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112 AMATEUR MOVIE MAKING
use a lighting which is appropriate for the spirit of the scene in hand, he will not go far wrong.
The lamp is the brush with which the cinematographer paints his picture. The artist-cinematographer is not content to record things as they are; he wants to show them as they impress him. This means that he must add something intangible to the physical form of the subject recorded upon the film. He must capture spirit and emotion and imprison them upon his celluloid ribbon, and for this purpose, nothing is more efficient than the lamp.
It will be seen then, that of all accessories offered for amateur use, there is not one which can really surpass in importance the arc lamp. Not only does it simplify the problem of exposure, not only does it permit the amateur to make motion pictures within his home, not only does it open the evening to this fascinating pastime, but it also places in his hand an artistic implement whose possibilities are unlimited.
Having considered the use of artificial light and artificial light sources, let us now consider the specific mechanisms which produce the most satisfactory artificial illuminant for amateur cinematography, the arc light.
Many amateurs cannot understand how, using only a small arc lamp it is possible to secure sufficient illumination, to make motion picture film. The lights used do not of course compare with sunlight in intensity, but this is not necessary. In the first place, we use only a small portion of the colors which compose sunlight, in photography, perhaps one-tenth of the light which affects our eye, while the artificial light, especially the arc gives us a light whose color is almost entirely used in the photographic process. Again sunlight illuminates an immense area. We can photograph objects miles away if they are large enough to be seen. With the artificial light we illuminate a strictly limited area, so that while sunlight may be millions of times as strong as our little arc, we can make use of both. To fully understand this, we must ignore the total intensity of sunlight and consider only the photographic power of the light which is reflected into the camera by one unit of surface, say one square inch.