THE LIBRARY
THE FIELD ARTILLERY SCHOOL
FORT SILL, OKLAHOMA
E2rinJM
ACCESSION NUMBER
A ^
PROPERTY OF U. S.
TR
S3Q.
'PROPERTY OF Jj. S. ARMY"
FAS, Port Sill, Okla., (5-15-44 5.000) 29343 9a
STUDY No. i See Page 401
NYDIA
Wn.i, H. WALKER
Complete
of practical
VOLUME VI
At-Home Portraiture, Flashlight,
Interiors, Lenses
J. B. SCHRIEVER
Editor-in- Chief
Popular ambition
PUBLISHED) BY
American cf)ool of &rt anti
SCRANTON, PA., U. S. A.
1909
COPTRIGHT, 1908, 1909, BY
AMERICAN SCHOOL OF ART AND PHOTOGRAPHY,
SCRANTON, PA., U. S. A.
ENTHRED AT STATIONER'S HALL, LONDON, ENGLAND.
AH rights and translations reserved.
SRLF
URL
5140631
PREFACE
1. In gathering together the material for this volume,
the editors have not lost sight of the fact that not alone the
amateur, but the professional also, is frequently desirous of
making portraits in the home, with all the surroundings of
home that help to make up the effective studies now so much
in vogue.
2. As a foundation for portrait work in the home, a
knowledge of the photographing of interiors is most es-
sential. This teaches us the handling of furniture and
similar accessories; the treatment and control of light in
small areas; the correct judging of exposures under diffi-
cult circumstances.
3. From this branch of the work, it is but a step to
the introduction of figures into the picture, and portraiture
in the home follows as a natural sequence. We can thus
see that successful At-home Portraiture is dependent, to a
great extent, on the correct handling of interiors.
4. The making of interior photographs differs con-
siderably from exterior work, yet the general principles
of manipulating the camera are the same. One has to learn
the value of the light; also exercise his power of selection
and arrangement to a different degree, as the subject ma-
terial is of another type.
5. With a thorough knowledge of the subjects just
mentioned, and the ability to obtain technically correctly
lighted negatives, flashlight photography will present no
difficulties, for the only difference between flashlight photog-
raphy and ordinary photography, where daylight is used,
is in the source of illumination. For this reason, it is very
important that one refrain from attempting flashlight work
PREFACE
until one has a comparatively good idea of the manner
in which ordinary work is produced, using daylight as the
illuminant.
6. At this juncture particular attention should be given
the subject of lenses, as a knowledge of their wide range of
use is of inestimable value. The training that should have
resulted from studying the first five volumes of this library
now demands more than a passing acquaintance with the lens
and shutter; therefore, careful study should be made of the
various chapters forming the latter portion of this volume.
Of particular value is Mr. S. Lawrence's talk on " Photo-
graphic Lenses Their Nature and Use."
7. The apparatus necessary for the various phases of
work taken up in detail in this volume is easily constructed,
or bought at little expense, and, together with the instruc-
tion given, will enable anyone to produce excellent results.
8. We urge a systematic study of each chapter and
every paragraph in each chapter. Only in this way can
familiarity with the various processes and manipulations be
gained. Should difficulties be encountered, reference to
the special chapters will obviate them. Prevention and
Remedy are given in concise terms, following each special
subject. All practice work should be preceded by a care-
ful study of these Difficulty Chapters. Only in this way
will the greatest amount of benefit be derived.
9. In order that the best results be obtained, and that
waste of material be reduced to a minimum, proofs should
be made from all experimental results, and these filed, to-
gether with the data describing the manner in which the
experiment was performed, in a proof file. A regular letter
file, which is arranged alphabetically and may be procured
from any stationer, will answer this purpose admirably.
TABLE OF CONTENTS
VOLUME VI
PAGE
PREFACE . : 5
CHAPTER I.
INTERIOR PHOTOGRAPHY
PART I PHOTOGRAPHING INTERIORS OF
RESIDENCES 19
CHAPTER II.
MATHEMATICAL METHOD OF MEASURING LIGHT 35
CHAPTER III.
INTERIOR PHOTOGRAPHY
PART II DEVELOPING EXAMPLES 39
CHAPTER IV.
INTERIOR PHOTOGRAPHY
PART III CONTROLLING HALATION BY SPECIAL
DEVELOPMENT 51
CHAPTER V.
DIFFICULTIES INTERIOR PHOTOGRAPHY 59
CHAPTER VI.
AT-HOME PORTRAITURE WITH HOME SURROUNDINGS 63
CHAPTER VII.
DIFFICULTIES AT-HOME PORTRAITURE WITH HOME
SURROUNDINGS 75
CONTENTS
PAGE
CHAPTER VIII.
AT-HOME PORTRAITURE
PART I INTRODUCTION 77
CHAPTER IX.
AT-HOME PORTRAITURE
PART II CONTROLLING THE LIGHT 81
CHAPTER X.
AT-HOME PORTRAITURE
PART III GENERAL INFORMATION 87
CHAPTER XL
AT-HOME PORTRAITURE
PART IV BACKGROUNDS 91
CHAPTER XII.
AT-HOME PORTRAITURE
PART V MAKING GENERAL PREPARATIONS. ..... 95
CHAPTER XIII.
AT-HOME PORTRAITURE
PART VI PLAIN PORTRAIT LIGHTING 101
CHAPTER XIV.
AT-HOME PORTRAITURE
PART VII POSING DETAILS 115
CHAPTER XV.
AT-HOME PORTRAITURE
PART VIII IMPORTANT GENERAL NOTES 121
CHAPTER XVI.
AT-HOME PORTRAITURE
DIFFICULTIES PLAIN PORTRAIT LIGHTING 127
CHAPTER XVII.
AT-HOME PORTRAITURE
PART IX REMBRANDT LIGHTING INTRODUC-
TION AND BRIEF GENERAL INSTRUCTION 131
CHAPTER XVIII.
AT-HOME PORTRAITURE
PART X REMBRANDT LIGHTING DETAILED
INSTRUCTION 139
CONTENTS
PACK
CHAPTER XIX.
AT-HOME PORTRAITURE
DIFFICULTIES REMBRANDT LIGHTING 147
CHAPTER XX.
AT-HOME PORTRAITURE
PART XI BROAD PROFILE LIGHTING 151
PART XII REMBRANDT PROFILE LIGHTING 154
CHAPTER XXL
BABY AND CHILD PHOTOGRAPHY INTRODUCTION AND
BRIEF GENERAL INSTRUCTION 167
CHAPTER XXII.
BABY AND CHILD PHOTOGRAPHY DETAILED INSTRUC-
TION 173
CHAPTER XXIII.
CHILDREN'S PORTRAITS IN DRAPERY 179
CHAPTER XXIV.
PHOTOGRAPHING CHILDREN OUTDOORS 187
CHAPTER XXV.
FIRELIGHT EFFECTS BY DAYLIGHT 193
CHAPTER XXVI.
GROUPS 199
CHAPTER XXVII.
DIFFICULTIES GROUPS 209
CHAPTER XXVIII.
GENERAL FLASHLIGHT PHOTOGRAPHY 213
CHAPTER XXIX.
FLASHLIGHT PORTRAITURE 221
CHAPTER XXX.
GROUPS AND INTERIORS BY FLASHLIGHT 237
CHAPTER XXXI.
DIFFICULTIES FLASHLIGHT PHOTOGRAPHY 243
CHAPTER XXXII.
REFLEX CAMERA IN CONJUNCTION WITH FLASHLAMP . . . 247
CONTENTS
f>AGE
CHAPTER XXXIII.
PHOTOGRAPHIC LENSES THEIR NATURE AND USE 257
CHAPTER XXXIV.
WHY AN ANASTIGMAT is DESIRABLE 293
CHAPTER XXXV.
STOPS OR DIAPHRAGMS 301
CHAPTER XXXVI.
PHOTOGRAPHIC SHUTTERS 307
CHAPTER XXXVII.
BAUSCH & LOME LENSES 317
CHAPTER XXXVIII.
GOERZ ANASTIGMAT LENSES 333
CHAPTER XXXIX.
COOKE LENSES 351
CHAPTER XL.
VOIGTLANDER LENSES 359
CHAPTER XLI.
PORTRAIT LENSES 373
CHAPTER XLII.
TELEPHOTOGRAPHY 387
CHAPTER XLIII.
PROJECTING AND ENLARGING 395
CHAPTER XLIV.
How THE STUDIES ILLUSTRATING THIS VOLUME WERE
MADE ..,,,,,,,..,.., , , 401
ILLUSTRATIONS FOR PHOTOGRAPHIC
LENSES THEIR NATURE
AND USE
BY S. LAWRENCE
ILLUS. PAR.
NUMBER T1TLB PAGE REF.
REFRACTION 258 576
DISPERSION 259 580
DISPERSION (SHOWING BAND OF COLORS) .... 260 580
CHROMATIC ABERRATION 261 582
CORRECTION OF CHROMATIC ABERRATION .... 262 583
SPHERICAL ABERRATION 263 584
FORMS OF LENSES 264 586
CURVATURE OF FIELD 267 593
CURVATURE OF FIELD 267 594
COVERING POWER OF LENS 270 600
CURVATURE OF LENS 270 601
CRITICAL DEFINITION 271 602
RELATIVE POSITION OF PLATE AND FIELD. . . . 272 603
POSITION OF PLATE AND FIELD 272 603
FOCUSING OF A LENS 273 605
EQUIVALENT Focus ,. . . . 275 608
ILLUSTRATION OF BACK Focus 276 610
RATIO OF DISTANCE AND SIZE 277 613
INFLUENCE OF APERTURE ON DEPTH OF
Focus 282 619
20 RELATIVE SPEED OF LENSES 284 625
21 RELATIVE SPEED OF LENSES , 285 627
ILLUSTRATIONS
J.LUS. PAR.
NUMBER TITLE PAGE REF.
1 SIMPLY ARRANGED DINING-ROOM 42 78
2 A DINING-ROOM 45 81
3 GENERAL INTERIOR VIEW 46 82
4 AVOIDING HALATION 54 102
ORDINARY PLATE SPECIAL DEVELOPMENT.
NON-HALATION PLATE ORDINARY
DEVELOPMENT.
5 AT-HOME PORTRAIT 65 131
6 AT-HOME PORTRAITURE WITH HOME
SURROUNDINGS 66 132
7 SPECIAL EXAMPLES OF AT-HOME PORTRAIT-
URE BY HENRY HAVELOCK PIERCE 69 136
8 AT-HOME PORTRAITURE WINDOW
PORTRAITS 70 137
9 INGENTO BACKGROUND CARRIER 88 174
10 CONSTRUCTION OF BACKGROUND FRAME. ... 93 185
11 CONTROLLING SCREEN IN WINDOW 96 193
12 PLAIN PORTRAIT LIGHTING FLOOR PLAN.. 103 208
13 PLAIN PORTRAIT LIGHTING AT-HOME
PORTRAITURE 107 214
14 PLAIN PORTRAIT LIGHTING AT-HOME
PORTRAITURE 107 216
15 MORRISON VIGNETTER 124 266
16 REMBRANDT LIGHTING AT-HOME
PORTRAITURE 133 289
17 REMBRANDT LIGHTING AT-HOME
PORTRAITURE 133 291
ILLUSTRATIONS
ILLUS. PAR.
NUMBER TITLE PAGE REF.
18 REMBRANDT LIGHTING FLOOR PLAN 136 297
19 REMBRANDT PROFILE LIGHTING FLOOR
PLAN 155 35O
20 SUITABLE PROFILES FOR PLAIN AND
REMBRANDT LIGHTINGS 157 352
21 SERIES OF INFANTS' PICTURES 169 376
22 CHILD DRAPERY PORTRAIT 181 402
23 HAND POSING 182 406
24 STATUETTE 182 408
25 AT-HOME PORTRAITURE OUT-OF-DOORS. . . . 189 420
26 FIRELIGHT EFFECT BY DAYLIGHT. 195 423-5
27 GROUP OF Two PYRAMIDAL ARRANGE-
MENT 169 435
28 GROUP OF THREE PYRAMIDAL ARRANGE-
MENT 169 436
29 GROUP OF THREE MOTHER AND CHILDREN . 201 437
30 FAMILY GROUP 201 438
31 MAGNESIUM MACHINE 214 475
32 EASTMAN FLASH LAMP 216 480
33 STYLE " D " Luxo FLASH LAMP 217 480
34 NICHOLS' PROFESSIONAL FLASH LAMP 222 489
35 NICHOLS' JUNIOR FLASH LAMP 222 489
36 SECTIONAL FRONT VIEW OF NICHOLS' FLASH
LAMP 223 491
37 SECTIONAL REAR VIEW OF NICHOLS' FLASH
LAMP 224 492
38 LENS HOOD 226 502
39 FLOOR PLAN PLAIN LIGHTING BY FLASH-
LIGHT 228 508
40 CHILD'S PORTRAIT MADE WITH NICHOLS'
FLASH LAMP 23 1 508
41 FLOOR PLAN REMBRANDT LIGHTING BY
FLASHLIGHT 229 509
42 EXAMPLE OF WORK WITH FOCAL PLANE
SHUTTER 249 559
ILLUSTRATIONS
ILLUS. PAR.
NUMBER TITLE PAGE REF.
43 EXAMPLE OF WORK WITH FOCAL PLANE
SHUTTER 249 560
44 EXAMPLE OF WORK WITH FOCAL PLANE
SHUTTER 249 570
45 REFLEX CAMERA WITH ELECTRIC CONNEC-
TION 250 562
46 REFLEX CAMERA WITH ELECTRIC CONNEC-
TION 250 562
47 DIAGRAM OF ELECTRIC CONNECTION FOR
REFLEX CAMERA 252 563
49 GOERZ XL SECTOR SHUTTER 309 693
50 " B. & L." VOLUTE SHUTTER 309 693
51 PHOTOGRAPHS MADE WITH MULTI-SPEED
SHUTTER ON A 3A KODAK 310 705
SECTIONAL VIEW SHOWING REFLEX PRIN-
CIPLE 3160 718
GRAFLEX FOCAL PLANE SHUTTER 3160 718
5 ic SHOWING RELATIVE POSITION OF FOCAL
PLANE SHUTTER 3i6a 718
5 ic? CURTAIN OF GRAFLEX FOCAL PLANE SHUT-
TER 3i6a 718
5I WOLLENSAK AuTEX SHUTTER 3l6& 719
5 if WOLLENSAK OPTIMO SHUTTER 3166 719
$ig WOLLENSAK STUDIO SHUTTER 3166 719
52 BAUSCH & LOMB-ZEISS TESSAR LENS, SEC-
TIONAL VIEW OF 318 722
53 BAUSCH & LOME TESSAR i ib Lens 321 723
54 BAUSCH & LOMB-ZEISS TESSAR LENS, SE-
RIES I-C 321 735
55 BAUSCH & LOMB-ZEISS PROTAR LENS, SE-
RIES IV 321 741
56 BAUSCH & LOMB-ZEISS PROTAR LENS, SEC-
TIONAL VIEW OF 323 741
57 BAUSCH & LOMB-ZEISS PROTAR LENS, SE-
RIES VII-A 322 748
ILLUSTRATIONS
ILLUS. PAR.
NUMBER TITLE PAGE REF.
58 BAUSCH & LOMB-ZEISS PROTAR LENS, SE-
RIES 7-A, SECTIONAL VIEW OF 324 748
59 PHOTOGRAPH MADE WITH COMPLETE BAUSCH
& LOMB-ZEISS PROTAR LENS 325 753
60 PHOTOGRAPH MADE WITH REAR COMBINA-
TION BAUSCH & LOMB-ZEISS PROTAR
LENS 325 754
6 1 BAUSCH & LOMB-ZEISS PROTAR LENS DEM-
ONSTRATION 326 755
62 BAUSCH & LOME PLASTIGM AT LENS 322 760
63 BAUSCH & LOME PLASTIGMAT LENS, SEC-
TIONAL VIEW OF 328 760
64 MT. SHASTA PHOTOGRAPHED WITH DOUBLET
PLASTIGMAT LENS 331 761
65 MT. SHASTA PHOTOGRAPHED WITH SINGLE
LENS COMBINATION 331 761
66 BAUSCH & LOME RAPID UNIVERSAL LENS. . 322 762
67 BAUSCH & LOME RAPID UNIVERSAL LENS,
SECTIONAL VIEW OF 329 762
68 GOERZ CELOR LENS 332 803
69 GOERZ CELOR LENS, SECTIONAL VIEW OF. ... 332 803
70 GOERZ DAGOR LENS 332 810
71 GOERZ DAGOR LENS, SECTIONAL VIEW OF. . 332 810
72 DIAGRAM SHOWING ANGLE OF VIEW OF
LENS 346 820
73 GOERZ-ANSCHUTZ CAMERA 347 821
74 GOERZ-ANSCHUTZ STEREOSCOPIC CAMERA. . 348 828
75 COOKE PORTRAIT LENS, SERIES II 352 833
76 VOIGTLANDER'S COLLINEAR LENS, SERIES II. 367 890
77 VOIGTLANDER'S COLLINEAR LENS, SERIES III 368 890
78 VOIGTLANDER'S DYNAR LENS 369 892
79 COLLINEAR LENS CELLS 369 893
80 VOIGTLANDER'S HELIAR LENS 370 894
81 VOIGTLANDER'S EURYSCOPE LENS 371 896
82 DALLMEYER PORTRAIT LENS 379 900
ILLUSTRATIONS
ILLUS. PAR.
NUMBER TITLE PAGE REF.
83 VOIGTLANDER'S PORTRAIT EURYSCOPE LENS. 374 903
84 VOIGTLANDER'S HELJAR LENS 375 904
85 MOUNTING FOR BAUSCH & LOME PORTRAIT
LENSES 379 908
86 SECTIONAL VIEW OF BAUSCH & LOMB-ZEISS
PORTRAIT UNAR LENS 376 908
87 SECTIONAL VIEW OF BAUSCH & LOME POR-
TRAIT LENS, SHOWING DIFFUSING SYS-
TEM 378 910
88 NORMAL PERSPECTIVE 380 913
89 DISTORTED PERSPECTIVE 380 913
90 WHY A SHORT Focus LENS DISTORTS, DIA-
GRAM SHOWING 381 914
91 PHOTO BY DUDLEY HOYT 385 917
92 TELEPHOTO LENS, SECTIONAL VIEW OF 388 930
93 BAUSCH & LOME TELEPHOTO LENS 391 930
94 GOERZ TELEPHOTO LENS 391 930
95 DALLMEYER TELEPHOTO LENS 389 930
96 VOIGTLANDER'S TELEPHOTO LENS 389 930
97 TELEPHOTO DEMONSTRATION 392 931
98 SECTIONAL VIEW OF TRIPLE CONDENSING
LENSES 396 940
99 SECTIONAL VIEW OF DOUBLE CONDENSING
LENSES 396 940
100 BAUSCH & LOME PROJECTION LENS 391 946
101 SECTIONAL VIEW OF PROJECTION LENS 398 946
STUDIES AND HOW THEY WERE
PRODUCED
STUDY
NUMBER TITLE AUTHOR
NYDIA . . . . WILL II. WALKER
"BONNE NUIT".. Louis FLECKENSTEIN
" Do You WANT A BITE? "
MRS. NANCY FORD CONES
4 PORTRAIT OF CHILD. .CHAS. E. FAIRMAN
5 LADY AT WINDOW. . EVA GODLEY ROLFE
6 MOTHER AND CHILD
MARY G. HUNTSMAN
7 PUNISHMENT HELEN W. COOK
8 LADY AND CHILD IN OPEN DOOR
J. H. FIELD
9 AT-HOME PORTRAIT. . .MATH ILDE WEIL
10 THE CUP THAT CHEERS
MRS. M. S. GAINES
11 "FAIRY TALES"
MRS. NANCY FORD CONES
12 AT-HOME PORTRAIT PERRY STUDIO
13 MAKING PAPER DOLLS
FRANCES B. JOHNSTON
14 " Two AGAINST ONE ". JOHN S. NEARY
15 " GOOD MORNING ". . . .W. H. PARTRIDGE
HOW
STUDY MADE
PAGE PAGE
Frontispiece
21 401
22
41
53
83
84
108
134
158
170
190
196
202
232
401
401
402
402
402
402
402
403
403
403
403
403
404
CHAPTER I.
