TECHNICOLOR AND OTHER METHODS 207 



jection if a true color rendering is desired. But if 

 sunrises or sunsets are made that additional red is 

 not an objection, possibly adding to the beauty of 

 the picture. 



The type A Kodachrome film is balanced for 

 photo flood light or clear Mazda light, so does not 

 require the 4X compensating filter the regular 

 emulsion does when using artificial light, which is 

 a great saving in the time of exposure required. For 

 my special lapse-time work on flowers the photo 

 flood light being so short-lived is not suitable for 

 intermittent exposures that often take a week or two 

 to get a twenty-five-second scene in projection. So I 

 used two or three small 75 watt frosted Mazda lights 

 with reflectors to prevent the light shining into the 

 lens. The lighting could be controlled on the sub- 

 ject by hanging two below the center and one 

 slightly above giving the desired flat lighting re- 

 quired for Kodachrome Type A. In working with 

 panchromatic film where side backlighting gave a 

 more pleasing result a small spotlight could be used 

 from the rear as long as it did not shine into the lens. 

 This back lighting gives a more pleasing arrange- 

 ment to the eye, but in Kodachrome is too contrasty. 

 In using Type A Kodachrome reference has been 

 made to the kind of artificial light used to get bal- 

 anced correct color reproductions. Also in micro- 



