Home Movies (1950)

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VACATION PHOTOGRAPHY Master TITLEER: light, portable, for titling "on the spot" — with natural backgrounds. Saves time and film. No fussy adjustments — alignment assured. Price $11.10* Hollywood ULTRA-FOCUSER: Extreme close shots of flowers, insects; portraits, copying, etc., in full color or B. & W. Fits any movie or still camera. NEW LOW PRICE $8.00* Hollywood TITLINER: The guaranteed way to accurately frame titles and ultra-close shots. Price $5.00* Supplementary lenses: focal lengths, 6" to 40". NEW LOW PRICE $1.50* (*plus excise tax) For further information see your Dealer or write for literature. HOLLYWOOD CINE PRODUCTS Lakeland Village Elsinore, California 5634 SANTA MONICA BLVD., HOLLYWOOD 38, CALIF. Exposure • continued from Page 276 stops greater aperture than front lighting, but check with the meter. Don't forget, that if you are shooting backlit scenes for a silhouette effect, your exposure will be for the overall brightness, not the subject to be silhouetted. If the subject is to be clear and detailed, read your meter from the subject. If reflectors are used in sidelit and backlit scenes, it will mean the difference between mediocre pictures and outstanding ones. A previous article in Home Movies told of various materials, easily obtained, and different types of simply constructed reflectors. Don't be afraid to use them. If you really want to be a top cinematographer, the back end of your car will be full of reflectors when you go out to shoot. Backlighting or sidelighting does not mean that reflectors must be used, as many times dramatic effect is enhanced with this type of lighting. Your own judgment will tell you what will be best. Incidentally, in outdoor shooting, be careful of the Folks • continued from Page 277 mixed up with my brother's razor. Should have used a polaroid filter. Then a sequence of brother's home and the children playing on the lawn with their grandpa. First the house and then grandpa at seventy-three standing on his head among the handpainted faunae on the lawn. Now, grandpy showing his grandson how to ' 'doody ' ' it. The orange of the wildflowers and that magnificent sky in the background! In the bright sunlight f/11. This time, the camera is going to supply the action. A trick shot of my small neice sitting in her little wagon. I slowly turn the camera until small niece is on her head, keep her there for a second or two and then turn slowly back until she is again in normal position. In this shot, the cord attached to the camera must not be wrapped around the wrist. The camera must be free so it can be turned. We motor across the border to Houlton, Maine. Again, trouble with the car. Water from an old-fashioned well-house. These old land-marks are fast disappearing in this modern civilization. So I capture them while I may. On the road over, a show place. Literally, a half acre of huge flower boxes in front of a farm home. I ask permission to shoot them. I take the whole standing in front and a little shadows of branches, leaves, power lines, etc., falling on the faces of your subject, unless this effect is specifically desired. Those of you who are not the possessors of meters can do a good job also, if you will base your test exposures on the exposure guides in film and cameras. Let these guides be the basis of your tests and make the same rests as noted above. That way you will be sure of future results. Above all, don't let shots under adverse light conditions stop you from shooting. If you will make accurate tests, you will know your film and camera well enough to make good pictures out of poorly lit scenes. Exposure for color is much more critical than for black and white. Use of an exposure meter is the most desirable method of checking for color shooting, but very good results under ordinary conditions can be had by intelligently using an exposure table. Whatever you do, don't guess if you want good results. When taking a reading from the face of a subject, for color shooting, the meter reading should be divided by 2. The reason foi • continued on Page 296 to one side. I had already taken a meter reading, pointing my meter close to a flower. Then, I take a semi close-up of one of the flower boxes. Hence, a close-up of one of the huge flowers. This entirely fills the screen. These are relief shots — relief from too many relatives. At Houlton, an extremely photogenic fountain — a boy holding one of his shoes aloft while the water runs from his shoe. A very suitable background for the kiddies to get their drink of water. This is in the shade, a reading of f/3-5 Here, the one shot of myself with some weird character trailing behind. Why do all the glamour boys follow me? Still shooting "relatives" I went to a donkey ball game in the evening. What a laugh! The asses play on the far-famed "Parlour" track at Woodstock. It was after six o'clock and far too late for kodachrome. But with my haze filter to cut the violet rays, I was surprised how well these shots turned out. The only drawback was that part of the game was in the shade and part in the sunlight. I took one long shot from the grandstand to establish the locale. Then I moved right up among the donkeys so it was difficult to tell which was which. A blow to my vanity, when I projected it I was asked where the ball was. I move on to the old family home, down by the mill stream at Waterville, N. B. This has many pictoral 290