In the consideration of interior lighting, we find conditions which are almost diametrically opposed to these. We still have the control of the amount of light entering the lens, as we had in exterior work, but now we have full control of the initial intensity of the light, full control of its direction of fall, and to a great extent control over the extent of diffusion. The only element lacking is a sufficient maximum intensity of the light. We start with the proposition that the minimum intensity of light is that intensity which will enable us to secure a fully exposed negative in a motion camera operated at normal speed. In addition to this there are other considerations which are of more or less importance.
Any sources of light used for illuminating interiors must be capable of being handled with ease by the usual amateur. This is of course not a vital consideration, but it must be attained before such light sources will become popular. You and I would do without artificial lighting rather than
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