Interior Photography.
Part I.
Photographing Interiors of Residences.
10. Introduction. Probably one of the most difficult
subjects to handle by means of photography is the securing
of technically correct interiors. It is an extremely fascina-
ting branch of the work, however, and by the person who
will apply thought and diligent effort, making a careful
study of the various subjects, and using the result of each
exposed plate as a guide for manipulating the next suc-
ceeding one, there will be little difficulty experienced in
rapidly mastering interior photography. However, at the
outset it will be well to understand that a great deal of
practice will be required before one will be able to pro-
duce work of high character. In this volume we will treat
only of the photographing of residence interiors and minor
interior views, as the commercial side is covered in detail
in Volume IX Commercial and Scientific Photography.
By carefully observing the directions given in the following
instruction, either the beginner, amateur or professional
photographer will be able to secure not only technically
correct pictures, but artistically arranged interior photo-
graphs.
11. For interior work there are three main points of
importance to consider, which must be borne in mind at all
times. If for any reason they are slighted, the final result
will show the deficiency. In the first place, the arrange-
19
20 Library of Practical Photography.
ment of the subject material is of extreme importance, yet
many times it is not possible to alter the position of ob-
jects, as, in order to have a true record of the appearance
of the room, no material change must be made. Instead of
changing accessories alter the point of view.
12. Spotty effects of light and shade must be avoided,
as there should be but one strong predominating item of
interest, which must surpass all other items in importance.
Lighting either too strong or too contrasty tends to ac-
centuate and direct the attention to that particular object.
13. The general lighting of interiors is a serious prob-
lem; one which is almost impossible to handle correctly,
owing to arrangement of windows and other sources of
home illumination. Frequently, far better results can be
secured by employing artificial light flashlight, for instance
in order to illuminate deep shadows which cannot be
reached by daylight. This department of photography is
thoroughly covered under the heading, " Flashlight Photog-
raphy," Chapter No. XXX, of this volume.
14. The third matter for consideration is the exposure,
yet by following the instructions given in this lesson but
little difficulty will be encountered in securing proper
exposure.
15. The three main points for consideration are, there-
fore, arrangement of subject material, securing proper lighting,
and giving correct exposure.
16. The Camera and Lens. Any ordinary camera
may be employed for general interior work, but it is most
convenient to have an instrument with a rising front. If
using a G^ x 8^/2 camera the rise of the lens board should
not be less than 2% inches, while if employing a 5x7 or
4x5 camera, l 1 /^ to 2 inches is sufficient. Wide-angle
lenses are best for interiors, as with them more of the room
can be admitted into the view. However, in some instances
ordinary lenses can be satisfactorily employed. The lens
should be as good as circumstances will permit the photog-
rapher to procure. A single achromatic lens should not
be used in any event, however, as distortion of lines is
"BONNE NUIT"
STUDY No. 2 See Page 401
Louis FLECKENSTEIN
"DO YOU WANT A BITE?"
STUDY No. 3 See Page 401 MRS. NANCY FORD CONES
Interior Photograph]). 23
sure to result. While a good rectilinear lens will answer
practically every purpose, yet, if it is possible to employ
an anastigmat lens it is to be recommended, as the latter
lens greatly exceeds the speed of the rectilinear owing to
its more perfect correction, which enables its use at greater
aperture. If the amount of exposure is of little or no import-
ance, results exactly as good will be secured with the reg-
ular rectilinear lens fitted to an ordinary camera, but it must
be stopped down to quite a small diaphragm opening. As
a rule it is necessary to work in crowded positions, and for
that reason a lens of great focal length cannot be success-
fully employed. In a case of this kind it is quite important
that one should be equipped with an extra wide-angle lens,
which may be attached to the camera in place of the regular
rectilinear.
17. The wide-angle lens, for the majority of interiors,
is almost indispensable, as with it many obstacles are over-
come. These lenses may be secured in separate cells, which
can be screwed into the barrel of the regular rectilinear
lens, replacing the latter with the former. They are also
supplied in solid barrels. The latter is really the better
model to employ, because it permits of instant change
from rectilinear to wide-angle, and vice versa. Possessing
these two lenses, one is equipped for thoroughly practical
work. A good wide-angle lens may be obtained for from
$10 to $20 ; while the cells which can be fitted into the bar-
rel of your regular rectilinear lens may be purchased, in
a neat leather covered case, at $4 or $5.
18. For those having only a small camera, fitted with
a rapid rectilinear lens only, and who do not wish to pur-
chase an expensive wide-angle lens, or even the wide-angle
cells, we would advise the selection of a wide-angle lens
attachment. This attachment can be obtained for $1.00 or
$1.50. The purpose of these attachments is to increase the
cutting angle of the lens. They are placed in front of the
regular lens and effect an optical combination, which
changes the regular instrument from a simple rectilinear
to a wide-angle lens. They are mounted in neat brass cells,
24 Library of Practical Photography.
polished and nickel-plated / with adjustable springs to fit
like a cap over the hood of the regular lens. When pur-
chasing an attachment of this kind, be sure to give the exact
outside measurements of the lens.
19. In order to produce the best results and admit
as large an amount of the interior view as possible, we
advise the purchasing of an extremely wide-angle lens,
which should cut from 90 to 100. The covering power
and definition must be thoroughly considered. The lens
should be perfectly rectilinear, and the corrections must
be most perfect, in order that the image will be free from
distortion to the margin of the plate. With a lens of this
character it is easy to show the greater part of the room
you are photographing, and at the same time procure true
and perfect lines. Beginning with page 257, in this
volume, you will find complete instruction on the sub-
ject of lenses.
20. Tripod. The tripod should be firm and adjust-
able to customary limits of height. In interior photog-
raphy, the necessary exposure being of considerable length,
there must be absolutely no danger of the camera jarring or
moving during the exposure. As it is sometimes necessary
to work on polished floors, it would be advisable to provide
yourself with rubber tips to slip over the sharp points
of the tripod feet, to prevent the camera from slipping. A
better accessory, however, is three strips of wood, each
30 inches long by 2 inches wide, and ^ inch thick. Fasten
together with a thumb screw running through one end of
each, thus permitting them to be spread out in any direc-
tion. Six to ten holes should be bored in the ends of these
strips, to receive the end of the tripod legs. When not in
use this appliance folds into a very small space for carry-
ing. Tripod stays are procurable through the supply
dealer, and with them the tripod is made perfectly rigid
and cannot slide; but these do not protect highly polished
floors from being scratched by the metallic points at the
ends of the tripod legs.
21. Plates to Use. For all interior work non-halation
Interior Photography. 25
plates are the best to use, as they tend to prevent halation.
Ordinary plates can be used, however, by working care-
fully. In fact the majority of interiors are made with
ordinary plates, and where they are properly employed
good results can be obtained; but if treated as an ordinary
exposure your results will not be satisfactory.
22. Cause of Halation. Halation is due mainly to the
reflection of light from the back surface of the glass or
other support of the sensitive film, or even the inside of the
plate-holder. To overcome this, plate manufacturers have
placed upon the market the non-halation plate.
23. Non-Halation Plates. These plates are double
coated and especially made to prevent halation. They are
recommended for photographing interiors in which strong
light, entering through windows admitted into the view,
must be contended with. They are first coated with a slow
emulsion, and then, for a second time, with a rapid emul-
sion.
24. Ortho or Isochromatic Plates. These should be
used when photographing interiors of churches and public
buildings, in which are stained glass windows, for, being
color sensitive, they will give the true relative values of
the different colors.
25. Non-Halation Ortho Plates. We have briefly ex-
plained the reasons, under the foregoing headings, for the
choice of plate best to use for a given purpose. In so doing,
however, it was not intended to convey the impression that
good results may not be secured with any other brand of
plate if used intelligently. The ordinary plate, the non-
halation plate and the orthochromatic plate each have their
special advantages for particular classes of photography,
but there are times when it is necessary to have a plate
that is not only non-halation, but also corrected so as to
give the best of color values. Many times in making in-
terior views highly colored objects, such as upholstered
furniture, draperies, etc., will not reproduce properly, un-
less an orthochromatic plate be used. At the same time
windows may enter into the angle of view, and thus re-
26 Library of Practical Photography.
quire that the plate have non-halation properties. The Non-
Halation Ortho plate and the Isonon plate which are com-
binations of the two plates just mentioned, are practically
universal in their application, and of particular value when
photographing interiors where color values and contrasts of
light and shade must receive special consideration.
26. Backed Plates. The backing of ordinary dry
plates is one of the most suitable methods to employ to
overcome halation where non-halation plates cannot be ob-
tained. This backing must be in optical contact with the
glass ; it must have the same " refractive index " as the
glass in order to stop reflections from the back; it should
contain nothing injurious to the sensitive film ; it must
not scratch or chip easily, as this would cause dust, which
would leave pin-holes in the negative; it should be easily
applied and of quick drying quality; it should, also, per-
mit of being readily removed. Backed plates can be
purchased ready for use, or can be backed at home. The
following formula produces an excellent backing, which can
be applied with a brush :
27. Backing Mixture.
Gum Solution (ordinary mucilage or gum arabic) 1 oz.
Caramel 1 oz.
Burnt Sienna (ground in water) 2 ozs.
Mix, and then add 2 ozs. of alcohol.
28. Applying Mixture. Apply the backing to the
glass side of the plate, using an ordinary bristle paint brush
for the purpose. Of course this must be done in the dark-
room. A good way to perform the work is to lay the sen-
sitized plate on a dark card. Fit narrow strips of cardboard
(no thicker than the plate) around three edges of the
plate. Allow for a slight play, so the plates will not fit
too lightly. Glue these strips fast. Whenever it is de-
sired to coat plates, place them in this form, face side down,
and paint over the glass. The strips will keep the plate
Interior Photography. 27
from moving about. This backing will dry quickly and
is easily removed.
29. Black Paper Backing. Another very simple
method, which may be used, is to cut the ordinary black
paper, in which the plates are packed, the least bit smaller
than the size of the plate being used. After cutting, spread
glycerine evenly over one side of the paper, and then care-
fully squeegee it to the back of the plate. The glycerine
will hold the black paper in place for a number of weeks,
and by simply wetting it is easily removed. Care should
be exercised that none of the glycerine gets on the film, or
front of the plate. The same form may be used for hold-
ing the plate as recommended when painting the plate.
30. Focusing. In photographing small rooms or well
lighted interiors no trouble will be experienced, but some-
times where a large or dimly lighted place is to be photo-
graphed, and especially when a wide-angle lens is being
employed, it is not so easy to secure a sharp focus on
all parts of the room. When the front or foreground of the
view is sharp, the distance, in the rear of the room, will
be found to be quite a little out of focus. The focus should
then be equalized by giving attention to the middle. Select
a point between the middle of the view and the foreground
and focus sharply on this point. Do this with the open lens,
using no stop. This will throw the near foreground slightly
out of focus, nearer the middle will be sharp, but the dis-
tance may be still out of focus. Then, stop down until the
foreground is sharp, when the rear will be sufficiently sharp
for all purposes.
31. Arrangement. The arrangement of various ob-
jects in the room is of extreme importance; but, as pre-
viously stated, there are times when it is very desirable to
leave the furniture and other objects in their original posi-
tions. This necessitates very careful attention being paid
to the source of light and the effect of the light on the
various objects, as a spotted effect is by all means to be
avoided. Where it is possible to group the various objects
28 Library of Practical Photograph]).
so that lights of the same value come together, it should be
done.
32. Concentrate Interest. Avoid dividing the inter-
est evenly between two or more subjects. There should
be one point that claims more attention than any other;
this is usually in the strongest light, or embraces a greater
amount of contrast in light and shade than any other por-
tion of the picture space.
33. Distance From Camera to Subject. No object
should be so near the camera that its lower portion is
cut off. The base of all objects should appear. In other
words, no object should be cut off by the lower margin of
the picture.
34. Windows Included in View. Do not include
more windows in the view than are absolutely necessary.
When it is impossible to choose a favorable position and
have the windows out of the angle of view, the curtains
or blinds should be drawn while making the first three-
quarters of the exposure ; then, cap the lens, or close the
shutter, raise the shades to the normal height and expose
for the balance of the required time. In this way there will
be little danger of halation and the resulting effect will be
perfectly natural.
35. Technical Detail. A stricter attention to techni-
cal detail is necessary with interior work than in landscape.
It is quite essential to avoid all symmetrical or set ar-
rangements, whether in a general interior view, or of some
detailed portion of a room.
36. Low Point of View. As a rule, nine out of every
ten prints of interiors are ruined by insufficient foreground
or floor being shown. It is advisable, therefore, to employ
a low point of view, as the placing of the camera in such
a position prevents the displeasing effect of a slanting floor.
When photographing interiors where extremely heavy ob-
jects, such as large pillars in hallways, appear in the view,
special care must be exercised to have a fair extent of
flooring shown beneath them, to give a sense of support
and balance.
Interior Photography. 29
37. Introducing Figures. If figures are introduced
in interior pictures, always give the subject, or subjects
something to do, so the effect will not be unnatural and set.
38. Location of Figures. Never have a figure appear
near the edge of the picture facing outward. The figure
should always face the center or toward the most important
object in the picture space. Never place a figure in the
exact center of the interior view. A location slightly to
one side or the other of the center should be selected.
Usually preference is given to the left side. When a figure
is placed in the middle distance of the picture space, do
not have a large object between the figure and the camera,
as this would tend to make the figure appear small in com-
parison with the nearer objects.
39. Dodging During Exposure. Sometimes a little
dodging may be successfully resorted to by permitting the
figures (which, of course, must be arranged in good light)
to remain for the regular time required to get a good pic-
ture of them alone. When this time has expired have them
step out of the picture and then give the balance of the
exposure for the interior. The lens can be capped or
the shutter closed while the figures are leaving the room.
If much exposure is given, capping the lens will not be
necessary, because if the subject moves out of the room
quickly there will be no blurring. When subjects are to
remain in the room only a portion of the time, care must
be taken to arrange them in a position with some dark ob-
ject as a background, or the effect will be spoiled and a
ghost-like effect will show in the completed picture. Al-
ways have a dark background behind the subject, under such cir-
cumstances.
40. Lighting. The lighting is governed by the condi-
tions which exist in each individual case. It will be neces-
sary to choose the point of view that gives the greatest
amount of even illumination, and at the same time shows,
the most pleasing and attractive portion of the room. When
the point of view has been selected, give careful considera-
tion to the effect the light has on the individual pieces of
30 Library of Practical Photograph]).
furniture, and other objects. Avoid spotty effects in light-
ing, and if the general effect seems to be spotty, the slight
turning of a chair, or altering the position of the objection-
able feature, might have much to do toward securing proper
effect and a harmonious, even tone throughout the picture.
41. Time of Day. Great difference may be made in
the lighting of most interiors, by choosing the right time
of day and proper weather conditions. The room being
photographed should be on the shadow side of the house.
This will give a more uniform lighting than could be ordin-
arily obtained if rays of strong sunlight were falling on the
window. A room on the east side of the house should be
photographed in the afternoon, a west room in the morn-
ing, etc. Better results will be secured if it is slightly
cloudy out of doors, as the diffusion of light throughout the
room will be much more uniform and the high-lights not so
strong and accentuated.
42. Diffused Light. Sometimes diffused light may be
secured by pinning a single thickness of cheese-cloth over
the window through which strong sunlight is admitted. As
exposure is not made for the high-lights, strict attention
must be paid to the shadows, and every effort made to
soften the high-lights. Usually when doing this, the even
illumination will give more light to the shadows, as the
light, being more diffused, is evenly distributed throughout
the room.
43. Dark Walls and Furnishings. If the walls and gen-
eral furnishings of the room are very dark, it will be neces-
sary to pay more strict attention to the source of light and to
the amount of diffusion given the light, than if the walls
are of a light material, which would reflect a great deal of
light to the shadows. It may be taken as a general rule,
therefore, that in photographing dark interiors, the source
of light must be diffused considerably more than when
photographing interiors of light character. Of course, the
required exposure will be increased many times, but as a
rule the extreme length of necessary exposure is no detri-
ment.
Interior Photography. 31
44. Source of Light Location. It is generally ad-
visable to have the main source of light come from back
of the camera. In this way strong shadows will be done
away with and there will be little danger of crossed re-
flections on polished surfaces. It is specially advisable to
have the light come from this direction, when the interior
contains a considerable amount of dark furniture. In the
case of light furnishings and light walls, if the source of
illumination is directly back of the camera, a flat effect
would result. Therefore, where the furnishings are of
light description, and when it is desirable to have a cer-
tain amount of shadow and contrast appear to secure the
necessary relief and atmosphere, the source of light should
come from one side of the camera, rather than directly
back of it. Of course the camera must not cast a shadow
on the floor within the picture space.
45. Lighting Figures. When figures are introduced
and form the principal item of interest, special care must
be exercised in proper facial lighting. If more than one
figure is introduced, be very careful to have them grouped
so there will be no confusion or division of interest be-
tween them. Such a condition would completely ruin the
artistic quality of the picture.
46. Detail Should Prevail. There should be detail in
all portions of an interior picture. Smudges do not represent
shadows and are entirely out of place in work of this class.
Careful thought given to the general method of work and
plenty of time devoted to judgment of conditions affecting
exposure and lighting the scene, will invariably give satis-
factory results.
47. Exposure. There is probably more latitude in
the exposure of interiors than in any other class of photo-
graphic work, yet one must be guided almost wholly by
existing circumstances and conditions. One point is ab-
solutely necessary expose long enough to produce detail
in the deepest shadows. This may require 30 seconds or
60 seconds, or even 2 minutes, and for extremely dark
places one hour may not be too long an exposure. In
32 Library of Practical Photography.
either case, should you over-expose a few seconds or a few
minutes it will not be perceptible in the finished results.
