Painting with light 9780520089495

Table of contents :
Frontmatter
THROUGH A LENS DARKLY: THE LIFE AND FILMS OF JOHN ALTON (Todd McCarthy, page ix)
FILMOGRAPHY (Todd McCarthy and Dennis Jakob, page xxxv)
PREFACE (page xli)
1. HOLLYWOOD PHOTOGRAPHY (page 1)
2. MOTION PICTURE ILLUMINATION (page 18)
3. MYSTERY LIGHTING (page 44)
4. SPECIAL ILLUMINATION (page 57)
5. THE HOLLYWOOD CLOSE-UP (page 80)
6. OUTDOOR PHOTOGRAPHY (page 118)
7. SYMPHONY IN SNOW (page 136)
8. OCEAN VOYAGE (page 146)
9. VISUAL MUSIC (page 158)
10. THE PORTRAIT STUDIO (page 164)
11. THE LABORATORY (page 167)
12. DAY AND NIGHT, LADIES, WATCH YOUR LIGHT (page 171)
13. MOTION PICTURE THEATRES (page 185)
14. THE WORLD IS A HUGE TELEVISION STUDIO AND WE ARE ALL PHOTOGRAPHERS (page 187)

Citation preview

ao PAINTING WITH LIGHT

BLANK PAGE

Painting WITH LIGHT

JOHN ALTON Introduction by Todd McCarthy

UNIVERSITY OF CALIFORNIA PRESS

Berkeley Los Angeles London

The publisher gratefully acknowledges the contribution provided by the General Endowment Fund of the Associates of the University of California Press.

University of California Press Berkeley and Los Angeles, California University of California Press London, England Copyright © 1995 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Alton, John.

Painting with light / John Alton. ; p. cm.

Originally published: New York: Macmillan, 1949. With new introductory material and filmography. Includes index. Filmography: p. ISBN 978-0-520-08949-5 (alk. paper: pbk.)

1. Cinematography—Lighting. 2. Alton, John. I. Title. TR891.A48 1995

779.5'343—dc20 94-4412] CIP

Printed in the United States of America

138 12 11 10 =O9 16 #15 «14 «6213«~«€Oo12) si

The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R 1997) (Permanence of Paper).

TOMYDEARWIFE Rozalia whose infinite patience and encouragement made this book possible.

Life is short, but long enough to get what's coming to you. THE AUTHOR

CONTENTS

THROUGH A LENS DARKLY: 6. OUTDOOR PHOTOGRAPHY 118 THE LIFE AND FILMS OF JOHN ALTON Films with Exteriors - Mood in Exteriors - Composi-

by Todd McCarthy ix tion - Painting with Sun Reflectors - Booster Lights Painting with Filters - Light Problems - Westerns -

FILMOGRAPHY The New School of Exterior Photography

:PREFACE 7, SYMPHONY IN SNOW 136 xli On Vacation - On Location by Todd McCarthy and Dennis Jakob —_xxxv

1. HOLLYWOOD PHOTOGRAPHY ] 8. OCEAN VOYAGE M46

" Love, Live, Laugh, and Loaf - Preparation - At

The City of Geniuses - The Photographic Staff - Sea - Taking Pictures - Arrival at a Foreign Port The Outstanding Stand-ins . The Laboratory Con- In Port Aeonward d Bound Boun tact Man - Tools of Motion Picture Photography

9, VISUAL MUSIC 158

2. MOTION PICTURE ILLUMINATION 138 Vicual Symphony The Set - Props - People - Rigging for Illumination -

Lighting Equipment - The Theory of Illumination 10. THE PORTRAIT STUDIO 164

3. MYSTERY LIGHTING 44

Improvements - Make-up and Portrait

Fire - Sets and Mystery - Lighting for Lightning- 1] THE LABORATORY 167 Lighting a Campfire Scene - How to Illuminate a — scyeen Tests - The Contact Man - Negative DeFireplace Scene - The Candle Flame - Doubles and veloping Their I]umination - Criminal Lighting . The Radio Dial as a Light Source - The Power of Light 12. DAY AND NIGHT, LADIES, WATCH

YOUR LIGHT | 171

4, SPECIAL ILLUMINATION o7 Faces - Interior Illumination of the Home - Out-

Lighting the Street - Rain - Summer Moonlight - door Lighting - Lighting in Clubs, Bars, and ResAutumn Fog - Wintertime - Dream Lighting- Train _taurants - Architectural Lighting Light Effects - Interior of a Plane - Steamship In-

teriors - Tents - Gags and Tricks - Transparency or 13. MOTION PICTURE THEATRES 185

Process Photography The Headache - The Modern Theatre 5. THE HOLLYWOOD CLOSE-UP 80 14. THE WORLD IS A HUGE TELE-

Starlight - The Close-up Is Born - Rules for Close- |= vISION STUDIO AND WE ARE ALL :

up Illumination - Tools Used for Making Close- PHOTOGRAPHERS 187 ups - The Clock System of Placing Reflectors - | The Human Camera - The Laboratory . What Is

Lighting Procedure Thinking? - Television

BLANK PAGE

PAINTING WITH LIGHT

THROUGH A LENS DARKLY: THE LIFE AND FILMS OF JOHN ALTON Todd McCarthy

“Black and white are colors,” John Alton has __ with the long-overdue republication of his clas-

stated, and no cinematographer in film history sic 1949 book, Painting With Light, the first has more deeply explored the value of those book on the art of cinematography ever written colors, or the nature of the violent contrast be- _ by a leading Hollywood cameraman. This event, tween them, than has John Alton. “I could see — along with the groundswell of attention Alton

more in the dark than I could in color,” he _ has been receiving, represents a happy confirclaimed, “I could see in the dark.” His remark- _—_ mation of this volume’s original epigraph: “Life

able talent lay in the way he enabled audiences _is short, but long enough to get what’s coming

toAt thedo the same. to you.” same time, Alton displayed a remark- For too many years, Alton was one of the priable ability—intentional or not—to enshroud _ vate pet obsessions of a handful of film buffs his career in mystery. He was the Greta Garbo _ and critics; those who even knew his name and of Hollywood cameramen, an Austro-Hungarian _ could cite a few of his credits belonged to a sort nearly as illustrious in his own field as the great of secret society, a shadowy inner circle within

Swede was in hers and, as the years passed, the already exclusive coterie of specialists in possibly even more mysterious and elusive. Af- film noir. Yet, over time, such films as T-Men,

ter he abruptly quit the industry in 1960 at Raw Deal, He Walked by Night, Border Inciage 59, he was rumored to have abandoned cin- _— dent, and The Big Combo gradually developed

ema for painting, and to be living in Switzer- _ wider followings and their striking style began land, Patagonia, or even Hollywood. He refused _ asserting an influence on contemporary filmall requests for interviews or to be a guest at = makers. Recognition started with the cults surfilm festivals. The image grew of a ferocious rounding Anthony Mann and Joseph H. Lewis, artistic purist who would tolerate no intrusion _ but finally it became clear that even these diupon his privacy or the sanctity of his vision. rectors’ other films didn’t look like this, that the As it happens, Alton is decidedly an artistic essence, and ultimate example, of film noir style purist, but is ferocious only in the tenaciousness _ was, logically enough, created by a cinematogwith which he expresses his ideals and opinions. _rapher, not a director.

