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THE COMPOSITIONAL CONSTRUCTION OF THE SHOT
Fig. 39 is a photograph in which the perspective construction has been chieved by a correlation of tone. From the foreground, built up of black, iturated tones, we pass to the middle ground, carried out in grey tone, and then ) the background, consisting of white tone. This gradual tonal transition creates rie illusion of depth. Almost all photographic constructions of aerial perspective re based on the principle of successive transition from one shade of tone to nother. Here the light filter comes to our aid, for by its use we can change the )nal transmission of the film to a greater or less degree. The technical limits } the possible changes in tone of the object are determined by the co-ordination f the properties of the light filter, gauged in relation to the light transmission f the negative, with the contrast values of the negative and the length of exposure.
(g) THE TIME FACTOR
The time factor has to be considered in relation to the following aspects of tie shooting process.
First : The general length of time taken to show the given shot or cutting nit. There is inviolable dependence between the cutting time and the time the pectator takes to apprehend the composition of the given shot.
Second : The speed at which the dynamic process occurs in the shot. This peed can be varied by accelerating or reducing the speed at which the camera perates while the shot is taken. There are three factors which affect the relations etween the speed of shooting and the effect of the movement on the screen.
Complete correspondence between the shooting speed and the projection
Fig. 39. — Perspective construction, effected with aid of tone contrast.
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