48. Exposure Interiors Having Stained Glass Win-
dows. When timing interiors having stained glass win-
dows, the light diffused through the glass is usually of a
yellow, or orange, shade and is practically non-actinic. The
exposure must, therefore, be at least one-third longer than
if the glass were clear or white.
49. Exposure Depends on Varying Conditions. The
color of the furniture, wall paper and carpets also plays an
important part in the time to be given parlor interiors, sit-
ting-rooms, etc., and must be timed according to the
depth of color. When photographing dining-rooms with
tables set, the time can be shortened, as all the surroundings
are practically white, which permits shorter exposure. As
conditions vary greatly no set rule can be laid down.
There is one general guide, however, it is well to follow,
which will give an approximately correct knowledge of the
required exposure. As before stated, some interior views
may be made by giving an exposure of only a few seconds,
others require minutes, while still others consume hours,
to secure a perfect register on the sensitive plate of all
the detail in the deepest shadow. For the average exposure
in the ordinary room the following method may be advan-
tageously employed:
50. Ascertaining the Exposure. Cover your head and
camera with the focusing cloth, to exclude all light from
the ground-glass excepting that which comes through the
lens. Open the lens to the largest aperture and then re-
main under the cloth until the eyes become accustomed
to the darkness, so you can see the image distinctly over
the whole of the ground-glass screen. It is important that
the eyes become perfectly accustomed to this light before
making any attempt at judging the exposure. Therefore,
without uncovering the head, with one hand placed upon
the stops or diaphragm, stop down the lens by degrees until
the plate is sharply focused. At this stage observe the
strength of illumination on the ground-glass, as this will
Interior Photography. 33
serve as a guide to determine the exposure necessary.
Better over than under-expose. In fact one should aim
to expose fully. Bear in mind that where a long exposure
is required, 40 seconds is only twice as much exposure as
20 seconds, and the giving of 30 seconds exposure would
not materially cause over-exposure, if 20 seconds was the
correct time to give.
Exposure Table for Interiors.
51. This table is based upon the use of a stop not
smaller than f. 16 or U. S. 16. Where the next size smaller
stop is used, two times the exposure must be given, so cal-
culate accordingly. The plate used is the ordinary fast
plate.
52. White Walls and More Than One Window.
Bright sunlight outside, 8 seconds; hazy sun, 20 seconds;
cloudy bright, 40 seconds ; cloudy dull, 1 minute and 20
seconds.
53. White Walls and Only One Window. Bright
sun outside, 12 seconds ; hazy sun, 32 seconds ; cloudy
bright, 60 seconds ; cloudy dull, 2 minutes.
54. Medium Color Walls and Hangings and More
Than One Window. Bright sun outside, 16 seconds ; hazy
sun, 40 seconds ; cloudy bright, 80 seconds ; cloudy dull, 2
minutes and 40 seconds.
55. Medium Color Walls and Hangings and Only One
Window. Bright sun outside, 24 seconds ; hazy sun, 60
seconds ; cloudy bright, 2 minutes ; cloudy dull, 4 minutes.
56. Dark Colored Walls and Hangings and More
Than One Window. Bright sun outside, 40 seconds; hazy
sun, 1 minute and 20 seconds ; cloudy bright, 2 minutes
and 40 seconds ; cloudy dull, 5 minutes and 20 seconds.
57. Dark Colored Walls and Hangings With But One
Window. Bright sun outside, 1 minute and 20 seconds;
hazy sun, 2 minutes and 40 seconds; cloudy bright, 5 min-
utes and 20 seconds ; cloudy dull, 10 minutes and 40 seconds.
34 Library of Practical Photography.
58. This table is intended for rooms with windows receiv-
ing the direct light from the sky, but not with the sun shining
on the windows. Time of day, from three hours after sun-
rise until three hours before sunset. If earlier or later the
time required will be longer.
59. Under-Exposure. More failures are due to under-
exposure of interiors than from any other cause. This
is the case with beginners especially. They imagine that,
with the sun shining outdoors, they can make almost a
snap-shot indoors. Such is not the case, however, for,
while a full-timed image would be obtained outdoors w r ith
a snap-shot, on a bright day, it must be remembered that
one then has the benefit of unobstructed sunlight. In mak-
ing exposures of interiors under similar light conditions,
the work is performed with but a small fraction of the il-
lumination that you had outdoors, for there all the light
from the heavens was at your disposal, while here you
have only the light admitted through window openings.
The more windows, of course, the more light.
60. Making Exposures. If your shutter is not auto-
matic, learn to cap and uncap the lens quickly and without
jarring the camera. With figures in a view it may be neces-
sary to cap the lens or close the shutter, to allow them to
step out of the picture, when you can again uncap, or
open the shutter, for the remainder of the exposure. Shut-
ters other than the automatic cannot be used for this pur-
pose, because the necessary setting is apt to jar or slightly
alter the position of the camera, so that when a second ex-
posure is made a double image will be formed on the plate.
61. Working in Confined Positions. If the camera is
located in a position so confined that there is no room to
draw the slide of the plate-holder, take a rule and measure
the distance from the side of the camera to the obstruction.
Then loosen the tripod screw and turn the camera around
sufficiently to permit the drawing of the slide. Return the
camera to its original position, adjusting it with the rule,
and tighten the screw.
CHAPTER II.
Mathematical Method of Measuring Light.
62. Judging Strength of Light. One must not judge
the strength of light by the appearance of the light enter-
ing the window ; on the contrary, estimate the effect of this
light on the darkest portions of the room. These portions
should be the guide, as you must time for the shadows,
regardless of high-lights. The necessary exposure may be
estimated by measuring the light and floor space in square
feet. The following rule may be employed. While it is
by no means accurate, yet it is sufficiently close to serve
its purpose, and with it the necessary exposure can be
quickly figured:
63. First of all, it is presumed that the sun is not shin-
ing through the windows of the room in which exposures
are being made; also that the source of light is diffused
i. e., the light employed enters the windows from the shady
side of the building and, therefore, is not direct sunlight,
nor does it approach the strength of direct sunlight.
Second, consider how much space this source of light must
illuminate. If, for example, the room you are to photograph
is 12 by 18 feet, or 216 square feet (area of floor), and you
have the full illumination from but one window, say 3x5
feet, or an opening 15 feet square, you would have to il-
luminate 216 square feet of floor through 15 feet of illumina-
tion space. In other words, 216 feet of floor space must
be illuminated with 15-216ths ; or, about l-15th as much
light as would be available if the picture was made outdoors
in the shade. Therefore, if the same light conditions pre-
vailed indoors as outdoors, you would naturally give an ex-
posure of 15 times that which you would give outdoors ;
but, as the interior light conditions are not the same as
those outdoors, the difference must be estimated.
85
36 Library of Practical Photography.
64. Estimating Strength of Light. For ordinary
work in rooms with medium light walls and light furnish-
ings, it is safe to estimate that the light outside is more
than 8 times as strong as the light inside of the window.
To prove this estimate, place a piece of proof paper on a
medium-strength negative, in a printing frame, and place
it outside of the window to print. Note the time it will
require to print this proof to the proper depth. Then, take
the same negative with another piece of proof paper, plac-
ing the frame on a table inside of the window. You will
find it will require 8 times as long to print the proof inside
as it did outside; consequently, we figure that the light is
8 times as strong outside of the window as it is inside.
65. So, if with a U. S. No. 16 stop you can make a
full timed exposure in the shadow of the house, outdoors,
in 1/2 second, with the same stop and light conditions in-
doors, and with the object close to the window, the ex-
posure should be 8 times as long, or 4 seconds. But,
considering that one must illuminate the entire 216 feet
of space with the 15 feet of window space, or about 15 times
more space than the size of the window opening, you must
give 15 times more exposure for the entire room than you
would for an object close to the window, or 60 seconds.
66. Rule. Divide the amount of window space into the
amount of floor space, and multiply the result by eight times the
amount of exposure necessary for outdoor -work in the shade.
This will give you the amount of exposure required.
67. Actual Illuminating Space. First measure ap-
proximately the size of the window space used, or if more
than one window is used combine the measurements of all.
If a portion of the window is cut off with blinds, you
must only consider the actual space supplying illumination,
multiplying the width by the length of the window. For
example : If you have two windows, each 3x5 feet, one of
these windows would measure 15 feet; thus the two supply
30 square feet. This constitutes your illuminating space.
68. Space to be Illuminated. If your room measures
12 by 18 feet, multiplying the width by the length gives
Mathematical Method of Measuring Light. 37
you 216 feet. This constitutes the floor space. If more
than one room is admitted you must, of course, consider
the size of the combined floor space, just the same as you
did the combined window space. Divide the combined
floor space (216 ft.) by the combined window space, (30 ft.)
and the result of this (which is 7) you multiply by eight
times the amount of exposure necessary for outdoor work
in the shade (for all practical purposes you can calculate
on ~y% second for bright weather and longer for dull
weather), and the result (28 sec.) is the amount of your ex-
posure necessary for the interior.
69. The above estimate is based on medium light wall
and light furnishings. Where the walls are medium dark
you must again double the exposure. If very dark give
4 times the exposure.
70. Stops. The stops will range in the same order
for interiors as exteriors. If with a No. 16 stop under the
above conditions, 28 seconds exposure is sufficient for
medium light walls, the next stop, U. S. 32, would re-
quire 2 times this exposure, or 56 seconds. For a No.
64 stop it would be correct to give 2 times the exposure
required with a 32 stop, or 112 seconds, or approximately
two minutes.
71. Requirements. The principal requirements are,
therefore, that you judge accurately the necessary exposure
for outdoors with the same stop as you are using indoors.
This supplies the factor by which to obtain measurements
of the light for indoors. By this mathematical method of
figuring you can judge fairly accurately the required ex-
posure, but you should not rely entirely upon this rule;
in fact, you should train the eye to measure the light by the
appearance of the image upon the ground-glass. Combin-
ing the two, however, you have a good guide to follow,
as the mathematical method will give you an approximate
estimate, while your final judgment should be based upon
the appearance of the image upon the ground-glass. These
combined will serve well until you have had sufficient ex-
perience to judge the exposure by sight.
CHAPTER III.
Interior Photography.
Part II.
Developing Examples.
72. Development. Even though all other operations
have been performed in the most careful manner, improper
development may ruin what would otherwise be an ex-
cellent interior negative. The treatment in developing
depends entirely upon the lighting, the amount of contrast
and the depth of shadows ; also, the strength of the high-
lights in the view. Where a great amount of contrast pre-
vails, development should be carried on in a soft working
developer. When ordinary plates are used they should
be started to develop in the normal developer. The for-
mula for Universal Developing, given in Volume II, is
recommended.
73. In addition to tray containing normal developer,
in which all plates should be started to develop, provide
an extra tray; pour into it a liberal quantity of developer
which has been previously used old developed adding
very little of the normal developer to it. If the image on
the plate flashes up quickly on all parts of the plate at
the same time, the plate is probably over-exposed. In
this case, transfer it immediately to the old developer.
This old developer contains a certain amount of bromide,
released from plates previously developed with it, and
will, therefore, retard the development. The plate will
develop satisfactorily unless extremely over-exposed, in
39
40 Library of Practical Photography.
which event it will develop flat. Under such conditions
add to your normal developer from ten to fifteen drops
of a 10% solution of bromide of potassium, concluding
the developing in this bath. See instruction on " Develop-
ing Over-exposures," Volume II. Quite often a plate, after
being treated in this way, is benefited by finally being
placed in a normal developer which contains one-third the
regular amount of water. This gives a developer stronger
in pyro than the normal developer, which will build up the
high-lights very quickly, giving more contrast.
74. In case a plate is under-exposed and develops
slowly, with too much contrast, place it into a tray of
plain water for ten minutes, away from the light. Then
conclude developing in the normal developer, which has
been diluted with double the amount of water. See instruc-
tion on " Developing Under-timed Plates," Volume II.
75. Developing Specially Prepared Plates. If the
plate you are about to develop is backed, carefully remove
the backing with a wet sponge, and proceed with the de-
veloping as already described. If paper backing is used it
need not be removed before developing; the plate can be de-
veloped in the ordinary way. The backing may be removed
when it becomes soft in the developer. If the plate is
non-halation, it must be carried further in the developing
than the ordinary or backed plate, as it will fix out consid-
erably more. Use a rather dilute developer on these double
coated plates, so that development can be prolonged suffi-
ciently to affect the lower emulsion, which will take about
double the usual time. After development, rinse for a
few minutes in fresh water and fix in the usual way, leav-
ing the plates in the bath until entirely fixed, which, owing
to the thickness of the film, will take twice the time of a
single coated plate. If the plate is taken from the bath
before it is thoroughly fixed it will very likely become
stained. The final washing must be thorough. Most fail-
ures are due to under-developing, the negatives produced
being extremely thin, full of detail, with little or no printing
quality. When using Iso or Orthochromatic non-halation
PORTRAIT OF CHILD
STUDY No. 4 See Page 401 CHAS. E. FAIRMAN
Interior Photography. 43
plates, they may be developed in normal developer accord-
ing to formula given for Universal Developing, but excel-
lent results can be obtained by proceeding in the following
manner:
76. Of the regular stock solution of sodas (formula
given for Universal Developing), take 1 ounce of Stock
Solution No. 3 (Sulphite of Soda) and 1 ounce of Stock
Solution No. 4 (Carbonate of Soda) adding to this 6 ounces
of water, making in all 8 ounces of solution. Mix these
solutions thoroughly ; then divide into two parts, 4 ounces
in one graduate and 4 ounces in another. To one of these
graduates add 2 ounces of Stock Solution No. 2 (regular
Pyro solution). Start your development of the color sensi-
tive plate in this solution. From time to time add from
second graduate a little of the sodas which have already
been prepared. In this way the high-lights will be kept
ahead of the shadows throughout the development. Con-
tinue to add more of the sodas as you develop until all the
detail necessary is secured. This method is useful only
where full exposure has been given, as under-exposure will
not produce satisfactory results.
77. As these plates are extremely sensitive to all
colors of light even your dark-room lamp they should
be carefully handled in the dark-room without exposure to
any light. During development, cover the dark-room light
with a couple of extra pieces of post-office paper. Do not
examine the negative too often, and not at all until it is
nearly developed ; then it should be briefly examined by ex-
tremely dim ruby light. By carefully adding the sodas, it
will be found, when all the detail necessary has been secured,
the plate will be fully developed, having been built up
gradually as it developed.
78. Three Examples. Illustration No. 1 shows a
very simply arranged dining-room, one that may be found
in the average home. The lens used in making this interior
was a Bausch & Lomb-Zeiss, having a focal length of 14
inches ; using a stop f. 64, at 10 A. M., with bright sunshine
outdoors. An exposure of 10 minutes was necessary to
44 Library of Practical Photography.
secure perfect detail in all portions of the room, A Stand-
ard Orthochromatic plate was used; the developing agent
was Pyro.
79. Notice carefully the general composition. More
of the right-hand side of the room is shown than of the left,
which assists in breaking uniformity, a most undesirable
factor. Never attempt to show as much of one side of the
room as of the other. In the bay-window the blinds were
all thrown open, with the exception of the one included
in the view. The opaque curtains were raised full height,
but the lace curtains were brought together over the win-
dows, to evenly diffuse the light. Advantage was taken of
a window at the rear of the camera, which, with its full
light, destroyed the shadows which otherwise would have
resulted if only the side-light from the bay-window had
been employed. The door at the further end of the room,
on the right hand side, being painted white, would have
been an intruding feature had it not been partly hidden
by the screen which was purposely placed in front of it.
80. Another point, which is one of the most vital in
the making of interior views, is that no object should be
so close to the camera as to be partly cut off by the bottom
of the picture. Many times, however, this is impossible
to avoid. The bases of all objects, chairs, tables, etc.,
should appear in the picture they must have a support
upon which to rest. The development of Illustration No. 1
was carried to exactly the right stage, all detail being pre-
served in even the highest points of light.
81. An exceptionally difficult subject to photograph
is shown in Illustration No. 2. This dining-room, including
ceiling, floor and walls, is finished in dark wood. To the
left is a large fire-place finished in a light colored tiling.
The furniture is all dark and very delicately carved. The
table is spread with white linen. To secure detail through-
out in both shadows and high-lights, was no easy task.
Employing a Standard Orthochromatic plate, a wide-angle
anastigmat lens of 7 inch focus, and using stop f. 64, an
exposure of 1 hour and 10 minutes was given. The day
Interior Photography. 47
was very dull and the exposure commenced at 4 P. M. The
only source of light employed was that coming from be-
hind the camera. If a side-light of any kind had been used
it would have been almost an impossibility to have secured
detail in the shadows which would have been formed.
This is such a difficult subject that the reproduction does
not do the original full justice. In making the half-tone
some of the detail has been lost in the high-lights, which
makes them appear a trifle chalky.
82. An entirely different type of interior is shown in
Illustration No. 3. The floor and ceiling were dark, the
walls being a medium tone. The light employed came
from a window located a little to the left of the camera.
The room which is seen through the archway was illum-
inated from a window to the left, as will be observed by
the shadow cast on the floor by the circular chair. The
day on which this negative was made was quite dull, yet
it required but 20 minutes exposure, at 2 P. M., using a
wide-angle anastigmat lens of 7 inch focus, stop f. 64, and
a Standard Orthochromatic plate.
83. Notice that the camera was turned enough to the
right to avoid having the chandelier come in the middle of
the picture space. An error commonly made in photo-
graphing interiors is to have the chandelier, or the highest
point of attraction, come in the center of the picture. This
is a serious mistake. Then, too, the corner of a room should
not divide the picture into two parts. The camera should be
turned so that the corner will come either to one side or
the other of the center.
84. By comparing these three illustrations and study-
ing them carefully, you should be able to apply the prin-
ciples to your own practice work.
85. Practice Work. For first experiments select an
interior view of any convenient room the office, studio,
or any living-room in the home. The dining-room is a
good room to select, if it is large enough. However, the
simplest interiors to make are, usually, connecting rooms.
For example, the library and living-room connected by
48 Library of Practical Photography.
either an archway or double doors. In such cases the
camera can usually be satisfactorily arranged in the door-
way of a third room, or in one corner of one of the rooms.
When photographing a suite of rooms, the first room
usually looks better taken from a diagonal position, or from
one side, as better lines are thereby imparted to the view of
the room. Observe the instruction regarding the illumina-
tion, also the general arrangement of furnishings. Generally
furnishings are arranged to be viewed from the most con-
spicuous point. One should endeavor to photograph a room
from this same point, thus practically reproducing the room
with furnishings as it was intended to appear by the
decorator.
86. Focusing. When focusing, see that the middle
and front are sharp. The middle may be sharper than the
foreground. If the foreground is slightly out of focus,
carefully divide the focus between the front and middle,
making the middle, however, the sharper. If the distance
is not sharp, use a stop one size smaller than is necessary
to sharpen the foreground and middle. This will give
sufficient sharpness in the distance to produce satisfactory
results.