A Middle European charmer and bon vivant Considerable academic study has been deeven at 92, Alton has proven to be the most dis- voted to film noir in an attempt to define it, arming and congenial of guests since, in 1993, describe its parameters, and explain it sociohe finally reemerged into the public eye at film _ logically, historically, and artistically. But no festivals and special screenings. This process of | matter whom one credits with having set the reacquaintance with cinephiles now continues __ tone for noir—hard-boiled crime writers such as ix

Chandler, Cain, and Hammett; expressionistic- theless devoted a section of the film to Alton’s minded, predominantly Germanic émigré di- | work. When he heard about the film, he wanted rectors, including Lang, Wilder, Siodmak, and _ to see it, and since then I have had the privilege Preminger; economy-minded executives and — of spending considerable time with him at pri-

producers looking for tough, timely material vate screenings of his own pictures, many of that could be done on the cheap; or the politi- | which he was seeing for the first time in decians of the postwar, Red Scare era who helped __cades; at the Telluride Film Festival, where I foster a paranoid cultural climate—there can helped present the first tribute to Alton’s work be no doubt that John Alton pushed film noir to —_ attended by the artist himself (Fig. 1); and at its most exciting visual extremes. In the defini- _ his apartment in Beverly Hills—which is domi-

tive noir period, roughly 1946-1951, no one’s _ nated by a few of his own paintings, some blacks were blacker, shadows longer, contrasts photographs, and his Oscar for An American stronger, or focus deeper than John Alton’s. In _in Paris—where he patiently and vigorously an-

fashioning the nocturnal world inhabited by | swered my many questions about his life and noir’s desperate characters, Alton was ever con- career. sistent and imaginative in forging his signature, John Alton began his long, accomplished, illuminating scenes with single lamps, slanted — and exceedingly well-traveled life on October 5,

and fragmented beams and pools of light, all 1901, in Sopron, a Hungarian village near what separated by intense darkness in which the is now the Austrian border. The family name source of all fear could fester and finally thrive. at the time was the German Altman, although Alton’s films are paradoxically filled with violent | Herr Altman’s father undoubtedly had a difkillings and relatively absent of kinetic action, | ferent sumame before moving to Vienna from largely because his sculpted style demanded Russia. John’s father Sam Altman, who was born a choreography of shots different, and more in 1872, and his brother Emile emigrated in the static, than the norm. Very often, the brightest | 1880s to the United States, where they changed object in the frame would be located at the fur- their names to Alton and became U.S. citizens, thest distance from the camera, in order to _ thereby giving John Alton an American connecchannel viewer concentration; often, the light tion long before he was born. Emile stayed, but would just manage to catch the rim of a hat, the in time Sam returned to Vienna, where he reedge of a gun, the smoke from a cigarette. claimed the Altman name and became a brandy, Actors’ faces, normally the object of any cam- __ wine, and champagne maker and exporter. For eraman’s most ardent attention, were often in- | a time, he worked for the wealthy Szecheny visible or obscured, with characters from T-Men family, and it was in the Szecheny castle, where to, perhaps most memorably, The Big Combo _ the Altmans had rooms, that John (or Jacob in playing out their fates in silhouette against a © German, or Janos in Hungarian) was born. witheringly blank, impassive background. Few, The family had a strong Jewish identity. Sam’s if any other, cinematographers’ styles could be — wife, whom he had met through a traditional said to express a philosophy, a concrete view of | matchmaker, was a Sephardic Jew named Eva the world, but Alton’s certainly represents the — Lipschutz, a descendant of a prominent family purest visual correlative for fatalistic existential- that had fled Spain for Austria during the In-

ism yet seen in motion pictures. quisition. For his part, Sam was an adherent of I came to know John Alton as a result of my — the Austro-Hungarian Zionist leader Theodor work on the documentary Visions of Light: The Herzl. “My father was a Zionist all his life, onArt of Cinematography. Unable to locate Alton __ the religious end,” Alton recalled. “He was Orto interview him, my collaborators and I none- __thodox, and I didn’t agree with all that. He

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O is °lire John Ss native langua e€ was 1lennese dialect I to make everyone American.” Th

garlan and Romanian li °

e

added English, Spanish, French, Itali

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constantl “T . 1| ¢ e

; n displayed an _ and daughter Esther

earning to evelop his own film and d j WwW y. n school, I was ve ®

. nities ror jews mM top rofessi y InciNne ascinat .

e artist in him, so he father and uncle he d id d o take a chance

xt J

and go to New York, which he did by freighter _ first real job at the Paramount Studios lab in

in 1919. His mother had died in surgery in Long Island City. When he had earned enough Vienna in 1914, and after leaving for America, money, he bought a car and, in the winter of Alton never saw any of his family again except 1923-1924, caravaned with five friends across for his younger sister Esther, whom he visited the country. After their arrival in Los Angeles,

at her home in Israel last year. Alton remembered, they attended the premiere Initially welcomed by Uncle Emile, who by — of Douglas Fairbanks’ The Thief of Bagdad, this time was the wealthy owner of a Second _ which opened at the Egyptian Theater in HollyAvenue furnishings company, Alton enrolled in —_ wood on July 10, 1924. “When I saw it, I started

school (he has remembered it on different oc- to dream about pictures again, although I had casions as New York University and City Col- _no idea I was going to be a cameraman. There lege), where he studied photo-chemistry, among was a fortune-teller for everyone who bought other things. It was during this period that John _a ticket. She told all the others to go back Alton had his first contact with the professional | where they came from. But when I got there, motion picture industry. Living in the Yorkville | she looked at my palm and said, “You’re going section in the East 80s, Alton was “on the bus __ to be a success in pictures.’ The rest of them on Second Avenue when it passed the Cosmo- _ did go back.

politan Studios owned by Hearst. I decided to “I went to MGM and got a job in the lab, look into it and skip a couple of days of school. based on the experience I had in New York. So I got off the bus and went up andthe man at When I was there, I gave them ideas, and whenthe gate said, “You're just the man we’re looking — ever I gave them ideas, I was fired. But what for, and put me in a coat before I could turn __ they forgot was that, in the afternoon, I worked my head. After three days, they gave me acheck in a different department at the same studio.” for $10.50. Suddenly, I felt rich. Comes the end _ Despite his occasional run-ins with superiors, Alof the day, and they read the roll of who’s going _ ton gained in-depth experience in various areas to be called the next day. I felt I had to go back __ that proved tremendously valuable to him when

to school, but then I decided, school can wait. he finally became a cinematographer. In the In a few days, we went on location. I had to lab, he became intimately acquainted with the ride a horse—I’d never ridden a horse, except _fine points of printing. Transferred to the camfor a merry-go-round horse. I ended up work- era department, he became a loader, and laing for 41 days in a row on location, and I ter a first assistant (although he was never an pulled in so much money I thought I had it operator). Particularly memorable to him was made.” Alton could only recall the film as a _ the opportunity to observe Erich von Stroheim Marion Davies silent, but the experience was __ throughout the production of The Merry Widow. pivotal: “I fell so in love with the possibilities of | However, far more influential on Alton’s own

what I saw in motion pictures.” later work habits was director Woody S. Van Alton’s windfall didn’t last forever, and Emile, Dyke, for whom he toiled on numerous Tim a hard-nosed businessman, was not impressed | McCoy Westerns in 1926-1927 as assistant to with his nephew’s intellectual interest in the | cameraman Clyde de Vinna. Van Dyke, whom fine arts or his vague career ideas, and refused Alton liked enormously, taught him how to to help him financially. “Every time we sat down __ shoot quickly and work economically, traits that

to lunch, he was telling me how much money _ bcame Alton’s bread and butter fifteen years he had made that week, and I didn’t care for __ later.

