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Back light may be effected either by top lamps or floor stands or by both. When top light is used, the lamps are best fitted with diagonal reflectors and hung near the back of the set. Care must be used to hide the shadow line cast by the rear of reflector. The lamps should be so hung that this shadow line comes just at junction of floor and rear wall. In small sets an aluminum reflecting panel suspended in front of camera just clear of the lens angle and another on the floor in front of the camera, both carefully set at proper angles, will supply sufficient front light to outline features and other details in shadow, and a diffused floor light on one side, some distance back of camera, will mould these details most pleasingly.
Such an arrangement, used effectively in one of the studios, consisted of six double arc top lights, one 8 tube mercury vapor bank, a six by eight-foot hanging reflector, and a four by eight-foot floor reflector.
This outfit, with no other light was used repeatedly in sets of twenty to twenty-five foot depth with splendid results.
This is just one illustration to show how a pleasing effect may be obtained with a small number of lights.
An almost endless variety of light arrangement could be described here; but that would stretch this already lengthy paper into a probably wearisome volume.
3 Installation of Equipment
First of all let us deal with the manner of installing the overhead lights, as this seems to be a source of worry to everyone equipping an artificially lighted studio.
An overhead carriage or trolley system which facilitates the free and easy movement of the individual lamps or banks, both longitudinally and transversally through the studio, and which provides for the convenient raising and lowering of the lamps; that is the problem usually handed to the architect, or contractor.
After ascertaining the weight of the lamps, the weight of the structure required to move and support them grouped in most any position over an area — usually of 5,000 sq. ft. or more — he finds this a weighty problem in more than one sense; often requiring reinforcement of the building structure to provide for the added weight.
Suitable means must also be provided for carrying the current to the lamps in all positions and when the installation is to be made in a glass studio, it must not obstruct the sunlight nor cast shadows.
When it comes to the reckoning, a system meeting all these requirements will cost a very substantial sum and should be planned by a skilled structural engineer, guided by someone well versed in the requirements of the studio.
In one of the modern studios in the east, the lamps are hung from four independent transverse carriages, each movable longitudinally through the studio. Each carriage is provided with a platform, easily reached from a fixed platform with stairway on one side wall of studio running the entire length. From these platforms the electrician has