87. Exposure. Give sufficient exposure to fully time
the most dense shadows. Do not fear over-exposure, as
great latitude is allowable in the time to be given interior
views.
88. Where a dining-room is to be photographed, the
sideboard, table and chairs usually appear large, while the
room seems small, and it is almost impossible to make
such a view without pointing the camera directly toward
the window. The first step is to place the camera in posi-
tion. Endeavor to show one end and two sides of the room.
If this is impossible, show a corner, one end, and almost all
of one side. Remember, objects nearest the camera will
be magnified in size. A child's small high-chair, if placed
near the foreground, may in this way be made to appear
like an arm-chair.
89. Remember, never place a piece of furniture closer
Interior Photography. 49
to the camera than the portion of the floor showing on the
ground-glass. Carefully turn the furniture so that you will
produce most artistic lines and secure the best point of
view. At the same time, bear in mind that you must not
spoil the effect of the home surroundings. While it is per-
missible to move a chair, couch or table, it is always ad-
visable to have grandfather's, or baby's chair in their
accustomed places.
90. After other furniture has been placed in position,
carefully consider the table, upon which, most likely, will
be spread a white linen cloth, and a display of the family
silver, chinaware, etc. Also carefully view the glass and
chinaware on the sideboard and examine the pictures on
the wall. In all cases be sure to see that there are no bad
reflections.
91. While an ordinary plate can be used, either a
non-halation or a backed plate will give better results,
especially if the window is included in the angle of
view. But, for your first experiments, we advise the use
of ordinary fast plates, as they are easier to manipulate.
After you have had some experience with plates of this
class, the special plates should be employed, as you will
then be able to manipulate them more intelligently.
92. The next point for consideration is the source of
light, and also the light which enters the windows included
in the picture space. Experiment by drawing the shades
completely on the window toward which the camera is
pointed. You may also find it necessary to partially draw
some of the other shades. If there are bad reflections, they
can often be overcome in this way. Remember, you should,
in most all cases, endeavor to have the source of light come
from behind the camera, as proper high-lights without deep
shadows will thus be obtained, and reflections done away
with. However, if the interior of the room is extremely
light, such a source of illumination would tend to produce
flatness. For that reason the light should enter in greater
volume at the side of the camera than from the rear.
93. As stated in the lesson proper, if there are several
50 Library of Practical Photography.
windows, some of which must be shown, it will be advisable
to draw all shades or blinds, except those necessary to
give sufficient light for exposure. When the principal ex-
posure has been made, with all of the shades coming with-
in the angle of view drawn, close the shutter; then raise
the shades and again expose for a second or two. In
this way more illumination will be secured, resulting in
added detail in the densest shadows; while the windows
will not show that the blinds have been drawn at all, and
there will be practically no halation. Sometimes opening
the lens wide and exposing for a few moments will supply
detail and improve the general effect. But this must be
done cautiously or the camera will be moved, causing a
double image in the picture.
94. After everything has been arranged satisfactorily
and the image carefully focused, set the shutter, insert the
plate-holder, draw the slide, and, again viewing the scene
to be sure that everything is in the proper place, make the
exposure.
95. Proof prints should be made from all negatives
and filed in the proof-book or proof-file. On the back of
these proofs make notes, of the lens used, stop used, ex-
posure given, etc., including all data regarding the import-
ant features governing the method in which you proceeded
to make the negatives. This data is extremely important,
as it will furnish you with valuable reference material for
future work.
CHAPTER IV.
Interior Photography.
Part III.
Controlling Halation by Special Development.
96. Admitting Windows Into the View. The admis-
sion of windows into the view frequently enhances the
appearance of a room, giving it a more natural and cheer-
ful appearance. The most pleasing interiors are those
wherein some windows are shown in the picture. This
can be successfully accomplished if the proper methods
are employed for the exposure and development of the
plate.
97. An ordinary plate may be employed, but a non-
halation, or backed plate, would further enhance the results.
Even with specially prepared plates, however, if you were
to expose and develop in the ordinary way, you would
meet with failures. But, by following a special method of
exposure and development excellent results may be secured
and halation avoided.
98. Time of Day to Make Interiors. Always make
exposures when the light is most strong and evenly dis-
tributed. Rooms having windows facing north are best
photographed at the noon hour; exposures of those facing
the east are better if made in the afternoon. A more sub-
dued light throughout the room is obtainable at this time
than could be secured in the forenoon. Rooms facing west
photograph best in the morning, or toward noontime. In
fact, around the noon hour presents the best time for all
interiors, as the sun being higher at this time, supplies more
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52 Library of Practical Photography.
even illumination. By observing the light at various hours
in the day, you can determine when the strongest light is
to be obtained in the room to be photographed.
99. Sun Shining on Windows. If it is necessary to
make an exposure when the sun is shining through the
windows, subdue the light on the windows supplying the
illumination, by tacking cheese-cloth, or white muslin, over
the outside of the window. This will avoid harsh high-
lights and dense shadows, because the developed plate will
be exactly as the room appears. If the light is quite evenly
distributed the negative will produce this result; if the
lighting is contrasty the results will also be contrasty.
If you cannot diffuse the sunlight in this way, and must
make the exposure with the sun shining in the window, at
least do not place the camera so the sun will shine toward
it. Place the camera so the sun will light the rear of the
view. This direction of light will supply more illumination
to the shadows.
100. Windows in View. When windows are to ap-
pear in the general view, raise the shades, leaving only the
lace curtains at the windows, thus admitting the maximum
amount of desirable light into the room. Of course the
angle of light should lead from you. It must be understood
that in admitting windows into the view the main source
of light should be received from windows other than those
appearing in the view, because the inside of the windows
must receive some illumination. Then, too, if the only
source of light came from the windows in the view, the
light would throw shadows toward the view point, which,
reproduced without proper detail, would appear smudgy.
For this reason the shadows must be illuminated either by
a window, or other source of light, back of, or at the side
of, the camera.
101. Selection of View Point. To properly photo-
graph a room in which windows are to be admitted into
the view, the view point should be selected where the il-
lumination comes from the back, or side of the camera, and
not from windows appearing in the view.
LADY AT WINDOW
STUDY No. 5 See Page 402 EVA GODLEY ROLFE
Ordinary Plate Special Development
Non-Halation Plate Ordinary Development
Illustration No. 4 See
AVOIDING HALATION
Paragraph No. 102
Interior Photography. 55
102. Exposure. With the view point selected, pro-
ceed to obtain a sharp focus, stopping down merely enough
to give good definition; then expose at least four times
longer than would ordinarily be necessary. For example,
if 30 seconds exposure would give you full detail in the
deepest shadows, using the ordinary method of developing,
for this method give four times that amount, or two min-
utes. Or, if one minute is required for normal exposures,
give four minutes for this method. Develop the plate ac-
cording to instruction for Special Developing given in Chapter
XIII, Volume II. (See Illustration No. 4.)
103. Give Full Exposure. The success of this class
of work depends entirely upon the exposure. The plate
must be fully timed. If you are in doubt as to the neces-
sary exposure, time rather on the side of over than under-
exposure. Such wide latitude is allowable in the develop-
ment that any reasonable amount of over-exposure can be
easily overcome.
104. Direction of Light. According to this method,
you may select any view point best suited to the view, ad-
mitting as many windows as desired. The angle of the
sunlight, however, must not be directed towards the camera,
but should lead into the view, away from the camera. If
directed toward the camera you would be photographing
against the shadows, which will give you a smudgy effect.
The illumination should fall upon the subject, not upon the camera.
The angle of light travels straight ahead and all objects
in its path are illuminated. Those back of it are in shadow.
105. Illuminating Shadows. The shadows should be
illuminated through windows outside of the view, which do
not supply the principal source of light. Therefore, if a
view is to be made from any particular point, see that the
light is directed from that point of the view and not toward
it.
106. Even Illumination. By observing the light at
different hours of the day, in any room, you will notice that
the entire room is more evenly illuminated at some hours
than at others. Then, again, you will observe that one end
56 Library of Practical Photography.
of a room is better illuminated when the angle of light
leads towards that particular end; also, that this same end,
or corner, of the room is less illuminated when the angle
of light is reversed. These important matters, which per-
sons of little experience are quite apt to overlook, have
a vital bearing on the making of satisfactory pictures.
107. The matter of direction of light does not pertain
alone to cases where windows are admitted into the view,
but even where they are excluded. The direction of the
light supplying the illumination is the same, and has exactly
the same effect whether windows are admitted into the view
or not.
108. Theory of Special Method of Developing. By
the Special Method of Developing it will be learned, by
reference to that lesson in Chapter XIII, Volume II, that
we calculate on ample exposure to fully time the most dense
shadows. You will learn that we register upon the plate
all the exposure necessary for detail in these shadows, at
the same time being aware that the high-lights (the win-
dows) are many times over-exposed ; so it is necessary to
hold back the high-lights and develop the shadows.
109. Use of Alkali. Carbonate of Soda opens the
pores and permits Pyro to penetrate the film. Without
some alkali the Pyro will not act. If the shadows can be
developed along with the high-lights, exactly what you see
in the view can be retained, which is the object of this de-
veloper. But, the developer is helpless without sufficient
exposure. Combining the two will control the high-lights,
as only sufficient alkali (the detail-producing chemical)
is used to develop the shadows. The amount employed is
not enough to build up, or clog, the high-lights, so they
are held down until the shadows are fully developed. A
few drops of alkali should be added from time to time,
until the entire plate is developed.
110. The Result. When the, shadows are clear and
crisp full of detail and are registered exactly as viewed
on the ground-glass, then you have a true record. It will
be found that this plate is free from all halation, and that
Interior Photography. 57
even In the strongest high-lights the lace curtains on the
windows show every line of design as soft as though an
exposure had been made on them alone.
111. Practice Work. It is advisable, for the benefit
of the experience you will derive from this experiment, that
you expose one plate in the ordinary way and develop it in
normal developer, using the Universal Developing formula.
Expose another plate, giving four times the exposure, and
develop according to the methods for Special Development.
Compare the results, which should convince you as to the
value of this method of treatment. For all your worthy
work, where strong lights, such as caused by admitting
windows into interiors, are to be contended with, use this
method. Make proof prints from both of the above plates
mentioned, noting all necessary data on the back of each,
and file in the proof file for future reference.
112. Note. While non-halation, or orthochromatic,
plates will give better results in this work than the ordinary
fast plate, for first experiments use the ordinary plates, as
they are more easily judged in the development. Other ex-
periments may be made later with the special plates, which,
if properly manipulated will give still better results. How-
ever, use ordinary plates for first work.
CHAPTER V.
Difficulties Interior Photography.
113. Securing Even Illumination. If the light is all taken
from one side of a room, to fully illuminate the far distant por-
tions, the angle of the light must lead toward those portions and
away from the camera. The camera should always be placed
with the source of light back of it, and leading into the picture.
In this way the light traveling forward will carry the illumina-
tion ahead of it, while, should you work in the opposite direction,
you will be working against the light and, in consequence, be
photographing the shadow side of objects instead of the high-lights.
114. Where windows are admitted into the view, have other
sources of illumination to light the remainder of the room, also
to offset the strong light coming from the window which has
been admitted into the scene. Under the latter conditions draw the
shade on the window admitted into the view, for a portion of
the exposure; then raise the shade for the remaining time, and
the window will show in the view without a blur, and you will
also have little trouble with halation.
115. Obtaining a General View of the Room. When using
a long focus rectilinear lens, if the room is small it will be a
difficult matter to photograph the greater portion of it; therefore,
select only a section of the room one corner and one side, for
instance. Where a wide-angle lens is employed, it is often pos-
sible to show both sides and one end of the room. Be careful,
in finally adjusting the camera, not to show too much ceiling
or floor. Try to produce proper balance, and always be careful
that vertical lines, window and door casings are perfectly true.
116. Arranging the Furniture. Make no attempt to change
the arrangement of the furniture according to any set plan.
Place each piece in a natural position. If trouble is experienced
with white spots, caused by the reflection of light on polished
furniture, it is better to turn the offending chair or table a little
to one side or the other, to overcome these reflections. Usually,
these will give little trouble if there is no sunlight coming through
the windows, for then a general diffusion of light is obtained
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60 Library of Practical Photography.
throughout the room. Never have furniture close to the camera.
If the room is small, it is better to remove any piece of furniture
that may be directly in front of the lens.
117. Focusing. As the light indoors is so much weaker than
outside, naturally the image will not appear very strong upon the
ground-glass. You should always focus without a stop. Cover the
head and the camera with thick focusing cloth, through which
no light can enter; then, with the left hand draw the ends of
the cloth under your chin, so no light other than that which comes
through the lens will be admitted. Adjust the focus and stop
down sufficiently to give good definition.
118. Judging Proper Exposure. This is one of the most dif-
ficult features of interior photography, which practice alone will
enable you to learn to judge properly. The appearance of the
image on the ground-glass is the only positive guide. If it is
bright, you will understand that less exposure is necessary than
if it were dull and dim. The amount of dullness determines the
length of exposure. If you will observe the different rules for
the approximate judging of proper exposure given in this in-
struction, 'and will try them out carefully, the experience should
materially aid you in judging necessary exposure. Keep a care-
ful memorandum of all exposures of first work, accurately noting
time of day, conditions of light, color of objects you are photo-
graphing, etc. When developing the plate, if you find the time
has been misjudged, it being under-exposed, the next time you
make an exposure under like conditions govern yourself accord-
ingly and time longer. There is little danger of over-exposure in
interior photography, so have no fear of over-timing. If difficulty
is encountered in giving sufficient exposure, try to overtime, when
it is quite certain a properly exposed plate will be the result.
119. Overcoming Halation. The cause of halation is fully
explained in this lesson. The use of non-halation plates will aid
in overcoming this difficulty. A good plan is to over-expose and
then develop according to instructions given in lesson on " Special
Development," in Volume II.
120. Obtaining Detail in the Shadows. This you can only
hope to obtain by giving full exposure. (Of course the angle of
the source of light must be directed towards the shadows). If
a plate is under-exposed, treat it as such in the development. This
will aid in the production of detail. Another excellent plan is
to breathe on the shadow portions of the plate during development.
The warm breath will cause the developer to act more readily.
Another method is to lay the fingers on the shadow portions, for
a few moments at a time, during development. The warmth from
the hand will aid the developer to act in producing detail. Usually,
Difficulties' Interior Photography. 61
however, it is difficult to overcome lack of detail in shadows in
any other way than by giving full exposure.
121. Plate Developing Contrasty. Due to under-exposure.
The shadows have not been sufficiently exposed to give softness.
Always bear in mind, that the stronger the high-lights the more
deep and dense are the shadows; therefore, time sufficiently to
overcome this contrast, using diluted developer thus softness
will be produced.
122. Plate Fogging During Development. If the camera is
pointed directly into the window, toward the source of light, the
illumination will be likely to reflect into the lens and cause fog.
Non-halation plates will partially overcome this, but never photo-
graph an interior, or any other object, with the light facing the
instrument. On the contrary, locate the camera so that the light
will fall upon the object being photographed, making the picture
from the high-light side, so that no shadows will appear in the
foreground. Over-exposure may also fog the plate, if the over-
exposure is excessive. The image will flash up in the developer
under such circumstances. If old developer is at hand, place the
plate in it at once. If you have no old developer, add from 10 to 20
drops of Bromide to the normal bath, and conclude the develop-
ment. Carry the plate a little farther than required for good print-
ing, and after fixing reduce with Red Prussiate of Potash. It is ad-
visable to add two drops of Bromide to the developer for all
interiors. This will prevent fog and permit of long development.
123. Thin Negatives, Full of Detail But With No Printing
Quality, When Using Non-Halation Plates. This simply indicates
under-development. Non-halation plates will fix out more than
the ordinary plate. It is also advisable to develop them in diluted
developer requiring a longer time for development. Therefore,
develop them considerably further. It is much better to over-
develop and reduce, if necessary (according to instructions given
in lesson on Reducing), than to under-develop.
CHAPTER VI.
At-Home Portraiture With Home Surroundings.
124. Introduction. The making of portraits in the
home is by no means a difficult task, if one proceeds in a
careful manner and without any attempt at haste. Atten-
tion must be given to each and every item included in the
picture space, as it is essential that the composition be
such as to produce a pleasing effect. There must be har-
mony throughout the scene; so before attempting to make
a picture decide which is the most important item of inter-
est. When this has been done, all other items must be
kept subordinate, their functions being to add to, rather
than detract from, the principal subject.
125. Light. While, ordinarily, rooms with a north-
ern exposure are preferred for portraits amid home sur-
roundings, more strong and bold results may be obtained
when the sunlight enters the windows, as you have far
stronger illumination, which is carried farther into the
room. This permits of working in any part of the room
desired, and yet have plenty of light. Where the sunlight
does not extend into the room sufficiently to show in the
picture space, the windows will not need to be screened
other than, perhaps, to allow the lace curtains (providing
they are white) to remain on the windows undisturbed.
If the curtains are of an ecru color they are apt to exclude
too much light, and, therefore, should be drawn to one side
or removed from the windows entirely. Should the sun-
light extend into the room too far, so as to be included in
the picture space, tack a sheet of white muslin over the
window. This will diffuse and give a better distribution
of the strong light throughout the room, allowing of reason-
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64 Library of Practical Photography.
ably rapid exposures being made. In many instances, with
the light in this condition, exposures can be made in less
than one second; much depending, of course, on the sur-
roundings and the speed of the lens employed.
126. Control of Light. Proper control of the light
has much to do with concentrating interest on the principal
subject, or subjects, the less important items being kept
in shadow to a greater or less extent. The turning of a
chair, or a slight diffusion of the light, may effectively do
away with reflected light on polished surfaces of furniture,
and also obscure objectionable objects.
127. Value of At-Home Portraits. When rightly
handled there is no field of photographic work more remun-
erative or interesting than the making of portraits in the
home, amid home surroundings. There is hardly a family
that would not appreciate having portraits made at home,
with the general furnishing of the interior as accessories.
To relatives and friends such pictures not only show like-
nesses of individuals, but also give an excellent idea of
their home.
128. For some unknown reason comparatively few
photographers have attempted this class of work, yet those
who have taken up this important branch are meeting with
most gratifying success, photographically and financially.
As a rule, higher prices are paid for At-home pictures than
for those made in the studio. As there is no rent to pay,
no accessories or elaborate outfit to purchase, the expenses
of the home portrait artist are very much less than those
of the regular studio photographer. Thus, the profits are
vastly greater. The field is absolutely unlimited.
129. If you will carefully follow the suggestions and
instructions which follow, absolutely no reason exists why
you should not master this phase of the work and be able
to produce most excellent results.
130. Principal Considerations. The first and most
important consideration in making pictures amid home sur-
roundings is proper illumination. The room and acces-
sories desired in the view should be well illuminated.
At-Home Portraiture. 67
Second, the subject or subjects should be placed in a position
where they will receive the strongest light. Whenever
possible, they should face the source of light sufficiently
to supply lights and shadows to the face or faces. Third,
the subject should not occupy the center of the picture
space, but must always be placed a little to one side.
