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ture. You can easily imagine what the scene would have looked like without the border of lacy shadows.
In Scene 23, on page 24, a cross light has been used to decided advantage. You will notice how each sand pillar in this Oregon canyon stands out from its neighbor. This stereoscopic effect is only secured by proper use of lighting. Depth and perspective could not otherwise be obtained. If shot in flat lighting, the sides of one pillar would run right into the side of the next one, the side dimensions of each would be barely discernible against the general sand background, and all would appear to be about the same distance away.
In making all pictures with back and cross lighting be absolutely sure to protect the lens from the direct rays of the sun.
In Scene 26 on page 24, you will notice the photographer used a cloud to shade the sun. He waited until he could get the maximum strength of light on the ocean and photographed just a second before the direct rays of the sun would reach the camera. As far as exposure is concerned he has reversed the usual procedure and has exposed for the high lights, allowing the shadows to go black, and thus form a frame for the study.
For Scene 27, page 24, the photographer shot directly into the sun. He was able to accomplish this for two reasons; first, he used a heavy four-time filter, and second, because, if you will study the sun carefully you will discover a thin cloud-veil covering it, and in that way the direct glare has been greatly lessened. From an exposure standpoint, this Avas made at a fiftieth of a second, stopped at II, using a 3A Kodak. A motion picture was made of the same scene using panchromatic film, with a K3 filter, with stop set at 8, and photographed at a speed of a fiftieth of a second. Success in this type of picture can only be obtained by taking advantage of the right atmospheric conditions, and is not recommended for the average amateur to attempt on his first roll of stock. But it is something that will be very interesting to play Avith in subsequent experimentations, thus striving for effective pictures under all sorts and conditions of light.
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