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PORTRAIT STUDY Study No. i — See Page 575, Vol. VIII Ryland W. Phillips
Complete ^tlt^mttnctin^ Xibrart of Bracttcal Bi^otogmpi^i?
VOLUME VII
Studio Portrajmre
PART iV-^^
J. B. SCHRIEVER
Editor-in- Chief
3^o|iular tuition
PUBLISHED BY
2lmerican ^cl)ool of %xt anU ^fjotograpljp
SCRANTON, PA., U. S. A. 1909
COPVRIGHT, 1908, 1909, BY
AMERICAN SCHOOL OF ART AND PHOTOGRAPHY, ScRANTON, Pa., U. S. a.
Entered at Stationbrs' Hall, London, England. All rights and translations reserved.
SRLF URL
51406^* in
TABLE OF CONTENTS
VOLUME VII
PART I STUDIO PORTRAITURE
PAGB
CHAPTER I Introduction 19
CHAPTER II Skylights 27
CHAPTER III What is Lighting? 35
CHAPTER IV Controlling the Light 37
CHAPTER V Skylight Room Equipment 49
CHAPTER VI Composition in Portrait Photography 6;^
CHAPTER VII Plain Portrait Lighting 69
CHAPTER VIII Plain Portrait Lighting — General Summary 93
CHAPTER IX Plain Portrait Profile Lighting 97
CHAPTER X Plain Portrait Lighting — Practice Work 99
CHAPTER XI Difficulties — Plain Portrait Lighting 103
CONTENTS
PAOS
CHAPTER XII Rembrandt Lighting 109
CHAPTER XIII Rembrandt Profile Lighting 127
CHAPTER XIV Difficulties — Regular and Profile Rembrandt
Lighting 137
CHAPTER XV Hollinger Lighting 141
CHAPTER XVI Difficulties — Hollinger Lighting 155
CHAPTER XVII Schriever Lighting 157
CHAPTER XVIII Difficulties — Schriever Lighting 169
CHAPTER XIX Sarony Lighting 173
CHAPTER XX Bust Portraits in Drapery 181
CHAPTER XXI Figure Posing 189
CHAPTER XXII Figure Posing — Practice Work 217
CHAPTER XXIII Child Photography 221
CHAPTER XXIV Juvenile Portraiture 243
CHAPTER XXV Grouping 259
CHAPTER XXVI Portraiture with the Aristo Lamp 279
CONTENTS
PAGE
CHAPTER XXVII ScHRiEVER Method of Using Aristo Lamp 287
CHAPTER XXVIII Flashlight Portraiture 297
CHAPTER XXIX TowLES Smokeless Automatic Flash Machine 313
LIST OF ILLUSTRATIONS
VOLUME VII
ILLUS. PAR.
NUMBER TITLE PAGS REF.
1 Diagram of Skylight 29 32
Fig. I — Perpendicular Skylight. ....
" 2 — Single Slant Skylight
" 3 — Double Slant Skylight
2 Diffusing Screen 50 71
3 Reflecting Screen 52 79
4 Model Studio Outfit, A 57 83
5 Ingento Vignetter 59 92
6 Head-Screen 57 94
7 Posing Chair 60 95
8 Head-Rest 57 97
9 Plain Portrait Lighting — Portrait 72 127
10 Plain Portrait Lighting — View of Room 72 120
11 Plain Portrait Lighting — Floor Plan. 75 128
12 Plain Portrait Lighting, Examples of. 78 130
13 Rembrandt Lighting — Portrait 113 227
14 Rembrandt Lighting — View of Room. .. . 113 230
15 Rembrandt Lighting — Floor Plan 112 229
16 Rembrandt Lighting, Examples of 117 237
17 Rembrandt Lighting, Example of 118 237
18 Rembrandt Profile Lighting, Example of 121 237
19 Rembrandt Profile Lighting — Portrait. 129 252
20 Rembrandt Profile Lighting — View of
Room 129 255
21 Rembrandt Profile Lighting — Floor
Plan 131 258
(ix)
X ILLUSTRATIONS
ILLUS. PAR.
NUMBER TITLE PAGE REF.
2 2 Rembrandt Profile Lighting, Examples OF 134 261
23 HoLLiNGER Lighting — Portrait 143 278
24 Hollinger Lighting — View of Room 143 284
25 Hollinger Lighting — Floor Plan 142 283
26 Hollinger Lighting, Example of 144 284
27 Schriever Lighting — Portrait 159 319
28 Schriever Lighting — View of Room 159 321
29 Schriever Lighting — Floor Plan 162 329
(Profile View of the Face.)
30 Schriever Lighting — Floor Plan 165 329
(Front View of Face.)
31 Schriever Lighting, Example OF 160 333
32 Schriever Lighting, Example of 163 333
33 Saronv Lighting — Portrait 172 344
34 Sarony Lighting, Examples of 175 344
35 Figure Draped IN Cheese-cloth 179 357
36 Rembrandt Portrait — Draped 180 358
37 Portrait — Draped V-Shaped 183 359
38 Combination of Drapery Portraits 184 360
39 Drapery Suitable FOR Children 187 361
40 Child Drapery Portraits, Series of 188 363
41 Figure Posing — Short Subject Appearing
Tall 193 383
42 Figure Posing, Examples of , 194 384
43 Figure Posing, Examples OF 197 385
44 Figure Posing — Evening Dress 198 389
45 Hand Posing, Examples of 201 389
46 Bride in Act of Walking 202 391
47 Suitable Sitting Position for Bride
Without Veil, A 203 392
48 Maid of Honor 204 393
49 Two-thirds Figure in Bridal Gown 205 394
50 Simple Position for Standing Figure of
Bride, A 206 395
51 Bride AND Attendants 207 396
5ifl! Bride Posing, Suggestions for 208 396
ILLUSTRATIONS xi
ILLUS, PAR.
NUMBER TITLE PAGE REF.
52 Confirmation Pictures (Commercial and
Artistic ) 211 399
53 Clergyman Portrait 212 400
54 Lounging Position for Men, A 213 401
55 Easy Position FOR A Business Man, An... 214 402
56 Child Portraiture 224 426
57 Combination Groups OF Children 227 428
58 Congress of Babies. 228 430
58a Child Costume Studies 231 430
59 Statuette Studies from Life 232 443
60 Baby Photography, Examples of 235 446
61 Mother and Infant 236 447
62 Simple Juvenile Figure Study, A 249 486
63 Juvenile Studies 250 487
64 Juvenile Pose, A 253 493
65 Group Construction — Two, Three and
Four Figures 265 523
66 Group Construction — Five and Six
Figures 266 530
67 Group Construction — Seven and Eight
Figures 271 533
68 Group Construction — Family Group. .. . 272 542
69 Group Construction — Two Heads 275 547
70 Group Construction — Heads 276 547
71 Construction OF Aristo Lamp 280 554
72 Hood for Aristo Lamp 283 559
73 Spot Light on Head Screen 283 565
74 Frame for Aristo Lamp, Diagram of. . . . 285 563
75 Aristo Lamp — Schriever Method — View
of Apparatus 289 569
76 Aristo Lamp — Schriever Method —
Plain Lighting — Floor Plan 291 573
77 Aristo Lamp — Schriever Method — Plain
Lighting — Portrait and View of Room 293 574
78 Aristo Lamp — Schriever Method — Rem-
brandt Lighting — Portrait and View
OF Room 294 5:76
ILLUSTRATIONS
nXUS. PAR.
NUMBER TITLE PAGE REF.
79 Aristo Lamp — Schriever Method — Rem-
brandt Lighting — Floor Plan 292 576
80 Nichols' Professional Flash Lamp 298 583
81 Flashlight Portraiture — Plain Light-
ing— Portrait and View of Room 301 586
83 Flashlight Portraiture — Plain Light- ing — Floor Plan 299 587
82a Plain Lighting, Example of — Nichols'
Flash Lamp 302 590
83 Flashlight Portraiture — Rembrandt
Lighting — Portrait and View of Room 305 591
84 Flashlight Portraiture — Rembrandt
Lighting — Floor Plan 303 591
85 Nichols' Flash Lamp — Groups 306 602
86 TowLES Automatic Flash Machine 312 605
STUDIES AND HOW THEY WERE PRODUCED
HOW
STUDY STUDY MADE
NUMBER TITLK AUTHOR PAGE PAGE
1 Portrait Study. . .Ryland W. Phillips {Voi.v/ii)
, Frontispiece 575
2 Portrait Study John H. Garo 23 575
3 *^A Ranchman*^ Rudolf Eickemeyer 24 575
4 Miss Florence Kahn
Rudolf Eickemeyer 39
5 Portrait Study Burr McIntosh 40 576
6 Portrait Study J. E, Mock 58
7 Portrait Study J. Will Towles 65 576
8 Edwin Markham Pirie MacDonald (»(> 576
9 Portrait Study Homeier & Clark 7^ 57^
10 Portrait Study J. E. Giffin 77
11 Portrait Study E. A. Brush 85 577
12 ^*Janet** Mary Carnell 86 577
13 "Madonna'* A. F. Wright & Co. 114 577
14 Portrait Study Knaffl & Bro. 122 577
15 Portrait Study B. J. Falk 130 578
16 Portrait Study,... C. J. VanDeventer 133 57^
17 HoLLiNGER Portrait Study
W. M. Hollinger 151 578
18 Portrait Study J. Edward Rosch 152
19 Dr. Samuel Chew. .. .Meredith Janvier 164 578
20 Portrait Study A. N. Camp 171
21 Portrait Study W. M. Morrison 176 579
22 "The Young Professor**
Mrs. W. W. Pearce 223 579
23 Portrait Study A. L. Bowersox 254 579
STUDIES
STUDY
NUMBER TITLE AUTHOR
24 Portrait Study Curtis Bell
25 Portrait Study F. Milton Somers
26 *The Angel of the Darker Drink>\..
Katherine Bingham 311 580
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PART I. STUDIO PORTRAITURE.
CHAPTER I. Introduction.
1. While the uses of the camera are practically unlim- ited, it is chiefly identified in the public mind to-day through its universal application to portraiture. Moreover, profes- sional portraiture, generally speaking, means the use of a studio; or at any rate, a window suitably arranged for regulating light, unless artificial light is employed. Under these conditions the various systems of posing and light- ing are applied to portraiture ; hence the title of this volume, " Studio Portraiture and Studio System."
2. The following vitally important subjects are ex- haustively treated in the following pages : The location of the studio; its ventilation; heating, lighting, fittings and accessories; most practical systems to employ in conduct- ing the business; methods to adopt for bringing business to the studio; and a systematic plan for handling and fin- ishing the work of a studio. Our ideas and methods are the result of years of experience of many leading American photographers, which if implicitly followed are certain to be of great benefit to those who wish to apply to their business, tried ideas and systems that have contributed to the money- making success of other pictorial enterprises.
3. As the perfect photographic portrait is, indeed, a rare achievement, it may be interesting to define the neces- sary qualifications of a good portrait. The general opinion on the subject is that a good portrait should be a faithful,
19
20 Library of Practical Photography.
thoroughly pleasing likeness of the sitter. It is in the word pleading, however, that all the difficulty lies. It often hap- pens, for instance, that in making two exposures, of the same sitter, within a few seconds of each other, same pose same lighting, etc., the result is two negatives of equal tech- nical merit ; yet one is a better likeness and a far more pleasing picture than the other. Careful study will reveal the fact that the better likeness has caught something char- acteristic of the sitter — the pose of the head, or a winning and agreeable expression of the features.
4. Besides technical quality and pose, the study of light and shade is absolutely essential to the success of the portrait photographer. The whole expression and artistic merit of a portrait depends, perhaps more on suitable light- ing than on any other single factor. The reason for this is plain. Since the camera is practically limited to obtaining its effects in monochrome, it owes its chief measures of charm in results to skilfully managed contrasts of light and shade in the picture. For instance, a strong and rugged face may have its ruggedness emphasized disagreeably, by a cross or side lighting ; while a full lighting from the front would subdue the strong lines, without destroying character. This instruction will demonstrate the toning down of a too pronounced line and also how the light may be softened to secure rounded modeling to the features.
5. The various studio lightings are exhaustively treated. Plain or broad lighting, where more of the face is illuminated than in shadow; Rembrandt lighting, with the greater portion of the face in shadow ; Sarony, or half- shadow lighting ; Hollinger, or half-tone lighting ; Schriever lighting, for black and white draperies ; all are treated at satisfying length in this volume. Numerous examples are shown to illuminate the text, making clear, to the observer, the true technique of portraiture by photography.
6. While technique is the foundation of photography, and is therefore essential, no matter how thoroughly one may be drilled in technique, the training in picture making may still be most incomplete. In past years, v/here the old
Introduction. 21
school method of training students was employed, drilling in technique was carried to such excess that everything seemed to be mechanical. The art side of photography was left for them to ferret out as best they could. In training our students to-day, we give them this fundamental or tech- nical training, but at the same time they are instructed in general art principles. For that reason, the student apply- ing the instruction given in this library will, upon comple- ting the course, not only have a good technical training, but also a knowledge of the art principles necessary to good pic- ture making. By applying these methods the student is en- abled to make pictures of much better general quality, from the beginning, than one who received instruction by the old system, which taught the technical side of photography only.
7. Simply observing the illustrations and studies which grace this volume will prove the advantages of a knowledge of art in the production of good pictures. These studies, made by representative members of the photographic pro- fession of America, while exhibiting different phases of photographic work, are all individually artistic. You will note in the make up of the pictures that, while each con- tributor is a thorough master of the technical side of pho- tography, each has demonstrated marked individuality on the art side of picture making.
8. As a matter of fact, the term technique in photog- raphy is seldom correctly comprehended. Its meaning, rightly interpreted, is that there should be just enough me- chanical manipulation in the photograph to properly obtain the object in view. Beyond this, or when technique becomes too obtrusive, the effect is simply to mar the beauty of an otherwise artistic production, as scaffolding would a com- pleted building. There is no art in portraiture in which tech- nique predominates, and pictorial values are lacking when a photographer is more sensitive to technique than to beauty.
9. Perhaps one of the most hopeful signs of the times in the development of professional photography along broader lines, lies in the fact that photographic manipula- tion is no longer regarded as a mere mechanical process,
/I
IrO
22 Library of Practical Photography.
inviting technical skill only, but is acknowledged to be an art, calling for art training and art appreciation. The public has learned to demand the application of art principles to photo- graphic portraiture. This has vastly enlarged the field. No longer can portrait photography be regarded as a purely tech- nical career, but must be considered a dignified and exacting profession, calling for intellect, refinement and taste, to a de- gree that exceeds most other callings. Indeed, it has often been stated that the same problems that meet the painter in portraiture also confront the photographer. Composition, balance, drawing, even color in a sense, are all as necessary to artistic success in photography as they are in painting.
10. When a photographer begins, with the first touch, to bring his model into pose ; when he selects his view point, and turns a fold of drapery, he is taking the first steps toward artistic achievement, and the spirit of art is stirring within him. The merciless severity of lens, plates, and chemicals is no hinderance to photography in the hands of a master. Like the painter, the photographer substitutes breadth for detail ; subdued eflfects for sharp outlines ; softens light and shade when necessary ; and the limitations of tools and proc- esses are as nothing, if the spirit of art dwells within him.
11. Invention, design, feeling, imagination, all coalesce in the finished result, as in a painting; while the picture it- self is lifted out of the range of photography into the realm of art by such treatment. For this reason, a painter's opinion is sometimes useful in determining photographic values. Von Lenbach, the great portrait painter, always declared that, " Instinctively one should always grasp and hold fast but one thing in portraiture, namely, the head;" that " this exponent of the soul must stand out in undis- turbed unity ;" that " accessories of whatever kind, whether of dress or of form, must not detract and weaken the im- pression that the head should produce ;" that " a portrait, to attain its full aim and significance, must look out from a background of nothingness and must be shorn of every detail that interferes with this unity of purpose."
12. To illustrate the application of this principle to
PORTRAIT STUDY
Study No. 2 — See Page 575, Vol. VIII
John H Garo
"A RANCHMAN" Study No. 3— See Page 575, Vol. VIII Rudolf Eickemever
Introduction. 25
photographic portraiture, we recommend the study of the pictures selected for reproduction in this volume. These portraits show an unusual breadth and largeness of effect, and in many instances are specially remarkable for the strength and definition given the central point of interest in each — the head. There is no weakening of the unity of these pictures, by the crowding in of accessories that would surely divide the attention. In producing these portraits we feel that the makers have been more than fortunate in depicting character. Where art has to do with character, the simplest statements are the strongest. The portraits that impress us the most are those conceived in simplicity, and vested with the personality that holds us.
13. No matter how successful, or strongly individual, is the work produced by even the highest class of photog- raphers, however, all of these artists were obliged to study the fundamental principles and to thoroughly acquaint them- selves with the technical side of photography.
14. It is absolutely essential that anyone desirous of se- curing the best of photographic results know the underlying principles of the technical side of photography. No art, or artistic skill, will amount to anything when applied to pho- tography, if the photographer does not know how to make a technically correct negative. It is absolutely essential that he be able to reproduce in the photograph exactly what is seen in the original. When able to do this, it is possible to inject into the work artistic qualities as well as individuality.
15. The photographers whose representative work is shown in this volume have all passed through the various stages of technique, and after being able to master this side of photography have branched off along lines of their own. The work they now produce is richly imbued with their individuality. You should study these examples carefully, comparing one portrait with another, and noticing wherein they differ. You will observe that all prints are from practically correctly developed and exposed negatives. Individuality has been injected into the composition, posing and lighting, as well as the printing and general finishing.
26 Library) of Practical Photograph}).
True, there are cases in which the negative was doctored to a considerable degree, the individuality of many photo- graphic artists being displayed in this manner. Some have certain methods of lighting the subject ; others by their artis- tic instinct are able to pose, and reproduce the pose, in a man- ner that another photographer could hardly hope to attain.
16. No matter what method is employed to secure individuality, all of the work must be built on a solid technical foundation.
17. It is our aim in this volume to train you to se- cure technically correct portraits. A thorough understand- ing of lighting and posing alone, however, will not give you all the knowledge required. You must understand thor- oughly the art of negative making and know exactly what effect is produced by the various chemical manipulations. It is, also, just as essential to be familiar with the various printing processes, because the artistic worker usually has in mind, when posing and lighting the subject, an exact idea of how the reproduction will look when ready to deliver to the customer. Therefore, it is absolutely essential that you possess an all around knowledge of photography. With this general knowledge, you will not be handicapped in any way, but will be able to use judgment and carry out your own ideas in portraiture.
18. The first step to take, after you are able to make a technically correct negative, is to understand light and its effects, and be able to control it. This accomplished, the next step is to understand the forms of composition, apply- ing them to the posing of subjects. With a thorough under- standing of lighting, posing and composition, you will then be able to place the subject under the light and apply your photographic knowledge in a way that will enable you to secure technically correct results. From this point your individuality should begin to grow and show in your work. Strive to break away from all set forms to which the average commercial photographer is bound.
19. Art cannot be hurried and you must, therefore, work carefully, mastering each lesson before taking up another.
CHAPTER II. Skylights.
20. Introduction. — Much has been written in favor of and against various styles of skylights. Some recommend the single slant, others prefer the old style hip or double- slant light, while another faction advocates the perpendicu- lar style of light. Each has its advantages and disadvan- tages. In the hand of an experienced operator any of these styles can be used successfully, as after all is said on the subject, it is only a matter of volume of light and its con- trol to produce desired results.