Fourth, the surroundings must be in keeping with the
character of the subject, or the subject must be dressed to
conform with the surroundings. The finished picture
should truthfully represent the individuality of the sub-
jects.
131. In Illustration No. 5 is presented a picture of a
business man in his private office. The picture tells its
own story. The surroundings indicate a private office.
The desk is one likely to be found in a well furnished private
office. Such an office is seldom furnished with a large roll-
top desk, having an array of papers and books surrounding
it, neither is there likely to be a typewriter in the room.
On the contrary, such an office should present a quiet
appearance a place where the occupant may quietly plan
and lay out work and give private counsels without inter-
ruption. This picture well portrays the character of the
man himself. The expression is truthful, the pose char-
acteristic. Observe the light as it falls upon the face in
true Rembrandt style, which assists in bringing forth the
real individuality of the subject. Observe the excellent
balance to this picture. To the right we have the desk and
the figure. While the lines of the figure run at an angle
through the picture, the face is sufficiently to one side of
the view to give it prominence. The chair to the left and
the pictures on the wall balance the make-up of the entire
picture. This photograph was made in a room 14 x 18
feet, with the subject and desk placed almost in the center
of the room. One window supplied all the illumination.
132. In Illustration No. 6, Fig. A, is represented a-
group picture amid home surroundings. While the group
is arranged some distance from the light, still the illumina-
tion is of sufficient strength to fully light the entire group
68 Library of Practical Photography.
as well as the surroundings. Observe the group arrange-
ment and its conformity with the furnishings and surround-
ings. The picture balance is excellent; the grouped sub-
jects occupying a position to the right, the space to the
left being balanced by the small table. Observe that
instead of the chandelier holding a prominent position in
the center of the room, it is inconspicuously located to the
left. Also, observe how the view was executed at right-
angles to the light, thus supplying shadows to accentuate
the high-lights. To have worked at an angle with the light,
or, in other words, with the light directly back of the
camera, would have produced a very flat effect.
133. The following are the conditions under which
the picture was made : The strongest light came from
three windows situated at the end of the room, opposite the
group. The shadows were slightly illuminated by light
coming through folding doors, which were almost at right
angles with the group. The windows supplying the strong-
est light had the shades drawn down about half way. This
was done in order that the reflection of light would not be
too strong on the fireplace back of the group.
134. In arranging the subjects for this group, the
point near the fireplace was selected to add coziness and
home atmosphere to the picture. The child leaning on the
mother's knee, observing attentively the pictures being
described, and the third subject sitting on the settee, ap-
parently listening to the description, assist in carrying out
the story of the picture. While the group is sharp, it is
not wiry, yet the surroundings, it will be observed, are
slightly diffused and out of focus, supplying atmosphere.
While there are no great contrasts, high-lights and shadows
are present throughout the arrangement. The camera was
placed 11 feet from the subject, between folding doors,
being pointed toward the group at a slight angle. The
exposure was made on a bright clear day, at 3 o'clock in
the afternoon. The lens used was a Goerz; stop, U. S. 4;
exposure, 4 seconds.
135. In Illustration No. 6, Fig. B, we present a photo-
Illustration No. 7
Special Examples of At-home Portraiture by Henry Havelock Pierce
See Paragraph No. 136
At-Home Portraiture. 71
graphic shadow portrait, made in the bay window of a
home. The illumination was obtained from the bay win-
dow, the camera being- directed toward the source of light.
The subject seated to the right, in the large chair, makes
up one end of the picture, while the balance is obtained with
the jardiniere and the dark space between the windows
at the left. The subject was posed near the center of the
middle window, at a distance of two feet from it. The
camera was placed about 5 feet from the subject, aimed
directly toward the window. The strongest light actual
sunlight just touched the window at the extreme left of
the picture, with a little of the illumination slightly fall-
ing upon the jardiniere. The sunlight produced the strong
light on the cheek. A Goerz lens was used, with stop U.
S. 4 ; exposure 3 seconds. The plate employed was " Seed
26 X," the negative being developed with Pyro.
136. Observe in Illustration No. 6, Figs. C and D,
that quite a strong light is falling upon the back of the
gentleman's head. Both of these pictures were made under
identically the same light conditions only one window
supplied the illumination for the room. For this reason
the lace curtains were arranged to afford sufficient diffu-
sion to supply general illumination throughout the picture
space. The two figures occupying the principal position
to the right of the picture space are balanced by the sofa
pillow on the stool at the left. The wall decorations, being
simple, do not detract from the general appearance of the
room, but give a fair idea of the surroundings. The pic-
tures being made in a very small room accounts somewhat
for their being crowded. More particularly is this the case
in Figure D than in Figure C. Trimming of the picture
has had much to do with this feature. The upper picture in
Illustration No. 7 is another excellent example of At-home
Portraiture.
137. Window Portraits. Very interesting At-home
portraits may be made close to a window. In all such cases
a portion of the window should be included in the picture
space. Ordinary lace curtains supply sufficient diffusion
72 Library of Practical Photography.
of light to give roundness to the portrait. The subject
should be placed far enough away from the window to il-
luminate the front of the face. Locate the camera almost
on a line with the window, but a trifle further away from
the wall than the subject. Any article of furniture may be
employed; a large chair, settee, or sofa filled with pillows
make good accessories. The walls of the room will serve
as a background. The best results are obtained with win-
dow photographs when the sun is not shining on the
window, as then there is more even illumination and the
high-lights are not harsh. See Illustration No. 8, which
shows good examples of window portraiture. The largest
possible opening should be employed. Two or three seconds
exposure will be sufficient. The plate should be developed
in normal developer. The Universal Developer given in
Volume II is especially recommended for this work.
138. Practice Work. For first work select a well
lighted room, and one or two subjects. Have them assume
natural, easy, careless positions in a portion of the room
where the light conditions are best for the work. Place
them so that the light will fall upon one side of the face.
Place the camera so as to get either a broad or a shadow
lighting, according to preference. If a window is admitted
into the view, show only a portion of it, and then work
against the light; or, in other words, on the shadow side
of the subject. Work as far from your subjects as possible
to admit as much of the room as is desirable. Be sure to
place subjects so they will occupy one end of the picture,
having the other end broken with some small piece of
furniture, or other object, to balance the picture space.
139. Focus on the principal subjects, regardless of
furniture and surroundings. Stop down only enough to
give clear definition to the figures introduced in the picture.
If clear definition can be had without diaphragming the lens,
so much the better, as the larger the stop employed the
shorter the exposure can be made.
140. Be careful to shield the lens from cross lights.
Should there be lights reflecting upon the lens, shield it
At-Home Portraiture.
73
with the slide of the plate-holder, with your hat, or anything
that will obstruct direct light falling on the lens. Of course,
be careful that the shield is not placed between the lens
and the view. The best protection to the lens is to prepare
a cone to fit over the lens barrel, as is described further
along in this volume.
141. When ready for the exposure, make two nega-
tives of the same view, carefully developing them, one at
a time. In the development of your second plate be guided
entirely by the results of the first. Make proofs from both
negatives, noting on the back of each all data connected
with the production of the results, and preserve them in
your proof-file for future reference.
CHAPTER VII
Difficulties At-Home Portraiture With Home
Surroundings.
142. Illuminating the Subject. While this is one of the chief
obstacles to overcome when making portraits amid home sur-
roundings, yet the average illumination in residences is considerably
more diffused, and consequently, stronger, than one realizes.
Where a large room has but a small amount of illumination, work
near the window. It will even do no harm to admit a portion
of the window in the view. Frequently the picture value is im-
proved by admitting a large portion of the window, and under
such conditions you get all the light you want.
143. Obtaining Real Effect of Home Surroundings. Where
a large expanse of room surrounding the subject is required,
work as far distant from the subject as possible. For that work
a short focus lens should be employed. When photographing
in crowded quarters, small negatives should be made by employ-
ing a small camera. If larger prints are wanted, negatives may
be enlarged. With a small camera you can generally cover more
space than with the larger instruments usually employed for this
class of work.
144. General Appearance Flat on the Ground-Glass. This will
be the case when working with the light back of the camera, the
source of light falling directly in front of the subjects, thus sup-
plying no shadows. For portraits always work across the light,
with the subjects placed in such a position as to supply shadows
and high-lights.
145. The Resulting Picture Flat. If the lighting is correct,
this is evidently caused from under-development. Pictures taken
in the interior of a home should be carried to full strength in the
development. Owing to the fact that the plate develops slowly,
one is apt to misjudge the strength of the negative and remove
the plate from the developer before it is completely developed.
A little practice will enable anyone to judge very accurately the
depth of development necessary.
146. Results Contrasty. Usually due to under-exposure.
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Where the shadows are heavy, expose longer. Remember, always
expose for the shadows, paying no attention whatever to the high-
lights. When the shadows are fully timed the plate will develop
with proper value, showing the high-lights and shadows in the
same relation as they appeared on the ground-glass. It is advis-
able, when developing negatives made amid home surroundings,
especially where the window is included in the view and full
exposure has been given, to apply a normal developer with one
or two drops of Bromide added. The very small amount of Bromide
will prevent fog, so the plate will develop clear and crisp. Should
the plate show signs of contrast, dilute the developer with an
equal amount of water. The two drops of Bromide added will
not cause this contrast, as that is not enough to produce such a
result. If more than that amount were added it would restrain
the developing and produce contrast. This is not the intention
in rdding Bromide, so the amount used should not be more than
one or two drops of a 10% solution.
CHAPTER VIII
At-Home Portraiture.
Part I.
Introduction.
147. Money-Making Opportunities. The first por-
traits made by the light of an ordinary home window were
undertaken by the amateur, who attempted to secure the
likeness of the various members of the family. Usual
opinions on the results were, at that time, anything but
polite, but with unfaltering persistence the amateur has
made himself a master of this phase of photography, and
opened the eyes of professionals to the money-making op-
portunities in the field of At-home portraiture. In many
cases the studio is receiving secondary consideration, the
professional making portraiture in the home the main
feature of his work.
148. Easily Mastered. At-home portraiture is ex-
tremely fascinating and, although requiring a considerable
amount of patience, as well as a practical knowledge of the
principles of lighting and composition, it presents no ser-
ious difficulties in securing excellent results. In fact, so
delightful is a session of home-portrait art work, with a
suitable and sympathetic model, that one's enthusiasm al-
most always overcomes the numerous difficulties of posing.
149. Modifications in Lighting. No matter how care-
fully the lighting may have been made, some modifications
of heavy shadows are at times necessary; otherwise the
printed image would be exaggerated in one way or another,
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giving a greater amount of contrast than appears in the
original.
150. Effect of Color. Then, too, differences in color
lead to difficulties. The white of the dress will be rendered
in a tone too bright when compared with the face and
hands. Although color-sensitive plates may be employed
to some advantage in securing the proper rendering of the
" values," the advantage is small unless a color screen is
also employed. Then, the exposure is so greatly prolonged
as to make the work almost an impossibility. On printing
the portrait negative it will be found that this difference
in color, especially where freckles show as black spots,
small lines appear as wrinkles, the cheeks seem hollow and
the nose crooked, makes it necessary to pay special attention
to the retouching.
151. Character Destroyed by Retouching. It is an
easy matter to destroy character in the face, making it a
mere expressionless mass. Even when you know just what
you wish to produce, you might not possess the required
skill of hand to carry out the ideas by retouching. If you
trust the negatives to some one else, even a professional
retoucher, he may not be able to bring out the character
lines as you have seen them on the ground-glass. For this
reason the greatest of care must be exercised in making the
lighting and in finishing the negative.
152. Definite Aim in Portraiture. There should be
a definite aim in all photographic work, but especially in
At-home portraiture, as it is necessary to plan and know
just what effects you wish to produce before attempting
to pose and light the subject. Your individual ideas will
have everything to do with your final results.
153. Setting Must be Harmonious. It is quite es-
sential that special attention be paid to the surroundings,
as well as to the subject. For instance, it is entirely wrong
to pose a figure against a background of strongly figured
wall-paper, which would detract from the subject rather
than add to the value of the portrait. Frequently, por-
trait " studies " are so overloaded with curtains, pictures,
At-Home Portraiture. 79
furniture and bric-a-brac that the entire omission of the
figure would have been a very distinct artistic gain.
154. Likeness of a Person. Referring to Webster, we
find that a portrait is " the likeness of a person, especially of
the face." It would certainly be an excellent idea to have
these words emblazoned upon each and every camera.
You should include in the portrait everything that will add
to the likeness of the subject omit everything else. In
order to secure this effect study the expression and the
natural pose of the individual. It may be necessary to
include the hands, and sometimes even the feet; anything
that will help to interpret character, leaving out all those
features which tend to detract from it.
155. Study the Subject. Study the subject previous to
making an attempt at posing before the camera; acquaint
yourself with the subject's individual peculiarities, and, in
posing, aim to reproduce as many strong characteristics as
possible. Do not begin to " fish " for ideas on the focusing
screen, while the sitter is losing confidence in you, and
patience for the ordeal.
156. Obtaining Ideas for Posing. Many excellent
ideas may be secured by looking over the various popular
magazines, as they contain splendid studies made by the
very best photographic artists. If you will study these,
many ideas will be presented which will lead away from
the stereotyped forms of posing. It is sometimes a good plan
to make a few rough sketches of favorite poses, some pleas-
ing lightings or other details which you can study and im-
press upon your mind. Arrange and re-arrange until the
whole scheme appears quite clear to you. This preliminary
study is quite essential, although many workers consider
it is time wasted.
CHAPTER IX.
At-Home Portraiture.
Part II.
Controlling The Light.
157. Why is it impossible to photograph a subject,
with proper portrait effects, out in the open in broad day-
light? Why is it imperative that any particular form of
lighting or a special method of arrangement of light is
necessary? Why is it impractical to place a subject next
to a window, make an exposure and secure good results?
These questions all lead up to the one vital subject of
lighting and the control of the light.
158. Flat Effects Outdoors. If a subject were placed
out-of-doors, in the shade, and an attempt made to photo-
graph it, the resulting effect would be extremely flat, owing
to the unlimited amount of light that would come from
all directions. There would be no particular points of
light on the subject that would stand out more clearly than
others. Of course, light draperies and light portions of
the subject will reproduce light, and dark parts will be
dark in the photograph, but there would not be any per-
ceptible amount of relief, or roundness, shown in the fin-
ished print.
159. First Steps Toward Controlling Light. True,
characteristic and pleasing effects may be produced out-of-
doors, but it is necessary that some methods or means of
controlling the immense expanse of light be employed.
For instance, it is almost impossible to place the subject in
strong sunlight and expect to get a pleasing effect. It is
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necessary that the person being photographed be posed in
the shade. As soon as this position is taken, action toward
controlling the light begins. If the subject is placed on the
shadow side of the house, the house itself acts as a curtain
shutting off the light from one side. Still, a flood of light will
come from the top, so it is necessary to go a little farther
and, perhaps, place the subject under a porch. Now two
sides are screened from the flood of light, and if a back-
ground is placed at one end of the porch it would be pos-
sible to obtain a fairly pleasing portrait.
160. Flesh-Effects Lacking. Still, there will be too
much light uncontrolled, causing the face of the sitter to
appear quite flat, with no possibility of flesh-effects in the
finished print, all of the high-lights being hard and the
shadows lifeless.
161. Effect of All Side Light. If the subject is placed
in a room, quite near a window, with opaque shades pulled
down from the top until the light comes in only at the
lower half, all shadows will be cast straight across the
face; the side next to the light will be in very strong light,
while the opposite side will be in heavy shadow. The
effect produced will, therefore, be quite contrasty and not
pleasing.
162. Effect of All Top Light If the other extreme
is resorted to, the lower half of the window being curtained
with some opaque material and the upper half left open,
the light will fall on the subject almost directly from the
top, heavy shadows being cast under the eyes, nose, lips
and chin. The strongest light will, of course, be on the
top of the head; the eyes will appear deeply sunken, and
the whole result ghastly in appearance.
163. Light Falling Properly. If the light falls on the
subject at an angle midway between these two extremes,
it illuminates both of the eyes, does away with the straight
shadow across the face, follows the lines of the face, strikes
the little prominences of the various features, accentuating
them, and the whole effect is one which pleases and delin-
eates the better characteristics of the individual.
MOTHER AND CHILD
STUDY No. 6 See Page 402 MARY G. HUNTSMAN
STUDY No. 7 See Page 402
PUNISHMENT
HELEN W. COOK
At-Home Portraiture. 85
164. Controlling Light A Necessity. From the fore-
going it will be understood to be absolutely necessary that
some method, or means, be adopted for controlling the
light and enabling the production of any desired effect,
although it is not necessary to have expensive parapher-
nalia.
165. Diffusing the Light. Even though the light may
fall at the proper angle, there may still be deep shadows on
the side of the face farthest from the light. The parts of
the face receiving the strongest volume of light may be too
white, so it is necessary that the light be further controlled.
This is accomplished by placing a piece of thin cloth such
as cheese-cloth or muslin over the window, softening the
light; not only reducing the harshness of the high-lights,
but diffusing the light throughout the room so that the
shadows receive better illumination. This, then, reduces
the amount of contrast and gives a softness which is un-
obtainable if the hard direct light is allowed to fall on the
subject.
166. Reproducing Character. It will now be under-
stood that lighting is the art of reproducing character in the
subject by correct application of light and shade. We
may go on indefinitely and speak of the methods of con-
trolling the light to produce various effects, and to bring
out the strongest characteristics of the subject, but as each
subject requires individual treatment this is hardly practi-
cal. There are, however, general principles and rules which
are applicable to all classes of individuals, it having been
found by the master portrait painters that one or two
particular forms, or styles, of lightings are best suited to
the general class of subjects. The photographer who, to
a certain extent, has copied after the painters, can also see
at a glance that some certain form of lighting is best suited
to each subject.
167. Plain or Broad Lighting. The lighting most
universally favored is termed a Plain or Broad Lighting.
This is a lighting in which most of the face is well illum-
inated, with the light coming a trifle from the front of the
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subject and falling on the features at an angle of about
45. The face of the subject should be gradually turned
from the source of illumination until the tip of the shadow
cast by the nose almost touches the shadow on the shadow
cheek. The camera should be placed close to the window,
to secure a view of the face that will show most all of it
in light. When this effect is secured we have what is
known as Plain, or Broad, Portrait Lighting. It is best adapted
to the general class of subjects, as the light is thrown onto
all parts of the face. If the subject has hollow cheeks, or
wrinkles, which should not be exaggerated, but toned
down, this form of lighting will be found to be the best
to apply.
168. Rembrandt Lighting. If the camera were placed
to secure the same view of the other side of the face, the
majority of the face would be in shadow, and what is
photographically known as the Rembrandt Lighting would
be secured. This is a strong character lighting, and it is
necessary that careful consideration be given to the features
of the subject before attempting to photograph to secure
this effect. Faces somewhat thin, or with cheeks a trifle
hollow, will not give pleasing results. Faces that are full
and round photograph best under this particular form of
light.
