Three-Dimensional Photography - Principles of Stereoscopy

116 THREE-DIMENSIONAL PHOTOGRAPHY

ing incident to the cloudy light, but it will highlight the rain itself

and by the sparkling reflections, add much to the brilliance of

an otherwise dull lighting.

Stopping motion.-Often in dull or hazy light, the problem of

stopping motion becomes an almost impossible one with which

to cope. Here the flash again saves the day, but naturally the flash

intensity is gauged for the shutter time demanded, which means

that it will far override the normal light with the consequence

that the portion of the scene outside the flash area will be very

dark. In short, the daylight is dull and of low intensity, so outside

the flash area, this appearance will persist.

OTHER SuBjEms.--It would be impossible to catalog all of the

possible uses of daylight flash, because almost every subject can

be improved by flash, but each presents its own problem as to

just how the flash is to be used. There are no hard and fast rules,

and each subject must be treated according to its own character-

istics. This is difficult for the beginner. That is why we have

listed the foregoing common types of subject. Using them as a

rough guide, it is easy to make experiments, so that experience

may be gained. Once you have experience you will find not only

that you have confidence in the use of the flash, but you will find

it hard to work without it.

The technique of daylight flash depends largely upon two fac-

tors, position and intensity.

Position.-As stated in the first part of this chapter, the position
of the flash will give you any type of modeling from flat to full
relief, depending upon the distance between the flash and the
camera lenses. It may be added that even the “pink eye” condi-
tion can be used to advantage. If you ever wish to have direct
reflections recorded, then the nearer the flash to the lens the
better. This is of value at times for special effects.
On the contrary, the extension flash will prove just as effective
in modelling in daylight as it is in night work.
Intensity.-In daylight flash, you have two lights which can be
balanced in various ways. You have the normal daylight, which
establishes a basic level of illumination over most of the scene.
You also have the flash whose intensity is within your control.