21. In building a skylight you should first consider the size of the operating-room it is expected to illuminate. This is important, because the size of the room has everything to do with the necessary dimensions of the skylight.
23. Double Slant Skylight — In Illustration No. 1, Fig. 3, we present a double slant skylight, or what is usually termed a hip-light, with a slant of about 48°. The exact angle is of no particular importance. The top-light is about 11 feet high and 10 ft. wide, the side-light being 7 ft. from the floor at the top, and extending to within 3 ft. of the floor, thus giving a side-light of about 4 x 10 ft. This size and style of light is perhaps more in use than any other, for the reason that it can be used in a smaller space, requiring, as it does, less width of room than any other style. A room 16 to 18 ft. wide is large enough for such a light. The length of the room should be from 25 to 30 ft. — the longer the better.
23. In order to be able to make full length and group pictures, you will require the entire length of the room, to
27
28 Library^ of Practical Photograph}).
get distance in which to operate the camera. Consequently, the skylight must be located nearer to the one end of the room than to the other, only far enough from the nearest wall to allow sufficient room for backgrounds, and for operating the camera when bust and two-thirds figure work is to be made from this side of the light. With an operating room 25 ft. in length, full length figures can only be made with the subject and camera at extreme opposite ends of the room. For that reason the skylight should be located near one end; about 5 ft. from the wall is the distance ad- vised. Where a room 30 to 40 ft. in length can be employed, the skylight should be placed nearer the center, if possible — or at least from 10 to 18 ft. from one end of the room. The advantage of this is that exposures can be made with either side of the subject lighted.
24. Advantage of Double Slant Skylight. — The advan- tage of the hip-light, such as described above, is that it is possible to work nearer the light than where a single slant is employed. With a narrow room you could not work far enough away from the single slant light to secure good re- sults ; in other words, a single slant light requires a wider room. When operating under this style of light (hip-light) handle the subject so as to receive the benefit of both the side-light and top-light. For example, in locating subjects under the light, place them at the strongest point of light, which in a hip-light is usually the center of the top-light and a few feet below, at an angle of about 45 degrees.
25. With a single slant, or perpendicular light, the strongest rays of light come from the center and a few feet above, at a 45 degree angle. Thus, with the hip-light the strongest rays fall nearer the side-light, enabling work to be done in a narrow room. The above, of course, refers to unobstructed lights. Where the light is obstructed by large buildings or trees, the location of the strongest light will be changed, usually resulting in bringing the strongest light nearer the side-light. Therefore, for all around purposes, under all conditions of outside obstruction, the hip-light is to be preferred for a narrow operating room.
Jj
?nmNoicwA» rig. I.
12'
Illustration No. i— Diaeram of Skylights See Paragrapn No. 22
30 Library^ of Practical Photography.
26. Single Slant Skylight.— In Illustration No. 1, Fig. 2, we present a single slant light 12 ft. wide and 14 ft. high, the light beginning 3 ft. from the floor and slanting inter the room at an angle from 13° to 35°. This size of light is suitable for a room 25 to 30 ft. wide, and from 30 to 40 ft. long. In a room of this width work may be performed all around the sitter, and at the same time, at sufficient distance from the light to secure brilliancy and roundness. This light, under such conditions, will be much easier to work, as there will be less trouble with reflections ; and also because only one set of curtains will be needed for controll- ing the light. This size and style of light will answer every purpose for bust portraits, figures or groups, in a room of this size. The light should be located, if possible, 10 ft. from one end of the room. This will give ample room for working from either end of the light for all classes of work, except, perhaps, very large groups, which will need to be made from the farther end of the room.
27. Curtaining the Light. — In curtaining a hip-light you should have two sets of opaque shades (a deep green color is the best), fitted to spring rollers. One set should be attached to the top of the skylight, extending down to the side-light. The second set should be attached to the bot- tom of the side-light, extending to the lower edge of the top-light. These shades should be at least a foot longer than the length required to cover the given space. They should also overlap each other at least 4 inches on either side. The ordinary window-blind stock of good quality is in common use, and can be obtained in almost any width, 36-inch shades being generally employed. In fact it is better to have a greater number of shades of this width than wider shades and less of them, because with a 36-inch shade better control of a smaller space of light can be had than with those of larger size.
28. Muslin Diffusing Curtains. — In addition to the opaque shades attached to spring rollers, you should have a set of muslin curtains running crosswise of the skylight. These skould be made of light-weight white muslin, with
Skylights. 31
rings attached to the hem at both ends, by which they may be strung on wires, stretched from one side of the light to the other. These diffusing curtains will not always be required, so when not in use they should be slipped to one end of the light. The principal use of the diflfusing cur- tains is to overcome bad reflections. They are practically indispensable if the sun shines on the light. Instruction in the manipulation of the diffusing curtains is given for each style of lighting in their respective chapters.
29. With a single-slant light there is practically no need for diffusing curtains, unless the light faces other than in a northern direction. If it does it will be necessary to diffuse the strong sunlight. With a north light, however, there will be sufficient diffusion, as work can be done further from the source of light. A single-slant light will* require two sets of opaque shades on spring rollers, one running from the top of the light past the center, and another set running from the bottom of the light to above the center. With these shades and a diffusing screen on a movable standard, absolute control of all the light in the room can be acquired.
30. The Perpendicular Light. — In Illustration No. 1, Fig. 1, we present the perpendicular light. We question if any photographer would employ such a light from choice, in preference to other styles. Sometimes, however, the building selected for the location of a studio will not admit of other than the perpendicular style of light. Usually this style of light is not large, generally running from a point a few feet from the floor to the level of the ceiling. Some- times an office building containing large windows is se- lected, and the windows serve as the light to be employed for supplying the required illumination. Under such condi- tions the photographer is somewhat handicapped, as only bust portraits or two-third length figures can be made suc- cessfully under such conditions. Groups are practically out of the question. A photographer handling a light like this would naturally cater to an exclusive class of trade, to which bust or two-third length figures only would appeal.
32 Library^ of Practical Photography.
31. In Figure No. 1 is shown a perpendicular light, 6 ft. square, built 3 ft. above the floor and running very close to the ceiling. Owing to the size of the light, with its limited power of illumination, the subject must neces- sarily be arranged quite close to the source of light. The light is controlled by means of thin muslin curtains, dyed a light tan color, which when properly arranged may be adjusted to produce any effect desired.
38. Arranging the Curtains. — Stretch three sets of curtains crosswise of the window, each set overlapping the next about four inches. Divide each set of curtains into three sections. This will enable you to open any portion of the light required. When the light is soft, or diffused, no curtains at all will be needed. If the light is too strong in some places, by drawing a portion of one or more sec- tions over such spaces the light will be diffused sufficiently to overcome the objection. With a little care, beautiful portrait effects can be produced and lightings of any kind obtained.
33. Controlling a South Light, or any Light Where the Sun Shines on the Glass. — There are different ways of controlling strong sunlight, but the following method has proven most practical : The skylight should be curtained with opaque shades, top and side, exactly the same as for a light with a northern exposure. These opaque shades are necessary for controlling the angle of light. For dif- fusing the sunlight, Irish mulle or muslin of a light tan color may be employed. The muslin is dyed a light tan by boiling in strong coffee, to which has been added a tea- spoonful of plain salt. The salt sets the color. Boil the muslin for about 10 minutes, or until it becomes a light tan color, when it may be rinsed in clear water and dried, after which it should be smoothed out with a hot iron. The tan curtains are then arranged on the skylight, in place of the white muslin diffusing curtains previously referred to.
34. When the sun is shining brightly on the skylight, by stretching these curtains the light becomes diffused and mellow, and while the direct light may be quite strong, even
Shlights. 33
when filtered through these curtains, it is of such a color as to produce soft high-lights instead of strong, chalky ef- fects. These curtains, of course, should be used in connec- tion with the movable diffusing screen. By means of this movable screen you control the light on the subject still further.
35. Glass for Skylights. — In most modern skylights the glass is either ground, hammered, or ribbed. Occasion- ally, however, the photographer is compelled to work under a skylight of plain glass, which, naturally, will work quite contrasty. To overcome this contrast and obtain a softer light, the glass may be coated on the inside with a thin application of starch paste, or some other like substance. (See Chapter XLVII, Vol. VIII, "An Inexpensive Studio.")
CHAPTER III. What is Lighting?
36. Lighting is the art of reproducing the character- istics of the subject by the correct application of Hght and shade. It is necessary to have light to produce an effect on the sensitive plate, but why is it necessary to control light? Why is it necessary to have the light fall on the subject at a certain angle, and why must the light be of certain quality ?
37. Not only must consideration be paid to light, but due attention must be given to shadow also. Light without shade will not produce a pleasing portrait. In fact, the beauty lies in the delicate half-tones and shadows to fully as great an extent as in the high-lights. It is the control of light, no matter whether the picture is made in open sun- light or in a studio, that gives the proper relationship be- tween light and shade.
38. To obtain the most artistic result the light must come from one source only and fall on the subject at the right angle. This angle is determined by the effect pro- duced on the subject. If all top-light is employed, deep shadows will be cast by the eyebrows, nose, lips, and chin, making the eyes appear deep sunken and the other features distorted. On the other hand, if the illumination is all from the side, heavy shadows will be cast across the shadow side of the face, the light side being extremely white and chalky. If a mean between these two extremes is chosen and the light allowed to fall on the subject at an angle of 45 degrees, the light will illuminate all lines on the face as well as both eyes, and accentuate the strongest characteristics which show in the face of the individual.
39. Having obtained the proper angle of light, it is next necessary to control the haa*shness; for, if allowed to
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36 Library of Practical Photography.
strike the subject with full force, the light side of the face will be too chalky, while the opposite side will be too much in shadow, giving practically no detail in either the high- light or the shadow. By diffusing or reducing the strength of the light the rays will be distributed and, although not as powerful, will spread over a larger area. If a piece of cheesecloth or semi-transparent material be placed over the window or skylight, the high-lights on the subject will be considerably reduced and, owing to the general diffusion of the light throughout the room, the shadows will be illuminated to a certain extent, so that there will be flesh tones throughout the entire face.
40. Where the source of light is small, the light will be extremely contrasty and it might not be possible to spread it sufficiently with the diffusing curtains. In this case, the shadows not being illuminated sufficiently, it will be necessary to resort to the use of reflected light. For this purpose a white reflecting screen should be placed opposite the source of light and turned at such an angle as to throw the strongest reflected light on the front of the shadow cheek. To accomplish this, the screen is usually placed at an angle of about 45 degrees to the side-light.
41. One principle always to bear in mind when making portrait studies, as well as when photographing any sub- ject is: The strongest reflected light should fall on that part of the subject receiving the strongest direct light. From this point there should be a gradual blending back into shadow as the distance from the camera is increased. When a subject is posed to secure a front view of the face, the nose and the front of the forehead, the cheeks, lips, and chin should be in highest light. The back of the cheeks, the ears, and the shoulder farthest from the camera may be in shadow, the degree depending entirely on the nature of the subject and the effect it is desired to produce. For profile and shadow lightings, the reflector should be so placed as to reflect the strongest light into those portions receiving the strongest direct light, thus rounding them off and gradually blending into the shadows.
CHAPTER IV. Controlling the Light.
42. By controlling the light is meant the manipula- tion -of the shades and curtains, also diffusing and reflecting screens, so as to control the volume of light as it falls upon the subject. In making portrait lightings the angle of light must come from the side and front; seldom from behind the subject. Therefore, when making these lightings place the subject at one end of the light; never in the mid- dle of it. With the subject at one side of the light there will be — after arranging curtains and obtaining the angle of light — sufficient illumination surrounding the subject to supply softness and detail. Working in this way the sub- ject is always at one side of the light and your camera at the other. In fact, by this method the center of the skylight will be always between the camera and subject, and suffi- cient illumination will surround the subject to supply detail in the shadows, while the proper angle of light will be under control.
43. In order to demonstrate, in the simplest manner possible, the controlling of the angle of light, we will apply these methods to the most universally used style of light- ing, known as Plain Portrait or Broad Lighting. In illus- trating the manner of controlling the light, photographs of the skylight room have been reproduced, showing the cur- taining of the skylight. The hip-light has been selected for this purpose for the reason that this style of skylight is almost universally used. However, the same methods may be applied to any light, whether hip, single-slant, or even perpendicular.
44. Plain Portrait Lighting is a style of illumination
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in which more of the face is in light than in shadow, the light falling on the front of the subject usually at an angle of about 45 degrees. Before demonstrating the control of the light, let us first consider the proper location at which to place the sitter to receive the benefit of both the side and top-light ; also the point at which he will receive the benefit of the strongest source of light, and finally, see that the light falls upon him at the proper angle.
45. To demonstrate more clearly the controlling of light, we will consider the effect of this light in a room 18 ft. wide by 36 ft. in length, in which the light is located within 5 ft. of one end of the room. The size of the top- light, 11 ft. high by 10 ft. wide; the top of the side-light, 7 ft. from the floor; the light itself beginning within 3 ft. of the floor, thus giving a side-light 4 x 10 ft. and a top-light 10 X 11 ft. The top-light is built into the room at an angle of about 45 degrees.
46. In placing subjects under this light, when a Plain Portrait or Broad Lighting is the purpose in view, we would place them at one end of the room, about on a line with the end of the side-light and distant from it about 9 ft. (See diagram of skylight and room.) In this way the subject receives the full benefit of all light, and yet we have abso- lute control over the angle of light as it falls upon the sitter. With the shades properly arranged, we would be able to make a good Plain Portrait Lighting from this point. However, should none of the shades be drawn on the skylight or side-light — in other words, should the light be used wide open, with the subject placed in the same posi- tion— a very flat result would be produced. This illustrates the eflfect of uncontrolled light. The face will not have the least trace of character in it ; every angle and shadow will be flattened, and all lines entirely eliminated. Owing to the fact that the light falls on the lines and shadows from all directions, the shadows will be illuminated to the same degree as those parts which should receive the highest points of light. This demonstrates that some control over the angle of light must be had. We must preserve the
Study No. 4
MISS FLORENCE KAHN (In Ibsen's Play, "When We Dead Awaken.")
Rudolf Eickemeyer
PORTRAIT STUDY Study No. 5 — See Page 576, Vol. VIII
Burr McIntosh
Controlling the Light. 4!
little shadows and characteristic points of the face; objec- tionable features must also be overcome by subduing the light on them, all this being accomplished by the manner in which the light falls upon the face.
47. To control this light so it will fall at any point and any angle we desire, emphasizing some portions and subduing others, we resort to the use of curtains, by means of which, if properly arranged, absolute control of every ray of light entering the room is obtained.
48. If all of the top shades on a hip-light, or the upper shades of a single-slant light be drawn down, and the sub- ject placed some distance from the side-light, one side of the face will be strongly lighted, while the other side will be a black shadow. The shadow line from the nose will be almost straight across the face, instead of falling at an angle as it should. The top of the head, as said before, will be dark, owing to lack of illumination over it. The strongest point of light, instead of being on the forehead, will appear on the cheek and jaw. This clearly demon- strates that more top-light is required.
49. We cite these extreme cases, as their effects are so marked that we believe they will cause the reader to understand more clearly the advantages and objects of the different manipulations of the curtains with a view to the proper control of the light. As you will readily observe, the pulling down of all the shades of the skylight changes the angle of light, and probably the strongest point of illumination from the side-light will fall about three or four feet from the window. The benefit of all the top-light, which, in fact, should be made use of, is thereby lost.
50. Considering the reverse arrangement of curtains — the side-light entirely cut off and all the light com- ing from overhead — the shadow from the nose will fall di- rectly over the lips ; in other words, the lines will be per- pendicular instead of falling at an angle and the eyes will be quite hollow. With the subject placed still farther under the light, the results would be more to the extreme, but from the fact that the subject receives the full benefit of all
42 Lihrary of Practical Photography.
front light as well as top-light, the eyes will retain more roundness. The lighting, however, will be entirely wrong, as there will be no angle visible. Should it be necessary to work under a top-light, better roundness would be produced by placing the subject farther from the source of light, with the face turned a trifle into the shadow, although working under such conditions is quite difficult.
51. With the subject located at exactly the same point, yet the curtains properly arranged to control the angle of light upon the subject, giving top as well as side-light, and at the same time supplying illumination in a more diffused form around the subject, you will produce a correctly lighted negative. The curtains should be arranged to permit the strongest point of light to fall first upon the forehead, then on the cheek, finally on the lips and chin, then gradually blend off into the drapery.
52. To obtain the correct angle of light the first top shade over the subject should be drawn down more than half-way on the skylight — just enough to cut off the flood of light passing over the head, concentrating it there, thus supplying the angle of light on the subject. The second shade should not be drawn down quite so far, while the third should be still shorter than the second. The first, as said before, supplies the angle of light, the other shades merely assisting in carrying out the angle. The shades on the side-light should be drawn sufficiently to prevent a flood of light from the side, and arranged in the same manner as the skylight. By this means, with the first two shades over and alongside the subject, the rays of light will be controlled. The remaining shades should be drawn only sufficiently to carry out this angle and still fully illuminate the subject. Thus you will have under perfect control practically all of the light entering the room.
53. It is necessary to learn how to control light. To do this, consider light in the form of a substance that you might take in your hands and place wherever you desire. The aim in portraiture should be to reproduce the subject and show the strongest characteristics, as well as a true
Controlling the Light. 43
likeness of the individual. To accomplish this, the photog- rapher must thoroughly understand the effects of light, and also know how to control its source in order to produce any desired result.
54. There is no shadow without light; therefore, you must bear in mind that the stronger or more contrasted the light, the deeper the shadow ; the softer the light the softer the shadows. In order to produce beautiful round effects, there must be a proper gradation from the highest lights to the deepest shadows. This applies to all pho- tographic lightings.
55. The opaque curtains enable one to secure this con- trol, but they must be handled judiciously, as it is light that makes the picture. Use all of it at your command, so long as it can be done to advantage.
56. In the studio the light is adjusted to suit the sub- ject, and the position occupied by the subject depends upon the effects to be produced, yet at all times the angle of light should be correct.
57. In making a portrait, prominence must be given to the head, and in order to do so it must be emphasized by light, while the rest of the figure should be subordinate. Do not misunderstand this, however. It is not intended that the rest of the picture should be left in darkness, but only that there must be more diffused light used. The head must receive three lights of different values and sizes with one predominating light. The old time photograph, with its clear, bright and plainly cut image, while to some ex- tent still in demand, is not what the artistic photographer is endeavoring to produce.
58. The human face and hands are not white, nor anything at all approaching it, and their color value should be sought for in the picture. When properly photographed they should possess a varied range of monochrome tones, thus giving color value. Do not form the impression that we mean subjects should have black faces and hands, or strong faces protruding from the black ground with nothing else visible. This is exactly what is not wanted ; at the same
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time, a flesh tone should not be as white as linen, but more on the mellow order.
59. Study the color value of the face. Note the depth and strength of the various tints, even if there are many- shades of colorings. Note the general color scheme, how it is deeper here than there, with bluish tints and deeper yellows, etc. Notice the lips, nostrils, ears, and lines under the eyes and at the sides of the nose. Possibly even on the forehead you will see many shades of color; the lips being red will photograph darker than other parts of the face that have not the same strength of color value, but they will be lighter than the nostrils. The strength of light on the face will also increase the depth of color, and that is why the lighting should be in harmony with other things and aid to faithfully portray the subject. These shades of value will not show in a strongly lighted face. It is, therefore, essential that the lighting be of the correct strength, and that the plate be accurately exposed and properly developed in order to correctly reproduce the flesh values in the plate and subsequently in the finished print. This is the secret in producing catch-lights, roundness and perfect modeling. The beautiful portraits produced by some of our best workers, some of whose results are really marvelous, are only possible from careful study of the reproduction of color values.