169. It will now be seen that some method of control
is absolutely essential, if the character lines of the individual
are to be retained and artistic effects prpduced.
CHAPTER X.
At-Home Portraiture.
Part III.
General Information.
170. Studio Unnecessary. Of course it is understood
that a studio is not required for At-home portraiture. The
carefully arranged lightings of the studio do not, as a rule,
produce portraits of friends as we are accustomed to see
them, but the lightings possible to secure in an ordinary
room do assist very materially in rendering a true like-
ness. Of course, there are some disadvantages in making
At-home portraits : First, the light is at times so poor that
a lengthy and tedious exposure is required, unless you
possess a very rapid portrait or anastigmat lens. Second,
the room is sometimes so restricted in size as to hamper
one in getting the proper view of the subject. In such
cases as this, it should be borne in mind that there is
" out-doors," with its unlimited amount of open air and
light, to fall back upon. In the summer-time, however,
there should be plenty of light, even indoors, for At-home
portraiture, with the lens working at f. 8.
171. Advantages of a Studio. The large skylight and
portrait lenses in the professional studio serve to shorten the
exposure, and to that extent are of great assistance. By
carefully following the instructions given in this lesson,
however, no difficulty should be experienced in properly
lighting the various subjects, by means of the illumination
from an ordinary window, in such a manner as to make
long exposures entirely unnecessary.
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Library of Practical Photography.
172. Advantages of Home Surroundings. With
proper accessories the studio photographer can obtain the
results secured in any home, if time is taken and necessary
patience exercised to obtain the home effect. This is very
seldom done, though. Posing with the aid of painted back-
Illustration No. 9
Ingento Background Carrier
See Paragraph No. 174
grounds very seldom gives the pleasing results to be se-
cured among home surroundings. Natural effects and per-
fect likenesses, therefore, are far more easily secured in
the home.
173. The Background. The question of the kind of
At-Home Portraiture. 89
a background to use is very important. Portrait lightings
made in the home, or by the regulation window, are some-
times a failure, because these accessories are unsuited to
the surroundings. A most pleasing background is one
painted a plain, neutral tint, slightly clouded. Such a
ground is suitable for bust portraits or two-thirds figures,
and supplies an excellent universal ground that is easily
controlled in the lighting.
174. Temporary Backgrounds. In case of emergency,
suitable material can be found in any home, which may be
successfully employed for backgrounds. Dark shawls, drap-
eries, rugs, or even the focusing cloth, may be employed,
and if properly handled good effects may be obtained with
them. The plain painted, neutral tinted ground, slightly
clouded, is one of the most serviceable pieces of accessory
you can have, and with it many obstacles may be overcome.
Such a ground should be stretched on a wooden frame, to
keep it from wrinkling. The frame may be fitted with
braces, or feet, which are castored, enabling you to not only
move it about freely, but also serving as a brace to hold
the background in position without other support. An
excellent background carrier (the Ingento) is shown in
Illustration No. 9. It can be obtained from any dealer in
photo supplies, and is a decided convenience to the At-
home portrait photographer for making bust portraits or
two-thirds figures.
175. Importance of Omitting the Unnecessary.
When making pictures amid home surroundings, it is as
important to study what not to take as what to include
in the view. Keep a sharp look-out to exclude from the
picture those things which do not improve it, and which
might prove to be quite injurious to the general effects.
Arrange the subject with surroundings suitable to the posi-
tion given, studying the picture on the ground-glass with
the idea of removing everything which may detract from
the subject. Highly polished furniture chairs, tables, etc.
unless promptly handled, will, by reflection, produce dis-
pleasing white spots. When you observe these spots elim-
90 Library of Practical Photography.
inate them by altering the position of the furniture with
reference to the light, or by throwing a drapery over the
objectionable spot.
176. Avoiding the Necessity of Retouching. Lack of
ability to retouch negatives is supposed to be a great handi-
cap to the amateur photographer. Of course, negatives
can be sent out to be retouched, if it is thought to be ad-
visable, but in most cases it is not at all necessary. A
rough printing paper dispenses with much of the need of
retouching. Even if it is only medium rough, the coarse-
ness of the paper tends to hide blemishes.
177. Use of Celluloid. A piece of sheet celluloid, either
matte or clear smooth surface, and not too thick, placed be-
tween the negative and the printing paper will, to a great
extent, overcome the necessity of retouching, and in some
cases do away with it entirely, if the negative is of good
quality. If it is under-exposed and then developed to such
a point as to exaggerate all the contrasts ; or if the face of
the subject is focused microscopically sharp, and a very
short exposure given to minimize all risk of movement,
there is no remedy but to resort to the art of the retoucher.
178. Obtaining Softness. We do not advocate fuzzi-
ness in the extreme, but a little softness is, in itself, an im-
provement to the photographic portrait. It also helps
to do away with the need of retouching. Softness is ob-
tained by using a wide open lens at its largest working
aperture and by giving sufficient exposure, even should
there be a slight movement on the part of the subject, it
will not be perceptible, but will tend to soften blemishes
and harsh lines.
CHAPTER XI.
At-Home Portraiture.
Part IV.
Backgrounds.
179. Many photographers lose sight of the part played
by the background in successful portraiture. They seem
to be content to use what happens to be behind the sitter
at the time, without further effort to secure a background
that will help the composition. The backgrounds we will
describe are not drawings with fictitious details of scenery
supposed to be behind the sitter. Our idea is rather to
offer suggestions that will aid in suppressing unsuitable
wall paper, which so frequently spoils good pictures. The
following instruction should greatly assist you in making
a cheap, serviceable background, and also thoroughly train
you as to the best methods of using it.
180. Of all At-home portraits that have been brought
to our attention, fully three-fourths were practically ruined
on account of the inconsistent use of the background. You
can possibly recall cases where the amateur photographer,
anxious to take a portrait, has placed the subject against
the wall, indoors or out, making the exposure without any
further background preparation. It may be thoughtless-
ness ; it may be a desire to avoid trouble ; or, the fact that
the character of the wall-paper or brick wall in the final
photograph is not so marked on the ground-glass. What-
ever the reason, the thing is done, and the following in-
struction is intended to suggest something better.
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181. Let the Background be Simple. It is almost as
great a mistake to have an elaborate arrangement of things
intentionally placed behind the sitter for effect, as it is to
have the unsightly figures of the wall-paper. In a previous
chapter we said that " a portrait is the likeness of a person,
especially the face." Now, introduce the wrong accessories
and you weaken and diminish the part played by the sitter.
This is the mistake so many of the old style professional
photographers made. Their studios were crowded with
tables, cushions, " rock-work," and other devices, which
were not only make-believe and offensive in themselves,
but, even had they not been so, they interfered greatly with
the effectiveness of the portrait as a likeness.
182. Selection of Accessories. It requires the utmost
skill and keen artistic sensibility to use accessories success-
fully, and the At-home portrait photographer will find that
it is much better to abandon accessories and background
details altogether. Make up your mind that the portrait shall
just show the subject against a plain tinted ground light
or dark that, and nothing more. It is not only an easy
way out of the difficulty, but also an effective one. By
examining salon work, and photographs that have captured
prizes in leading competitions, or secured medals at the
various state and national conventions, you will observe
that in the majority of the pictures the backgrounds are
extremely plain and simple.
183. Value of Plain Background. Where the plain
background is used in making the negative, it allows for
special dodging and altering in the printing. Light spots
may be worked in the background, on the glass side of the
negative, in order to break the monotony of plainness. This
provides a means for the display of one's own individuality,
as by such means one may place these spots wherever he
likes, and upon the accuracy of the placing depends their
value as to the improvement of the picture.
184. Plain Background. Plain backgrounds may be
made from an ordinary dark-colored window shade usually
the green or deep slate color is the most suitable. By
At-Home Portraiture.
93
Attaching the window shade to a spring curtain roller and
then fastening the roller to the top of an ordinary screen,
you have a convenient and suitable background. When
the ground is not in use it may be rolled up, where it is
out of the dust, and in its compact form can be stored away.
185. Painted Backgrounds. Suitably painted grounds
can be obtained from most photographic supply houses.
Illustration No. 10
Construction of Background Frame
See Paragraph No. 185
When purchasing a painted ground it is advisable to pur-
chase a gradually blended ground. By this we mean a
ground which is blended from side to side in tints from
dark brown to deep gray. The size of the ground best
suited for all purposes would be about 5x6 feet. Provide
a frame 5x6 feet, outside measurements, using strips of
pine or any soft wood, 2 inches wide by % inch thick, with
both sides and edges planed. (See Illustration No. 10).
Stretch the ground on this frame, placing two large screw
eyes near the edge on the top and the bottom. Then pro-
94 Library of Practical Photography.
vide an extra frame 6 inches wider with standards at
the base to hold it upright. Drive two large nails or hooks
in the upper portion, to receive the screw eyes in the back-
ground frame. It is possible by this means to work from
either side of the light. You can always have the dark end
of the background next to the light by simply inverting it.
186. Stretching the Background. A little care must
be exercised when stretching the background, in order to
avoid wrinkles. The following suggestions may be of
service to those who have had no experience along this
line :
187. First, place the background face down on the
floor. Be careful that there is nothing on the floor to mar
it. Next lay the frame on the background. Then, begin-
ning at the top of the ground, draw it over the edge of the
frame a trifle, and beginning in the center drive in a couple,
of tacks. Do the same at the bottom and sides, being careful
to always drive the first tacks at the exact center. Com-
plete the tacking by always drawing carefully from the
center. Tack first to the right and then to the left. Do not
try to stretch the canvas just draw it equally from the
center.
CHAPTER XII.
At-Home Portraiture.
Part V.
Making General Preparations.
188. Selecting a Window. Before attempting to make
At-home portraits, it is necessary to have a few pieces of
apparatus to assist in securing proper lighting effects. The
first consideration lies in selecting a window from which
to derive the source of light. A window facing north is
best, as much more uniform lighting may be obtained from
a window with a northern exposure. A north window Is
always free from strong sunlight, the illumination being
soft and diffused at all times of the day, and, therefore,
easily controlled.
189. Unobstructed Light. The light should not be
obstructed by trees, porches, or other objects, and the
higher and larger the window, the better will be the general
results. The great advantage of having a high window lies
in the fact that exposures can be made further from the
source of light, thus obtaining more diffusion.
190. Avoid Reflections. The sun shining on the win-
dow through which the source of light is admitted will
cause a reflection upon the subject. Unless this reflection
is overcome in some way, it will be impossible to control
and concentrate the light, which will be necessary in order
to produce a correct Plain Lighting. For this reason the
use of a window facing the north is advised, as the sun
will never shine on it, which insures complete absence of
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96
Library of Practical Photography.
reflection. If light is secured through a north window
there will be no need for diffusing the light, other than with
the diffusing screen.
191. How Windows Facing South, East or West Can
Be Made Use Of. If a room containing a window facing
the north cannot be secured, any unobstructed window can
be made to do by diffusing the strong sunlight with cheese-
cloth, or thin bleached muslin, stretched over the entire
window. The cheese-cloth is employed to subdue the
Illustration No. II
Light Controlling Screen
See Paragraph No. 193
strong sunlight, reducing it to about the same conditions
as light coming through a north window. In order to con-
trol the light the regular diffusing screen must be used,
in addition to the cheese-cloth. On account of the light
constantly changing, it will be found to be more difficult to
At-Home Portraiture. 97
produce good results with a window upon which the sun
shines than one with northern exposure. If a room with
a north window cannot be procured, it will be better to
select a west, or even an east light in preference to one
facing south. If a west light can be had, the necessity for
screening the windows can be obviated by working in the
forenoon, as the sun will not interfere until later in the
day If an east light is employed use it after the sun has
left the east side, or during the afternoon. In this way
artificial diffusing of the harsh sunlight can be avoided, and
results as good as may be secured with a north light can
be obtained. Of course, when it is necessary to use the
light at all times of day, and other than a north light must
serve, use the screen while the sun is shining, and remove
it when there is no direct sunlight on the window.
192. Preparing the Window. In preparing the win-
dow it is necessary to provide a diffusing screen. This dif-
fusing screen is really a light-controlling screen and should
be attached to the window in such a manner that it can
be readily raised or lowered.
193. Light Controlling Screen. See Illustration No.
11. This screen should be made in the following manner:
Make a light frame, using strips of wood about l 1 /^ inches
wide by % inch in thickness. For the ordinary house
wmdow, this frame should be about 30 inches high, and the
exact width of the inside of the window casing, allowing for
slight play. Stretch four wires across the frame two
across the center, two inches apart, one across the top, and
one at the bottom of the frame. Attach the wire to screw-
eyes, stretching from one screw-eye to another. Next
procure two yards of white cheese-cloth about 30 inches
wide.
194. Dyeing Cheese-Cloth in Coffee. Dye the cheese-
cloth a light coffee color. This can be very easily accom-
plished by boiling the cheese-cloth about 10 minutes in
strong coffee, to which has been added a heaping teaspoon-
ful of salt. Rinse the cheese-cloth in clear water, and
allow to dry. With the light tan stained cheese-cloth
98 Library of Practical Photography.
the softest grade of diffusion can be obtained, securing the
mellow high-lights which are so important in artistic home
portraiture.
195. Diffusing Curtains on Controlling Screen. Cut
the cloth in three parts, so as to make two sets of curtains,
three sections to each set. Make allowance for at least
a one inch hem at top and bottom. String the curtains
on the wires, having them hang in folds, and quite full. For
a thirty-inch window you will require a width and a half
for each section. The full width should be split to form
the third section. After stringing the curtains fasten the
wire to permit them to slide smoothly.
196. Hanging Screen in Window. On the upper edge,
in the center of this frame, insert another screw-eye. At the
top of the window and close to the sash attach a small
self-locking pully. Fasten one end of a long cord to this
screw-eye, and run it through the self-locking pulley. By
pulling or releasing the cord the diffusing screen can be
raised or lowered at will. A screw-eye hook may be sub-
stituted in place of the self-locking pulley. In that case,
however, attached to the side of the window casing should
be a button, to which the cord can be attached when the
diffusing screen is properly adjusted. (See illustration of
window screened).
197. Two Light Controlling Factors. All lace cur-
tains should be removed or drawn back from the window,
allowing only the opaque shade or spring roller to remain.
The spring roller shade can be raised or lowered, as desired,
to cut off top light that may not be required. With the
opaque shade and diffusing screen in operation, absolute
control of every ray of light entering the room through
this window will be at the disposal of the photographer.
198. Substitute for Painted Background. If a back-
ground is not among your possessions, substitute an ordin-
ary plain dark colored curtain or rug, which may be sus-
pended from the picture moulding either in folds, or plain.
In an emergency anything of this kind will prove satisfac-
tory as a background, and sometimes the resulting effects
At-Home Portraiture. 99
will exceed in quality those that could be produced with
a graded ground.
199. Reflecting Screen. For the reflecting screen pre-
pare another stretcher 3 feet wide by 5 feet high (See Illus-
tration No. 10). Use the same size material employed in
making frame for the background. Cover this with white
muslin, stretching it in the same manner as with the back-
ground (See Paragraph No. 187). This is to be used as the
reflecting screen for portrait work. To conveniently move
the background or reflecting screen, the frames should be
fitted with castors, which are to be fastened to cross pieces
at the bottom of the base of the frames. While both back-
ground and reflecting screen may be used without castors,
much is added to the convenience in handling by having
them. When employed without castors they can be held
in position by using chairs for back support. When not
in use, place face to face, resting against the wall, where
they will occupy little space.
200. The Subject. Frequently, successful results are
only obtained after working with the subject for a consid-
erable period of time. For this reason, with first efforts in
portrait work be prepared to give careful thought to the
work, and do not be discouraged if failures are encountered.
Determine in advance about the pose and style of lighting
it is proposed to apply to the subject. Strive to carry out
this idea; stick to it until the results desired have been
obtained. Frequently it will be found that the best posi-
tions are those assumed more or less unconsciously by sub-
jects themselves.
201. You must have practice, and for your experi-
mental work select a friend, who is interested in your work,
to pose for you, because sitting before a camera operated
by an inexperienced student becomes quite tiresome, unless
the person is somewhat interested in the work themselves.
202. Women usually make better subjects than men,
as they enter more into the spirit of the work, are more
patient, less restless, more graceful, and for these reasons
lend themselves naturally to posing in different positions.
100 Library of Practical Photography.
With women for your subjects there is also a better op-
portunity for lighting ; i. e., you may obtain more variety
of lightings of them than of men, and the effect of the light
is more apparent.
203. Number of Plates to Expose. It is not necessary
that you expose a large number of plates, as no plate should
be wasted on a pose that is not good. In fact, for practice
work it is necessary to make but few exposures. Simply
practice altering the light to produce different effects. Ob-
serve the effect of the light with the subject close to the
window and further away; then, with the diffusing screen
low and high, turning the figure first one way and then
another, towards the light and away from it, leaning for-
ward and backward. Observe the effect of light and the
general balance and pose of the subject under these condi-
tions. This will train you to observe quickly and judge the
proper effects when they appear. Should you, during your
experiments, obtain a lighting or a position of the subject
which you consider just right, make a negative. A few
negatives made during each day's experiments are sufficient.
This however, applies only to the experimental or training
stage, because when seriously at work it will often be
found advisable to use an extra plate or two, for sometimes
such chance shots will turn out great successes.
CHAPTER XIII.
At-Home Portraiture.
Part VI.
Plain Portrait Lighting.
204. The Subject. We will now take it for granted
that all the necessary arrangements have been made, and
that you are in possession of a well appointed home studio.
For the beginner an adult person will make the best subject,
for the reason that children are likely to tire easily.
205. Placing the Subject. Always place the subject
as far from the window as possible. This distance is
governed entirely by the light, which latter should fall
at the proper angle and give sufficient illumination to enable
one to secure good modeling and reproduce the character
of the individual. In the ordinary home the distance from
the subject to the window will usually correspond to the
breadth of the window sash, and this distance may be taken
as a guide until, after a few experiments, your judgment as
to the proper distance has become more accurate. If placed
too near the window, the light, being too direct and strong,
will cause high-lights of excessive strength, and deep
shadows. On the other hand, if the subject be located too
far into the room away from the source of illumination
the angle of the light will not be correct, as the shadows
cast by the nose and other prominences will fall straight
across the face, and the contrasts, even in this position, will
not be materially reduced.
206. Atmosphere Roundness. To secure perfect at-
101
102 Library of Practical Photography.
mosphere the greatest amount of roundness in portrait-
ure the strongest light should fall on the features nearest
the camera, and gradually blend back into the shadows. To
obtain this result the subject should be placed in a position
which will allow of the light falling on the face from the
front as well as from the side and top. The proper location
depends much upon the height of the window, but in all
cases the subject should be far enough from the window
to allow the rays of light to fall on the face at an angle of
about 45. The subject should also be a little to the rear
of the window casing next to the background. In such a
position the ear on the light side of the face will not
receive the light in the same degree of strength as will the
front of the face. The strongest light will fall on the edge
of the nose ; the next in strength on the forehead, then on
the cheek, lips and chin of the light side of the face, while
a delicate half-tone or " catch " light will be visible on the
shadow cheek.
