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Chapter II HOW IS Y O U K EXPOSURE ffi ny discussion of the subject of exposure could fill many volumes and contain technical data which would confuse the mind of the striving movie photogra- pher so badly that he would probably throw his camera into the nearest ash can and give up in disgust. But we will try to eliminate as many of the painful details as possible, and concen- trate on the few elements of information most essential to the making of good pictures with the least amount of study. Let us suppose that the amateur has examined his camera and the instructions which go with it sufficiently to know T how to load it; suppose that he is in good picture country and that the light appears to be normally good. Suppose also, the ama- teur knows that a certain amount of light is necessary to pass through the lens to etch the image of the prospective picture on the film. There are three things which the photographer is likely to do . . . three possibilities, or rather liabilities. Over-exposure, the correct exposure, or under-exposure. The problem as far as possible is to eliminate the first and third hazards. You are likely to begin a consideration of a lot of different elements which affect the exposure—latitude, altitude, the sea- son of the year, the direction of the sun, the time of day, the subject, the type of country which serves as a background, and the relative strength of the sun on that particular day. It would be easy to become baffled. Let's take a hypothetical case, for instance, assuming that the picture to be photographed is a rural scene—in the medium