60. In portraiture there is a danger of seeing too much — pictures being too sharp. If you are looking at the sub- ject from a point only a few feet distant, mentally review your impression of him. Does his hair appear as sharp as it was sometimes reproduced in the old style photograph? No; you probably see only a little loose hair projecting from the head, or on the forehead, a soft rounding effect of the head and shoulders, and the rest is all a mass. The general form and outline of the features are noticed, but not with absolute sharpness. You have formed a fairly good impression of his clothes, but all in a general way — an impression, with no detail.
61. When the subject is placed too far away from the
Controlling the Light. 45
skylight, it will be quite difficult to secure roundness and atmosphere, for all the light will be from one source ; and no matter how much reflected light is employed to illumi- nate the shadows — even if a correct angle be obtained — the whole portrait will lack life. It is true that only one source of light must be used, but place the subject so that it will receive full illumination from both top and side-light.
63. The angle of light is obtained by manipulating the opaque shades directly over the subject, while relief, roundness and atmosphere are controlled by the opaque shades farthest from the subject. With the skylight entirely open, and too much top-light falling over the head of the subject, there will be a hard outline of the high-lights, and shadows altogether too strong. If the entire volume of light falls upon the front, the features will be flattened and any defects of the subject will be accentuated to the ex- treme. Light coming from behind the sitter and on or below the level of the head, with no top-light, gives large and strong shadows on the side of the subject. If this same side-light should come from the front, the amount of shadow is reduced; yet it is impossible to properly illumi- nate all the features and secure proper modeling unless the correct proportions of top, side and front light are employed. Only in extreme cases need any consideration be given to back light.
63. Most photographers exhibit a tendency to use a narrow, or extremely small volume of light, even when they possess a large skylight. They cut off the light with cur- tains, using but a small portion of it. With a narrow and more concentrated light one may see the effect of light- ing more readily, but the time of exposure is, of necessity, so long that the subject loses expression. In order to retain expression the operator is often tempted to shorten the exposure, which results in under-timed plates and con- trasty negatives. It is not necessary to narrow the light to obtain the effect desired. It can be done more easily with an open light, in which case the exposure is reduced to a second or two.
46 Librar}) of Practical Photograph}).
64. You should be able to place the subject within the range of your skylight, and secure the correct angle of light by arrangement of the shades. However, it requires careful judgment and a thorough knowledge of the effect of light to properly place the subject, and then arrange the shades to reproduce the characteristics of the individual most truthfully.
65. It is most essential that the face be illuminated to a greater extent than any other portion of the subject, and it is only by having light concentrated on the face that this effect can be secured. Always place the sitter in the strong- est light. It is seldom advisable to use a skylight wide open — I. e., without employing shades — because in order to light the subject properly, a square-shaped light seldom answers the purpose. If the size of the room is limited, it may be impossible to place the subject far enough away from the skylight to leave the light completely open, yet always have it follow out the correct angle on the subject. For that reason, it will be necessary to reduce the opening with the opaque curtains, or, rather, cut off a portion of the upper part of the skylight.
66. It is necessary to have the opening in the skylight conform to the space in which you are able to work. With a large skylight and a narrow room, you would not be able to get far enough away from the light to secure the correct angle and still use it wide open. The strongest light would be directed over, instead of falling on, the subject. Therefore, it will be necessary to curtain and cut off the excess top- light so as to secure the proper angle, and have the strongest light fall where it belongs. It may be taken as a general rule, that the shade directly over the subject should be drawn down sufficiently to obtain the angle of light; the next shade should not be drawn so far, and the third less than the second. The first section controls the angle of light, the second is drawn merely far enough to assist in carrying out the angle, while the third and fourth assist the second shade.
67. In this manner a general distribution of the light
Controlling the Light. 47
throughout the room is obtained, permitting it to surround the subject. The exact shape and size of the opening de- pend entirely upon the requirements. As the shades di- rectly over the subject regulate, to the greatest degree, the angle of light falling on the subject, they should receive first consideration, being drav^^n so as to give the proper angle. The roundness, or amount of relief, depends largely on the remaining shades, while the position they should have is governed entirely by the nature of the subject. For in- stance, if your subject possesses a thin face, it will be neces- sary to illuminate the hollow cheeks and give an effect as round and full as possible. Therefore, the portion of the skylight in front of the subject should be opened to a greater extent than if the subject had a full, round face, which would not require as much illumination to fill out and round the shadow side.
68. It makes no difference whether working with a sin- gle-slant, double-slant (hip-light), or perpendicular light, — the general principles remain exactly the same. The manner of controlling the light, however, varies not only with the shape but with the size and location of the light. A wide skylight will naturally admit a more general and even illumination throughout the room. It reduces the density of the shadows, which is one of the most essential features to take into consideration in securing atmosphere, or round- ness— which give the effect of relief. The location of the skylight has much to do with the ease of controlling the light. It is preferable, by far, to have a north light, because if the skylight faces the east, west or south, there will be times when direct sunlight will strike the glass ; and as the amount of direct sunlight is continually varying, it will give no end of trouble. The strength of the light should be just as great from one section of the skylight as from another, but this is seldom the case.
69. If a studio, with skylight facing the north, is sit- uated on the top floor, with no other buildings near, ideal conditions would exist, as the whole force of the light re- flected from the heavens will evenly illuminate the skylight.
48 Library^ of Practical Photography.
However, when the studio is on the ground, first or second floor, with buildings opposite, which either obstruct or reflect light, it is quite impossible to secure an even illumina- tion. In such a location it will be found necessary, by ar- rangement of the curtains, to cut oflf strong reflections and balance the light so as to concentrate the strongest part on the subject. You should be so familiar with the skylight as to know approximately the place in which to locate your subject, at any hour of the day, in order to secure desired effects.
CHAPTER V. Skylight Room Equipment.
70. Diffusing Curtains. — The direct source of light frequently will be too harsh and you may wish to soften it; therefore, it is essential that the skylight be equipped with a set of diffusing curtains. These curtains are made of thin white muslin, and should be stretched on wires strung horizontally across the skylight. Diffusing curtains soften the light, so that by careful manipulation the strongest high-lights will still retain beautiful half-tones. As muslin may be purchased in yard widths, a 15-foot skylight will require six widths, for each set of curtains must lap over the next set at least 6 inches. Each set of curtains should be divided into three sections, in order that an opening may be made in any place desired.
71. Diffusing Screen. — To control the light still fur- ther, it is advisable to prepare a special screen similar to the one shown in Illustration No. 2. The screen complete, in- cluding the supporting standards, is 8 ft. high and a trifle over 6 ft. wide. The standard supports are 4 ft. 8 inches high. The screen alone is 6 ft. square, and is attached to the standard, with its lower edge 2 ft. from the floor, by means of a large rod that runs through the two standard supports. The screen is pivoted on these two supports about 4 ft. from the top, leaving 2 ft. of screen below the rod.
72. We recommend, however, a 6x8 ft. screen, with an equal amount of space above and below the pivot and the adjusting rod. The screen will then balance better than if it were 4 ft. above and 2 ft. below the rod. The pivoting or adjusting rod is of one-half inch iron, each end being
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Library of Practical Photography.
threaded and fitted with a large thumb screw. On the inside of both sides of the screen frame is a threaded washer. When the screen is tipped to the proper angle, the thumb screw and the rod clamp the sides of the screen between the standard supports and the washers, thus holding it at any angle at which it may be placed.
73. The complete dimensions of the frame are given in the illustration, and these may be followed, except that we advise a 5-ft. standard, with 6 x 8-ft. screen, with the
End
DijJusiTij Screen
Illustration No. 2
DiEFusing Screen
See Paragraph No. 'Jl
iron rod running through the center of the screen. This will give a better balance and make the screen easier to control.
74. The screen is covered with curtains of Irish mulle, each two feet in length (each row containing four curtains), and hung on wires attached to the ends of the screen. These curtains can be separated almost anywhere on the frame,
Skv^ight Room Equipment. 51
thereby permitting white light to fall on the subject ex- actly where it is needed, closing out direct light which is not desired. All this is done without interfering in any way with the general illumination of the room. This screen is practically indispensable when photographing subjects in white drapery. The tan color of the curtains softens and diffuses the light so evenly, that by careful manipulation the strongest high-lights will contain beautiful half-tones. As it is sometimes difficult to obtain the Irish mulle, a substi- tute will be found in using thin, white muslin which has been boiled in strong coflFee, to which has been added a teaspoonful of salt. Boil the muslin for ten minutes, or until it takes on a light tan color. Do not use heavy muslin, as such curtains would be too opaque. The thin material of a tan color, is better than a heavier material of a white color.
75. The necessary amount of diffusion will depend, to a certain extent, upon the brand of plates used. For in- stance, Seed plates develop with considerable softness, so it is permissible to use a little stronger and more contrasty light than would be permissible when employing Cramer or Hammer plates. Both of the last mentioned plates will develop with a trifle more contrast than appears on the ground-glass, and it is, therefore, necessary to make due allowance for this by simply diffusing the high-lights.
76. Where a large and strong light is used, in addi- tion to the tan diffusing curtains, it will be necessary to have an additional set of black calico curtains with a dead surface, divided and hung exactly as the former, and on the back of the same frame. The black curtains should be on the side next to the light. The tan curtains can be used for diffusing and the black for excluding the light, should it be necessary to secure more contrast and snappy high-lights, with less diffusion. For instance, when photographing white drapery, if you desire to accentuate the shadows in the folds, the black curtains should be drawn to leave a nar- row opening 8 or 10 inches in width, just sufficient to supply white catch-lights.
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Library^ of Practical Photography.
77. If the portrait is to be a bust, the top row of cur- tains only need be separated ; but for a full length figure, each row should be parted from the top to the bottom of the frame. Of course when white catch-lights are desired, the tan, as well as the opaque black curtains, must be separated ; but if you desire to subdue the catch-lights in any portion, close the tan curtains which affect such parts.
78, Another very important point is, that with the curtains separated to supply white light for the high-lights,
lecl»n^J)ci-cer>
Illustration No. 3
Reflecting Screen
See Paragraph No. 79
the closer the screen is placed to the subject the stronger and more contrasty will be the effect, as the direct light is more concentrated. On the other hand, the farther away the screen is placed the greater will be the diffusion and spreading of the high-lights. This diffusing screen is an actual skylight, on a small scale, which can be tilted to any angle, and with which every ray of light falling upon the subject can be controlled. When photographing children,
Skv^ight Room Equipment. 53
if it be necessary to use this screen at all, only the tan cur- tains should be employed. After a little experience in shift- ing and arranging the curtains you will understand the uses of the screen and be able to judge the proper light for se- curing various effects.
79. Reflector. — In addition to being equipped to handle the direct source of light, it is essential to have some fur- ther means of controlling the light in the shadows, and for this purpose it will be found necessary to prepare a screen which will throw, or rather reflect, the direct light into the shadows. For this purpose a frame 4 feet wide and 6 feet high should be made. See Illustration No. 3. Use strips of pine or any soft wood 2% inches wide, by % inches in thickness. Both sides and edges should be surfaced (planed). Cover the frame with white muslin, stretching it carefully to avoid wrinkles. Do this by placing the cloth on the floor and laying the frame on it; then beginning at the top, draw the cloth over the edge of the frame a trifle and drive a couple of tacks at the center. Do the same at the opposite end and then at the sides, being careful always to drive the first tacks in the exact center. Complete the tacking by working from the center out, and be sure that the cloth lies perfectly smooth between each tack. Do not attempt to unduly stretch the cloth ; just draw it fairly tight from the center. When you have completed the tacking to the corners, it will be found that the cloth lies perfectly smooth. At the bottom of the frame should be fastened cross-pieces, and in these two pairs of small castors fitted, so that the screen may be moved about conveniently.
80. Backgrounds. — Second only to the subject is the background, which should receive the greatest amount of consideration. It is extremely important that the sitter have the proper setting, and the background must help to carry out the ideas which you intend to convey in the individual. It is, of course, impossible to have a back- ground for each subject, or each particular class of subjects photographed, and for this reason the plainer and simpler the grounds selected, the better.
54 Lihrar}}. of Practical Photography.
81. It is not necessary to have a large variety of grounds. In fact, three or four should answer the require- ments of the smaller studio. For bust and two-third figures, a plain black painted or felt ground, which, of course, will have a dull surface ; a blue-white painted ground on a similar dull surface material, and then an intermediate graded ground of slate-color will give a very good assortment. The graded ground should be painted quite dark, but not black, at one end, gradually blending to a light gray at the other end. The dark end is placed nearest the light, thus aiding in supplying relief to the other end. Almost any desired eflFect may be secured by placing these grounds at various angles to the light.
82. It is an easy matter to construct your own back- ground frame, making it of the needed size, in exactly the same manner as described for constructing the reflector. Care must be exercised, when stretching the background on this frame, to avoid wrinkles. Lay the background on the floor, face down, then place the frame on the ground, driving a tack in the center of the top and bottom, as well as in the center of each of the sides. Work from the center outward to the corners, placing the tacks about three inches apart, producing a perfectly even and smooth surface. Either felt or painted backgrounds may be secured from any photographic supply house, and some thus obtained may prove quite acceptable for certain classes of work.
83. Camera and Stand. — While any regular 8 x 10 por- trait camera and stand may be employed, we present in Illustration No. 4 a model studio outfit. An ideal studio camera is manufactured by the Century Camera Company, known as the Century Studio Outfit. This camera and stand is equipped with all the modern attachments essen- tial to high class work. For portrait work, no matter what camera you have, it should be fitted with a double swing- back, which is very important when making groups and full- length pictures. The advantages of the double swing is that it permits the tilting of the back containing the ground- glass, either horizontally or vertically, thus securing a more
Sk})light Room Equipment. 55
uniformly sharp image of objects situated at various dis- tances. For instance, take a group picture where some of the members are seated and others standing; those in front would be, perhaps, three feet nearer the camera than those at the rear, and it would require a considerable amount of stopping down of the lens to get all of the figures in focus. By properly tilting the swing-back, it will not be necessary to stop the lens down at all, and in addition the perspective will be far better when the swing-back is employed — the members in the foreground being in better proportion to the rear figures.
84. Again, the side-swing is useful where one end of the group is further away from the camera than the other. By adjusting the ground-glass by means of the side-swing both ends of the group can be made equally sharp. Or, the photographing of children or seated subjects may neces- sitate the tilting of the camera; then the swing-back is brought into play, to bring all parts into focus.
85. The bellows of the camera should be of normal length, and the rack and pinion should allow of fine and accurate adjustment. Although the camera stand may be light, it should be strong and durable, and supplied with a tilting device as well as a simple arrangement for raising or lowering the bed. In addition to this it should have large castors, which will permit the moving of the stand easily and noiselessly. In addition to the Century Studio Outfit there are numerous others, as well as special cameras and stands adapted to studio work. The New York Studio Outfit is an excellent instrument, and not quite as expensive as the " Century."
86. The mo6t serviceable stand to use in studios which specialize in child portraiture is the " Semi-Centennial " stand, which is constructed on an entirely different prin- ciple from the ordinary stand. The bed of the camera moves between two perpendicular posts, in which are con- trolling springs, permitting the camera to remain at any desired height The most important feature of this stand
56 Librar]f of Practical Photography^.
is that the camera may be placed within 18 inches of the floor, which, for child portraiture, is very desirable.
87. The most convenient holders are those fitted with a curtain slide, or the portrait attachment which is fitted to both the Century and New York Studio Outfits, which permits of cabinet or 5 x 7 plates being used in either a vertical or horizontal position. While the camera shown is also fitted with an 8 x 10 holder, the cabinet or 5 x 7 attach- ment is much more convenient than to use the large 8 x 10 holder for all cabinet work. You will find that the slight additional investment made for this portrait attachment will be well worth the amount in its convenience and the saving of time.
88. Lens. — For portrait work it is advisable to have a regular portrait lens. There are many different kinds of portrait lenses on the market, all of which will produce very good results. Some instruments, however, possess qualities far superior to others, enabling the production of artistic results much more easily and efficiently. It is quite essen- tial that the portrait lens be of good rapidity — i. e., permit of exposures being made in the shortest possible time. The average portrait lens working at f-4.5 or f-5 will answer every purpose. The lens must have perfect definition and give excellent depth and roundness. For regular portrait work it will not be necessary to stop the lens down, as the open, or full aperture, will give far better portrait quality than if it were stopped down. When photographing groups it will, however, be necessary to reduce the size of the aperture in order to secure the proper amount of depth and have all members of the group perfectly sharp.
89. One of the best portrait lenses constructed, and one which may be found in almost every studio, is the " Dallmeyer." This instrument, with its modifications, is still the standard instrument with many professionals. In addition to the Dallmeyer Patent Portrait lens there is the Voigtlander Euryscope, and the more modern Voigtlander Heliar and Goerz Celor lenses. The highest type of Ameri- can-made lenses are those manufactured by the Bausch &
•}
ft
•flO C •J (X«
M n :;
p p o o O
9i
Skylight Room Equipment. 59
Lomb Optical Company, whose portrait series are the equal of imported lenses. They make a large variety of instru- ments, covering the requirements of any portrait worker, from the smallest studio requiring a very inexpensive lens to the largest commercial establishment, demanding the most expensive type.
90. Another inexpensive lens is known as the Wollen- sak Portrait lens. In addition to this there are a number of other portrait instruments that will answer the purpose of the average worker, and which may be obtained at a reasonable price. The subject of portrait lenses is thoroughly covered in Volume VI.
)^-j^
Illustration No. 5 The Ingento Vignetter See Paragraph No. 92
91. Portrait Vignetter. — A vignetter is an attachment fitted to the camera, by means of which we can cut off or vignette away any portions of the figure not wanted in the picture. It is usually employed for bust work, and princi- pally for ladies' portraits in which the figure below the waist is vignetted or gradually blended away.
92. There are various kinds of vignetters, but all work on the same principle. A very simple device will be found in the " Ingento " vignetter. This instrument is attached to the top edge of the camera stand, and is manipulated entirely from the back of the camera, while the operator observes the subject on the ground-glass, until the blend- ing is entirely satisfactory. The Ingento Vignetter is
60 Libraryf of Practical Photography.
adapted to movements forward, backward, up and down ; it tips to the right or left, and can be slanted out or in to any degree. (See Illustration No. 5.)
93. Using the Vignctter. — It is quite essential, when using the vignctter, to regulate the slant of the card vig- netting-board so the tone of the card will blend nicely with the background. The card is painted on both sides — one side pure white, the other almost black. The white side is used for vignetting on white grounds, and black for vignetting on dark grounds. By tipping the vignctter to
Illustration No. 7
Posing Chair
See Paragraph No. 95
different angles the proper tone to match the background is obtained. It is always advisable to calculate on the vignetter appearing a little darker in color than the back- ground, because the vignetter is more fully illuminated with the broader light than the subject, consequently a fuller exposure is given the vignetting card than the subject. Thus the card will print a trifle lighter than it appeared on the ground-glass, so allowance must be made.
94. Head Screen. — A head screen of the type similar to the one shown in Illustration No. 6, often times is of
Skvlisht Room Equipment. 61
service in diffusing certain portions of the figure; while with a piece of opaque material, such as black cloth or even paper, thrown over the screen, it is possible to blend and control the light to an unlimited degree.
