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200 TRICK AND LIGHT EFFECTS reverse and then the one-turn attachment will be brought into play. The certificate will be torn apart and carefully placed so that it seems almost whole. One picture is made and then each individual piece is moved slightly away from the common centre. Another picture is made and again the position of each piece is changed. This is con- tinued until the various bits seem to be in much the same position as were the bits in the other scene. Since the scene is made in reverse and shown in the natural run, it will seem as though the torn paper became whole again through invisible means. Forty-three and forty- five will play in no more time than the action requires. Forty-four may require several hours to make but a few seconds only to show. 17. Another use for this movement may be represented by the scene shown here: 26. Studio —Angelo turns from the wet clay in disgust—he cannot realize his ideal—with a general air of extreme weariness, he throws himself into a chair beside the modeling stand—he sleeps—slowly the clay changes into a perfect model of his ideal—he smiles in his sleep—springs up—approaches the clay —it is the same that he left—extreme dejection. This is more properly a vision, but it is also a trick. When Angelo sleeps the camera is stopped. The clay is replaced by another mass precisely similar. Now the one-turn device is brought into play and after each turn a sculptor steps into the scene, makes a few deft im- provements and steps back while another picture is made, continuing until the statue is complete. Then the other clay replaces the com- plete statue at the proper moment and the action goes on. A simpler plan is sometimes employed of playing the dream in reverse and gradually battering down a completed statue. 18. Turning is not the only resource of the cameraman. Much may be done with the lens. The chief classes are the manipulation of the diaphragm and irising. 19. IMost persons are familiar with the regular photographic cameras, most of which are provided with iris diaphragms, by the opening or closing of which the amount of light permitted to enter the camera may be regulated at will. These diaphragms may be opened from nothing to the full opening of the lens. When completely closed, no light is admitted to act upon the sensitive film and no record is made. When just enough light is admitted, there is perfect photography. If only half enough light is passed through the lens the picture is under- exposed and the print will be dark and indistinct. Where a scene is written calling for half-lights on the stage, the electric lights are turned on full, because these must burn a few moments before they yield their full illumination. They cannot be turned on and off like an incan- descent lamp. To cut down part of this illumination to suggest the half-lighted stage, the lamps are not interfered with, but the camera- man stops down or partly closes his diaphragm to cut out part of the illumination. W^hen Jen enters the kitchen in the scene in paragraph eight the lights are full on, but the diaphragm is partly