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106 AMATEUR MOVIE MAKING
When we move the light to a position above the subject, we note a far more striking effect. The eye sockets appear more deeply sunken, while the features are lowered, the face becoming more wide and short. This lighting brings out an expression of calm, rugged, self reliance. This may be a point to remember in your future work. Also note that much of the nobility of the face is lost, but there is little if any actual loss of character. Of course the nature of this character is changed, but the face remains as individual as ever.
When we lower the light to a point immediately below the face a great change is effected. The face still seems broad and short, but the expression is now wistful and pleading, a sorrowful countenance indeed. In many cases this low light brings out a weird and mysterious aspect in an entire scene.
Finally we have the plain lighting, where the primary light is placed in front of, above and at one side of the subject. Here and here only do we receive an exact mental impression of the actual appearance of the original. Here we see a photograph for which an entirely different subject might have been posed. It is for this reason that a cast was used instead of a living model. With the inanimate cast it must be evident that the striking differences in the various poses is due to the lighting used and to that alone.
It may be remarked in passing that the backlighting is not shown in this series, but a side-back light substituted. This has many of the characteristics of the side light as will be seen. The reason for this substitution is that the backlight is effective only when there is some transparent or translucent substance between the light and the camera, such as light fabric, hair and so forth. This substance serves to refract the rays of the backlight, giving us the characteristic halo of that light. A living model has been used for the purpose of illustrating the backlight. It can rarely be used alone, as without some front lighting the subject would appear as a black silhouette surrounded by a glaring halo or brilliant light.
Let us now consider our first interior scene. For the