Movie Makers (Jan-Dec 1953)

232 "HEY, FELLAS, LOOK AT THAT!" In your editing, Mary and her not-so-litt!e lamb could be crosscut as action and reaction with the four comely critters above. Actually, the pert pattern of goats was created by their owner holding a handful of feed out of range. FILMING THE FAIR REGARDLESS of whether it is a state, county or just a local celebration, there's a wealth of movie material awaiting you when fair-time rolls around. This is especially true around the barns and judging rings, where eager future farmers and their pet livestock offer endless opportunities for appealing footage. These may range from a sow with a squealing litter of potential pork chops to "Mary" grooming her prize lamb for the afternoon competition. Outside of the barns, too, there are dozens of movie setups which should not be overlooked — a small boy struggling with a thousand-pound steer, a nanny goat nipping on the trousers of a judge in the arena, and a 4-H Clubber giving her pet its morning beauty treatment. In most instances, fair animals are not camera-shy and can be photographed with ease. Farm-bred, they are accustomed to having people around, and it does not excite them to see unfamiliar gear (such as a buzzing camera) being operated nearby. However, to obtain best results, seek the assistance of the owner or attendant. Shoot preferably in the early morning and during the first days of the fair, before the ribbons have been awarded. For then all of the contestants are still full of hope and competitive spirit. At this stage, they will be eager and even nattered to have their animals photographed. During the early hours, you also will avoid the visitors who may crowd the working space and accidentally knock over your setup. After a few such incidents, you will discover that portable photoflood units, attached with the camera to a lighting bar, will facilitate such filming immensely. Taking movie portraits of barnyard pets is a lot like snapping pictures of babies, and a whole reel might be prepared on this topic alone. Patience must be employed in photographing either of them, and, like babies, the animals must be penned up or otherwise confined while you are composing your movie set in the viewfinder. When you are ready to roll, concentrate on getting the animal to act according to plan. Either you or the owner — preferably the owner — should work on this. When everyone tries to be di ARTHUR L. CENTER, Oufdoor Photographers League rector, animals become indifferent and often confused — and quite rightly so. If the sound of a familiar voice or whistle does not attract the animal's attention, try using a simple property. Some little knickknack, such as a rattled key ring or even the glitter of a floodlight, may help to make the subject perk up its head, thus providing motion to an otherwise static scene. Never frighten the animal subject. It is possible to bribe a hungry animal into almost any desired position by having someone familiar with the pet hold a handful of grain or hay at arm's length out of camera range. Work in human interest scenes by borrowing a passing tot as a model. Of course, the best animal shots, like closeups of children, are of the young. Combine them into cute sequences, such as a two-year-old petting a calf or perhaps hugging a kid, by slipping on a telephoto lens for the candid closeup. Even when you feel you have completed your planned movie coverage, including the midway attractions, don't pack away your gear. The best movies are often the result of luck and a ready camera. Walk around the pens on the watch for the unexpected — perhaps two draft horses "kissing," the prize bull emitting a bellow, or a goat eating her own blue ribbons. If you photograph inside the barns, particularly in color, be sure you have ample flood lighting. Have no fear of alarming your subject with light alone. My observation is that they actually enjoy the feeling of photoflood warmth on their bodies. Floodlights will eliminate the extreme contrast often encountered in shooting animals with dark hides, and they will enable you to close down for greater depth of field and sharpness of detail. Side or back lighting will help to bring out the texture of the animal's coat. When computing exposure, remember to allow for the color of the subject as well as the background. Black-coated animals absorb light and are comparable to shadows, while whiteskinned subjects reflect light and should be thought of as highlights. At many county fairs there also are opportunities for