95. Posing Chair. — A posing chair for bust work should be plain. It should have a revolving seat that can be raised or lowered and clamped in the desired position. The back should be adjustable, both vertically and horizon- tally. The back of the chair should be sufficiently narrow not to show beyond the figure. The regular posing chairs, such as the one shown in Illustration No. 7, are excellent for this purpose, and may be secured at any supply house, or from a regular furriture dealer.
96. Head Rest. — The use of the head rest in some in- stances is almost indispensable. If judiciously used it will give sitters more confidence, and they will rest easier. If crowded onto the head its use will cause a stiff appearance. All nervous people require a head rest to avoid moving. The head rest must be substantial and easily adjusted.
97. Placing the Head Rest. — ^When placing the head rest do not adjust it into place until you have obtained the proper position and lighting ; then gently slip the rest back of the head — above the neck. To place it higher will tend to crowd the head downward. By placing it back of the head, at the junction of the neck and head, the head will tip in a natural manner. Do not crowd the rest against the head, but place it within about half an inch of the head; then when you are ready for the exposure the subject will unconsciously lean against it. When placing the rest, see that no portion is within range of the lens, as it is quite difficult to erase it in the negative. For a suitable head rest, see Illustration No. 8.
CHAPTER VI. Composition in Portrait Photography.
98. If the object of all portraiture by photography is, first of all, to secure a good likeness of the sitter, then the second is, to present it in an agreeable manner. Choice of stop, exposure, proportion of figure, pose and expression are only details which aid us in presenting the peculiar characteristics of the sitter in an engaging and agreeable manner. But not until the lines are well balanced in the portrait, its masses of light and shade suitably opposed, and a perfectly harmonious and broad effect secured, do we have what is known as a good composition — the foundation of every correct and pleasing arrangement in any picture.
99. Straight lines in a portrait should be avoided, or broken up by the introduction of other lines or objects, to lend variety of interest. The stiffness of a square window in a background, or a picture on the wall, can be modified by the curved lines of a curtain. On the other hand, straight lines can be used by way of contrast to a superabundance of curves in a picture, setting them off to better advantage. The dress of a sitter should not hang in straight lines, but the folds should be rounded and curved; while the main lines, wherever possible, should always lead up to the central point of interest in the portrait, namely, the head.
100. The center of attraction in every picture is that point which holds the greatest amount of interest. It is called the center of equilibrium of attractions. Centering interest in this point is effected in various ways, of which contrast, radiation, and moving lines are the most used. Under the general heading of contrast, there is contrast of direction, produced by opposition of line, contrast of quality
68
64 Library of Practical Photograph"^.
of line, contrast of form and proportion, which all may be used singly or collectively, to heighten the effect of the picture. In centering interest, however, we should never use a stronger contrast than is needed.
101. Where interest is centered by radiation, it may be done by radiation of direction, quality of line, form, pro- portion, value, brilliancy, sentiment, or a combination of two or more of these.
102. Moving lines center the interest at their ends. Strong contrasts placed near such lines in a picture have no effect in arresting the attention ; but if the moving lines are broken at or near the points of strong contrast, the attention is arrested. Especially is this so when the break occurs in the middle of the line and the two parts are alike in curvature. Moving lines may connect areas of space, but strong contrasts and radiation of line should be kept away from the edge of the picture, as they borrow weight from association.
103. The number of lines running in one direction should be balanced by others going in an opposite direction. This attempt to secure perfect balance in the lines of a pic- ture should not be obtrusive, for should the arrangement be exactly symmetrical, so that the two sides of the picture will resemble each other too evenly, as regards their lines, its beauty will be marred.
104. The masses of light and shade in a picture should balance and compliment each other. Any picture well balanced in light and shade will always look interesting, even though the subject is not discernible. It is not easy to lay down definite rules for balancing. The feeling for it, however, is instinctive, though the instinct itself can be cultivated and perfected. As one can analyze the composi- tion of a great painting, step by step, so also in portraiture by photography, should composition figure. There is first a massing of light and shade. Then follows the subtle in- troduction of contrast here and there, dark against light, and light against dark. Finally, note how the details in the portrait are made to harmonize with the whole scheme of
PORTRAIT STUDY
Study No. 7— See Page 576, Vol. VIII J- Will Towles
(Copyright 1903, by Pirie MacDonald, Photographer of Men, N. Y.) EDWIN MARKHAM Study No. 8— See Page 576, Vol. VIII Pirie MacDonald
Composition in Portrait Photography. 67
light and shade — like the accompaniment to a song. It all looks so natural that the idea of arrangement in the picture is not even suggested; yet, it is the result of care- ful planning, or instinctive grouping, by the genius of the artist.
105. The examples of portraiture reproduced in this volume have all been carefully planned, thought out, and de- signed by the makers. These pictures have been designed as a poem, symphony, or a house might be designed. Design brings abstract ideas into concrete form, and the value of de- sign in picture-making lies in the fact that it makes good the conception of the photographer in the picture. In creating any work of art, the artist must first think of his subject in a certain efifect or design. In photography, he must think of his subject in lights, in shades, in beauty of line; and, having created the effect he imagined, he then takes the pic- ture. In this way, the creative imagination comes into photography with design, and when they both come into any art, that art becomes a fine art.
106. Three things, however, are necessary to make a design successful : First, the idea must be present ; second, the artist must have a good technical knowledge of the materials through which the idea is expressed; third, he must know the fundamental principles of design — if beauty is to be the result — and this means composition.
107. It goes without saying, that every ambitious photographer has ideas and is more or less familiar with the technical details of his medium.
108. But the question of the principles of design is too often ignored by the average worker, and the temptation to make portraits should be resisted until he has mastered at least some of the elementary principles of composition and design.
109. We have already spoken at length of the value of line arrangement in a picture. In every portrait the lines of the face and head and figure should not only balance with one another, but should also be in harmony with those of the background and accessories.
68 Librar}f of Practical Photography.
110. By means of moving lines, radiation, opposition of direction, contrast of value and of sentiment, interest is centered in every picture.
111. We come now to consider the massing of light and shade, or the distribution of values. By properly introducing this factor, wc may either support or neutralize the line of composition. Contrasts of form, proportion, etc., are always intensified when contrast of value is added. The best results accrue when this distribution of light and shade values takes up and continues the line idea. By values are meant the gradations of light between white and black, grays and brown, and neutral colors. As light attracts more attention than dark, it follows that a small, bright patch of light in the picture will balance a large dark one.
112. Most pictures consist of large, intermediate, and small masses of light and shade, which should play into one another. They should be so arranged in relation* to the frame lines of the picture, that by themselves the result would be agreeable, and when mingled and interlaced they should form a unified whole. In studying this distribution of light and dark patches, they can be so arranged as to suggest an infinite number of values. But through all this repetition of similar forms of light and shade, and line direction, the element of unity should dominate and shine forth. Simple harmonies are the most attractive. All kinds of lines and all kinds of values should not appear in the same picture. If the photographer can make himself under- stood with two or three combinations, it is best to stop there. Instead of trying to put in all he can, it is best to leave out everything that can be dispensed with.
CHAPTER VII. Plain Portrait Lighting.
113. The most natural and characteristic features of an individual are best reproduced by having them fully illuminated. For this reason, the best of results in por- traiture are obtained when that form of lighting is used which will show the majority of the face in light rather than in shadow.
114. With the exception of a few portrait painters who have worked for special effects, the majority use what is known as Plain Portrait or Broad Lighting. Especially is this true when the most characteristic likeness of the indi- vidual is desired. The photographer copies, to a greater or less extent, after the Old Masters and, therefore, has adopted this form of Plain Portrait Lighting, which is used almost universally in regular commercial work.
115. Not only is Plain Portrait Lighting adapted to the great majority of individual subjects, but it is also the easiest to handle, so one should strive to master it before attempting any of the other styles of lighting.
116. The first and most important consideration before placing the subject under the light, is to note which end of the room supplies the strongest light. By observation you will learn that in the forenoon one end of the room will be much more strongly lighted than the other, while in the afternoon the opposite end may be more strongly il- luminated. You will also observe, by glancing at the floor of the skylight room, that the strongest light is not always the same distance from the side-light at different hours of the day. Therefore, exactly the same spot should not
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70 Librar}) of Practical Photograph}).
be used for all lightings of the same class, at any time of day.
117. Choice of location should be governed by the light conditions. The position occupied by the subject de- pends much upon the features of the individual, but gener- ally it is advisable to place the subject in that portion of the room supplied with the strongest light. This will require some shifting about during the day, but will make you more familiar with every portion of the skylight room and prevent the production of stereotyped results.
118. Notice where the light is strongest on the floor. Then place the subject a trifle nearer to the light, so the strongest illumination will fall on the face, instead of on the feet, as would be the case if the subject were placed in the exact spot where this light falls. Should you work farther away from the side-light than the center of this strongest light, too much side-light will be introduced. The shadow cast by the nose will fall across the check instead of slanting toward the corner of the mouth. On the other hand, if sittings are made too near the side-light, there will be too much top-light, which will produce an effect similar to that seen on a building in bright sunshine, at the middle of the day. At this time the sun, being directly overhead, gives long perpendicular shadows, which are most displeas- ing in portraiture.
119. The proper way to judge the correct angle of light is to observe the shadow cast by the nose. If the shadow is directly underneath, covering the center of the upper lip, then too much top-light is used. If the shadow shows straight across the cheek the angle of light is too low and there is too much side-light. A mean between these two extremes will give you the correct angle, which is one of 45*. The shadow from the nose should follow the labial furrow, or in other words, extend directly toward the cor- ner of the mouth.
120. Practically all of the skylight is employed when making the Plain Portrait Lighting, as will be observed by referring to Illustration No. 10. It is advisable to place the
PORTRAIT STUJ)Y Study No. 9— See Page 576, Vol. VIII Homeikr & Clark
Upper Illustration No. 0 See Paragraph No. 127
Plain Portrait Lighting — Portrait
Lower Illustration No. 10 See Paragraph No. 120
Plain Portrait Lighting — View of Room
^9,
Plain Portrait Lighting. 73
subject as far away from the side-light as possible, yet well under the top-light. Notice the position of the shades in this view of the skylight room. The first opaque shade directly over the subject is drawn down about half way, the second shade about one-third, the third a little less, the fourth being only a foot from the top. The object of having the first shade drawn down so far is to obtain the correct angle of light on the subject, while the remaining shades are only drawn far enough to retain this angle and yet permit the light to fully illuminate the room and supply roundness to the shadows. The skylight directly over the camera is almost entirely open. If these shades were drawn down as far as the shades directly over the subject, extremely strong high-lights and heavy shadows would be produced, and the portrait would lack roundness or atmosphere.
121. The shades on the side-light, or the lower shades of either a single-slant or perpendicular light, should be arranged, to a certain extent, in the same manner as the upper ones ; yet, as a rule, the lower part of the skylight should be more open than the upper, for the light there is not as strong as on the upper part of the skylight, nor does it directly strike the subject. Therefore it is permissible to leave the shades more open. To avoid decided contrasts the shades should be arranged according* to the above in- struction.
122. Applying the Diffusing Screen. — The diffusing screen also serves as a secondary light controller. With the opaque shades on the skylight the angle of the volume of light is controlled. With the diffusing screen the strength of the light upon the subject and also the catch-lights are governed. At the same time it controls the general balance of light and shade upon the face and drapery. Using this diffusing screen, placed between the light and subject, you can practically disregard the shades on the side-light, as all side-light may be controlled by this screen.
123. The Use of the Diffusing Screen. — By reference to diagram of floor plan showing this style of lighting, you will observe the location of the diffusing screen, placed be-
74 Library of Practical Photograph)).
twccn the light and the subject. When arranging the dif- fusing screen, remember that the object of the screen is to control the catch-lights and diffuse the volume of light as it falls upon the subject. In other words, it is a skylight within a skylight. The catch-lights, or high-lights, arc sup- plied by direct light, through separation of the curtains on the upper row of the screen — sufficient to admit of as much white light as is required for the catch-lights. The re- mainder of the curtains are closed, the light filtering through the tan curtains, thus supplying diffusion. By placing the screen too close to the subject the light may be diffused to the extreme and produce flatness. On the other hand, to place the screen too far away would cause loss of control over the volume of light and give too broad a light. A mean between the two will give proper gradation, supplying roundness and sufficient brilliancy to give a clean, crisp negative.
124. By having the screen facing the front of the subject the light can be thrown more to the front, accentua- ting the high-lights in this portion. By turning the screen away from the front more light can be cut off from the rear, thus producing broader light on the front. For general work only the tan curtains on the screen will be required. The black curtains should be drawn to one side when not in use.
125. A most important point to be remembered is that the catch-lights (little high-lights) must be supplied with white light, and not by light filtered through the tan curtains, as this color will give a flat high-light. For this reason the tan curtains must be slightly separated on the screen, to permit white light to fall upon the sitter and supply light for the high-lights. For the half-tones and shadows the light is filtered through the curtains, thus giving snap, and softness as well. If the light used is ex- tremely strong, supplying too hard a high-light, draw a section of the white diffusing curtain on the skylight just enough to soften the high-lights. Control the remaining light with the diffusing screen.
Plain Portrait Lighting.
75
126. After a little practice, with a slight shifting and arranging of curtains you will understand the handling of the screen sufficiently to judge the proper light for diflferent effects.
Illustration No. ii
Plain Portrait Lighting — Floor Plan
See Paragraph No. 128
127, The subject being properly placed with regard to the strongest light and its correct angle, turn the face toward the light until the tip of the shadow from the nose just touches the shadow of the cheek. (See Illustration No. 9.) If the shadows are too hard and dense and end abruptly next to the high-lights, and the high-lights them-
76 Librar}f of Practical Photograph'^.
selves arc hard, it will be necessary to use the diffusing curtains on the skylight, drawing only one section of curtains across the skylight until the high-lights on the subject are softened. When this is accomplished, you will usually find that the hard lines between the high-lights and shadows will have disappeared, and a sufficient amount of detail secured in the shadows. If, however, this does not give the desired amount of softness, it will be necessary to use the reflecting screen.
128. Position of the Reflector. — The object of the re- flector is to reflect the direct light, throwing it into the shadows, illuminating them and incidentally shortening the exposure. The greatest care must be exercised in the use of this reflecting screen, as it is an easy matter to throw more light into the shadows than appears in the middle tones. Observe by referring to Illustration No. 11 (floor plan) that the reflector is placed at almost an angle of 45° with the side-light, instead of being parallel to it. Should it face broad-side to the light, the reflected light coming from this screen would be more powerful than the direct light, and instead of the shadows melting gradually away as they ap- proach the rear of the head, they would be clogged with false light. The reflected light should simply be a con- tinuation of the direct source of light, and because of this the reflector should be placed so as to permit the strongest reflected light being cast on the front of the face, and not on the rear of the cheek next to the ear. If the reflector is used at a distance of not less than three feet from the sub- ject, and turned to partly catch the direct light, it will suffi- ciently illuminate the shadows. The light reflected from the screen will be so mild that it will not intrude on the shadows, but merely assist in producing the desired detail.
129. Watch the light on the face. Learn to see the effect that the light produces, remembering that you do not see the light, hut the light enables you to see. When the reflector has been placed in proper position, turn it on its axis — the end nearest the camera being used as the axis — slightly one way and then the other, until the light is re-
PORTRAIT STUDY
Study No. io
J. E. GiFFIN
Plain Portrait Lighting. 79
fleeted more strongly on the front of the face, but never on the ear, or back of the head. The rear of the head and ear must be kept subdued. It is only by handling the lighting in this manner that softness and roundness will be produced, doing away with deep shadows on the nose and cheek bone on the shadow side.
130. Posing the Subject. — At first little or no attempt at posing should be made, for, as a general rule, the subject on sitting down will adopt a pose more or less natural. If one having little experience in posing attempts to alter a position, there will be danger of a stiff, set position being maintained. (See Illustration No. 12.)
131. First seat the subject — figure and face toward the source of light — then slightly turn the face from the light, carefully watching the effect of the light as it falls upon the head and face. Never have the face and figure turned at the same angle. If the subject is a lady gowned in light drapery and the lines of the face are such as will permit, turn the face to the light and the figure into the shadow, in order to save the drapery and retain all the detail possible. In other words, turn the figure away from the light and the face toward the light. This rule will not always hold good, however, for frequently the angle of the neck and contour of the face are such that it will be necessary to reverse this order in order to obtain the most pleasing results of the face, which is most essential in portraiture.
132. If the skylight room is of such shape and dimen- sions that work can be done from either end of the skylight, arrange the subject at that end of the light where both por- trait and drapery effects are best. In bust portraits care- fully square the shoulders; never have one shoulder lower than the other. This is only admissible in a reclining posi- tion, where more of the figure is shown.
133. The most important consideration for the beginner is the securing of proper lighting. The greatest attention should be paid to this feature. Although there are many general principles with reference to the posing of a figure, it will be best to learn these gradually, for by first applying
80 Library of Practical Photography.
one principle and thoroughly practicing with it, and then taking up another one, they will be more firmly impressed upon you, and you will be able to pose a subject and make the various arrangements without having to give any special thought to them. Your eye, trained in this way to see the various forms, will easily detect anything that is un- natural or any arrangement which is not artistic.
134. It is essential that the expression of the face be as pleasing and as natural as possible, and your aim should be to secure the most effective portrait. This is best done by continually talking to your subjects, keeping their mind so occupied that they forget they are having their pic- ture taken. Make the sitter feel as much at home as possible and forget his or her surroundings. The face is the principal part of the picture, and if you have secured a pleasing and natural expression little or no thought will be given to the remainder of the figure.
135. The Hair. — With ladies, especially, there is an- other feature which needs particular attention, and that is the hair. It must lie quite smooth ; i. c, there must be no protruding locks or stray hairs, which will attract the attention of the eye in any way. If you fail to see that the hair is properly arranged, it will be necessary for the re- toucher either to etch out or pencil away the objection- able hair.
136. It should be your aim to do everything within your power to secure a portrait as nearly perfect as possible, thus saving the retouching of the negative. Strict attention given to each part of the work in lighting and posing, as well as in making the exposure, will well repay the eflforts put forth.
137. Arms and Hands. — Although for bust work the arms and hands are seldom, if ever, included within the picture space, it is essential that they be placed in a proper and natural position ; otherwise the shoulders will not be properly squared, nor will they present a pleasing or natural appearance. The best position for the hands is to have them rest on the limbs, midway between the knees and the hips.
Plain Portrait Lighting. 81
An effect of round shoulders will result if they are placed in the lap or on the knees, while if allowed to hang by the sides the shoulders would be thrown down too far and be apt to present a stooped appearance.
138. Overcoming Wrinkles in Men*s Clothes. — Some- times a man's coat will hang badly, showing folds over the shoulder. To remove wrinkles, insert a wad of paper, or a handkerchief, underneath. In this way objectionable folds may be removed. It is usually advisable to pull the vest down in front, and also to pull down the coat in the back. In this way the apparent fit is improved and the white collar will show properly. If these precautions are not taken, there is danger of wrinkles and other objection- able features being unnoticed, which in the final print will greatly detract from the face. The tie should be straight- ened and if a scarf-pin, watch chain or charm be worn, they should not be placed in a set manner, but arranged so as to appear a trifle careless, and not stereotyped.
139. Where your subject is a lady, other items will require attention. For instance, there may be wrinkles or creases on the sleeves, as well as the waist, near the arm pit. To remove these, draw the sleeve down, and also draw the waist down at the sides. When arranging the drapery and removing objectionable wrinkles, proceed in an easy manner. Never make any mention of the fact to the subject, as they are very sensitive as to the fit of a garment. If the waist has a fancy front or a yoke, and the folds are not properly lapped, or have become wrinkled, gently draw down the waist in front. If gracefully done the pains taken will be appreciated by your subject, and the results secured will fully repay for the trouble.