it.” Finally, they clashed irrevocably, and the Feeling he was ready to be a first camera-

young man moved out. man, Alton said that he went to Louis B. Mayer Forced to fend for himself, Alton got his to ask for his promotion. Although his claim xu

seems highly questionable given the fact that | camera department of the Joinville Studios in most cinematographers at the time were U.S.-_ Paris, Alton shot shorts and other material for born, Alton’s version of the meeting is amusing. _ MGM and Paramount throughout Europe, in “Mayer said that all the top cameramen had Turkey, and Asia Minor, as well as foreign verEuropean accents, and that as long as [had my _ sions of films in different languages.

Brooklyn accent, I’d never become a camera- To make sure that his colleagues in Hollyman. So I worked at recultivating my old accent — wood knew that he was gainfully employed and

so that, when I came back, I could get a job.” brimming with ideas and ambition, Alton beInstead, studio manager Joe Cohn gave the gan contributing regularly to the journal Inter26-year-old Alton the enviable assignment of national Photographer in 1930. A letter from accompanying Ernst Lubitsch and another cam- — Stamboul announced his forthcoming location

eraman, Al Lane, to Europe to shoot back- trip to Syria, Palestine, and Egypt, and later grounds for Old Heidelberg, which subsequently dispatches related his experiences working on became The Student Prince. When he returned _—_ such 1931 productions as E. W. Emo’s Better To

to Culver City, he discovered that this job had Laugh, A. Mitler’s Port Said, and Curtis Bemcaused resentment among some of his camera _hardt’s Der Mann, Der Den Mord Beging (The department colleagues, something that was to © Man Who Murdered), on which he shot exteriplague him at MGM throughout his career. Al- ors in Istanbul and experienced an increasing ton said that Cohn shortly sent him back to estrangement from the director.

Europe to take footage of the 1928 Winter At the beginning of the sound era, the ArOlympics in Switzerland for potential use in gentine film industry, which had enjoyed boom

a Garbo picture, although the truth of this is | years for a decade after World War I, had impossible to confirm since no Garbo film fea- come to a total standstill. Technically behind tures such a backdrop. Similarly questionable — the United States and Europe in producing talk-

is Alton’s recollection of a job with director ing pictures, the country needed experienced George Hill shooting location material in Al- hands. Strangely enough, John Alton was their geria and Morocco; none of Hill’s subsequent man. “I met some Argentine millionaires’—one

films had desert settings. of whom was the chief financier of the Buenos Landing in Paris in 1928, Alton claims to Aires opera and other theatrical interests—“who have made a discovery that did neither him nor _ were planning to build a studio in Argentina,” MGM any good, but which proved highly fortu- Alton recalled. “They asked me to come design

itous for his friend Lubitsch and the history of it for them, so I asked for one-year leave-ofmusicals. In a club in Pigalle, Alton was vastly absence from Joinville. I went to Argentina, we entertained by a young singer by the name of __ built a studio and I made one film. But in the Maurice Chevalier, who was already known in meantime I got married.”

France but not in the United States. Alton Thus began the most curious, and _ least enthused to Irving Thalberg, who happened known, episode in Alton’s life. In 1932, Alto be in Paris on his honeymoon with Norma __ ton sailed for Buenos Aires and, on five acres Shearer, and asked permission to make a test. __ thirty miles outside the city in the town of

“Thalberg said, ‘Go ahead,’ so I did, and it San Ysidro, he supervised the construction of turned out pretty well. I sent it to Thalberg at — the S.A. Radio-Cinematografica Lumiton (Light

his hotel, and he said, “This guy hasn’t got any- and Sound) Studio. He stayed on to train the thing.’ I had some friends at Paramount, and crew as part of his deal. “I did everything. They Paramount looked at it, signed him up, and didn’t know what a propman was, so I had to

made a fortune.” show them. I had to set up the lab.” Alton no Over the next couple of years, heading the doubt remained in Argentina so much longer xitt

than he originally planned in large part because Over the next six years, Alton, by his own of his marriage to Rozalia Kiss. A writer for the — estimate, photographed 25 films in Argentina, newspaper La Nacion and a college-educated _—_ although it remains difficult to verify the numformer beauty contest winner, Kiss interviewed __ ber as a reliable and comprehensive history of

the eminent visitor on board his boat upon its the South American film industry has yet to be arrival after a 31-day voyage from France. They — written. The Fundacion Cinemateca Argentina had dinner that night, and after two weeks were _ has been able to authenticate no more than a

planning a wedding, which took place on No- dozen titles that were definitely shot by Alton, vember 5, 1932. Originally from an Austrian and possesses prints of just six (the Argentine Jewish family, Kiss was also an early Argentine industry and government having been lamenaviator, but after one hair-raising flight with her _ tably lax in preserving their output). In addition,

through the Andes to Chile, Alton asked Kiss Alton directed, coproduced, and/or cowrote a to give up her hobby. They remained married few more.

until her death 55 years later. In 1932, Alton also turned out his first effort Late in 1932, Alton photographed what ap- as a director, El Hijo de Papa (Papa’s Boy), on pears to have been the first Argentine talkie, | which he was also tecnico de luz, or lighting Los Tres Berretines (The Three Buddies), for technician. This “gaucho film” performed exLumiton. Directed by Enrique T. Susini, this tremely well commercially, although no prints energetic, carefree comic drama about numer- __ exist because leading man Luis Sandrini so disous young people, some of whom are musicians, __ liked the picture that he bought the negative begins with strikingly evocative street footage and all prints and destroyed them. Unlike most of contemporary Buenos Aires to the accompa- _ people in film, Alton was not seduced by the niment of a wonderful jazz score. As the aspir- notion of a directorial career and, in an article ing working class characters make the rounds _ for the July 1934 issue of International Photogthrough the mostly natural locations of parks, | rapher entitled “The Cameraman as Director,” a music conservatory, cafes, a soccer stadium, he made some apt points about the differences and other hangouts, one is reminded by turns __ between the two jobs. Stating that the camera

of Renoir’s early 1930s naturalistic human dra- | department is “a place where there is more mas and the speedy, topical, common-people _ directorial talent hidden than any other place quickies Warner Brothers was turning out at in the world,” Alton, writing from Argentina, the same time (even including an exceedingly noted that, “Many of the few cameramen here limp-wristed Franklin Pangbornesque gay char- have been given a megaphone and failed as acter). On the outdoor locations, Alton’s work is directors. But why? They failed because they simple and lovely, as he makes his newly adopted = remained cameramen. They kept on worrying

