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51 We might title this “Painting with Filters.” Both pictures are ot the same plane. It was necessary according to the script to make the plane appear as a black Cerman bomber. Elmer Dyer, A.S.C., in co-opera- tion with the Filter Department of East- man, succeeded in turning the orange yellow wings black with a combination of filters without materially affecting the surroundings. Special Effect Use Of Filters by Hartley Harrison T IS really a misnomer to place any certain type of filters under one class and call them effect filters because, strictly speaking, any filter may be or may not be an effect filter, depending upon the condition under which it is used and the subject that is being photographed. Any filter that is chosen in an attempt to create a special effect is chosen with the idea in mind of creating an out of balance condition on the negative and to present a different pictorial condition, of the particular scenes or subjects that are being photographed, from the one that is actually seen visually; and, of course, this difference ranges from the greatest extremes, such as some of the trick shots of completely eliminating certain portions of the scenes, to such slight differences that they are sometimes hard to discern. If our premise is correct in the use of a particular filter under certain conditions gives a special effect, the subject and conditions playing a major part, then it should be more logical to say that the filter was used to create a special effect or a special effect use, rather than a special effect filter. As a certain effect with a particular filter can only be duplicated by duplicating the conditions under which the filter was used. Keeping the thought in mind of a special effect use of a filter, there should be less confusion in the selection of the filter for a special effect providing the fundamental functions of color filters are always applied to the partic- ular conditions and although it may seem elementary to some I believe it is fitting to review the fundamental functions of color filters relative to photographic conditions. In reviewing the fundamental functions of color filters we will cover only the practical applications of filters as the photographer uses them, and not incorporate any of the great mass of theories which apply primarily to labor- atory tests and laboratory experiments. There are two kinds of transparent color filters, selective and non-selective. The non-selective filters are the so- called neutral densities. They transmit all of the colors and in effect only diminish all of the light, regardless of the color, in proportion to their density. The selective color filters are divided into three divisions: (a). A transparent color filter allows substantially all Continued on Page 72