140. Pose of the Head. — Although it is not necessary to pose subjects whose features are normal, it is, however, essential that strict attention be paid to the various features of the face, turning the head to give the most pleasing appearance and to avoid any exaggeration of lines. For instance, with a subject having a nose that turns up, do not raise the chin too high, but rather have it slightly
62 Ubrarjf of Practical Photography.
lowered. This will give length to the nose and tend to straiphten the curve. If the nose is a drooping one, raising the chin a trifle will have the effect of shortening its appear- ance. For the average subject, the chin should be held just a trifle above the level, providing the camera is placed at the proper height. The raising or lowering of the chin must be done naturally. Be very careful that the subject does not extend the chin forward or draw it in. It is best to request the subject to make any change of position which you may require, rather than to place them in the required position yourself, because under your handling the subject is apt to get a feeling of stiffness, which is bound to appear in the finished picture.
141. The Mouth.— Of all the features the mouth, perhaps, gives the most expression to the face, and it is, therefore, necessary to pay special attention to this feature. Should the mouth be closed tightly, or if it be slightly opened, do not ask the subject to close or open the mouth, for by calling attention to it, there will be danger of their going to the extreme. Usually, conversing with the sub- ject and asking them a question which will bring a pleasing answer, will result in the mouth being properly closed, and it will then naturally shape itself. It is permissible, at times, to request the subject to wet the lips, which will produce a slight gloss on them, and at the same time a more natural shape will be given to the mouth. In the case of chapped lips, they can be greatly improved in appearance by this slight moistening.
142. The Eye. — It is seldom that a subject looks well with the eyes cast downward. The direction of the eye should be slightly upward, turned so as to lead the face ; I. c, if the face is directed to the right the eye must lead to the right. By having the eyes turned slightly upward — a trifle above the level — you produce more roundness and better expression than if the subject were looking on a level or below the level. The latter tends to give a sleepy appear- ance. Do not go to the extreme, however, as the white of the eye should never show below the pupil.
Plain Portrait Lighting. 83
143. Catch-Lights in the Eye. — The surface of the eye is a reflecting- medium, acting like a mirror and reflecting the Hght coming from the skylight. The location of the spot of reflected light on the eye is governed entirely by the angle at which the light falls upon the subject, and the position of the face toward or from the light. This spot is termed a catch-light, and its size depends upon the dis- tance the face is from the light; also upon the size of the source of light. If the lighting has been made correctly, the catch-light should appear on the upper corner on the light side of the iris of each eye. On close examination, an exact reproduction of the skylight, or source of light, in a miniature form, will be found to appear in this catch- light. It should not extend into the white of the eye, nor should it touch the center of the pupil.
144. Note. — It must be understood that these rules re- garding the direction of the eye pertain to Plain Portrait Lighting, and do not apply to extreme or odd positions and odd lightings or Genre work. In the latter case be guided entirely by the effects desired.
145. Eye Rest. — Some point on which to rest the eyes should always be suggested to the subject. The best eye- rest is the face of the photographer. A clever photographer can change the expression of his subjects instantly, by hav- ing them rest their eyes on him. He can better guide the eye for height and angle by rising or stooping. He can also have the eye lead the face at any angle he desires, by simply moving about more or less in one direction or the other.
146. Another advantage of the human eye-rest is, that at the proper time a clever remark from the photog- rapher will bring an expression that otherwise would be impossible to obtain. It is advisable to practice talking to your subject continually while preparing for the exposure. This may seem difficult at first, but it will come easy by practice, and you will find it a great advantage in obtain- ing expression. There are some subjects who cannot look at the photographer during an exposure. In such cases
84 Libraryf of Practical Photograph}).
you should hold one hand in the direction you wish the subject to look and have the eyes follow the hand. Moving the hand about slightly will overcome any stare that might occur if the subject were to look steadily at one particular spot. It is also permissible to have them look toward some space on the wall, but never give them a small, defined space to look at, because the larger the space the easier the eye will rest. The latter method, however, is not recommended as it seldom produces the required expression. The subject is apt to appear a trifle stiff and the expression is more than likely to be staring and unnatural.
147. Another point should be taken into consideration, and that is, that the focal length of the eyes of all subjects is not the same. For instance, some subjects in looking at you from a normal distance expand or contract the pupil of their eyes, and often assume a staring appearance. You should then move about toward or from your subject until you observe that their eyes are properly focused. This will not occur frequently, as usually the distance between the camera and the subject is the normal distance upon which all eyes may rest easily. However, in extreme cases, for near or far sighted subjects you will need to apply some method similar to those just mentioned.
148. Never tell the subject where to look until you have drawn the slide and are ready to make the exposure, and then, without any further caution, attract their attention to your face by talking to them, making some remark that will bring forth the proper expression ; but, in case the eyes of the subject cannot rest easily when looking at you, have them look at some distant point and instantly make your exposure, before the eyes have had a chance to become set.
149. Position of the Subject. — The position of the body will depend entirely upon the subject. If a fleshy per- son is being photographed it will be found desirable to lengthen the appearance of the neck as much as possible, and to accomplish this have the body turned considerably toward the light and leaning slightly forward, the face, of
PORTRAIT STUDY Study No. ii— See Page 577, Vol. VIII
E. A. Brush
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"JANET" Study No. 12— See Page 577, Vol. VIII
Mary Carnell
Plain Portrait Lighting. 87
course, remaining in its proper position. This will tend to raise the head over the shoulders, while if the reverse posi- tion were taken, the head would be drawn down and set into the shoulders to a marked degree. This latter position, however, is the one to employ when the subject has a long neck, as it will very materially shorten its appearance. Stout subjects usually appear to better advantage when pho- tographed in a standing position, even when the bust alone is desired.
150. Placing the Background. — After the subject has been properly lighted and posed, next give attention to the background. It should be placed at least three feet from the subject, so as to be out of focus. Always be sure that the subject is well centered in front of it. As a rule, the end of the ground farthest from the skylight should be turned toward the light when making Plain Portrait Lightings. By turning it away from the source of light a darker back- ground will be obtained, as the ground will cast a shadow on itself, and thus be in a much lower key of light. If the background is placed too near the subject, it will be too sharp, and the portrait will lack roundness or atmosphere. When using a blended background place it so the light side will come directly behind the shadow side of the face, which will, of course, bring the dark portion back of the light side of the face. This will produce a strong outline of the head, but in using the shaded ground it is essential that it be as far from the subject as possible, for, even though slightly out of focus, it is usually difficult to secure as much blending between the light and the dark of the ground as desired.
151. Position of the Camera. — In Plain Portrait Light- ings the camera is placed near the light, the subject a little farther away. In fact, when attempting to secure a three- quarter view of the face the camera is moved toward the skylight until the ear on the shadow side of the face is just out of sight. For a front view, the camera should be placed to show an equal proportion of both ears. Of course, the face should be turned properly with reference to the
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source of light; i.e., the tip of the shadow cast by the nose should just blend with the shadow of the cheek, and the catch-Hght on the eye should be in its proper location. 162. Proper Height of Camera. — The height at which the camera is placed will depend upon the subject, but it may be taken as a general rule that the lens should be on a level with the mouth of the subject, except when photo- graphing standing figures. If the subject is a short necked person, somewhat fleshy, the camera should be below the level, in order to show as much neck as possible. It is also advisable to have the subject lean forward slightly and hold the head erect. The reverse of this is the case when the subject has a long neck, but care must be taken not to go to the extreme, for, usually, a person having a long neck also possesses a long nose, and if the camera is raised too high, the length of the nose will be exaggerated. As you should be governed by prevailing conditions, it is not possible to give any fixed rules covering these points.
153. Focusing. — Always focus with an open lens, and upon the eyes and nose. By focusing upon the eyes and getting them perfectly sharp upon the ground-glass, you are almost assured that the nose will also be sharp. The portion of the face to be out of focus should be toward the rear of the face and head. It is absolutely essential that the front of the face be perfectly sharp. If the ear and back of the head are diffused, the effect of roundness will be in- creased and the general effect made more artistic. After focusing the face observe the appearance of the drapery. See that the parts nearest the camera are sharp, but not wiry. This may require the tilting of the camera forward or backward, according to the position of the subject. It is not necessary to secure sharpness in the entire drapery but only in the foreground or that portion which is nearest the camera. It is better that the remainder of the drapery blend away into the background.
154. Stops or Diaphragms. — Never use a smaller stop than is absolutely necessary. If too small a stop is used it will produce extreme sharpness — wiry effects they are
Plain Portrait Lighting. 89.
sometimes called. In portraiture endeavor to produce roundness and atmosphere. Where small stops are used the background is usually extremely sharp and wiry; therefore, use the largest stop that will permit the retaining of sufficient sharpness to the portrait. It is seldom neces- sary in portraiture, to stop down the lens; in fact it is not at all desirable to do so unless a very large head is being made. For ordinary cabinet work, however, the lens should be used wide open, or as nearly so as possible. Of course much will depend upon the quality of the lens employed. Some lenses require more stopping down than others, and you must be guided accordingly. All that is really required is to have the front of the face sharp.
155. Exposure. — In portraiture, always and without exception, time for the shadows, allowing the high-lights to take care of themselves. For ordinary Plain Lighting it is better to over than under-expose. Over-exposure of Plain Lightings is easily controlled in development. Under-ex- posure, no doubt, accounts for many negatives which lack in gradation and are extremely contrasty. Never light a subject with strong high-lights and dense shadows. Soften the high-lights by diffusing them with the diffusing screen. This diffusing of the high-lights also helps to illuminate the shadows, for diffusion of the concentrated light coming from the skylight spreads it over a large area, lighting the greater portion of the room and resulting in more illumina- tion for the shadows. If carried too far, however, the dif- fusion results in flatness.
156. You should aim to diffuse only enough to give softness to the high-lights. Bear in mind that when dif- fusing high-lights the shadows are illuminated as well; also remember that strong high-lights are always accom- panied by dense shadows, and the more dense the shadows the longer the exposure will have to be. With soft high- lights and soft, well-illuminated shadows, whether ob- tained by diffusion or by direct light, work can be performed with a more rapid exposure.
157. The amount of exposure will depend entirely
90 Librar\f of Practical Photography.
upon the density of the shadows, but if properly lighted a subject posed to secure a Plain Portrait Lighting will re- quire, under ordinary conditions, an exposure of only a sec- ond or two. It is necessary, however, to give an exposure sufficient to secure detail in the shadows. No attention need be paid to the high-lights, as they may be cared for in the developing. It is imperative to obtain on the sensitive plate an impression of all parts which should show detail in the finished picture, and this impression can be secured only by giving ample exposure. Over-exposure, of course, tends to produce flatness, and this, too, must be avoided. Expose to secure in the negative the effect of the lighting produced.
158. Making Exposure. — After everything is ready do not hurry in making the exposure. Take time, yet do not work unduly slow, as the subject will likely become tired. Hurry only excites the sitter, making it impossible to se- cure a pleasing expression. Take hold of the work in a manner indicating that you know exactly what you are doing, and above all things have confidence that you are able to secure the results attempted, and that you do know your business. If you lack confidence in yourself, it can hardly be expected that your subject will have confidence in you.
159. When everything is ready close the shutter, in- sert the plate-holder and withdraw the slide. Then, glanc- ing quickly over the subject to see that everything is as it should be, have the eyes turned in the direction desired. If possible, hold the attention of the subject by talking, but never ask a question or say anything that will require an answer, or make it necessary for the subject to talk just at the critical moment, unless you desire a change in the expression of the lips. Then a query requiring a short answer — yes, or no — will be in order.
160. When the expression is as you desire it, quickly press the bulb, making the exposure. The exposure should be made in an apparently careless manner. By no means hold the bulb in front of you, giving it a hard squeeze as if
Plain Portrait Lighting. 91
your life depended on it. The bulb may be held behind you, in your pocket, or in any careless position, and pressed in a manner not to attract the attention of the subject. These are little points, but they are very important in obtaining proper exposure. It is the many little things which make or mar successful portraiture, and fully as much attention, if not more, should be given to obtaining expression as to any other feature of the work.
161. Developing. — Although you have exposed for shadows, yet you must develop for high-lights. Considering the plate full timed, it is well to start developing with a little old, or once used, developer added to the fresh solu- tion. This old solution acts as a restrainer, holding the plate crisp throughout the development. As soon as you find the shadows are developed, turn your attention at once to the high-lights. Are they holding their relative values with the shadows? If so, as soon as they show the proper strength — allowing for a trifle to be lost in fixing — remove the plates from the developer, rinse and fix at once. For further instruction for developing see Volume II.
CHAPTER VIII. Plain Portrait Lighting.
General Summary.
162. With the light correctly diffused and falling on the subject at the proper angle, and with the posing com- plete, you are practically ready to make the exposure. At this point, however, you should notice each feature of the light and pose, making sure that nothing of importance has been overlooked. The following outline covers the cardinal points which must be considered when making a bust pic- ture according to the rules of Plain Portrait Lighting:
163. Place the subject in the strongest light.
164. The angle of light is controlled by the shades directly above the subject.
165. One shade directly over the subject should be drawn sufficiently to supply the angle of light.
166. The light farthest from the subject supplies the general illumination, and should be wide open.
167. The opening of the skylight should be V-shaped.
168. The light should fall on the subject at an angle of 45°.
169. Too much top-light causes shadows to fall straight down upon the face.
170. Too much side-light causes shadows to fall straight across the face.
171. The drapery must fall in natural folds, not be wrinkled.
172. Alterations or changes desired in the pose must be made as easily as possible, without calling the subject's attention to the defects.
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173. Give particular attention to the position of the head with reference to the various features, so they may not be exaggerated.
174. Improve the features by posing the head properly. 176. The background should be at least three feet
to the rear of the subject.
176. The subject should be well centered with refer- ence to the background, so the edge of the ground will not appear within the picture space.
177. The eyes of the subject should lead the face.
178. The expression of subjects is governed to a great extent by the manner in which they are handled.
179. Hard, chalky high-lights should be softened by using the diffusing curtains on the skylight.
180. The general control of the light on the subject is secured with the diffusing screen.
181. The use of the diffusing curtains gives general illumination and lightens the shadows.
188. There must be a gradual blending from the high- est lights to the most dense shadows.
183. If, after having manipulated the diffusing cur- tains, there is a harsh line between high-lights and shadows, use the reflector.
184. The reflector should be placed at an angle of approximately 45° with the skylight.
185. The strongest reflected light should be thrown on the front of the face.
186. Under no circumstance should reflected light be thrown strongly onto the ear and back of the shadow cheek.
187. The effect of lighting should be to produce round- ness, with even gradation throughout.
188. The forehead and nose will receive the strongest light; the light on the cheek next to the source of light comes next; then the lips, chin, and finally the shadow cheek under the eye.
189. The head should be turned toward the light until the tip of the shadow cast by the nose just blends with the shadow of the cheek.
Plain Portrait Lighting. 95
190. The catch-light in the eye should be in the upper corner of the iris, nearest the source of light.
191. The catch-light in the eye should not extend into the pupil, nor into the white of the eye.
193. The catch-light and the shadow cast by the nose are the keys to correct lighting.
193. To give proper shape to the shoulders, the hands should be placed midway between the knees and the hips.
CHAPTER IX. Plain Portrait Profile Lighting.
194. To secure a Broad Profile Lighting the subject is lighted in exactly the same manner as for the front or three-quarter view of the face. The camera, however, is brought around so that it will occupy a position between the subject and the skylight. There may, however, be times when it will be impossible to secure as small an image on the ground-glass as you may desire, for the subject might be seated too close to the light. In this case it will be neces- sary to move the subject away from the side-light, and raise the shades on the top-light or those on the upper por- tion of the single-slant light, so that the angle of light may be sufficiently high to give the proper direction.
195. As the shadow cast by the nose is not seen in a profile lighting, it is not so objectionable if the light does fall rather over-abundantly from the side ; however, carried to the extreme, the effect produced will be flat, and the prominences on the face will not stand out in their relative values, nor will the eye appear properly illuminated.
196. Do not forget to place the background properly, as it is essential to have a little more of the ground to the front of the subject than to the back. In Profile Lightings, as the subject faces directly toward the margin of the print, more space must be left on the finished portrait to the front than at the rear, in order to supply distance into which the subject appears to look.
197. The light, of course, should not be harsh. On the contrary, it must be soft and diffused, as a harsh light will destroy the delicate half-tones, while a diffused light preserves them. Practically no reflected light will be re- quired. In fact, if the diffusing curtains have been used judiciously it will be quite unnecessary to employ reflected light.
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CHAPTER X. Plain Portrait Lighting — Practice Work.
198. For practice work select an adult, preferably a lady wearing a light waist. Place her under one end of the light; usually on a line with the end of the side-light, and about nine feet from it, will be found most convenient, pro- viding you have sufficient space between the end of the skylight and the wall in which to place the background. With your subject in this position draw down the first opaque shade (directly over the head of the subject) until the right angle of light is obtained. In this be guided by the shadow cast by the nose. When the angle of this shadow runs off to the corner of the mouth, about the right angle has been secured. Next, draw the second shade about two feet less than the first; this serves to assist the first shade in carrying out the angle and to avoid the spreading of light. Then draw the third shade still less than the second.
199. The top-light (the angle of light) has now been controlled. Next, raise the first opaque shade nearest the subject on the side-light. Adjust it to a height sufficient to cut off the strong side-light. The second shade on the side- light need not be drawn so far, and the third still less, etc. The side-light shades are handled exactly the same as are those for the top-light.
200. Having followed these directions, both the top and side-lights have been controlled. Now, place the diffus- ing screen between the light and sitter, with all the tan curtains spread out over the frame. Place the screen about midway between the light and the subject. You will ob- serve how this modifies the light and softens the general illumination on the subject. It will have interfered also
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with the high-lights — flattened them too much. Because of this you must separate the curtains in one space on the top row of the diffusing screen, admitting white light to supply the highest points of light, or catch-lights. This requires an opening of not more than 10 to 12 inches, ac- cording to the distance the screen is from the subject. Tip the screen over the subject a trifle ; this assists in carrying out the angle of light. If the drapery is too much diffused, place the screen farther from the subject. By adjusting this screen closer or farther from the sitter, you may obtain any effect desired. Should the shadows be a trifle heavy, apply the reflecting screen. Place this screen so that the re- flected light will fall more on the front and side than on the rear of the subject (see diagram of floor plan). With this accomplished, turn the face of the subject from the light, so that with the camera three feet distant from the side-light the shadow ear will not show. Then obtain the focus and make the exposure.
201. After making the first exposure, turn the figure slightly from the light, thus throwing the drapery into the shadow, with the light falling over the shoulder. Next, turn the face toward the light, just enough to miss the shadow ear, and make another exposure. With the two exposures you will be able to see the effect of the light on white drapery when facing the light, and also the advan- tage gained in detail and softness by having the drapery turned from the light, or, in other words, in shadow.
202. For a third exposure turn the face in profile with the figure either facing the light and the face turned from the light, or, turn the figure slightly from the light, with the face toward the light, just enough to obtain a good view of the bridge of the nose, excluding the eyebrow of the shadow eye. This will bring the forehead well into promi- nence, and yet give a profile view of the face.
203. In profile work you may find it necessary to admit a larger volume of white light than was required for Plain Portrait pictures, as the face is broader in profile than when a front or nearly front view is made. Therefore,
Plain Portrait Lighting. 101
the curtains on the top row of the screen must be separa- ted a trifle more when making- profile pictures.