207. Controlling the Light. As the window in the
home does not admit a large volume of light, those rays
that are allowed to enter the room will produce a somewhat
contrasty effect. For this reason it is necessary to employ
such means as will assist one in securing softness and
modeling. The diffusing screen on the window and the
reflecting screen, which is placed on the shadow side of the
subject are the two important accessories for the controlling
of the light. The diffusing screen filters the volume of light
as it enters through the window, and in so doing diffuses
and spreads it over a large area, subduing the harsh effect
on the high-lights and softening the shadows so the contrast
between these two extremes is very much lessened. If the
contrast cannot be reduced sufficiently in this way, the
reflecting screen should be placed at an angle with the win-
dow, to soften the line which may still exist between the
high-lights and shadows. Extreme care must be exercised
when using the reflector, that it is not placed parallel with
the window, for the reason that the light will either be
thrown too strongly on the rear of the shadow side of the
At-Home Portraiture.
103
face or the reflected light will not touch the subject at all
simply being cast back to the window. It cannot be too
emphatically stated, that the strongest light on the face in
a Plain Portrait Lighting should be on that part nearest to
the camera. For this reason the reflector must be judici-
ously handled. It should act simply as an agent to give har-
monious blending between the high-lights and the shadows.
208. Referring to Illustration No. 12, observe the posi-
PLAIN PORTRAIT
Illustration No. 12
See Paragraph No. 208
tion of the subject, the camera, the reflecting screen and the
background. The reflector should be at least 3 feet to the
side and the background 3 feet to the rear of the subject.
104 Library of Practical Photography.
The reflector should catch a little of the direct light and
throw it onto the face, so as to obtain proper blending from
the highest points of light to the deepest shadows. The
angle at which the background is turned will depend entirely
upon its nature and the effect that is desired. Usually,
however, the background should be at a right angle with
the axis of the lens.
209. Posing the Subject The beginner should make no
attempt at set posing. The more simple the pose the better.
First, seat the subject figure and face toward the window;
second, slightly turn the face from the window ; then, watch
the effect of the light as it falls upon it. The face
and figure should never be posed at the same angle. If
the subject is a lady gowned in light drapery, the lines of
the face permitting, in order to save the drapery and obtain
all the detail possible turn the figure into the shadow and
the face toward the light. This rule will not always hold
good, however, as frequently the angle of the neck and con-
tour of the face are such, that to obtain the most pleasing
results of the face most essential in a portrait it will be
necessary to reverse this order. If the window supplying
the illumination is so located as to permit of the subject
being placed at either side of the light, arrange the subject
on the side that will give the best portrait and drapery
effects.
210. In making bust pictures, carefully square the
shoulders never allowing one to be higher than the other.
Only in extreme cases, and particularly in reclining posi-
tions, where more of the figure is shown, is it permissible
to deviate from this rule.
211. Attention to Details. It is very essential that the
arms and hands receive special attention, even in the making
of a bust portrait. The height of the chin, which, to a cer-
tain extent, governs the length of the neck and nose, the
arranging of the hair, and the direction in which the eyes
are turned all require special attention. These points are
covered in detail in the following chapter.
212. Lighting the Subject The angle of light upon
At-Home Portraiture. 105
the face of the subject is obtained, as previously stated, by
placing the subject nearer to, or at greater distance from,
the source of light. The height of the window regulates
the distance from the light at which the subject should be
placed. If the window is extremely high, the light may be
lowered by drawing down the top opaque curtain. With a
fair sized window, which will permit of working at a little
distance from the light, the high-lights should be obtained
and accentuated by the direct light coming from the window
over the top of the diffusing screen. The object of the dif-
fusing screen is to soften the strong light as it falls upon
the subject. As the flood of light grows stronger near the
lower part of the window the diffusing screen must be used
to diffuse the light from this portion of the window.
213. More than one window unless close together
should seldom be used; only in extreme cases is it advisable
to resort to a divided source of illumination, and, even then,
if one is experienced he will be able to produce equally as
good results with the one window. As light is required to
make a picture, one should use all of it obtainable, bearing
in mind, however, that it must be sufficiently controlled to
produce the proper effect. For this reason use all of the
light admitted through the one window, diffusing only
where necessary.
214. If the window is small or low, necessitating the
placing of the subject closer to the source of light to obtain
proper angle of illumination, you will find quite likely that
the high-lights will be rather strong and hard. If they ap-
pear too hard soften them with the diffusing screen, by
raising or lowering until the proper diffusion is obtained.
It is advisable, however, first to obtain the angle of light
by the open window before diffusing; second, after placing
the subject, to observe the shadow cast by the nose on the
shadow side of the face. When this shadow falls slightly
below the nose, inclining toward the corner of the mouth,
the correct angle, which is about 45, will have been ob-
tained. (See Illustration No. 13.) Third, see that the high-
lights are soft. If too hard, soften them by closing the cur-
106 Library of Practical Photograph}).
tain on the diffusing screen. If still too strong, move the
subject further from the window, at the same time watching
closely the shadow cast by the nose.
215. It is seldom that sufficient softness cannot be
obtained with the diffusing curtains, if they have been made
of the proper material. If the light is still too strong, rather
than move the subject too far away from the light, it would
be advisable to place another thickness of cheese-cloth over
the diffusing screen. If, with the curtains on the diffusing
screen drawn together, the light is too much diffused, by
separating them a trifle the high-lights may be strengthened
sufficiently to give them the desired snap.
216. The high-lights should be sufficiently strong to
leave half-tones visible. You will notice by reference to
Illustration No. 14, that more light is admitted from the top
of the window than at the bottom. The strongest light
always comes from the center of the window, and below.
Because of this condition the light from the lower part of
the window is softened with the diffusing screen, which,
being attached to a cord, permits of its being raised or low-
ered to soften the lights on the subject where needed.
217. Placing the Background. Properly illuminating
the background is almost as essential as lighting the sub-
ject. Place the background at least 3 feet from the subject,
and turn the end of the ground furthest from the window
slightly toward the source of light. If the ground is graded
or clouded have the lighter section directly behind the
shadow side of the face. This procedure will bring the dark
portion of the background back of the illuminated side of
the face, which is nearest the window. If the ground is
placed too near the subject there will be excessive sharp-
ness, causing the portrait to lack atmosphere. By turning
the ground from the source of light a darker background
is obtained ; by turning it toward the window a far lighter
effect is secured.
218. Position of the Camera. By reference to the ac-
companying illustration and floor plan the position of the
camera in making this lighting may be noted. In order to
Upper Illustration No. 13 See Paragraph No. 2id
Lower Illustration No. 14 See Paragraph No. 216
AT-HOME PORTRAITURE PLAIN PORTRAIT LIGHTING
LADY AND CHILD IN OPEN DOOR
STUDY No. 8 See Page 402 J. H. FIELD
At-Home Portraiture. 109
secure the best effect in photographing this subject the
figure was turned away from the window, and the face
turned toward the light until the tip of the shadow cast
by the nose just touched the shadow of the cheek. For
Plain Portrait Lightings you will need to work with the
camera closer to the wall than the subject is to the window;
in fact, the best position of the face is secured when the head
is turned so the shadow ear is just out of range of the lens.
The illustration shows a two-thirds view of the face and a
side view of the body. The side view of the figure turned
from the light gives softness to the drapery and the face
turned towards the light supplies strength and roundness
to the head.
219. Proper Height of the Camera. As a rule, the
camera should be placed on a level with the mouth of the
subject, except in the case of standing figures. Much de-
pends, however, upon the subject. For instance, if the sub-
ject is a fleshy, short-necked person, lower the camera. It
is well, in such cases, to have the subject lean forward a
trifle, with the head slightly erect, thus showing as much
neck as possible. Usually a view of the shadow side of the
face will avoid the double chin effect, yet the handling of
subjects in order to secure special effects should not be
attempted at this stage. There are no fixed rules governing
these points, so the photographer must be largely guided
by the character of the subject and the surroundings.
220. Exposure. The greatest difficulty experienced in
home portraiture is to comprehend the vast difference be-
tween the density of light in and out of doors. The varia-
tion of exposure is so great that where l-25th of a second
would be sufficient exposure for a view out of doors many
times this amount would be required in a well lighted room.
The misjudgment of time and under-exposure no doubt ac-
count for the production of many negatives that lack in
gradation and, consequently, show extreme contrasts.
221. Take into consideration that in the open air there
is an immense volume of light evenly distributed, while in-
doors the volume of light is greatly decreased, and the ilium-
110 Library of Practical Photography.
ination is also unequal, for the light in the room coming
from a small opening or window is concentrated and, con-
sequently, unevenly distributed throughout the room. It is,
therefore, necessary, in order to be able to give correct ex-
posure, that you become familiar with the strength of light
in the room used. By practice and close observation alone
can this be accomplished. Until familiar with the required
time for various effects, keep a memorandum of the time of
day, prevailing conditions and length of exposure given
every subject, being guided by the average results.
222. One point must always be borne in mind that is,
you must time for the shadows. By this is meant you must
expose long enough to supply detail in the shadows, no
matter how much the high-lights are over-exposed. The
general tendency is to under-expose. Never light a subject
with strong high-lights and dense shadows, but soften the
high-lights by diffusing them with the diffusing screen on
the window. When diffusing the high-lights in this manner
the illumination of the shadows is very materially aided, for
by diffusing the concentrated light coming from the window
it is spread over a larger area, consequently illuminating a
greater portion of the room, resulting in more illumination
for the shadows. If carried too far, however, the diffusion
will result in flatness ; therefore, aim to diffuse only enough
to give softness to the high-lights, as the shadows also can
be illuminated by means of the reflecting screen. Because
of this, bear in mind that when diffusing the high-lights the
shadows are illuminated as well ; also, remember that with
strong high-lights there will be dense shadows, and that
the denseness of the shadows regulates the length of ex-
posure. Soft high-lights and well illuminated shadows,
whether obtained by diffusion or direct light, will enable
you to work with a more rapid exposure.
223. To determine, approximately, the necessary ex-
posure for At-home portraits, it is advisable, after selecting
the room to be used as a studio, to first make an exposure
of the interior oi the room, taking into the view the window
prepared for use. In making this exposure of the interior,
At-Home Portraiture. 1 1 1
time for the shadows at the far end of the view opposite the
window. If it requires 40 seconds to produce a fully timed
plate of an interior about 14 feet wide, it will require ap-
proximately 15 seconds (or a little more than one-third this
exposure) to fully time a portrait with the subject placed
at half that distance, or seven feet from the light. With
the subject about one-quarter the width of the room from
the window, or 3% feet, the time required will be about
one-third of the exposure necessary when the subject was
7 feet from the light or 5 seconds. If a lens that will give
a fully timed interior view in less time than 40 seconds is
used, less exposure for the portrait will be required. If a
fully timed negative of the interior has been produced, you
will have a guide for future experiments under like con-
ditions, taking into consideration, however, that the nearer
the subject is to the camera producing a larger image the
longer will be the exposure, and vice versa.
224. When a portrait or rapid anastigmat lens is used
an exposure of from % second to 2 seconds is usually suf-
ficient. With a rectilinear lens, or the lens usually fitted to
hand cameras, longer exposure will be required; the exact
amount depending upon the speed of the lens, which can
only be ascertained by trial.
225. Developing. After securing a negative which
you think is exposed approximately correct, it is advisable
to start the development of the plate in normal developer,
watching it closely (see Universal Developing, Volume II).
As soon as the image appears, examine it by holding the
plate before the ruby lamp, looking through the plate. Ob-
serve whether the plate is developing evenly and if it was
properly timed. Should the plate show signs of under-ex-
posure immediately treat it as an under-exposed plate. (See
Developing Under-Timed Plates, Volume II.) If over-ex-
posed, change at once to a developer prepared for over-
exposures. (See Developing Over-Exposures, Volume II.)
226. A good plan is to have three trays ready for use
when developing; one containing developer prepared for
over-exposures, another holding developer for under-ex-
112 Library of Practical Photography.
posures, and the third for the normal developer. By pre-
paring these three developers before beginning work, you
can immediately manipulate the development and overcome
all difficulties that may arise from improper exposure.
227. Practice Work. In preparing this lesson it is
advisable to make two exposures of this style of lighting.
Give the first plate what you would consider a normal ex-
posure, while for the second give a longer exposure. Do
not attempt to hurry when lighting and posing the subject.
Study every move necessary to the securing of a proper
light on the subject. When this is accomplished observe
the image on the ground-glass and make a careful estimate
as to what you think will be the required length of exposure.
Everything being in readiness, insert the plate-holder into
the back of the camera, draw the slide ; then, having the
subject in the desired position, with the eyes at the proper
angle, make the exposure. A memorandum should be made
of each step of the procedure, that your future work may be
based upon the results previously obtained.
228. If this instruction has been thoroughly studied
and carried out there will be little need for experimenting,
and you should produce satisfactory results from the begin-
ning.
229. Develop the normally exposed plate first, accord-
ing to the instruction. After the plate has been fixed and
rinsed, take it to the white light and examine it. If there is
error in exposure or development, on developing the second
plate strive to overcome the difficulty. If the first plate was
properly timed you will know that the second plate, which
received a longer exposure, is over-timed. Provide against
flatness by developing the plate for over-exposure. If, on
the other hand, the first plate should show signs of slight
under-exposure, the second plate would be exposed about
right and the normal developer should be employed. When
the plates are dry, proof prints should be made from both
negatives, on the back of which should be noted all data
pertaining to their production. File these proofs in your
regular proof file.
A t-Home Portraiture. 113
230. Before attempting to make other lighting effects,
continue with Plain Lighting until satisfied that you are
able to secure the very best results. Compare the first proof
prints with the studies in Plain Lighting given in this
volume ; also with the illustrations accompanying this in-
struction. Study each and every feature of the face, both
in the original example given herewith and in your own
print.
231. Proof prints, with important data noted on the
back of each, should always be made from all experimental
negatives, and then filed away in regular order for future
reference and comparison.
CHAPTER XIV.
At-Home Portraiture.
Part VII.
Posing Details.
232. The first essential in all portrait work is to secure
proper effects of lighting; therefore the student should be-
come thoroughly familiar with the instruction given in the
preceding chapter before paying any particular attention to
detail work when posing the sitter. Allow the subject to
appear as natural as possible, and direct your efforts to hold-
ing their attention by talking to them. When you are able
to correctly light the subject and secure properly exposed
and developed negatives, you may then give special atten-
tion to posing the arms and hands, as well as to arranging
the drapery, turning the head at different angles so as to
produce the best effects, etc.
233. Arms and Hands. With the lighting, exposing
and developing accomplished, your attention should next
be directed to the arrangement of the arms and hands.
Whether the subject be a man or a woman, special attention
should always be paid to the placing of the arms and hands,
as their position governs the general balance in the portrait
and controls the lines of the drapery. Even though a bust
portrait only is being made, it is essential that the arms and
hands rest easily so the shoulders will be squared and the
sleeves and drapery arranged to hang gracefully. This is
best accomplished by resting the hands on the lower limbs,
midway between the knees and hips. If they are placed on
115
1 1 6 Library of Practical Photography.
the lap or on the knees the subject will appear round shoul-
dered. If they are allowed to hang at the sides the shoulders
will be thrown back too far, thus appearing drooped.
234. Wrinkles in Drapery Men. If the subject is a
man and the coat fits badly, having objectionable folds over
the shoulders, place a wad of paper or a handkerchief under
the coat directly beneath the wrinkles, and this fault will be
eliminated. Be sure to pull the coat down in the back, so
the white collar will show, also adjust the vest. If a scarf-
pin is worn, or the watch charm shows, arrange them to
prevent the catching of strong light, which will cause a
conspicuous appearance in the picture.
235. Women. When posing women your attention
should be directed to the arrangement and the lines of the
drapery, especially the sleeves, waist, collar, etc. Objection-
able wrinkles should be unobtrusively smoothed.
236. Height of the Chin. The proper height of the
chin is vitally important to good portraiture. For the ordin-
ary subject the chin should rest a trifle above the level, pro-
viding the camera is placed at the proper height. If the nose
has an upward turn care must be taken that the chin is
not raised too high rather lower it slightly. This will
give length and tend to straighten the curve. If the nose
is of a drooping variety, raise the chin a trifle above the
center, supplying length. Raising or lowering the chin must
be done in a natural manner; see that the subject does not
extend the chin forward or draw it in. The head should
be naturally raised or lowered, or tipped to one side a trifle.
237. Long, Prominent Noses. As a rule, this type of
nose predominates with tall, slender people, and care must
be exercised not to have the camera at an elevation above
the nose. If the lens is above the level of the nose the full
length of the bridge of the nose is reproduced, foreshorten-
ing the under side and exaggerating the nose in proportion
to the balance of the face. If the camera is lowered suf-
ficiently to foreshorten the bridge of the nose, showing more
of the lobes, the nose will be made to appear less prominent
and a more pleasing pictuie will be the result.
Al-Home Portraiture. 117
238. Short, Stubby Noses. Short, stubby noses should
be treated in the reverse manner; raise the camera to look
down on the bridge of the nose, which will give the effect
of lengthening this feature.
239. There are no fixed rules governing this point,
other than above mentioned, but these suggestions should
be found very helpful. Be guided principally by your sub-
ject and the surroundings.
240. Short Neck. If your subject is a stout person,
possessing a short neck, adjust the camera to a lower posi-
tion, to show as much of the neck as possible. It is well, in
such cases, to have the subject lean forward with shoulders
thrown back slightly, thus extending the chest. More of
the neck is shown when the head is held erect, and the ap-
pearance of stoutness is very materially reduced.
241. Long Neck. For securing the most pleasing like-
ness of a slender person whose neck is long, the treatment
is just the reverse of that applied to those having short
necks. The camera should be raised a trifle higher than the
level of the mouth, the height being regulated, to a certain
extent, by the length of the subject's nose. The figure of
the subject should be turned from the light, thus elevating
the shoulders and giving the neck a shorter appearance.
242. The Mouth. As the control of facial expression
is governed principally by the mouth, one must pay strict
attention to this feature of every subject. If it is closed
too tightly, never request the subject to open the mouth.
On the other hand, if it is open do not ask them to close it.
In either case they are apt to go to the extreme. Converse
with them, making it a point to ask a question on some sub-
ject certain to bring a pleasing answer; or even a pleasant
remark requiring no reply will generally cause the mouth
to shape itself naturally, and at that instant make the ex-
posure.
243. When conversing with the subject does not bring
about the desired expression, suggest the passing of the
tongue over the lips, to wet them. This will produce a
slight gloss on the lips, which helps to give a more natural
1 1 8 Library of Practical Photography.
shape to the mouth. In cases of chapped lips, the wetting
of the lips with the tongue overcomes the appearance of the
soreness and the chapping will not be visibly prominent.
