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HOME MOVIES FOR JUNE
PAGE 231
cA g,uide to filming
I
YELLOWSTOIE PARR
WAS standing near Old Faithful geyser one evening last summer waiting for it to erupt when another movie amateur, an elderly gentleman, attracted by my camera and tripod, walked over and opened conversation.
"I'm afraid you'll not get a good shot of the geyser anymore today," he said. "It's too dark."
It was quite late and the sun had almost set, but I explained that I already had many shots of Old Faithful under various light conditions and was now attempting a silhouette of it against the setting sun.
"H-m-m-. Might work at that," he said with an expression of interest, and he set about placing his camera and tripod alongside mine for a similar shot. After the eruption and the shots were made, we fell into a discussion of filming the various points of interest in Yellowstone Park. Some three hours later, I was seated at a table in Hamilton's General Store still discussing exposure, filters, film, etc., with my new found acquaintance.
I thought nothing more of the incident until one morning about a month later, I received a letter from my friend giving a glowing account of the fine movies he had secured of Yellowstone and thanking me graciously for the information I had contributed that made his good movies possible.
I'm sure there are many others like this old gentleman who approach filming in National Parks with some uncertainty. There is so much to see and so many vantage points from which to see it, one easily becomes confused. Scenes are filmed in a hurry when with a little patience and study of composition
• Old Faithful, always a climactic shot In movies filmed in Yellowstone National Park. Best composition results when sunlight strikes geyser at side as in this shot. Clouds, of course, are a matter of luck.
under light conditions existing at various times of the day, more captivating shots may be secured. These facts only amplify what so many movie amateurs have already said many, many times: "There should be some dependable guide for the filmer who wants to shoot movies in Yellowstone and all other National Parks — a guide that will
assist him in shooting from the best vantage point for composition, lighting, etc.; that will indicate best time of day to shoot; best exposures to follow for Kodachrome or black and white film.
I learned all of these things the hard way — through trial and error shooting.
• Continued on Page 24S
Courtesy Union Pacific