204. After having made all three exposures, develop the plates according to instruction for Universal Develop- ing (see Volume II). After they are dry make quite solid proof prints from all of them, so as to reproduce in the proof all the quality there is in the negative. Note on the back of each print all data pertaining to their production, such as the lighting, arranging of the screens, exposure, etc., filing them in your proof file for future reference. Should you meet with any difficulty in producing the results, refer to the Difficulty Department, where will be found preventa- tive and remedy.
CHAPTER XI. Difficulties — Plain Portrait Lighting.
205. Too Strong Top-Light. — This is caused by the subject being seated too near the side-light; and possibly the top curtains are not pulled down far enough on the skylight. Watch for the shadow cast by the nose. When this shadow falls directly beneath the nose too much top-light is being used. When too strong a top-light is used, even when it falls at the correct angle, heavy shadows may be cast under the eyes. This will be especially true if the subject is sitting too far under the skylight. To overcome this, diffuse the light with the diffusing curtains on the skylight. Place the subject so that more light will come from the tront. Tipping the diffusmg screen a trifle forward at the top will assist in overcoming this difficulty.
206. Too Strong Side-Light. — If the subject is placed too far from the side-light, the shadow cast by the nose will fall too straight across the face, indicating that the light comes too much from the side. If the angle of light is correct and the side-light is too strong, soften it down - /ith the diffusing screen, by moving the screen closer to the subject.
207. Diffusing High-Lights. — When the high-lights are strong the shadows will be very deep, and the result is a very contrasty lighting. To overcome such contrast the strong light must be diffused. Do this with the white diffusing curtain on the sky- light, assisted by the reflecting screen. You may find it necessary to change the distance of the diffusing screen and reflector from the subject. You may also find it necessary to use the dark cur- tains on the diffusing screen. If with the dark curtains drawn there is too much diffusion, separate them at the points where more strength is desired. It is seldom necessary to use the black curtains in connection with the tan, as the tan curtains usually give sufficient diffusion. Learn to see the change of light on the sub- ject's face, and with the curtains on the diffusing screen soften or increase the light until the desired result is produced. Exercise care not to over diffuse.
208. Heavy Shadows on Front of Shadow Cheek. — A heavy shadow will appear on the shadow cheek if the subject and camera
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•re placed parallel, or nearly so, with the light; or if the reflect- ing acreen is placed at such an angle that it reflects the strongest light on the back of the head and ear of the subject. Too strong a light will also produce this effect. As the aim should be to have the subject surrounded with as much light as possible, it will be necessary to have the light come from the front to a con- siderable degree. By placing the subject just beneath the top- light the full benefit of all the light entering the room will be received. The subject will be surrounded with more light from the front, while the shadows will be soft and quite easy to con- trol.
209. Handling the Diffusing Screen. — With a little experi- menting any person may soon become able to properly handle the diffusing screen. The conditions under which each individual worker will operate necessitates a trifle diflPerent handling of the screen. Remember, however, that the nearer the screen is placed to the subject the greater the diffusion of light, while the farther it is placed from the subject the greater is the volume and strength of the light. The screen should be placed in position, with all the curtains drawn so as to completely cover it. Experiment with the screen at various distances, watching the changes of light diffusion. Then open, or separate, the curtains on the top row, parting them from the center, first about ten inches, or more if needed. The light coming through this opening will supply the high-lights. If the general diffusion is not sufficient place the screen closer to the subject, or farther away, according to the effect it is desired to produce. Follow this line of experimenting until the results wanted are produced. After a little experience it will be a very easy matter to handle the diffusing screen effec- tively.
210. Using Reflector. — The greatest difficulty in using the reflector is the possibility of throwing too much reflected light on the shadow ear and back portion of the face, thus flattening the effect. The reflector should be placed at an angle of 45° from the skylight, the end farther from the camera being turned first one way and then another, until the desired amount of round- ness has been secured. Remember, the strongest reflected light should fall on the front of the face, where the high-light begins to blend into the shadow. Reflected light should be simply a continua- tion of the direct source of light. Anything further than this will tend to produce flat effects. Strong high-lights often are reduced in contrast, as compared to the shadows, by light being reflected into the shadows, as this raises the detail in the latter to a higher key.
211. It is Important that the reflector be placed at the proper
Difficulties — Plain Portrait Lighting. 105
angle, for if badly placed, the portrait, instead of being round, will appear fiat. The reflecting screen, while placed on the shadow side, must be situated somewhat in front of the subject, to reflect light onto the front of the shadow side of the face, thus permitting the light on the rear of the cheek to blend off into shadow. Before attempting to make a regular sitting it will be wise to practice with the reflector, noticing very carefully the various effects it produces when placed at different angles.
212. Posing the Subject. — Remember, the more simple the pose the better. Be careful that the shoulders are square, and that the body does not lean forward too much. On the other hand, exercise care that the body does not lean back too far. Have the subject sit erect, yet comfortably. Place the hands midway between the knees and the hips, as this will give a far better ef- fect than any other position. By all means avoid having the shoulders appear round or sagged. Proper results are seldom ob- tained by placing the body squarely toward the camera. This is permissible only for very slightly built persons. When the subject is placed squarely in front of the camera, it is always advisable to turn the face to one side. Never permit the face and figure to assume the same angle of position. The more easy and natural the pose, and the less you do toward altering the general position of the subject, the better.
213. Subject Closing Lips too Tightly. — Never tell the subject to close or open the mouth. Rather converse with them and get them to answer some question; or, finally suggest that they pass the tongue over the lips to moisten them. The mouth will then assume a natural expression. The exposure should be made in- stantly, before the mouth begins to twitch. Under such circum- stances the subject will seldom know just when the exposure is being made.
214. Catch-Light in the Eye too Large. — This will usually occur with subjects having large pupils. It is also caused by turn- ing the face too far into the light. The strong light striking the entire pupil makes it appear large, while if the face is turned a trifle farther away from the light, permitting illumination to strike the iris, there will be a much smaller catch-light. By turn- ing the face from the light this difficulty is overcome entirely. Be careful that the eyes are not directed too high, or too low, nor should they lead the face too far. In cases where the eyes are extremely large they should not lead the face at all, but be perfectly straight. Placing the subject too near the source of light will invariably give an extremely large catch-light, as the catch-light is an exact reproduction of the source of light. There-
106 Library of Practical Photography.
fore, the greater distance the subject is from the light the smaller will be the catch-light.
S15. Eyes of Subject Appear Staring. — This is usually caused by having the subject look too long at the same object, during the preliminaries of posing or lighting; or the subject may be near-sighted and the object looked at may be too far away from the eyes. Do not tell the subject exactly what to look at, or where to look, until you are ready to make the exposure. There are times, however, when the operator desires to observe the exact apppearance of the eyes on the ground-glass. When such an occasion arises tell the subject to look in the particular direc- tion desired for a minute or so, but under no circumstance have the sitter stare at one particular object for any stated length of time. Watch carefully, and by standing close to, or farther from the subject, who is looking at you, it will soon be easy to judge the proper distance at which the eyes will rest naturally. Also permit the subject to wink as often as desired dunng the ex- posure.
218. It is quite objectionable to ask the sitter to gaze at a small object, as the eyes invariably wander from a small object, and thus show movement in the finished picture. If the object at which the sitter is directed to look is of considerable size, it will be much easier to fix the attention upon it, providing, of course, that the object is not too large. The better plan, however, is to have the subject look at the operator, and by continually talking and holding the attention, any difficulty along this line will be entirely obviated.
217. Properly Illuminating Background. — To illuminate the background properly, the end of the ground farthest from the light, behind the shadow side of the subject, must be turned toward the light at such an angle that the strongest illumination will fall evenly over the entire ground. In this way the end of the ground farthest removed from the light will be evenly illuminated, photo- graphing exactly as it is painted. If the background is turned at an angle that will cause it to cast a shadow on itself, it will appear very much darker than when turned directly into the light. Experiment by placing the ground at various angles, care- fully watching the changes of illumination.
218. Background too Sharp. — This is caused by either plac- ing the background too close to the subject, or by using too small a stop in the lens. For a cabinet size portrait, using a lens of ordinary speed, such as f-4.5, it will not be necessary to stop down at all. The background should always be at least three feet to the rear of the subject — a greater distance even, will improve the efifect
Difficulties — Plain Portrait Lighting. 107
219. Sun Striking the Skylight. — This difficulty is overcome by properly arranging the diffusing curtains on the skylight. If the skylight is so located that the sun strikes it directly at cer- tain times of the day, in addition to diffusing the light with the white diffusing curtains on the skylight, make use of the black curtains on the diffusing screen, using the tan at the top of the screen and the black at the bottom. Usually, the tan curtains will supply all the diffusion required.
CHAPTER XII.
Rembrandt Lighting.
S30. Rembrandt is a style of lighting in which the lights and shadows are quite sharply defined, and usually the greater portion of the face is in shadow. This style of lighting, founded on the principles of Plain Portrait Light- ing, although not suitable to all classes of subjects, is em- ployed to a great extent in regular studio portraiture, and is beautiful when properly executed. Practically all of the principles involved in properly lighting a subject according to Plain Portrait Lighting are applicable to Rembrandt, except that, instead of photographing the subject to secure the larger proportion of the face in light, an opposite posi- tion is chosen, reproducing the greater portion of the face in shadow. In other words, instead of having the camera near the skylight, thus obtaining a broad lighting of the face, the camera is placed farther from the light and di- rected toward the shadow side of the face.
221. This form of lighting is used by various artists of the brush, but most successfully employed by the well known painter, Rembrandt, after whom it was named. There is a mistaken idea, quite prevalent among photog- raphers, as to the exact nature of the requirements of a Rembrandt Portrait Lighting. There is but one typical form of this lighting, and that is the one employed by Rem- brandt himself. Frequently we see photographs of the Rembrandt style of lighting, in which the picture is a mass of black. There can be no shadow without light and Rem- brandt's effort was to emphasize light rather than to pro- duce darkness.
222. Beauty is shown also to a greater extent in
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no Librar}f of Practical Photography.
shadows and half-tones, than in strong high-lights. They add to the attractiveness of this style of lighting, and to secure the right cflFcct one must understand what is required in order to be able to secure the proper result. It is im- perative that there be detail in all portions of the portrait. Some have formed the impression that, when a " Rembrandt Lighting " is mentioned, reference is made to the head being turned to secure a profile view with a strong light falling upon the outline, the rest of the face and figure being prac- tically void of detail. Absence of detail is exactly what a Rembrandt portrait should not show. It is also possible to make practically a front view of the face in Rembrandt Lighting, but the most popular form employed is to have the face turned to exclude the ear on the high-light side.
223. A properly lighted Rembrandt subject will have the light falling at an angle of 45°, which is exactly the same as for Plain Portrait Lighting. It is permissible to have the light come a little more from the rear, yet to all intents and purposes the subject may remain in practically the same position for Rembrandt Lighting as for a Plain Lighting, much depending upon the width of the skylight room. While this style of lighting may be produced in many ways, a very simple method is to work exactly the same as for Plain Lighting effects. As this method permits of the use of a large volume of light, it also cuts down the required exposure, which is essential. The subject may be placed in nearly the same location and the camera moved to the shadow side of the subject.
224. The diffusing curtains, as well as the reflected light must be used, in order that roundness may be pre- served and a sufficient amount of detail secured in the deepest shadows. The tendency, however, is to employ much too strong a light, which, as a natural consequence, produces too great a contrast of light on the subject. The high-lights in the negative are thus fully exposed and on development, become quite dense, while the shadows have not received sufficient time. Or, if the shadows are fully exposed the high-lights are solarized, so that all modeling
Rembrandt Lighting. 1 1 1
is lost. On the other hand, if the light is properly soft in character there is danger of over-developing, which will also give a harsh-printing negative. Again, the face is often turned toward a strong light, and the subject placed too close to it, with the result that the catch-lights in the eyes are too large and need scraping down on the negative. This is a very delicate piece of work, liable to destroy proper expression. Besides, the strength of light causes the pupils to contract, and the actual expression is not as good as when the pupils are larger or more dilated.
225. More accuracy is required in controlling the light for Rembrandt effects than for the Plain or Broad Lighting. Care must be exercised, in properly controlling the light, that the high-lights be not too hard and the shadows lacking in detail. There must be detail in all parts, and a gradual blending from the highest point of light down into the deepest shadow.
226. The artist, Rembrandt, found joy in concentrating the light to make brilliant accents upon the face and drapery. His power of producing these striking effects was certainly wonderful, yet the photographer can produce similar re- sults if he will but study the effect of light and learn to con- trol it.
227. The painter, by using color, is able to do many things which the photographer cannot hope to accomplish, as he has to work in monochrome, yet a study of the repro- ductions of Rembrandt will enable anyone to secure ideas regarding the relative values of the high-lights and shadows. In real Rembrandt Lighting there must be a gradual fading away from the chief bright spot. (See Illustration No. 13.) The strongest illumination is between the cheek and nose. The light should dwindle away over the shoulder and back- ground, here and there arrested upon embroidery, lace, or other forms of drapery. It must strike everything clearly and sharply, without the least approach to fuzziness, or flatness, but always of a lessening strength as it descends from the chief point of accent.
228. Another point in which Rembrandt examples
112
Lihrar}) of Practical Photograph}).
should be respected is in the matter of backgrounds. There should be no meaningless darkness. They should always contain something solid upon which the light may fall, even though the suggestion of this is extremely faint. The light usually falls on them in a soft, luminous glow,
Illustration No. 15
Rembrandt Lighting — Floor Plan
See Paragraph No. 229
always well graded. The head of the subject should not sink into the ground, but always appear free from it.
229. Position of the Subject.— Refer to the floor plan, Illustration No. 15, and observe that the subject is placed a trifle nearer to the skylight than for Broad Lighting, yet
Upper Illustration No. n See Paragraph No. 227
Rembrandt Lighting— Portrait
Lower Illustration No. 14 , „ See Paragraph No. 230
Rembrandt Lighting— View of Room
"MADONNA" Study No. 13 — See Page 577, Vol. VIII
A. F. Wright & Ca
Rembrandt Lighting, 1 1 5
occupies a position very similar to that for making Broad or Plain Portrait Lightings. The camera, however, is placed to secure a view of the shadow side of the face. The subject should be well under the first section of the light, the exact distance depending upon the nature of the sky- light, whether it is a single-slant, double-slant, or perpen- dicular light. The distance also depends upon the size of the source of light. Many make the mistake of cutting off too much general light, and in this way obtain extremely dense shadows and too strong high-lights. This should be avoided. Secure plenty of clear detail in the most dense shadows, and by softening the light on your subject locally, with the diffusing screen, the skylight room can be kept well illuminated, thereby enabling the production of softer shadows, softer high-lights, and more atmosphere.
230. In Illustration No. 14, observe the position of the subject, and of the diffusing screen, the angle of light, and the amount of open light used in producing this style of lighting. By employing plenty of light one can not only work more quickly, but also secure expression that cannot be obtained by a prolonged exposure such as is necessary under a closed — and therefore slow-working — light.
231. Angle of Light. — The angle of light for Rem- brandt Lighting is obtained in exactly the same manner as for Plain Portrait Lighting. If the room is wide enough good Rembrandt Lightings can be made with the subject located in the same position as for Plain or Broad Light- ings, the camera alone being moved to the shadow side of the subject. If the room is quite narrow it may be necessary to place the subject nearer the side-light, in order to work more from the shadow side.
232. For full front or two-thirds views of the face very little, if any, altering of the position from that of the Plain Lighting will be required, as the camera can be moved about sufficiently to obtain the required result.
233. Where an extra wide skylight room is employed ideal conditions exist, as then the subject may be placed
116 Librar}f of Practical Photograph)).
near the center of the RX)ni, where with the angle of light properly arranged to distribute the high-lights over the face, with the shadows soft and full of detail, we have a lighting that may be viewed from any point of the room. With the camera nearer the side-light, viewing the subject from this point, a good Plain Portrait Lighting is obtained. By moving the camera to the shadow side a well-modeled Rembrandt Lighting is secured, and by working with the camera almost directly facing the light, a Rembrandt Pro- file, perfectly illuminated and well balanced, is the result.
234. But these conditions seldom are offered. The photographer usually is compelled to work in rather close quarters; therefore the subject may have to be moved about to obtain diflFerent lightings. While work equally as good can be made in a small skylight room, it is not quite as convenient as with the added space of a large room.
235. In our Illustration No. 14 you will observe that the subject is located in the same place as for the Plain Por- trait Lighting, except that it is a trifle nearer the side-light, the camera being shifted to the shadow side of the subject. The opaque curtains controlling the angle of the light re- main undisturbed ; the position of the diffusing screen is slightly altered, being placed almost parallel with the side- light ; the reflecting screen is in the same position as it was for the Plain Lighting.
236. By reference to the diagram of the floor plan, Illustration No. 15, it will be observed that the subject is located just within the line of the end of the side-light and 7 feet from the light ; the camera is located 10 feet from the light, or 3 feet farther than the subject. The diffusing screen is placed parallel with the side-light and 3 feet from it, with the top of the screen tipping toward the subject. The near end of the reflector is located 9^^ feet from the side-light; the background is 3 feet to the rear of the sub- ject, with one end 3 feet from the wall ; the end at greatest distance from the light is not illuminated and faces the camera. With the figure facing the camera and the face
liiiistranon No, Example of Rembran Paragraph No,
""^Ir
>. 17
dt Lighting 237
Rembrandt Lighting. 119
turned parallel with the side-light, a two-thirds view of the face is obtained.
237. When making Rembrandt Lightings, the subject must be brought under the light sufficiently to permit the source of light to fall on one side, also a trifle from the rear of the subject. A number of excellent examples of Rembrandt Lightings are shown in Illustrations Nos. 16, 17 and 18.
238. You can, by means of the opaque shades on the top-light, alter the light to accommodate any size skylight room. All styles of lighting can be produced in almost any room, and under any form of skylight, or window, by using opaque shades arranged as previously described in Chapter V. By using opaque shades on the sky- and side- light, and with the proper handling of the diffusing and re- flecting screens, absolute control of the light is to be secured. Naturally, the larger the room the greater should be the volume of light, so where there is a large light in a small room, the strength of the light must be reduced to accommo- date the size of the room. Always utilize as much of the light as possible, however, because it is light that makes photography possible, so take advantage of this condition to the fullest extent.
239. Proper Lighting. — The strongest light should fall on the forehead, following down the bridge of the nose, and tipping the lips and chin. The nose should be the divid- ing line of light on the face, yet the light must not be too sharp and decisive. It should spread slightly across the nose and rest in a diffused form on the opposite cheek, di- rectly beneath the eye, on the shadow side of the face. This will supply illumination to that eye, the iris of which should catch a slight ray of light as it flows across the face — suf- ficient to produce a delicate catch-light.
240. Diffusing Screen. — Note the position of the dif- fusing screen in Illustration No. 14; also in the diagram of the floor plan. No. 15. The screen is placed between the light and the subject. The curtains of the lower portion are closed entirely; the curtains on the top row are open
120 Library of Practical Photography.
just enough to admit a small amount of direct light on the side of the face; the remaining curtains, being drawn over the screen prohibit the direct light from crossing to the other side of the subject. Shutting off the light with these curtains will soften and diffuse the light on the drapery, which, if not restrained, would photograph more quickly than the face and hair. When developed, this would either make the face much darker than the drapery, or — should you develop for the flesh — would result in dense drapery, recjuiring considerable doctoring to make a well-balanced negative. Therefore, to avoid unnecessary labor, light the subject as you wish the finished negative to appear, and do not depend upon after manipulation to correct any over- sight, or error, made in the lighting. With little experience the production of the proper result will be easy of accom- plishment.