city look like a bygone urban paradise, a Paris about the photography, ordering lights, etc., or Rome in a more tropical setting. Some of his _ thereby driving both cameraman and the gaffer interiors are stunning: At this early date, he was absolutely crazy. The result? That the picture

already using slatted and pooled lighting and was neither photographed nor directed. out-of-the-ordinary facial sculpting; the film’s “It is contrary to reason to photograph and best single shot has a pianist at a grand piano _ direct simultaneously. The new director must silhouetted in the foreground with several fe- forget that he ever was a cameraman. .. . It is male dancers practicing in the background and _for the director to see that the author's mind, bathed in white light. Another scene employs __ spirit, and thought are faithfully reflected upon a startlingly noir-like setup as two characters the mind of the audience. This is an extremely interrogate a third person with a single bulb il- _difficult task and far from what the cameraman

luminating them from overhead. should concentrate upon.” Or, as he elaborated xiv

the different roles in Painting With Light,“The night scenes. El Matrero (The Outlaw), a gaudirector sees it as a picture, divided into se- cho musical, or Argentine Western, directed by quences and scenes, creating in his mind the Orestes Caviglia, is also of little interest. It tirecharacters and the dialogue, and worrying about — somely follows the format of routine American

music, sound, and editing .. . The director of | Westerns, and Alton’s work is in an atypically photography visualizes the picture purely from _ pastoral mode. a photographic point of view, as determined by Still, in 1939, El Matrero was considered one

lights and the moods of individual sequences of the most accomplished Argentine pictures and scenes. In other words, how to use angles, yet made and was released in the United States

set-ups, lights, and camera as means to tell (in Harlem in New York). The same treatthe story.” In 1994, Alton simply stated that, “I | ment was accorded Puerta Cerrada (Behind didn’t become a director because every time I Closed Doors), also made in 1939, which is a looked at a scene, I saw the light on the actors’ lavishly appointed costume picture that demonfaces, and didn’t hear what they were saying, so _ strates that Alton could easily have passed mus-

I knew I wasn’t going to be a good director.” ter as a cameraman for MGM at the time. A Lumiton was on its way, and remained one sort of Stella Dallas with songs about a singer of the country’s principal studios as the local in- whose baby is taken away by the authorities and

dustry boomed through the 1930s. But Alton, adopted while she is imprisoned, this is a prehaving put it on its feet, accepted an invitation _— dictable, glossy affair directed by prominent to set up another studio, Argentina Sono Film. _actor-director Luis Saslavsky. One highlight is a By 1939, a year during which some 50 films flashback to the singer’s love affair in which the

were being produced in Argentina, Sono had visuals strikingly resemble Lee Garmes’ gorbecome the country’s leading film company, geously romantic work in Henry Hathaway’s with Alton as its number one cinematographer. 1935 Peter Ibbetson, with the characters in a In addition to Los Tres Berretines, [have been __ park or forest surrounded by petals and trees, able to see four other films Alton shot in Argen- _— all appearing within images that have their

tina. Amalia, directed by Luis Moglia Barth in edges smudged to heighten the intoxicated

1936, with cinematographer “Juan Alton” re- — atmosphere. |

ceiving a huge credit onscreen, is a mostly stiff Prior to this, in 1937-1938, Alton had made a drawing room costumer set in 1840. Still, ifone trip to Hollywood to purchase equipment to were given only one guess as to who photo- take back to Argentina. He stayed long enough graphed the dazzlingly dark night scenes that to shoot a Spanish-language version of La Boopen the picture, one would have to venture heme in 10 days for Columbia. “If I were to Alton’s name. The first sequence features sev- _ give myself an award for the most artistic blackeral sinister-looking caped figures skulking out and-white photography, this would be it,” Alton of a minimally lit doorway. They then head into © said. Starring Gilbert Roland and Rosita Diaz

a forest, where, in some extremely dramatic under the direction of Joseph Berne, La Vida high-contrast images, most of them are killed in | Bohemia, which happily still exists in 35mm a violent sword fight with some soldiers. Over- _ nitrate prints, doesn’t quite bear out Alton’s all, the film resembles a routine stage-bound memory of it, but the lovely, nuanced lighting Hollywood period drama of the era—not well — and compositions of several scenes testify to an

: directed but competently shot. exceptional talent behind the camera. In fact, The film 12 Mujeres (12 Women), also di- the film is indicative of a tendency found rected by Moglia Barth, in 1939, is a trivial in many of the low-budget, tightly scheduled story about the travails of students at a girls’ _ films Alton was to shoot over the next 10 years: school, graced only by some crisply attractive Unavoidably, the majority of scenes have a flat, xD

perfunctory, B-movie feel to them, but one can __ lessons of the masters. “Rembrandt was a big tell that Alton put a tremendous amount of at- _ influence. Rembrandt’s genius was pictorial, and

tention, ingenuity, and care into a handful of his ideas could be easily adapted to motion particularly important sequences, which are so __ pictures. But I learned something from all of visually powerful that they alone lift the entire them,” he recalled. film up to a higher level than the norm. In other The one remaining Argentine film shot by words, Alton was flexing his muscles and show- _ Alton that is known to exist is Cadetes de San ing what he could do in chosen moments in the Martin (The Cadets of San Martin), directed subterranean reaches of the world film industry, | by Mario Soffici in 1937. Among the other but mainly because he couldn’t help himself—it — missing titles are Crimen a las Tres (Crime at

was his nature to be imaginative and bold. 3 O'clock), directed by Saslavsky, and Escala Looking at La Vida Bohemia again, 45 years — en la Cuidad, directed by Alberto de Zavalia, after he shot it, Alton still expressed satisfaction both in 1935; Goal, directed by Luis Moglia with it, although one can intuit that he loves the — Barth in 1936; the particularly highly praised film as much for its subject as for the quality of | Macheselva (Honeysuckle), directed by Luis C. his own contributions. “La Boheme is one of my | Amadori in 1938 and, the following year, the favorite stories about the old days because it’s same director’s Caminito de Gloria, which was about artists, their struggles, their work,” he — coshot by Jose Maria Beltran. There was also confessed. Very simply, it’s about the kind of — Saslavsky’s 1937 drama La Fuga (The Flight), person Alton is, and the same could be said of | which may have been shot either by Alton or other films he shot, from Los Tres Berretines to a German named Gerardo Huttula, but which An American in Paris. Into his 90s, Alton habit- is known because film critic Jose Luis Borges ually wears a beret and has the air of a Conti- _ praised it for its pleasing way of avoiding pic-

nental bohemian of the 1920s. ture-postcard clichés in its depiction of Buenos An important fact about Alton, which bears _ Aires and the countryside.

considerably upon his career, is that he was an Finally, in 1939, Alton and his wife decided intellectual among cameramen at a time when to pull up stakes in Buenos Aires and move to this was neither common nor fashionable. Or, _ Hollywood, an event heralded in the pages of as cinematographer John Bailey put it,“He cre- the November 1939 issue of American Cinemaated an aura of the artistic temperment.” Al- —_ tographer with an article entitled “John Alton though many of the great cinematographers of | Returns to Hollywood from Abroad.” With the the studio era, particularly those who came from single exception of La Vida Bohemia, Alton had Europe, were refined and highly knowledge- _ not worked in the United States in more than a able about the arts, the accepted personality for decade.

