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filter of at least a K2 density, if one is working with panchromatic film. If it is possible to sIoav down the turns of your camera do so in order that you can accelerate the speed of the clouds, but remember if you slow down your speed you must again lower your aperture to conform Avith the change of exposure. When the professional cameraman photographs clouds at a slower speed than normal he changes his shutter opening instead of changing his aperture. For instance, he may normally be shooting with a shutter of 170 degrees but a slowcranked cloud picture would call for a shutter of forty degrees. These are things that can only be learned through experimentation with one's own camera.
Shooting in the rain may be accomplished, but try to have the camera set back out of the rain at least six feet, and photograph the scene with either a cross or a back light, preferably so that the light is reflected where the rain is striking either on a street or a quiet pond. This same suggestion applies to falling snow but you are apt to find that your light is one point stronger than it would be during a rain storm, all other conditions being equal. Don't photograph when the ground is covered with snow without using a ray filter. Just remember that a snowbank reflects as much light as a sandy beach, or a white fleecy cloud.
After a rain storm, while the streets are still wet, is an ideal time to film the fantastic patterns which may be formed by street lights and electric signs. Be sure to have the aperture wide open. The best effects are obtained when the lights are first turned on at dusk.
When working out of doors the best silhouettes can be achieved just before sundown and for possibly ten minutes after, of course shooting with a strong back light. Mairy an interesting story can be told in silhouette. This form will be of great interest and entertainment if you photograph a group of people and pick them out when projected by the one dimension only of their features.
Unusual effects can be secured under certain lighting condi