241. A good plan is to first draw all the curtains on the diffusing screen, thus softening the light as it falls upon the subject; then separate the curtains on the top row suf- ficiently to supply the necessary catch- or high-lights. Do not be led to believe that because the strong lights have been diffused with the curtains, the exposure must be prolonged, as such is not the case. On the contrary, the exposure is thus shortened, because should an open light be used without the diffusing screen, the shadows would be very deep, requiring quite a long exposure to fully time them. While timing for the deep shadows the high-lights would be over-timed and choked, whereas, by diffusing or equalizing the light you illuminate the shadows, and as you time for these (after diffusing, they are not so dense), less time is required for the exposure.
242. Reflecting Screen. — It is extremely important that the reflecting screen be placed at the correct angle. A common error in making portraits in Rembrandt Light- ing is that the ear and back of the head, on the shadow side, is as fully illuminated as the front of the face. This is caused by the reflecting screen being placed at an angle that reflects light as strong on the back of the head as on
Illustration No. l8
Example of Rembrandt Profile Lighting
See Paragraph No. 237
PORTRAIT STUDY Study No. 14 — See Page 577, Vol. VIII
Knaffl & Bro.
Rembrandt Lighting. 123
the front portion, resulting in the production of very flat effects. The nearer the reflecting screen is to the source of light, the stronger will be the reflected light; the greater the distance from the light, the less reflected illumination will be obtained. For this reason, place the screen as near the light as is found to be necessary to supply the required amount of illumination to the front of the shadow side of the face ; then gradually turn the end of the screen, nearest the subject, from the light. In this way softer diffusion will be secured while the shadows will not be too strongly illuminated.
243. If the rear of the head, or the dense portions of a Rembrandt Lighting, are illuminated as much as is the front of the face, blocked, clogged shadows, which will not be transparent, will spoil the results. Notice in diagram of floor plan, that the reflecting screen is not placed paral- lel with the side-light, but at an angle of about 45". The strength of the light determines the correct angle of the reflecting screen. Practice moving the screen, placing it at various angles, thus reflecting light at varying degrees upon the subject. This will soon enable you to see and obtain the proper effect to produce detail in the shadows, and yet have a gradual blending from the highest points of light into total shadow.
244. Remember, the reflector is used only as an assist- ant to the diffusing screen, and although it serves to il- luminate dense shadows, it must not be placed too near the subject, nor should it be used to a greater extent than is absolutely necessary.
245. Shielding the Lens. — When making this style of lighting, the lens is pointed partly toward the light and there may be danger of reflection in the lens, which will cause a haze, or fogging of the plate. The lens, therefore, should be shielded with a hood, or cone, to prevent strong light reflecting into it.
246. Size of Stop. — Make Rembrandt lightings with as large a stop as is possible, and yet secure proper sharpness and definition. Remember, that a small stop will accentuate
124 Lihraryf of Practical Photography.
the shadows and make them deeper and sharper, tending to make both figure and background appear wiry and cause the loss of all atmospheric eflfect,
847. Background. — The proper background to use for each subject is quite important, A plain, clouded ground, properly lighted, or one gradually blended, will answer for all classes of subjects. The most important point in the use of the background is placing it in the proper light, at the proper distance from the subject, and at the correct angle with the source of light. It is just as essential that the background be illuminated as the subject, for the ground carries out the idea of the lighting on the subject. The background should be placed as far behind the subject as possible, in order to secure the greatest amount of atmos- phere. When arranging the diffusing screen, see that the background is properly illuminated. When using a graded or clouded background, see that the light portion is placed directly to the rear of the shadow side of the subject, which will then bring the dark portion of the ground back of the light side of the face, thus supplying relief to the shadows as well as to the high-lights.
248. Exposure. — As more of the subject is in shadow, in Rembrandt Lightings, the amount of exposure necessary to secure full detail in the shadows will be approximately double that required for securing a fully timed negative of a subject, posed in Plain Lighting. It is better to err on the side of over than under-exposure, because any reason- able amount of over-exposure can be overcome in the de- veloping, while in an under-exposed plate it will be difficult to obtain detail in the shadows.
249. Developing. — The formula for the developer, as well as the method for developing Rembrandt Lighting, are given in Volume II.
250. Practice Work. — After having studied the illus- trations accompanying this lesson, place the subject under the skylight and first secure the proper angle of light. Do this with the opaque shades on the skylight. See Illustra- tion No. 14. Then, with the diffusing screen diffuse the
Rembrandt Lighting. 125
light to secure the best possible effect of modeling. This accomplished, place the camera and background in position, and if necessary to use any reflected light, turn the reflector until you have secured the desired result. It is usually ad- visable to have the camera in a position to show a two-thirds view of the face, as in such a position the tip of the nose will just break into the outline of the face, thus producing a more pleasing outline. However, for the sake of prac- tice, it is advisable to make at least two negatives, from different points, one almost a front view, the other about a two-thirds view of the face, just excluding the high-light ear. Upon focusing, it may be found necessary to use the top, or side, swing to obtain a better focus. Give perhaps double the exposure required for Plain or Broad Portrait Lighting. Stop down only enough to give clear definition and develop with Universal Formula for developing. After the plate has been developed, proof prints should be made. Having placed full data on the back of each print, covering the method of procedure, place them in your proof file for future reference.
CHAPTER XIII. Rembrandt Profile Lighting.
251. A second type of Rembrandt Lighting is one in which the head is photographed with the face to the side, or in profile, with eyes directed toward the light. The sim- plest method of procedure is to light the face of the sub- ject for a Plain Portrait Lighting; then, without moving the subject, wheel the camera around to secure a side, or a nearly side face (profile) view of the head. The effect of the light and shade will be very satisfactory under these circumstances, yet it may be found that the shadow will prove a trifle lacking in transparency. If this is the case, make use of the reflector, placing it as near the camera as possible to avoid danger of cross lighting. Avoid using too low a side-light, as it would be liable to cause a glare on the subject's eyes, thereby producing excessively large catch-lights. Also avoid too direct a top-light, as it will cause the hair to appear too white.
252. A Rembrandt Profile Lighting is a profile view of the face, the outline being the only portion possessing a strong high-light. (See Illustration No. 19.) The rest of the face is in shadow, except a small spot of light on the top of the cheek bone, directly underneath the eye. It is necessary that this light be in this location, because if it were not there, the eye would not be sufficiently illumi- nated and would appear flat and dull. But, with the light coming across the top of the nose and striking the eye and cheek bone, clearness and roundness are given to the eye, and the general contour of the face is improved. The strongest light should fall upon the forehead, extending down the nose, tipping the lips and chin, and finally blend- ing into the drapery. This light should become gradually softer as it descends from the forehead.
137
126 Library) of Practical Photograph)).
253. A great mistake in posing subjects for profile por- traits is made, not only by beginners, but even by some ex- perienced professionals, in that they fail to avail themselves of the opportunity of using an abundance of light. By cutting down and reducing the size of the source of light, they fail to secure a sufficient volume to properly illuminate the shadows with a reasonable amount of exposure. The results are hard negatives, with strong high-lights and flat, mushy shadows, lacking detail. It is for this reason that so few attempts are made at posing subjects for profile por- traits.
254. In making Rembrandt Profile Lightings it is always essential that the subject possess a pleasing profile ; also that the other facial features be well proportioned. A properly lighted profile is very pleasing; in fact, some of the strongest character studies are made by posing the subject in profile. Many of the profiles made by the aver- age photographer — as before stated — lack the light neces- sary for this style of lighting. The right eflfects may be obtained by the use of plenty of light, properly controlled.
255. By referring to Illustration No. 20, it will be noted that an almost wide open light was employed, and yet the proper lighting was obtained. Even for this style of light- ing the subject should be placed at the end of the room, where the light is the strongest, bearing in mind, of course, that the better lines of the subject must not be sacrificed in order to do it. Some subjects photograph best from the right side, owing to the better drawing of the face in that position. If you should pose such a subject for Rembrandt Lighting, illuminating the left side of the face, you would fail to do justice to the subject. The first consideration must be that side of the face which gives the most graceful and pleasing lines, or the best drawing. Then comes the proper place to secure good light to retain this drawing and yet make a Rembrandt Profile Lighting. If it becomes neces- sary to sacrifice anything, let it be the locating of the subject to secure the strongest light, as this style of lighting can be produced even in those portions of the room where
Upper Illustration No. 19 See Paragraph No. 252
Rembrandt Profile Lighting — Portrait
Lower Illustration No. 20 See Paragraph No. 255
Rembrandt Profile Lighting — View of Room
yl-yu: ./jiJ^
PORTRAIT STUDY Study No. 15— See Page 578, Vol. VIII
./■ 0-
i/>
B. j. Falk
Rembrandt Profile Lighting.
131
the illumination is weak. In such a case, however, it will be necessary to use the reflector closer to the subject, be- cause the light for illuminating the shadows is weaker.
Illustration No. 21
Rembrandt Profile Lighting— Floor Plan
See Paragraph No. 258
Under these circumstances less diffused light will be re- quired, as the high-lights are already softened to a certain extent.
256. While not always the case, as a general rule it will be found that the left side of the subject will supply the better drawing and present the strongest character lines.
257. Place the background across the corner of the
132 Library of Practical Photography.
skylight room, with one end of it against the side-light. Then locate the subject within a few feet of the ground. The subject will be under the second section of the skylight, which will permit the use of all of the illumination coming from the open light to brighten the shadows. This illumina- tion may at first seem too harsh and strong, but the result- ing negative will be found to possess very soft shadows.
258. Observe in Illustration No. 21 the position of the various accessories, as well as the subject. Notice that the diffusing screen is placed between the side-light and the subject. The curtains of this screen, being made in sections, are so arranged that any portion may be opened, or separated, to admit any required amount of direct light. In admitting light through the screen care must be exer- cised that it does not spread beyond the profile of the face. Remember the strongest light should fall on the forehead, the next in strength upon the nose, following down and tipping the lips and chin, finally blending off into the drapery.
259. It is absolutely necessary that the background in this style of portraiture receive some attention. The face should stand out in relief from the background and not appear sunken into it. This condition is caused by paying no attention to the illumination upon the background when lighting the subject. It is also just as essential that the background be properly illuminated as the subject; therefore, when separating the curtains of the diffusing screen, be sure to move those at the end of the screen nearest the background. This will illuminate the back- ground, and at the same time secure the proper effect on the subject, giving roundness to the portrait and produc- ing the desired relief and atmosphere. In illuminating some of the more dense shadows which cannot be brightened by diffused direct light, it will be found necessary to make use of a reflecting screen. The greatest care must be exer- cised in the use of this screen, lest too much reflected light be thrown into the shadows, thus obtaining stronger lights in these shadows than are present in the middle tones.
PORTRAIT STUDY Study No. i6 — See Page 578, Vol. VIII C. J. VanDevknter
Rembrandt Profile Lighting. 135
260. As will be seen by referring to diagram of floor plan, Illustration No. 21, the reflector is placed practically at a right angle with the side-light. If it faced broadside to the light the reflected light coming from this screen would be more powerful than the direct illumination, and the shadows, instead of blending oflf gradually as they ap- proached the rear of the head, would be choked with a false light. With the reflector at a distance of not less than three feet from the subject, turned to partly catch the direct light, the shadows will be sufficiently accentuated; but the reflected light will be very mild on these portions, merely assisting in producing the desired amount of detail.
261. Suitable Profiles. — Not all subjects are suitable for profile posing. Persons possessing a large hooked nose, receding forehead, or a receding chin, will never make a pleasing profile portrait. A thin face is not a fit subject for profile. Study carefully the features of the subject, and soon your training will enable you to judge at a glance whether or not the subject's features will permit of a profile pose. (See Illustration No. 22.)
262. Exposure. — ^The exposure for this style of light- ing is the same as for ordinary Rembrandt. Give a suffi- cient amount of time to secure detail in the shadows, as the high-lights will take care of themselves. But, as the shadows are even broader and more dense than in the ordi- nary Plain Portrait Lighting, fully double the exposure required for Broad Lighting must be given.
263. Caution. — As the camera faces the light when making profile pictures in Rembrandt Lighting, the lens should be shielded with a hood. This is even more im- portant in profile than for ordinary Rembrandt. Unless the lens is shielded a haze is produced on the plate, similar to that resulting from pointing the camera directly toward the sun when making a landscape photograph.
264. Developing. — The manner of developing Profile Lighting is exactly the same as for the ordinary Rembrandt Lighting. Formula for the developers, etc., will be found in Volume II.
CHAPTER XIV. Difficulties — Regular and Profile Rembrandt Lighting.
265. The difficulties which may be experienced in securing the proper angle of light, etc., for Rembrandt Lighting are exactly the same as with Plain Portrait Lighting.
266. Producing the Dividing Line. — In order to produce the dividing line, the subject should face — with the nose almost paral- lel with the side-light — toward the center of the room. The cam- era must be placed at such an angle that it will be turned partly toward the light. In this position one-half of the face will be entirely in shadow, while the other half will be well illuminated. The light and shadow should meet on the nose, and the light should blend slightly over the nose onto the shadow side, falling on the cheek bone directly underneath the shadow eye.
267. Producing High-Light Under Eye on Shadow Cheek. — If the face of the subject is turned too far from the light, or if the subject is too far from the source of light, or too near the center of the light, it will be impossible to secure the high-light on the shadow cheek. Move the subject nearer the side-light, at one end of the room, turning the face until the proper high-light is secured on the shadow cheek. If the light is obtained at an angle of 45°, and the head is turned properly away from the light, this high-light on the top of the cheek bone, beneath the eye, will be secured.
268. Illuminating Shadow Side. — If not enough detail is pres- ent on the shadow side of the face, not enough reflected light has been used. Place the reflector nearer the subject, and by proper and judicious handling of the diffusing screen and reflector, the proper illumination and detail in the shadows is sure to be ob- tained. Practice and close observation of the effect produced, coupled with a little experimenting, will readily enable one to overcome this difficulty.
269. Diffusing Screen. — Here, also, only practice and close observation of the different effects produced will enable the oper- ator to overcome this difficulty. Try placing the diffusing screen nearer to the subject First draw all the diffusing curtains, spread-
187
138 Library of Practical Photography.
ing them over the screen. Then open a small portion of the upper section. Watch the effect produced. If the light is too broad the curtains have been separated too far. Use a narrower opening, then by shifting the screen forward or backward the light can be directed to any point desired. If the catch-light is not sharp enough, draw the black curtains over to the opening. This will make it more decisive. Placing the screen nearer to the subject will give more diffusion; when farther away a broader light is the effect produced. The eye should be trained to see the various effects and enable the instant discovery of any error, or chance for correcting slight imperfections.
270. Strong High-Lights on the Rear of the Head. — Strong high-lights on the rear of the head are caused by having too strong a light coming from the rear of the subject. To overcome this difficulty, diffuse this light, or so manipulate the dark curtains on the diffusing screen as to cut it off. Also, be careful about the placing of the reflecting screen. If it is turned so that the strong- est light is reflected on the back of the head and the ear, the reflector must be turned in the opposite direction. Experiment with this until the strongest light is reflected on the front of the face. The strongest reflected light should strike between the nose and the cheek bone, on the shadow side, and gradually blend to- ward the rear of the head.
271. Illuminating Background. — The background for profile portraits should be quite dark and, therefore, turned from the light. The darkest portion of the ground should come behind the side of the face which is nearest to the light; while on the other hand, the light part of the ground should come back of that part of the head which is farthest away from the light. With the darkest part of the ground to back up the highest lights, and the more neutral tint, or light parts, falling back of the shadows, or most dense parts of the portrait, relief and roundness are supplied to the head and figure. Watch the light as it falls upon the background. By turning from the light the end of the background farthest from the skylight, it becomes darker, or vice versa. Ex- perimenting and closely watching results will soon enable you to overcome any difficulty in properly illuminating the background.
272. Securing Roundness.— By working with the background a considerable distance from the subject, properly illuminating it by careful use of the diffusing and reflecting screen, by correct focusing and stopping down of the lens, proper gradation from the highest lights to the deepest shadows will be secured, and no trouble will be experienced in producing roundness.
273. Securing Half-Tones in the High-Lights.— Half-tones in the high-lights will be destroyed if the lighting is too hard and
Difficulties — Rembrandt Lighting, 139
the subject is placed too close to the side-light. This difficulty will be readily overcome if you handle the diffusing screen care- fully. If the light controlled by the diffusing screen is too strong for the highest catch-lights, draw a portion of the white curtain on the skylight, and with the light filtered through this curtain the high-lights will be materially softened.
274. Too Large a Catch-Light in the Eyes. — When the sub- ject is placed too close to the light, or when the eyes are turned too far into the light, the catch-light will appear large. Especially in profile lightings, if you part the curtains on the diffusing screen too much, thereby allowing too strong a light to strike the eyes of the subject, a catch-light of excessive size will be produced. The remedies for these difficulties are obvious.
275. Eyes Appear Staring. — If the pupils of the eyes have been directed too high, so that the whites are visible beneath the iris, the eyes are apt to appear staring. Be careful to have the subject's eyes directed at a proper height, so that the whites will not show. This will readily overcome the difficulty.
CHAPTER XV. HoUinger Lighting.
276. It was in the year 1898 that Professor Griffiths, Director of the Detroit Art Museum, in a lecture before the Photographers' Association of America, during their annual convention held at Chautauqua Lake, advocated a lower key of lighting. During the following year, as a result of that lecture, what is known as the " Low Key Lighting " was introduced. Numerous exhibits were pre- sented, possessing softer high-lights, but with dense, black shadows. The radical change from the conventional style was so great that the pictures exhibited were really freaky, and were frequently referred to as examples of freak photog- raphy,
277. The following year William M. Hollinger, of New York, in his exhibit, presented a happy medium be- tween the two extremes. The work was received with a great deal of enthusiasm and at once established a standard of tone which many professionals have since tried to uphold. Hence our reason for naming this style of illumination, " Hollinger Lighting."
378. "Hollinger," or "Low Key Lighting," is a lighting made up principally of half-tones, with delicate catch-lights and soft shadows. The extreme of this style of lighting is soft high-lights with a mass of dense, black shadows — the latter we do not recommend, as it is " freaky." (For correct lighting see Illustration No. 23.)
279. This so-called " Freak Photography " has been the cause of an immense amount of inferior work by pro- fessional men, who, having adopted the " Low Key Light- ing," plunged to greatest extremes, thus classing their
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work among the " freaky." With all their faults, though, these men have advanced the art one step higher.
280. Conservative professional men, like Hollinger, and others, being quick to recognize the good qualities of this style, drew a line between the old and the extremes
Illustration No. 35
HoUincer Lightine— Floor Plan
See Para£rapn No. 283
of the Low Key methods, with the result that today this style of work is what all the " up-to-the-minute " photog- raphers are trying to produce.