a cameraman was to be a tough, gruff, macho Just prior to this, with war looming in Euboss of a large crew of union technicians and _ rope, Sam Altman, his son Michael, and daughstrong men. Alton could be all this, and was cer- _ ters Anna and Esther got out just in time and

tainly forceful in getting what he wanted, but moved to Palestine, where Sam continued in he either would not or could not hide his ele- _ the spirits business. John’s older brothers Harry vated artistic sensibility, nor his belief that he | and Bernard decided to stay in Romania; evenwas more capable than most of his peers. He tually, Harry escaped, joined the family in Paldressed in an elegant, dapper manner; ate spe- __ estine and later enlisted in the army and was cial lunches, prepared for him by his wife; left killed. Berard, blindly confident that the Nazis the studio promptly every evening to join her — wouldn’t bother him because he was a German rather than go out with the boys; and was open = Army veteran, remained behind and died at

about visiting museums and soaking up the Dachau. xvt

With Hollywood in a boom time, and Louis That was the first time anyone ever said anyB. Mayer’s vague promises still in the back of thing like that to me. his mind, Alton hoped to be able to rejoin MGM “He was so imaginative, he was very innovaupon his return. But he had made a number of __ tive, quite remarkable. I’ve never known anyone |

enemies at Metro back in the 1920s, one of like him. He was so good at getting meaningwhom, John Arnold, was now in charge of the _ ful effects and dramatic lighting,” said Vorhaus, studio's camera department. As it happened, | who remembered with affection a greenhouse Arnold would plague Alton’s career for the scene in his 1942 Affairs of Jimmy Valentine into next 15 years, and effectively block any chance —_ which Alton introduced striking slatted lighing Alton might have had of starting at the top in __ effects.

Hollywood. Alton himself retains one vivid memory of

Instead, Alton was hired at RKO at the per- —_ Vorhaus’s Three Faces West, a film that is somesonal request of director Bernard Vorhaus, who what interesting for its premise—modern cow-

was impressed with the South American work boy John Wayne leads Austrian refugees to Alton showed him. Their first assignment to- safety away from the Nazis in the American gether, starting in January 1940, was on The West. Rather than eating in studio commisCourageous Dr. Christian, the second in a suc- __ saries, Alton always had his lunches packed for cessful series of films that starred the venerable him by his wife, and he had the habit of eating Jean Hersholt as a wise rural doctor. These — whenever he happened to get hungry. As he re-

pictures were decent B-movies made in 12 called 50 years later, midafternoon one day, he days, and Alton ended up shooting four of the decided to eat his sandwich, and Wayne resix entries, also including Dr. Christian Meets marked that it looked good and asked for some. the Women, Remedy for Riches and Melody for Not giving it a thought, Alton handed it to the Three. Vorhaus also became one of his most fre- actor, who took a bite, only to discover that quent collaborators, as they worked together it was a garlic sandwich. Unfortunately, Wayne eight times before Vorhaus was blacklisted and _ was in the midst of shooting a love scene with moved to England. (Alton has stated that Vor- _—_‘ Sigrid Gurie, who slapped him for his lack of

haus was named by Ronald Reagan, a close consideration. Wayne was furious with Alton, friend of Vorhaus’s during the 1940s, a charge —_ and never spoke to him again.

Vorhaus now deflects in gentlemanly fashion.) Alton worked briefly at Paramount for WilVorhaus singled out two main reasons that he _ liam Pine and William C. Thomas, B-producers

loved working with Alton: his speed and his in- so tight with a buck that they were known as genuity. “From a practical point of view, he was the “Dollar Bills.” Their pictures were generincredibly fast,” Vorhaus recalled in 1994 from ally shot in 10 days for under $100,000, but his home in London, “When he shot his first film Alton kept thriving under this sort of pressure for Metro, they didn’t believe he’d used enough _—_and furthered his reputation as a cameraman light for exposure, and they went around check- __ who could make a B-picture look like an A pro-

ing up on him. On The Courageous Dr. Chris- duction. As American Cinematographer noted tian we had a crazy schedule, as usual, with one —_ of his work on a 1941 quickie, Power Dive, “Al-

day on the studio lot to shoot all the exteriors. _ton’s treatment of his principals is excellent. His It was getting late and I was afraid we were go- __ set-lightings are far more pictorial than we usuing to lose the light before we finished every- _ally see on pictures made on any such schedule thing we needed. But John said, ‘As long as we as this . . . In a word, he has not only distin-

don’t show the sky, we can shoot it after dark, guished himself, but has set a mark for other it won't matter.’ And we did it at dusk and it | men who photograph films of this class to shoot looked just like the stuff we’d shot in sunlight. | at—and envy.”

xv

At the end of that year, the same publication _ courier. I was sent around the world with specommented that Alton’s work on John H. Auer’s cial confidential mail that they didn’t trust to The Devil Pays Off was “by far the best camera- send any other way. It was a great job. I had

work we've seen emerge from the Republic special planes and special treatment of every Studios,” that it was “definitely major studio — kind. I was sent to Rio when the Americans calibre, combining fine photographic quality | were contemplating an invasion there to comwith dramatic feeling and pictorial effective- bat all the German influence, to Peru, North ness.” Throughout his tenure in B-pictures, Africa, Egypt, and the Asiatic countries. And I Alton often saw his contributions to otherwise — met some of the big stars and producers everyforgettable films singled out for special mention | where. No matter where I went, all over the

in the Hollywood trade press. world, I met people from Hollywood.” With such praise coming his way, it is unclear Along with his army service, Alton managed exactly why Alton didn’t quickly make the jump — to continue his career apace during the war,

to major studio work, or at least remain on lensing five films in 1942, just one in 1948, the level where he started the 1940s, shooting five in 1944, and three in 1945. He particularly

second-level productions at RKO and Para- enjoyed shooting The Lady and the Monster mount, until being promoted. Instead, Alton’s (renamed Donovan's Brain) because it starred professional standing mysteriously diminished. | Erich von Stroheim and because director He signed with Republic in late 1941 but was | George Sherman was almost as fast as he was. loaned out to lowly Monogram two years later _— Of greater significance, however, was Republic’s

on pictures such as The Sultan’s Daughter and _ decision early on to place its recently signed the infamous Dr. Goebbels biopic, Enemy of new director, Anthony Mann, in Alton’s hands

