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MOTION TICTURE PHOTOGRAPHY
light and shade which please or interest us in the subject, and which are essential to the illusion of life and actuality. Our appreciation of truth in light and shade is not perfectly developed and we are not quick to recognize errors of this sort. Nevertheless, the technically good photograph of an object or scene in nature, which gives us the natural variety of light and shade in the subject, is invariably recognized with praise; while the bad pictures are simply passed by as "poor photography." For correctness of delineation in photography we are dependent on the lens and its right use. For the truthful representation of light and shade, we depend on the sensitive film and our use of its capacity to record the whole range of tones in the subject from highest light to deepest dark. In this discussion we leave delineation and the lens out of the question being wholly concerned with the other side of the problem: how to secure in the negative a faithful record of the light and shade effects of our subjects.
The consideration of light and shade, as exhibited in the objects we photograph, may seem for the moment to be somewhat remote from development of the negative. It is certainly the last thing thought of by the average photographer, and, even then, is usually considered as belonging to the pictorial rather than to the technical side of photography. As will be seen, however, it has a vital influence for good or evil in negative-making, and there can be little real success in technique until we grasp its practical importance and learn, like the professional photographer, to regard our subjects unconsciously as arrangements of light and shade.
To get at the significance of this point of view, let us consider the light and shade effects of any easily imagined subject simply as so many light-intensities — points reflecting light in varying degree at different parts of the subject, according to its illumination. If we mentally arrange these light-intensities in order according to their relative brightness or visual luminosity, remembering that in all pleasing transitions from light to dark the light decreases in geometric rather than arithmetic progression, we shall get, let us suppose, a scale ranging as follows : 64, 32, 16, 8, 4, 2, 1, which expresses a geometric series. On this imaginary scale the light reflected from the deepest shadow in the subject will be represented as 1, and the highest light in the subject as 64. Obviously, if the photograph is to give us a truthful record of the subject, it must include a range of tones from light to dark
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