Page 6 - pg_1955_08

{
I
the shadow portions tinged with
this blue colour, but if there is
a big bank of white cloud, its
whiteness will reflect into the
.shadows and a lter the general
colour. On a dull day, however,
the water is illuminated by grey
light with the result that the sea
will appear as an expanse of
light grey.
Personal taste can and does
enter into colour composition,
but it does not follow that be- Fig.2
cause a colour is in itself beau- The red p an-tile roofs in t he
tiful it will look equally beautiful foreground, g1·ey-green water,
in every shot; all colour values and the sandy-brown cliffs, and
are determined by their relation- a sky of c hanging blue a1·e t he
ship with others. Place a little predom inant tones nature indi-
girl in a red dress before three cates to use as a back-cloth.
different backgrounds, and you
will notice that, apart from her colour a success. Firstly, you
prominence being affected, the must r em ember that with mono-
actual r ed of the dress will a p- chrome film stock any slight
pear to change its value. With discrepancies in exposure can be
a yellow background it will ap- "corrected" by compensated pro-
pear at its greatest brilliance; cessing, but with Koda chrome
'before a deep blue ground it will n.o such treatment can be applied
appear quite dark, while before so that correct exposure is rather
a green background the utter more important than with black-
discord should be apparent to and-white.
all! If you have no exposure meter,
It is evident, therefore, that work to the printed table en-
background colours should be in closed with the film; even if you
harmony with the centre of in- have a meter the control of col-
terest, and in a close-up this will our r eproduction will be largely
usually be the subject's face. determined by yourself since the
Thus the clothing should har- meter does not measure colour
monise w ith the complexion and but light. The question of light-
hair- the smaller areas in the ing is therefore most important
shot can be of the complemen- for the huma n eye sees all kinds
tary colours, a nd these should of conditions which can modify
not numb r more than two, a nd the general colour of subjects
even th n th ·Y hould 1 ub- befor e it. It gives no warning,
dued o that t h ntr how ver, until changes of light
terest w ill domlno.t th. s n . lnt n ity are quite considerable,
This is n t to i.mply thut th by t hat time a shot could
clo e-up must b in bX'illl nt poll d by faulty exposure.
colour, for ·inc all J u1· u h h n take place
relative, the prin ip 1 subj ·t t'Otll'l.d US H the time, but the
can stand out by the v ry Ia I y d · s n.ot notice the wide
of colour. dtff r n. between them be-
Having considered colour h ar- th conditions change
mony and composition to som · lowly except in a few
length, let us now examine som rtaln instances.
of the features which will h elp Kodachrome builds up density
make straightforward filming in r pidly a nd the general recom-
.s!i-x