Woman (renamed Mad Lover). to learn the ropes of filmmaking, a move that Alton had an interesting military career dur- _ would prove of tremendous significance to both ing World War II. A blurb in American Cine- men a few years later, even if it never benefited matographer in February 1943 identified him __ the studio that introduced them. as “Captain John Alton—serving as liaison offi- For seven years, or as long as he had spent in cer between the Commanding General’s office Argentina, Alton bided his time in the B-movies, and the Signal Photographic Laboratories, and = working well, if anonymously, on films that

his former Commander, Lt.-Col. Edward J. attracted little interest at the time and have Hardy, under whose command Alton received no reputations today. The executives and prohis basic military training.” Hardy was com- ducers at B-studios liked Alton because of his manding officer of the First Signal Corps Pho- speed and his ability to give a distinguished tographic Laboratory, and Alton worked in the — look to a cheap product. “I knew in order to lab rather than shooting footage for the govern- __ exist in this business, I couldn’t rely on art,” ment. Certain aspects of his military service Alton said, “because the producers were not artremain mysterious: Alton has variously stated ists. My first job was to win over the man who that he was stationed throughout most of the __ paid me. So I figured out how. I got $1,500 per war at Fort Bliss in Texas, that he served with week, when others were getting $250, because General Omar Bradley in Europe, and that he — of my speed, because they made money with

was in demand as a linguist, notably in Egypt me.” and Greece toward the end of hostilities. One The turning point in Alton’s career came report maintains that he was discharged in 1944 _—in 1947. Early in the year, he photographed for having enlisted when overage, another that |W. Lee Wilder’s crime drama The Pretender, he was let go for medical reasons. But Alton’s which at least one critic, Spencer Selby, in his

most memorable duties were as “a special book Dark City: The Film Noir, considers to be XU

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> eto city’s stormawater system. Never satisfying, companion piece T-Men, bleakdrainage _ the city’ Ww. Vv ere Ons images darker, Sna Yr more stuay O crime an up icity that features much W Alt Sj d k h 0 ® e e t e noir e e 1COnOgrap y, topped by Ray- °listenin definitive his talent for vl lly jurl up > sua conjuring

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pometig Shey tagieates ss tea ATT TN Se Bee a STUN OG Mba EG Tak ad a AI Rg nat

, ocks but with hollowchairs,sides for legs o for greater safety

Fig. 35 Sun Reflector

a ° : . . @ e ° e ae Se mo . Yl ran r 1 ul nt 1 Tve > ft -h—UhCUre . end ¢ ‘ ee ooee ee=... aMa eeee ce ee °. 2? ° ° °: ° . Oe ah e

Riisers, little platf 2, 4, and i little platforms, 2, 4,6aninches inches in hei ght

. Ze Bite, paaraies ease) es . uaa tun athersoaweneds oon gg RE an aan 5 e a S O S S e me n a a BRRcovtbannccerensetrunitarvers ius Ra canny AOU eo eatin pittaihe Semys tant8 :at,

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Fig. 43

20

are generally 7 :, . ° ° ethe e °reflectors soos Me : Lo. . , 7 owused cansttoday tinseeeinsemots : 7a oS e

tion picture iUlumination. re oe ee ee se

° . Ti cei, fo A Ts .

In black-and-white motion g- ace ARN _- ss weI ot raphy, whenever we picture want photo a sunlight, moon-

light, or other sharp shadow effect, weause 6=—Be i, ee, Sere EIoecca

The Brute 225-ampere Gh . °sunlight sO(Fig. . | 744) ' anis : adined” . 7 i ~are oe lamp for and moonlight effects. a i,‘rr The Molarc (150-ampere model) (Fig. 45), re re

also known as the 170, supplies both spot i’ . we SS

beams as narrow as 8 degrees and flood beams ee eee ee fee) Ce -

a MR tas ve 8 geA,Ba as wide as 48 degrees. The special Morinc er nee Okae re

ens 1s corrected tor spherical aberration, an oF MR ai ee re Mer kG ne ai the brightness of. the illuminated area is thereoe hl ll a So et ar i @. Ca a a 8° me Loe -

. Cea ge iz mS

fore greatest at the center, tapering off at the Se ee a 8 8=—h—)h(l ll I fe SeIes terns are € CRS iminate ° tasoug t 1S amp ISi” er crac) ST Bagge OI cr «= | re ° ° ° ° ° pce 1 Sg aati incoming: fe SS nt designed primarily to furnisha NEE lightSd ofaS. con= ee £4 re _ Jee ee stant spectral quality for color photography, OTE) ga UI res Sg oe ale 2 it finds extensive use wherever illumination

oo. Fig. 45 150-Ampere Molarc

The Mol ] 46 Duarc e Molarc (120-ampere also Fig, °120° model), e e del

of high uniform intensity is required.

known as the 90, provides illumination of re nn medium intensity. Because it may be adjusted PE agg es I CE

to give any be am diver gence between 8 and a 4A degrees, it is suitable for all types sl errof=light «= es = —=—sl

i sO,

Fig. 44 Brute re ln re ot ee pe : : me ee: | Ree rae Coes : eta, U2 ERR oS Ra EE RR a a oO hos . a

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) a certain height. Above the juniors, around

C ) the entire circumference of the lamp, is a strip of lamps for filler light. This can be

made up either of tubes or bulbs. This light overlaps on the walls from where the juniors

| left off (Fig. 67). The Streamlight is controlled entirely by its own dimmer box (Fig.

| 68). The lamps can be turned on, off, or

. | dimmed, either separately or simultaneously. The practical light switch on the set is con-

Fig. 66 nected to the dimmer, and when the actor 5 turns it, the light comes on instantly, illuminating the set with a natural effect (Fig. 69).

Y Figure 70 shows how the different parts of

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the set are lighted by the different parts of

| the lamp. Figure 71 shows the Streamlight

RR ——— cH as seen from above, and how each junior

penne (po}covers section of the set. Figure 72 showsaadifferent set rigged the old-fashioned way,

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but inside we see a strong but diffused light | MOONLIGHT

coming from all directions. It is not as beauti- ;

ful as the light play of the early morning. The moon emerges from behind the clouds It is late afternoon. The sunlight is roman- and sends a bea m of bluish, silvery light ito tic but sad, lovely, but sorrowful. The knowl- the garden. This creates a ghostly effect, with

edge that the sunshine is leaving us, even h sharp highlights ane opaque shadows. though only for the night, instinctively influ- ene is suspense mm O e air. The atmosphere

ences the sensitive human soul. is tense; anything is likely to happen at any moment.

SUNSET As the light travels, the environment takes The scene shifts. The orange-colored rays one new outlook. The moonlight hits the lace of the setting sun return inside once more as curtain directly , lending ta soft glow, a TO though to bid farewell. This is a spiritual mantic feeling, not unlike the shimmer it probeauty of short duration. The shadows stretch, duces on the ocean surface. The light from the diffused light, reflected by the sky, weak- the curtain fades and becomes translucent.

, ens. The foreground is already silhouetted, nae tron is semidark, bathed by the reflected

the shadows disappear, the room is dark. Out- vr rom the (garven. d dit side, it is twilight; inside, the last vestige of lich ‘Ss he mene DON ' he an¢ duterent light on the ceiling leaves, and the entire ignt can cmans® not ony t e mood, but also picture plunges into total darkness. Evening the setting. Outside daylight is appearing in

is here, night has fallen. the distance, We have come to the end of our experimental journey.