281. Although the Hollinger Lighting belongs to the Low Key style, it is not " freaky." It gives extremely pleas-
Upper Illustration No. 23 See I'arajjraph No. 278
HoUinger Lighting— Portrait
Lower Illustration No. 24 See Paragraph No. 284
lloilinger Lighting— View of Room
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Example oi lluUinger Lit;hting See Paragraph No. 284
Hollinger Lighting. 145
ing results and truthfully reproduces the likeness of the individual. For portraits of men there is no stronger or more effective form of lighting, as the character of the subject is brought out in the best possible manner,
282. While this lighting may be produced in any key, the medium tone is to be recommended.
283. For this style of work it is necessary to use an open, or nearly open, skylight. Referring to Illustration No. 25, you will see the arrangement and the position in which the subject and various accessories are placed. The operating room should have at least from four to six feet of space beyond either end of the light. If, however, the room is short and the skylight is built very near one end of the room, thereby not allowing sufficient space for the background, the proper space can be supplied by draw- ing one of the opaque shades down the entire length of the light, if your light is a single-slant. If a hip-light, draw one of the top shades to the top of the side-light, and then the side shade from the bottom to the top of the side-light. This will be of material aid, as it will reduce the size of the light the width of this shade. Placing the background di- rectly under the light would strongly illuminate it and cause the background eflfect to appear coarse, harsh and wiry, instead of soft and diffused as it should be.
284. Lighting the Subject. — Refer to Illustration No. 24, and observe that the skylight is almost wide open, there being sufficient space beyond the end of the skylight to arrange the subject and background. The only shade used is the first one on the skylight, which has been partly drawn, preventing strong light from being carried too far across the face. For this variety of lighting the subject must be placed back from the light to permit all the illumi- nation to fall on the sitter from the front. (See Illustration No. 26.)
285. Controlling the Light with the Diffusing Screen. —The light is controlled entirely by the diffusing screen, which is placed between the light and subject, while the
146 Library of Practical Photography.
tone, or key of light, is obtained by placing the screen closer to, or farther from, the sitter.
286. If the diffusing screen were not placed between the light and the sitter, heavy shadows and strong high- lights would result. In fact, the effect would be quite contrasty. By softening the extreme high-lights with the diffusing screen, the same service is also performed for the shadows. Experiment by placing the screen at various dis- tances from the subject, observing the different effects produced.
287. When using the diffusing screen think of it as your skylight. By separating, or closing, the small curtains at different places on the screen, and also by tipping the screen forward at the top, every ray of light can be controlled and directed to secure the desired result. For this style of lighting all the dark opaque curtains should be drawn on the diffusing screen except, perhaps, the top row. Where the opaque curtains cut off too much light from the drap- ery, separate them to allow the illumination to filter through the tan curtains on to the drapery, thus supplying catch- lights. The narrower the opening the more concentrated and snappy will be the catch-lights, while the increased separation of the black curtains produces broader light upon the drapery. By properly handling the screen sketchy ef- fects may be obtained, with soft negatives full of detail and atmosphere.
288. It is* essential that there should be detail in the drapery, as well as in the shadows of the face. Photog- raphers sometimes carry this diffusion to the extreme, los- ing all semblance of detail in the drapery. This is wrong. There should be sufficient detail in the drapery to leave no doubt as to the texture of the goods. It is far better to light the drapery one tone too high than too low.
289. When photographing white drapery in this man- ner the diffusing screen is a great aid, because the light can be softened on the drapery and the face and flesh tints brought up to the same key, producing true values and avoiding dark faces. For dark drapery it will be necessary
Hollinger Lighting. 147
to separate the curtains on part of the screen, to illuminate and supply high-lights and build them up in proportion to the values of the face. This will also supply soft detail and avoid the mushy, muddy effects so frequently seen.
390. Reflecting Screen. — In using the reflector place it so that the light will fall upon the front of the face and blend gradually back toward the cheek and ear. To do this place the reflector at an angle of about 45° with the sky- light, and as close as possible to the subject without re- flecting too strong a light. Should the walls of the room be of a neutral tint, it may be possible to do away entirely with the reflecting screen, but usually some reflected light is necessary.
291. To make a successful Hollinger Lighting, the eye should be trained to observe the most delicate high-lights. This is essential for judging when the proper effect has been produced. The high-lights need not be prominent on the face, but the most delicate lights must be preserved in the development. For your first work, it is better to use a rather high key of light, and, when once familiar with the different methods of lighting, you may then experi- ment and work for a lighting in a lower key, but avoid going to the extremes. When once a style to your liking is developed, do not change it in the regular run of work, but strive to produce exactly the same effect each time. If you aspire to become a master of your profession, aim to produce uniform results.
292. For Hollinger Lighting the person being posed should be placed back from the light, permitting all the illumination to fall in front of the subject. By reference to the diagram of the floor plan you will observe the exact position of the different accessories in making the illus- trations. As conditions are not the same in all studios, it may be necessary to alter the positions somewhat to suit the room in which the work is being done; but the dia- gram will serve to illustrate clearly the manner in which the lighting is obtained. The principle points to remem- ber are, that practically an open light must be employed ;
148 Library of Practical Photography.
that the subject is placed back from the direct light and also away from the side light ; and that the key of light is controlled by the diffusing screen between the light and sitter.
293. The instruction given, in Chapter VII, Plain Por- trait Lighting, regarding the posing of the subject, applies to Hollinger Lighting as well. As this lighting is delight- fully soft, it is. particularly well adapted to almost any style of pose; sitting positions, two-thirds or half figures being most attractive under this lighting. Lounging positions of men or women give beautiful results. It is not as ef- fective for children's portraits, because they are made to better advantage in a higher key.
294. Study the Subject Carefully. — There are cases where it will prove more characteristic to have the shoul- ders slightly drooped, or the head tipped a trifle. If, when the occasion arises, this is properly done it will aid greatly in enhancing the character value of the portrait.
295. Background. — Although customary when using a gradually blended background to place the dark end of the ground back of the high-light side, and the light end back of the shadow side of the subject, some very pretty eflFects can be obtained by reversing this order, allowing the shadows of the subject to gradually melt into the dark portions of the ground. The general characteristics of the subject will assist in determining when to use the back- ground in this way.
296. Exposure. — While it is advisable always to ex- pose correctly, it is quite essential that most accurate exposure be given for this style of lighting. Over-exposure to any great extent will give flat effects. This being a broad lighting the shadows are on the side of the face which shows the least, so if properly made there should be no strong high-lights. The broad side of the face should be made up of middle tones, free from either strong high- lights or dense shadows. Owing to the fact that the subject is placed farther from the source of light, a trifle more
Hollinger Lighting. 149
exposure will be required than that for ordinary Plain Por- trait Lighting.
297. Do not infer that by diffusing the stronger high- lights with the diffusing screen that the general illumina- tion is being reduced, because in reality its effect is thereby increased, as the shadows are lightened on account of the general diffusion of light throughout the room. If an ex- posure were made without using the diffusing screen, it would require almost double the amount of time to se- cure detail in the deeper shadows, and this would clog the high-lights. In other words, the delicate half-tones would be over-exposed to such an extent that they would, when the negative is properly developed, be as dense as the high- est points of light. By diffusing the high-lights they are softened, the shadows are illuminated, and correct exposure is secured with much less trouble. (The exposure given the subject illustrating this lighting, was 3 seconds, with a Portrait Unar lens and no stop.)
298. It will be seldom necessary to use the reflector, after having used the diffusing screen judiciously, except when the shadows are too dense. Then it will be necessary to throw a little reflected light into the deeper parts of the shadows. Use the reflector only as an assistant to the diffusing screen, remembering that reflected light must be only a continuation of the direct source of light. Therefore, the reflector should be placed at an angle to the skylight, so that the end of the reflector farthest from the light will throw little or no reflected light on the side of the subject's face.
299. Artificial Means of Strengthening High-Lights. — There are times when it may be desired to produce delicate catch-lights on parts of the face that you will find difficult to obtain in the regular way. These eflfects may be secured by applying with the finger tip a little vaseline, or cold cream, upon the bridge of the nose, top of the cheek bones, protruding parts of the forehead, and on the tip of the lips and chin. Vaseline or cold cream will have just enough gloss to produce the necessary strength in the high-lights.
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This can be easily removed after the exposure is made, by- using a soft cloth or towel. This method, however, should be resorted to only when it is desired to produce certain cflFects, and. of course, with the consent of the subject.
300. Development. — Develop in normal developer, watching the plate carefully as the image begins to appear. If it shows signs of contrast, treat it as an under-exposed plate, by placing it in plain water for a few minutes, finally finishing the developing in normal developer. The amount of developing it is possible to do in plain water, after the plate has become saturated with developer, is surprising. We recommend free use of this method. The water reduces the strength of the developing agent already on the plate, and retards the high-lights, while the shadows continue to develop. Should the plate come up gradually, the relative values developing evenly, continue until the proper density is produced. This style of lighting is quite sensitive to changes in the developing, so watch the plate carefully. Developing one plate at a time is advised until thorough familiarity with the developing of this style of lighting is gained.
301. Practice Work. — First, open the entire skylight; then, at the end of the room it is proposed to place the subject, draw the side shades almost to the top. If there is sufficient space back of the skylight, place the subject 11 ft. from the side-light and 3 ft. back from the skylight; in other words, locate the subject about 3 ft. from a point directly under the edge of the skylight. (See dia- gram of floor plan.)
302. If there is not sufficient space back of the sky- light to permit placing the subject and background at such a distance, draw the first shade on the skylight down to the bottom. This will cut off about 3 ft. of skylight. Then, by placing the subject on a line with the end of the side- light and directly underneath the edge of the top-light, a position 3 ft. back of the source of light is secured. When that is accomplished place the background at least 3 ft. back of the subject. Next, draw one shade on the top-light
HOLLINGER PORTRAIT STUDY Study No. 17— See Page 578, Vol. VIII W. M. IIollingbr
Study No. i8
PORTRAIT STUDY
J. E. RoscM
Hollinger Lighting. 153
about half-way down, or sufficiently to give an angle of light of about 45 degrees. This will cut off all the harsh light over the head of the subject.
303. Next place the diffusing screen between the light and the subject, having all the curtains drawn. Place the screen within about 4 ft. of the subject and observe the effect of the diffusion on the face. If the screen does not diffuse the light sufficiently place it nearer to the subject, until it almost flattens the high-lights. Then provide an opening in the upper row of curtains, by separating the tan curtains on the screen enough to give catch-lights on the face. Should the balance of the figure be too strongly illuminated, draw the black curtains over the screen until the proper amount of diffusion is supplied.
304. The light on the subject is controlled by the dif- fusing screen. By turning the end nearest the camera to or from the light, more or less broadness of the light is pro- duced.
305. Reference to the diagram of the floor plan will illustrate the angle of the screen as it was used to make the accompanying illustration.
306. If, after supplying catch-lights and general dif- fusion you find that the shadows are not sufficiently illumi- nated, place the reflecting screen within 4 ft. of the subject and turn it at an angle from the light. (See diagram of floor plan.) In this way the subject should be perfectly lighted.
307. Now, place the camera within 6 ft. of the side- light, or at any position where the best contour of the face may be obtained. All is then ready for the exposure, which with an ordinary rapid lens should not require more than from three to four seconds, all depending, of course, upon the amount of illumination employed.
308. After making the first exposure try a second ex- posure of the subject in the same position, this instance giving slightly longer time and for the sake of the practice it might be well to make a third exposure, moving the camera in one direction or the other to obtain a different view of
154 Librar\f of Practical Photography.
the face. It might be well to place the diffusing screen slightly closer to the subject, thus supplying a more dif- fused lower key of light. In making this exposure give the same time accorded the others, and upon development, observe the effects of the different exposures, also the change in diffusion and in the reduction of the strength of light. 309. Make proof prints from all negatives, noting all data pertaining to the producing of the various results. These proofs will serve as a guide for future work, and should be filed in the proof file.
CHAPTER XVI. Difficulties — HoUinger Lighting.
310. Too Much Top-Light. — The subject is placed too near the center of the skylight. The sitter must be removed from under the light a trifle farther than for either a Plain Lighting or a Rembrandt Lighting. If there is not sufficient space be- tween the end of the light and the end of the room, cut off a portion of the light rays by drawing one of the opaque curtains down the entire length of the top-light.
311. Softening High-Lights. — This difficulty will occur if you do not handle the diffusing screen properly. When first placing the diffusing screen in position, close all curtains; then experiment by moving the screen nearer to, or farther from, the subject until general diffusion is obtained. Then separate the curtains on the top row slightly, when white light is to be admitted for the catch- lights With a little practice no trouble will be experienced in securing the effect desired. At times it may be found necessary to use the black curtains; at other occasions simply the tan cur- tains. The necessity may arise also when it will be advisable to draw a section of the white curtains over the skylight to soften harsh lights.
312. Securing Roundness. — Lack of roundness will result from using too small a source of light. Atmosphere and roundness will be produced by first flooding the entire skylight room with light and then softening the light on the subject, using only the diffusing screen. Place the background far enough away from the sub- ject to secure the proper amount of diffusion.
313. Background too Sharp. — The background is too close to the subject, or too small a stop is used. The background should not be less than three feet from the subject, and no smaller stop than is actually required to give clear definition should be used. Another difficulty which may be experienced may come from using a background which is painted too sharply. Avoid purchas- ing a ground of this kind, as soft, delicately blended ones may easily be procured.
314. Reflector. — The same rules govern the handling of the reflector for this lighting as are applicable to any other lighting, yet if the skylight room is painted a light color you may be able
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to dispense with the reflector altogether. By all means avoid too strong a reflection of light, as this will produce glary ef- fects, destroying both half-tones and shadows. For angle of re- flector, see diagram of floor plan, Illustration No. 20.
315. Shadows Fall Straight Across the Face.— If the shadow cast by the nose falls straight across the face, the trouble lies in using too much side-light. Raise the curtains on the side-light and use more top-light. Remember, the greater the distance the subject is located from the side-light, the lower will be the angle of illumination. Be careful to place the subject so that the light will fall from the front. For that reason, it is essential that the sitter be placed back from the end of the skylight and not under it. The light should fall on the subject at an angle of 45°.
316. Securing Proper High-Lights, or Catch-Lights. — To se- cure snappy high-lights, first diffuse the light on the subject's face, until the desired softness is produced. Then open the diffusing screen slightly here and there, just enough to produce high-lights, or catch-lights, wherever desired.
317. No Catch-Lights on Shadow Side of Face.— The trouble lies in not having secured the proper angle of light, and in having the face turned too far away from the source of light. The light must fall at an angle and the face turned so that the tip of the nose blends into the shadow side of the cheek. This will then allow the strong light to spread across the cheek and give a high- light shaped like the letter V, on the shadow cheek, the highest and broadest part being at the top of the cheek bone, from there slanting down to a point almost directly opposite the base of the nose. Turn the subject so the light will catch the shadow cheek and if more side view of the face is wanted, move the camera nearer to the light.
318. Little or no Shadow on the Shadow Side of Face. — If the skylight room is painted light, and too free use of the reflector has been made, little or no shadow will be visible, and the result will be entirely flat. If this occurs, dispense with the reflector altogether, and if too much reflected light still comes from the walls, place a medium dark background between the. wall and subject. The walls of a skylight room should never be painted white. Dark, slate-colored walls will save a great deal of trouble by overcoming reflection. Placing the subject farther back from the skylight will supply more shadow.
CHAPTER XVII. Schriever Lighting.
319. This style of lighting is just the opposite to Rembrandt Lighting, the face and figure being fully illumi- nated with soft, diffused light, the outline being in delicate shadows. This is one of the easiest lightings to execute, and where the skylight room is quite wide it is a favorite with many photographers; as it is possible to pose the subject to secure a profile, or two-thirds view, of either side of the face, by simply having the subject turn the head one way or the other. (See Illustration No. 27.) Full face views may also be made, and for children's portraits it has no equal, as the subject is presented before the camera, illuminated by the full opening of the skylight, thereby per- mitting a very quick exposure, with results soft and round.
320. Curtaining the Light. — By reference to illustra- tion of the skylight room, you will observe that the top- light is employed wide open; all the curtains are run up, supplying a flood of top-light. The curtains on the side- light are drawn pretty well toward the top, avoiding re- flected light that might come from the side-light reflections upon the floor.
321. Placing the Subject. — The skylight room in Il- lustration No. 28, presents the exact conditions under which this style of lighting is made. The subject is placed directly opposite the side-light and a little to one side of the center, back from under the light just far enough so that the angle of light will fully illuminate the top of the head of the sitter. The subject should not face the light squarely, even for a front view, but always at an angle of from 30° to 50°. This angle supplies the shadows needed to give
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158 Librar}f of Practical Photograph}}.
roundness. Flat effects will be produced by facing squarely to the light.
322. If the left side of the face is to be photographed, place the subject to the right of the center, the object being to supply delicate shadows. If a front view of the face is wanted, turn the face from the light sufficiently to obtain the desired shadows, then move the camera enough to one side of the light to obtain the view of the face desired. In other words, for front, or nearly front view, operate the camera at an angle opposite the light. For a profile view a slight angle only will be required, just sufficient to sup- ply roundness to the outline of the face. By using the sky- light wide open and locating the subject some distance away — about 14 ft. — the light will be diffused and all of the character and modeling of the face brought out roundly and nicely blended, without the aid of the usual diffusing screen, or even the reflector.
323. Although no side-light, but only all top-light is used, the illumination must fall at an angle sufficiently high to illuminate fully the top of the head ; otherwise roundness will be lost. The entire subject must be evenly illuminated. Should the light not be high enough to illuminate the sub- ject properly when placed quite far back in the room, then advance the subject farther under the light until the illumi- nation is found to be correct.
324. There may be occasions when it will be found necessary to lower some of the curtains on one end of the side-light, to obtain a slight side angle of light. The greater the distance between the subject and the wall, or background (unless the latter is in very deep shadow), the greater will be the atmospheric effect.
325. One of the chief advantages of Schriever Light- ing is, that the photographer is able to make views of either side of the face, it being only necessary to have the subject change from one side to the other, slightly moving to the right or to the left of the center of the light, accord- ing to the view of the face desired. This is specially con-
Upper Illustration No. 27 See Parapraph No. 319
Schriever Lighting — Portrait
Lower Illustration No. 28 See Paragraph No. 321 '
Schriever Lighting— View of Room
Illustration No. 31
Elxample of Schriever I.ifrhting
See Paragraph No. 333
Schnever Lighting. 161
venient if the skylight is located at one end of a room, as it enables one to work across either end of the light.
326. Use of Opaque Screen. — You must place an opaque screen, which may be a small background (even the diffusing screen, with black curtains drawn, will do), be- tween the camera and subject, in front of, and about five feet distant from, the latter. (See Illustration No. 28.) This screen should be drawn as close to the range of the lens as possible, without cutting into the angle of view. It is used for the purpose of cutting off the flood of light from the side of the face you desire to be in slight shadow, thereby supplying soft shadows and giving general round- ness to the portrait. In the case of a profile pose the opaque screen cuts off sufficient strong light to round off the profile of the front of the face with delicate mellow shadows.
327. Background. — Frequently the side wall of the room may be used as a background Walls finished in figured paper, or natural wood, are hardly suitable. How- ever, in some cases a plain painted background may be used — a pure white is especially effective in some profile poses, yet for ordinary purposes a dark ground is to be preferred. Sketchy effects may be easily produced with a plain tinted paper, or plastered wall, by hanging a small picture on the background, adjusted to the style of pose and the size of subject. This would be out of place for a bust portrait, but for three-quarter lengths, or full figures, it is quite ef- fective, even if a plain canvas background be used.
328. Position of Camera. — The camera is placed with its back against the side-light. For a profile it is wheeled a trifle to one side of the center; for a two-thirds view of the face it must be moved to the side following the direc- tion the subject is facing, while for a front view the camera will need to be placed almost diagonally across the light, in order to obtain some shadows on the face. While the camera is placed at an angle across the light, the face is turned at a still greater angle from the source of light; thereby supplying high-lights and shadows, but presenting almost a front view to the camera. Observe the rules in
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regard to the height of the