Movie Makers (Jun-Dec 1928)

LIGHTING FUNDAMENTALS MUCH in the past has been written on lighting and much could still be written and the entire story never told. The difficulty with putting down on paper instructions on how to light a given subject 1. Front Flat Lighting. Contrast Decreased, with Little Modelling. Light (L) Placed Back of Camera (C) Directly in Front of and 45 Degrees Above Subject (S) is that one is apt to be taken too literally, lighting diagrams being copied and then carried no further. Lighting can never be learned in that manner. There are so many hundreds of light effects, in fact an infinite number, that it would be practically impossible to present more than a few of them in a very thorough manner. The important thing in a study of photographic lightings is to grasp the fundamentals. Once the novice has 2. Light Source Above and Much Nearer Subject. Increased Contrast Gives General Hardness to Re sultant Image learned these he should be stimulated to progress further along his own lines of thought and endeavor. Eventually he will find himself adopting a "style" of lighting which, tempered by his desires and ability, will soon stamp his work, and he will begin to emerge as an individual in cinematography. It is hoped that the photographs with their accompanying diagrams offered here will interest the student in some fundamental forms of lighting and that he will find the urge to continue further, discover his own methods and gradually develop his capacity. To easily control the light source, the illustrations were made with the aid of artificial light, but the basic principles can be applied just as well when the sun is the source of By Walter D. Kerst Technical Consultant Movie Makers illumination, the only difference in the latter case being that the light source is fixed. When applying the principles given here to exterior work the artificial light when placed close to the subject corresponds to intense, brilliant sunlight. When moved further away it corresponds to the sun with clouds wholly or partially obscuring it or to the subject placed in shadow. It would be a good plan in connection with this study of lightings to 3. Light Source at Right Angles to Subject and Slightly Above It. No Reflector on Shadow Side. Strong Contrast and Modelling take an incandescent light on a length of electric cord and with the aid of a reflector (a piece of white cardboard will do) study various lightings of an object with the light and reflector in every conceivable position. If the student is the possessor of a still camera it would aid greatly to make stills of some of these various effects, so that they could be studied afterwards at leisure. The next step would be to go outdoors and make a series of pictures, 4. Light Source Same as in Number 3. Reflector on Shadow Side. Gives Fine Modelling and Excellent Quality utilizing the fundamentals learned as well as experimenting for new effects. For exterior work, whether portrait close-ups, landscapes, or other types of shots, the time of day must be taken into consideration because of the light source, the sun, being fixed. There is plenty of opportunity to cause an emotional reaction in an audience by the character and quality of the lighting. Here is taken into consideration the tonal "key" of the picture. For mysterious, weird effects, shooting into the light (see figure 6) together with the proper exposure and a predominance of dark tones will give an effect in low "key", and such a shot is soft, shadowy, and mysterious. On the other hand, to depict a brilliant early morning scene light tones should predominate, and every part of it be suffused with a glowing quality. Generally speaking, this can be accomplished by the use of many reflectors to throw the light into every shadow and by adjusting the exposure to help give a lighter rather than a darker than normal picture on the screen. Do not confuse this with a washed-out or over-exposed effect, which certainly would give a light picture on the screen, but far from the result wanted. 5. Light Source 45 Degrees to Subject, Vertically and Horizontally. A Familiar Lighting. Gives Roundness to Subject If space permitted, many more examples could be given, but these two should be sufficient to show the amateur what a marvelous brush he has with which to paint pictures on the silver screen. If he will keep experimenting continually he will unconsciously acquire a "feeling' for light effects and can then go on infinitely, discovering new thrills at each step. It is a never ending game with a million and one possibilities. Good lighting is the element without which no photographic or cinematographic picture has character. See "Harnessing the Sun," page 512, August, 1928, Movie Makers. 6. Light Source in Back of and Above Subject. Gives; Unusual, Mysterious Quality with Depth and Third Dimensional Feeling 580