EVENING These poetic feelings are of utmost imporThe room is softly lit. The hottest spot is tance to the student of advanced photography. the table with its white linen table cloth and Unless he understands them, he can never

the silver candelabra, hope to be able to convey them to others The family is seated around the table. Din- through the medium of pictures, and all illu-

ner is served. The main light source (the mination becomes just so much light. chandelier) is suspended directly above the table, seconded by the candles on the table, ACTUAL ILLUMINATION

reflected in the shining eyes of the well- Our living room is once again a set on the rounded, happy faces. Occasionally the kitchen stage. We reconstruct the different lightings door opens and sends in a burst of white light, witnessed over the period of a day and night. illuminating the back wall. The clock ticks on.

A transformation of scene has taken place— DAWN the dining room is now dark, with a design At this time of the day our only light source of the window produced by the moon visible is the glow on a distant sky. This we imitate, on the wall, and showing the shadow of the _ reconstruct, with Pans from the floor. The curtains blowing in the gentle evening breeze. _ general light is soft, diffused. This effect we In the living room the lights are still on. The attain by setting up diffused broads or Duarcs different lamps projecting a variety of shad- __ in several places, but always hidden from the ows make an interesting pattern. The ceiling point of view of the camera (Fig. 90). reflects the light, giving the room a peaceful

atmosphere. INTERIOR INTERIOR

Then the lights are turned out, leaving us The only light at dawn is coming in through

in the dark once more. the window. Although it is not a strong, pro38

170 UP HIGH 170UP HIGH ~—— Duarcs, build up the interior lighting from up

‘A OM BACKING TAO) “OO high and also with frontlight, take the dif-

NAR OARSL fe fusers off the arcs shining in through the

vk, oS y a window, and you have the light ready for a

. - Zeb D sunrise scene.

Ss Sx 7 Ke BREAKFAST TIME PLEIN An overexposed negative will not give you Y, \/ a picture of daylight. All negatives must be of =, = normally exposed. It is not the quantity but D Q LS O the quality that establishes a mood, which D S X/ \/ 7 determines the theme, the message of the picture. \ The light that establishes breakfast time is . very similar to that of the sunrise. It is now, | \poor/ | however, later in the day, the sun has risen

B B above the horizon, so we change the shadows

| on the wall. We raise the density of the key|__| CAMERA light; also we add more frontlight by sither

__ P=PAN adding more lamps or reducing the diffusion

MME D-DUARC somewhat. Outside it is daylight. The sky is @ 170-SUNARC lit, the trees are well modeled, with strong ___ DIFFUSED highlights. For this effect we employ several

= Bowe SILK arcs from one light source as high up as Fig. 90 ; possible. nounced light, nevertheless, photographically MIGHTING A SUNSET

it is our only light source, and is going to be If east has not been established on the set the hottest spot in the picture. In lighting a by using the window for sunrise, then we can dawn scene we cannot use an arc for our main use it for sunset. However, we cannot use the light source unless it is diffused, as the arc same window for both unless we change the light throws definite sharp shadows. Several direction of the light, as everyone knows that well-diffused reflectors must be used, criss- the sun rises on one side of the house and crossed from different directions, to establish — sets on the other. an immediately recognized, definitely outside,

dawn light source. LIGHTING AN EVENING DINING ROOM There is quite a resemblance between the Unless the design of the chandelier is such light of dusk before dawn, and the twilight that we can hide some high-intensity photoafter sunset. Neither light has sufficient flood globes inside it, its effect is carried out strength to penetrate deep into the room; it | —imitated—entirely from above the set (Fig. creates a feeling of light around the window, 91).

and gradually darkens away from it. Suppose we are shooting from one end of

| the table. First we keylight the actors on the

LIGHTING A’ SUNRISE left side of the table from up high right, and

Take the light prepared for a dawn effect, those on the right side from up high left. build up the outside with a few additional This will not only key the people around the 39

S O 0 ) ae _ , / =NS \ ° ° ° . , ,; , \ ° e e . ,|°°e°

S S dictory, confusing feeling. The average lay-

a > man may not understand lighting, but every child can tell sunlight when he sees it. The

new school of photography allows us to light

realistically. Subdued, low-key faces with

LX strong cross and backlights, are nowadays Van | accepted. without any comment, even in day-

NG light shots. i Le () The correct way to light such a picture is

1g, ‘ ‘ . 7 ‘

with an arc light from coming the outside. If the possible, Jt/X! /\ -in\ssome inkie from same mix di/ ! | | i | rection. This will take care of the curtain and the incoming sunlight. It will also outline the

Fic. 91 contours person’s face andThis figure. If 5 possible, useofa the light blue curtain. will allow the use of a stronger light from outside

table and model the opposite side, but will than will a white one. Inside, we add a crossestablish the mood, light the lower part of the _light of less intensity than the arc outside. On walls, and throw a design of a spotlight on __ the side of this crosslight, next to the camera, the floor. Now we add a back-kicker on the — we add a broad diffused with several silks.

people, hotter than the keylight. On the per- = The feeling of this picture will be that of sons sitting at the far end of the table we add _ outside sunlight, provided the backing is lit another front key. To those in mid-distance in a high key. For that uniform lighting, we we add more front light and leave those — use a Duarc or two (Fig. 92). closest to the camera in semi-silhouette. This

; ee . Fig. 92 Marsha Hunt

will build up depth. The general appearance from the distance must indicate that the light

.WINDOW os ‘het ee ee SHOTS OO emanates from the chandelier above. Ser vants 2 ; foe ae ‘ a a “ os LU : Hehe nese

in the background are not lit, so as they step 4 2 oy re into the foreground they come into the light, ae A J, — giving the effect a natural lighting. Se a

There is something appealing about a win- se) ell ul re dow that gives a romantic mood to a picture. ==. | It makes an excellent frame. It is through the ee eee window that our wishes, hopes, and dreams ee ee OG

door in the form of shots good fortune. Oe The illumination of window is quite "NN 4 SSS

perplexing. Take, for instance, a picture where == ay’ | a person is standing against the sunlit curtain een be ese -iig@e Be of a window. The old-fashioned way of light- = | BS 3 oS

ing this was to light the window from the sy i

outside, and the person, in flat key from the =. ) waa os oe inside. This two “way light produce a contr a eee co ee Sek Sai sh ORE UE AAR A 00a ce ee 40

MOONLIGHT AND WINDOWS SD BACKGROUND

The lighting scheme for moonlight scenes BACK-KICKER

at the window is about the same as it is for

a daylight scene, except that we eliminate the light on the backing, and also the front filler.

| C ) INTERIOR PERSON

TWO-SHOT AGAINST A WINDOW

STN. -.-- 0_]_-« WINDOW

Where the picture is that of two profiles \

against the curtained window, we use two ’ EXTERIOR backlight arcs, one from the right and the

er

ARC ARC LY \ \ ( ) C ) BROAD

GOBO

CAMERA

Fig. 94

| light off the wall and window, either with gauze, a tree branch, or both. The arc is placed on one side of the camera, usually

ooo from a high position, so that it does not re\ J WINDOW flectplace in the window glass. On the soft sidethe of \Z CURTAIN the camera _we a broad, shielding

(oe glass panes from it also.then If this high ) heavy shadows, we fill in key with leaves a low-

} positioned baby on the key side. This light with the tree shadows will give a natural daylight effect. To round out the face we add a

