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DRAMATIC, undemanding and easily at your service, the flowers of the field are one of the most rewarding subjects in the realm of amateur films. Closeups are the key, with small
titlers, accessory lenses, extension tubes and telephotos unlocking the door. Begin with front lighted flowers, to master exposure. Ahead lies the magic of side and back lighting.
EQUIPMENT IS EASY Certainly, the very little equipment necessary need be a bar to no one. For manufacturers have, in recent years, made available cine equipment for the effective filming of flowers in closeup, which is easy to use and comparatively inexpensive to acquire. This holds true for 8mm. as well as 16mm. work. I have used both and, as the reader will surely agree, the 8mm. cameras, lenses and accessories of today are certainly comparable in closeup performance to most of the 16mm. outfits now used by amateurs.
CLOSEUPS THE KEY
There are many different accessories to aid the movie maker in closeup filming. Extension tubes, titlers, diopter lenses, special closeup attachments and the like will each produce good results when properly employed. A much simpler answer, however, is a telephoto lens of medium focal length. And, if your camera can be used in conjunction with a reflex focusing device which permits you to compose and focus directly through the taking lens, you are that much ahead.
Each filmer will have his or her own best method for closeup work. Whichever of these methods will enable you to obtain the best results (in connection with the general recommendations outlined here), this should be the one for you to use.
Capturing this beauty within the confines of a rectan
gular bit of space with excellent technical results involves a serious approach, patience in selection, care in composition and accuracy of exposure.
In a garden of roses, let us say, do not shoot any or all of them, indiscriminately. Find the best ones, the healthiest, with full grown, clean corolla. Here is one with dew glistening on the petals! (And, if not, don't hesitate to spray on some "dew" when you want it.) Here are two or three together, so arranged that they will look charming within your frame. Ah, here is a beauty — robust and enchanting! But no. For you soon find that its background is too distracting and that, because of its position in the flower bed, you can do nothing about it.
BACKGROUNDS ARE IMPORTANT Dark flowers are best presented against a lighter background, light flowers against a darker one. A background having a color complementary to the color of your flower is quite effective. Or look for background colors to harmonize with your flowers — red with green, blue with white or yellow, chartreuse with scarlet. Keep in mind that background color must be subordinate to subject. However, should you reach an impasse, a plain background — a square of black velvet put purposely behind your flower — will set it off handsomely in every case. Some of my most effective flower scenes have been made with these backgrounds. [Continued on page 258]