We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Suppose the scene we are discussing is in one of the Northern states of the United States and at an altitude of about a thousand feet. (And just as a reminder, whatever aperture is decided upon, will be good up to five thousand feet; and between five and ten thousand feet the aperture should be decreased one point.) This is one thing well worth remembering if the summer vacationist is doing his shooting in mountainous country.
In the professional's mind all of the items have already been decided, due more to past experience making it possible for decisions to be made almost without thinking, rather than from special ability to remember all of the items and check them off one by one in his mind. The professional reduces the question of exposure more to a sense of average, puts the diaphragm in a certain position, realizing that there is a maximum of light and a minimum, and trying to get into the center of it.
If he has forgotten or overlooked any one of these points he is likely to be wrong. He has reduced the years of his experience to a sense of being able to "feel" just the right exposure. It is this acquired sense of feeling which must be short-cut for the amateur, giving him the ability to do that which it has taken the trained man years of time and many reels of poorly exposed film to acquire.
Waiving for a moment, the actual stop or aperture decided upon, Ave may presume that the professional cameraman has studied his picture as far as composition is concerned. We'll not go into the many elements of camera angles here because a chapter elsewhere will be devoted to a few simple and helpful rules regarding desirable composition.
Where's the sun? Let's go back to our first kodak or first experience with a movie camera. The average dealer in photographic supplies has probably advised the amateur on his first pictures to be sure to have the sun directly at his back. But our cameraman, being a professional, will more than likely disregard these instructions and strive for either a cross light, or, if the picture has considerable shade in it, a backlight, shoot
[14]