Fig. 93 kicker from the inside. Backlight would not look natural; therefore we eliminate it. To separate the head from the background, we other from the left. This will light the profiles light up the latter. Otherwise the background of both persons. The balance of the lighting —j, usually left dark, or with a shadow design

is like that for a single person (Fig. 93). of another window on the wall without any filler light. SHOOTING IN FROM OUTSIDE

There are times when we must improve INTERIOR EXTERIOR

upon nature’s lighting. Such a shot is one In lighting exteriors inside, we must imitate through the window from the outside, of a _ nature as closely to the traditional pattern as person inside (Fig. 94). If we simply imitate —_ possible. People have positive pictures (men-

natural sunlight, the wall outside and the win- tal images) of the appearance of exteriors.

dow will burn up. Establish your light sources and light accordThis we can improve by shading the sun- _ ingly. 41

WRITING FOR LIGHTING pictures will use more music, both audible and The time will come when light will be given visual. People will leave the theatre, not with its proper place in screen play writing tech- a headache as they now so often do, but with nique. Instead of machine-gunning the audi- _a relaxed feeling of having seen and heard a ence with earsplitting, harsh dialogue, motion _ beautiful concert.

42

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is usually the light source, but if there is any and as soon as the cigarette is lit, kill them —

foreground action, the light on the people (Fig. 98). must be built up to required strength. The fire of a burning cigarette can be registered on film without additional artificial light THE EFFECT OF LIGHTING A CIGARETTE ; ——— if the person smoking the cigarette is silhou-

In our daily life, we are accustomed to see __ etted in the foreground. Focus in this case

a face lit by the sun, moon, or some normal must be on the cigarette fire, otherwise it artificial light source. When a man lights a washes out. If the face is fully lit, or even lit cigarette in the dark of night, the lighter or _in a low key, the effect on the face itself must

match creates an unusual light effect on his be built up. This is done with a baby on a face. The flame itself picks up, but the effect dimmer (Fig. 99). on the face is much too weak photographi- The following light effects can be used to

cally. great advantage to heighten the mystery of A satisfactory imitation can be created arti- —_a_ scene:

ficially by using especially made-up strong Ship-wrecked figures on a raft, in complete matches, or two tiny arcs held in the palm darkness, with only the phosphorescence of the hand. These arcs are of course con- of the ocean waves breaking the ink-black nected to an electric outlet. We time the light of the pictures; in the distance, the flucof the arcs with that of the match or lighter, tuating light of a lighthouse The effect of passing auto headlights on the

Fig. 99 ceiling of a dark interior

Fluctuating neon or other electric signs

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balanced that foreground and background ap- _ For this purpose a mock-up is used. Formerly pear to merge. A tree, a bench, water, or a _ it was part of an old wrecked automobile, but shadow or two can help blend together the _ now specially constructed mock-ups are made

parts of the picture where the set ends and _ for the purpose (Fig. 143). They can look the screen begins. Care must be taken to light like new cars and also can be taken apart the set so that sunlight or moonlight in both (Figs. 144, 145, 146). An actor sitting at the foreground and background appears to come __ steering wheel cannot see the screen behind from the same direction. Any mistakes in this him, and therefore does not know when the respect make the picture look fakey, and the car is supposed to be turning; it looks fakey

audience will recognize it immediately. on the screen when the road turns and the steering wheel remains still. To remedy this, a special effects man on the floor watches the screen, and by moving the arm shown at the

AUTOMOBILE INTERIORS P |

Interiors of automobiles showing passen- lower right of Figure 147, turns the wheel gers (Fig. 142) are not shot on actual loca- — when the car is supposed to turn. To give the tion; it is simpler, much faster, and more _ effect of a moving vehicle, moving shadows economical to shoot them on the process stage. are projected on the people seated in it. The Fig. 142 Marsha Hunt and Dennis O'Keefe

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88

In real life, when we look at a person we __ degree of diffusion depends entirely upon the like, but who is not as beautiful as we would __ effect we are after. Softer lenses require less

like her to be, we automatically and uncon- diffusion than do sharp lenses. While glass sciously half close our eyes, diffuse, soften our _— diffusion has practically no light absorption

vision to make her appear more beautiful. factor, gauze diffusion reduces the light conWe close our eyelashes and actually hypno- siderably. In calculating exposures for closetize ourselves into a state of admiration. By ups, allow for this absorption—open the diadoing this we eliminate harsh lines. By plac- | phragm or add to the strength of the keying this imaginary rose-colored glass in front _ light. To determine the exact amount of light

of our eyes, everything appears just like a absorption, hold the gauze diffuser in front

dream, so romantic, so beautiful. of the exposure meter. Some lenses of still Photographic cameras are cold, heartless in- cameras come with built-in diffusion; this struments. They do not possess the automatic can be modified to different degrees by the diffusion of the human eye. The picture has _ mere turning of a handle.

to be softened artificially. This process of In motion picture photography, diffusion making the camera lie is called diffusion. of close-ups should be gradual. In order to avoid brusque, heavily diffused close-ups

LENS DIFFUSION which disturb the audience diffuse scones While diffusion of the sight has been known __ before and after each close-up. In close-ups

to exist since Adam laid eyes on Eve, lens with lamps, candles, or any other flames, diffusion in motion pictures is a typical Hol- _ gauze diffusion is preferred. It adds sparkle lywood invention. Each master of lights has _to the eyes, throws a pictorial halo around developed his own secret formula. Generally, the flame, and does not produce multiple imthere are two kinds of lens diffusers used in _ ages as does its glass equivalent. Gauze difmotion picture photography: a silk-like gauze, fusion gives the skin a velvety texture seen usually homemade, and the standard manu- __ only in the better class of pictures.

factured glass diffusion disk, a flat glass with The usual rules for diffusion are: generally slightly raised concentric rings pressed on to _ no diffusion on long shots or distant views; it. In some instances a combination of both light diffusion on medium shots; heavy difsilk and glass is used. Manufactured glass fusion on close-ups, especially feminine pordisks come in round and square shapes, and __ traits. The best way to learn how to use difwith varied degrees of diffusion. In addition fusion successfully is by experimenting—make there is the variable-diffusion glass. This is | mistakes and correct them. In the hands of a long piece of optical glass, clear on one end _ inexperienced photographers the use of gauze

and soft on the other. It is used on traveling diffusers can result in gray, muddy photog-

shots, from extreme long shots where diffu- raphy. : sion is superfluous, to a big-head close-up Diffusion also is used to blend harsh, prowhere it is absolutely essential. This glass is | nounced highlights and shadows in landslid by hand through a frame in front of the scapes. It is recommended especially for love lens, gradually, as the camera advances or _ scenes or for any kind of romantic outdoor recedes. The diffusing glass or gauze is placed photography (Figs. 164, 165).

in front of the lens in a holder or frame. By Anyone who has a little patience and who varying the distance of the diffuser from the _ is fortunate enough to find in the attic an oldlens we also vary the degree of softness. The fashioned dress of chiffon or fine net, such as further away the diffuser is from the lens, great-grandma used to wear, can make his own

the softer is the image. The selection of the lens diffuser. Narrow frames about two or 89

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