244. The Eyes. Without regard to the position as-
sumed by the subject, the eyes must lead the face under
all circumstances. If the face is turned to the right the eyes
should lead a little more to the right. If the face is directed
to the left, then the eyes must lead to the left. Not only
should the eyes lead the face, but they should also be in-
clined slightly upward just a trifle above the level. This
gives better expression, and more roundness is produced
than if they were drooped, or even on a level. A drowsy,
sleepy appearance will invariably be the result if the eyes
are turned downward. An excellent rule to follow is never
to permit the -white of the eye to show below the iris. While the
mouth controls the principal facial expression, the eye is
a close second in importance. By properly directing the
gaze of the eyes, not only is it possible to maintain a pleas-
ing expression, but a too serious one may be modified to
some extent.
245. Note. It must be understood that these sugges-
tions and rules pertain only to Plain Portrait Lighting, and
do not apply to extremely odd posings and lightings of
Genre type. In producing work of the latter character be
guided entirely by the effects desired.
246. Catch-Lights in the Eye. The surface of the eye,
being a reflecting medium, acts like a mirror and reflects
the light coming from the window. The location of this
reflected spot is governed entirely by the angle of light as
it falls upon the subject, and the turning of the face toward,
or from, the light. This spot is termed a " catch-light," and
its size depends upon the distance of the face from the
light, also the size of the source of light. If the lighting
has been correctly made, the catch-lights will appear in the
upper corner of the light side of the iris of each eye. Upon
close examination this catch-light will be found to be an
exact reproduction of the window or other source of light.
At-Home Portraiture. 119
The catch-light must not extend into the white of the eye,
nor should it touch the pupil.
247. Eye Rest. The ideal eye rest is the face of the
photographer. One who is clever can instantly change the
expression of a subject if the eyes rest upon him. By
raising or stooping the eye can also be guided for height.
It is possible to cause the eye to lead the face at any desired
angle, by simply moving about, more or less, in one direction
or another. Another advantage of the human eye rest is
that, at the proper time, a word from the photographer will
bring an expression that otherwise might be impossible to
obtain. Of course, practice and experience are required be-
fore one can properly take the part of a human eye rest.
248. Then, too, there are people who cannot look at
any one during an exposure. In such cases the photog-
rapher may hold one hand in the direction it is desired to
have the subject look, requesting that he rest his eyes upon
it. Or, a photograph attached to a cord and a rod having a
substantial base, will answer. Attach the picture in such a
manner that it will slide up or down freely. It will be neces-
sary to place this rod at just the right distance from the sub-
ject, as the focal length of the eyes of all subjects is not
the same. Observation will demonstrate that by placing the
eye rest at a stated distance the pupils of the eyes of various
subjects will grow larger or smaller, and often the eyes
wili assume a staring appearance.
249. Watch closely, placing the eye rest at a distance
where the subject will experience no difficulty in viewing
the picture. Some subjects are inclined to wink a great
deal during exposure. Ordinarily this will do no harm,
unless the winking is excessively frequent, when it is liable
to cause a slight blur over the eye which can only be
remedied by etching or retouching. Natural winking of the
eye always results in good expression, providing the sub-
ject does not turn the eyes from the direction of the eye
rest.
250. Never direct the subject to look at any particular
point until the slide in the plate-holder has been drawn and
120 Library of Practical Photography.
everything is in readiness for the exposure. Then, without
further caution, and with no apparent exertion on your part,
attract the attention of the subject by speaking, advising
them to follow your eyes. While talking, at the moment
the proper expression is secured make the exposure. Where
a subject cannot follow your eyes an eye rest may be em-
ployed. Suggest that they look at it for a moment; then,
when the expression becomes natural, instantly make the
exposure. A pleasant remark from you at the same time of
making the exposure will frequently add materially to the
expression and likeness.
251. Hair. Frequently a patron is displeased with
proofs, owing to what they think is faulty arrangement of
the hair. If the subject is a woman, careful attention should
be paid to the back hair, or hair commonly called " scolding
locks," which are apt to protrude from the back of the neck.
It is an easy matter and should not cause any annoyance
to the subject, to gather these hairs back where they will not
show.
252. Locks of hair hanging over the ear are easily ar-
ranged by passing the hand over the hair. Hair will easily
submit to careful hand treatment. By observing such small
details resittings cannot only be saved, but also a large
amount of retouching and etching eliminated. Urge all sub-
jects to dress their hair in the regular way ; discourage any
attempt at dressing the hair in a style different from :he
usual manner of fixing it.
253. With some masculine subjects the hair at the
back of the parting stands up boldly, while with others
the " cowlick " is the difficulty to be removed. These may
be smoothed down by wetting just a trifle, and then using
a brush vigorously. The hair always photographs more
naturally when dry. To wet it excessively produces a gloss,
which photographs white, causing a displeasing effect.
254. If the subject has a moustache, see that the ends
do not droop too much ; be sure it is divided properly. A
beard should be carefully combed out. Attention should
also be paid to the parting of the hair.
CHAPTER XV.
At-Home Portraiture.
Part VIII.
Important General Notes.
255. Lens. The ordinary hand-camera lens may be
employed for At-home Portraiture, but will be found to
work rather slow. Beginners who do not care to purchase a
better lens for this work will find the portrait attachment an
added power. This attachment slips over the barrel of the
regular lens, and can be obtained at a cost of $1.50, or less.
(See "Lenses.")
256. An anastigmat lens of the proper focal length
gives most excellent portrait results, and at the same time
serves as an all around instrument, being applicable to all
classes of work. The focal length of the lens should equal
the diagonal of the plate for which the lens is to be used. If
it is your intention to make At-home Portraiture either a
special feature or a business, the anastigmat portrait lens
should be employed.
257. Stopping Down the Lens. As the average lenses
of the rectilinear and achromatic type have a sufficient
amount of depth of focus to include all of the subject, such
lenses should not be stopped down when used with a hand-
camera. By stopping down the lens the depth of focus is
increased, and as a greater depth of focus causes more
sharpness throughout the picture space, the atmospheric
effect is lost. Sometimes, when making photographs of full
length figures, it may be necessary to stop down the lens,
121
122 Library of Practical Photography.
because if a small opening is not employed some portion of
the subject may be out of focus. In this case stopping down
should be carried only far enough to produce a reasonably
sharp focus.
258. For bust work always use the largest stop, even
though focusing sharply on the face causes the back of the
head to become slightly diffused.
259. Softness in the Lighting. Always aim to secure
softness in lighting, as results will not only be more pleas-
ing, but the required length of exposures will be greatly
reduced. Effects produced by the employment of a small
source of light result in strong contrasts, and for this reason
it is necessary to diffuse the light in such a manner as to
reduce the density of the high-lights. In doing this the
light throughout the room is diffused, and the general illum-
ination, which did not exist before the diffusion of the light,
very materially aids in the illumination of shadows, thus
reducing the required length of exposure.
260. Position of the Head. The face should be turned
toward the source of light to a degree sufficient to obtain
catch-lights in both eyes. The tip of the shadow cast by
the nose must just touch the shadow of the cheek. Hence
there is, practically, but one position in which the face may
be placed if an absolutely true Plain Lighting is to be made.
Turning the face too far toward the light will cause an
excessive spread of illumination over the face, resulting in
a flat effect. Turning the face too far away from the light,
will produce heavy shadows on the shadow side, and the
negative will contain an excess of contrast.
261. As a rule, in At-home Portraiture the camera
should be placed as close to the line of the window as
possible. In this position both ears of the subject may be
visible on the ground-glass, presenting a full face view of
the sitter. The position of the camera, of course, may be
altered as well as that of the subject, to obtain the most
pleasing outline of the face. For the average subject the
camera should be placed on a level with the chin.
262. Catch-Lights in the Eyes. The catch-lights in
At-Home Portraiture. 123
the eyes being an exact reproduction of the source of light,
are really the key to the lighting. If they are in proper
position, the lighting will have been correctly made. A
catch-light should appear in the upper corner of the iris of
each eye; not directly above the pupil, nor at the side, but
half way between these two points. This will indicate that
the light falls upon the subject at the proper angle and,
as the catch-light should not appear outside of the iris, the
position of the head will be correct when the catch-light is
in its proper location. If the catch-light is in the pupil of the
eye it is evident that the face is turned toward the light at
too great an angle. If it is in the white of the eye, it shows
that the face is turned too far from the light. As a rule, in
this latter position the catch-light in the shadow eye will
be lost.
263. Relative Position of Face and Body. The face
and figure of the sitter give better lines when not placed in
exactly the same direction. In making portraits of fleshy
people, turn the body toward the light. This tends to
lengthen the neck and apparently elevates the head from
the shoulders. The neck of a slender person may be given
a shorter appearance by turning the body from the light.
264. Pose of Figure. For bust portraits of women or
children the subject will appear better leaning forward in
the chair, rather than backward. If, in a reclining position,
the lines of the figure are not good, the waist line being
bunched, with a more erect position, and the chest slightly
extended, a more natural waist line may be obtained.
A reclining position is more suitable for portraits of men,
especially if they are of slender build. Leaning backward
slightly gives the effect of stoutness ; therefore men of ex-
cessive stoutness should sit more erect. If the lines are
exaggerated they may be materially improved if careful at-
tention is given to the trimming of the finished print.
265. Reflected Light. The less reflected light em-
ployed the better. In fact, one should always aim to make
the best use of the direct source of light, taking the light
from but one direction. Reflected light is a secondary
124 Library of Practical Photography.
source. The further the sitter is from the window, and the
greater the diffusion of the direct source of light, the softer
will be the shadows, requiring a decreased amount of re-
flected light When it is necessary to further illuminate
the shadows by means of reflected light, proceed cautiously,
remembering that illumination of this kind should be simply
a continuation of the direct source of light. Reflected light
should not lap over the direct source of light, nor should
it be thrown so strongly into the shadows as to cause the
shadow side of the face to become as strongly lighted as the
high-light side. Those portions of the face nearest the
camera should be in strongest light, and from them there
Illustration No. 15
The Morrison Vignetter
See Paragraph No. 266
should be a gradual blending as the contour of the face
recedes. The ear on the light side of the face will, of course,
be in much stronger light than that on the shadow side,
yet the light on the former should be much more subdued
than the illumination on the front of the face. Flatness and
distortion would result if the reverse of this action were
carried out.
266. Vignetter. A vignetter is an appliance placed be-
fore the lens, which is used for cutting off undesirable fore-
ground. In portraiture it is principally used for bust and
two-third figures, where the lower portion is to be vignetted
off. The " Morrison " vignetter shown in Illustration No.
15 is made to fit all hand-cameras. Owing to its compact-
ness, it should be included in every home portraiture outfit.
At-Home Portraiture. 125
With this vignetter photographic vignettes equal to pro-
fessional work can be produced. It has all the adjustments
of a vignetter for professional use, and can be made to pro-
duce the same results. The following description explains
the method of its attachment to the camera, also the way
to secure the various movements while examining the image
on the ground-glass:
267. The up and down movement (by which the fore-
ground is admitted or cut off, as desired) is secured by
turning the thumb-screw, while the adjustment to and from
the lens is obtained by a sliding friction mechanism.
268. Two cards are supplied, both sides of each being
a different shade varying from white to black for the
purpose of securing the exact shade to correspond with the
drapery or color of the background. As will be observed
in the illustration, the vignetter fits over the hood of the
lens, being adjustable to instruments of any size. In using
the vignetter the important points for consideration are :
First, the adjustment of the vignetter to the position where
it will cut off the required foreground ; second, proper blend-
ing, as the shade of card in the vignetter must blend with
the background; and third, the vignetter must be out of
focus to give an even blend. After a few experiments it will
be easy to manipulate the vignetter to produce any desired
result.
269. Exposure. Important though it is, exposure is
often slighted, to the ruin of final results, even though the
subject may have been excellently posed and lighted. Bear-
ing in mind that under-exposure gives contrast, while over-
exposure tends to produce flatness, it is still far better to
err on the side of over-exposure, as it is possible to more
easily control the development and secure a good image
if detail is present in all portions. If the negative is greatly
under-exposed, it is absolutely impossible to secure the de-
sired amount of softness and detail in the shadows, no
matter to what extent the plate is manipulated in the devel-
opment. After the experience of a few trials, correct ex-
posure should be ascertained and future work governed
126 Library of Practical Photography.
accordingly. Remember, no consideration should be given
to high-lights when exposing, but time entirely for the
shadows, the proper exposure giving you the required
amount of detail.
270. Development. When developing, carry develop-
ment only far enough to secure snappy high-lights. They
will be of sufficient strength to hold up under the printing
light, but not strong enough to produce a chalky print.
CHAPTER XVI.
At-Home Portraiture.
Difficulties Plain Portrait Lighting.
271. Handling the Diffusing Screen. A good plan is to ex-
periment with the diffusing screen whenever it is possible to
obtain a subject. Place the sitter in a chair, within about 3 feet
of the light, raising and lowering the diffusing screen while watch-
ing the variation of light on the subject's face. Locate the subject
at various distances from the light and manipulate the diffusing
screen first with the curtains entirely closed, then partly separated,
etc., noting the different effects. By experimenting at every oppor-
tunity you will soon be able to observe the most delicate effects,
and within a reasonable time you will be able to manipulate the
screen to produce any effect desired.
272. Placing Reflector at Proper Angle. To overcome this
difficulty practice placing the reflecting screen at a variety of an-
gles, also at various distances from the subject, carefully noting
the effects produced on the shadows. Always bear in mind, that
the back of the head and the ear on the shadow side should be
but slightly illuminated. Aim to reflect the light between the
nose and the cheek bone on the shadow side.
273. Refer to the illustration of floor plan and observe the
angle at which the reflecting screen should be placed. Fre-
quently strong high-lights are subdued by reflecting light into the
shadows, thus softening the contrast between high-lights and
shadows. It is important that the reflector be placed at the proper
angle, because incorrectly located it will be responsible for flat-
ness instead of the desired roundness in the portrait. While the
screen is placed on the shadow side, it must be located slightly
in front of the subject to reflect light upon the fore-part of the
shadow side of the face, permitting the light on the rear part of the
head to gradually blend off into shadow. With practice you will
soon learn to overcome many obstacles with the reflecting screen.
274. Diffusing High-lights. When the high-lights are strong,
the shadows are dense (black), and the result is a lighting full
of contrast, to overcome which the light should be subdued. This
must be accomplished through the manipulation of the diffusing
127
128 Library of Practical Photography.
screen. It may be found necessary to use a double set of cur-
tains on the diffusing screen; sometimes the pinning of a single
sheet of newspaper over it will secure the desired result. Beware
of over diffusion, as it produces flatness.
275. Illuminating Background. To properly illuminate the
background, the end furthest from the window, on the shadow
side of the subject, should be turned toward the window at an angle
that will cause the light to spread evenly over the entire ground.
By this method the end of the ground furthest from the light
will be evenly illuminated, and can be reproduced as it is painted.
Experiment by placing the ground at different angles, carefully
watching the varying degrees of illumination.
276. Background Too Sharp. This difficulty occurs when
rectilinear lenses are employed, as they are constructed in such a
manner as to possess extreme depth of focus. In all portrait
lenses this feature is eliminated, the depth of focus being greatly
decreased, for when the subject is sharp upon the ground-glass
the background is out of focus.
277. When the regular portrait lens is not used this difficulty
with the rectilinear type of lens may be overcome by placing the
background as far to the rear of the subject as possible. Make
portraits with the lens as wide open as practical, without sacrific-
ing definition. Another method is to unscrew the back combination
of the lens one-half turn. This will secure softness. When small
stops are used the background is usually wiry, so employ the
largest stop that will permit the retaining of sufficient sharpness
in the portrait.
278. Heavy Shadow on Front of Shadow Cheek. This heavy
shadow will not occur if the subject is placed on a line with the
casing of the window, or even back of it. See dotted line A in
Illustration No. 12 diagram of floor plan. If the reflecting screen
is placed at an angle that causes it to reflect the strongest light on
the ear and back of the head, instead of on the front of the face,
effects of this character will be produced. Excessive volume of
side light will also produce this effect. By placing the subject
almost on a line with the window casing or even slightly back of
it the sitter will receive full benefit of all the light from the
window and will be illuminated more from the front than the side,
and the shadows will be soft and quite easy to control.
279. Overcoming Reflection Caused by Sun Striking on the
Window. If you have taken the ordinary precaution of stretch-
ing cheese-cloth or thin white muslin over the window, and then
adjusting the diffusing screen, no trouble should be experienced.
At times, however, if the sun strikes directly the light may be
so strong as to cause some reflection and harsh high-lights. The
Difficulties Plain Portrait Lighting. 129
only thing to be done is to diffuse the light still more, until the
proper softness (not flatness) is obtained. Placing the reflecting
screen nearer to the subject will overcome extreme contrast.
280. Posing the Subject. Follow carefully the advice given
in the instruction and do not attempt fancy posing. The more
simple the pose, the better. Observe that the body does not lean
forward unnaturally, neither should the sitter assume a too re-
clining position, but one that suggests ease and comfort. By
following the instruction regarding the placing of the hands, diffi-
culty with round or sagging shoulders will be avoided.
281. Catch-Light in the Eye Too Large. This difficulty gen-
erally occurs with subjects having large pupils. It is also caused
by turning the face too far into the light. If the pupil of the eye
receives the full strength of the light it will appear large, while
if the face be turned a trifle farther from the window, permitting
the light to strike the pupil on the side instead of the front,
there would only be a small catch-light. By turning the face away
from the light still more, the catch-lights disappear entirely. Be
careful that the eyes are not directed too high or too low, nor
should they lead the face too far. Extremely large eyes should
scarcely lead at all, but be almost straight.
282. Eyes of Subject Appear Staring. This difficulty is fre-
quently caused by the subject gazing too long at the same object
during the preliminaries of posing and lighting. The person may
also be near-sighted, and the object at which the eyes are looking
may be too far away. To surmount this difficulty, carefully follow
these instructions. Watch the subject carefully, and by standing
closer to or further from the subject, while they are looking at
you, or by placing the eye rest at various points, you will soon
observe the proper distance that will permit the eyes to rest
naturally. Also permit the subject to wink as often as desired
during the exposure. It is not advisable to have them look at the
small object on the pole, but simply in that direction, for to
raise the eyes up or down, or from side to side, during the ex-
posure, would cause the pupil of the eye to become blurred. It
is not advisable to tell the subject just where you wish them to
look until you are ready to make the exposure.
283. Closing of Lips Too Tightly. Never tell the subject to
close the mouth or to open it; rather converse with them get them
to answer some questions, or finally suggest that they pass the
tongue over the lips, to moisten them. The mouth will then
assume a natural expression, and the exposure should be made
instantly, before the mouth begins to twitch. Under such circum-
stances the subject should not know when the exposure is being
made.
130 Library of Practical Photography.
284. Plate Developing Contrasty. This is either because the
lighting was too contrasty too strong a light causing deep
shadows or the plate was under-exposed. Light the subject so
there will be even gradation from the highest lights to the deepest
shadows. In making an exposure, time for the deepest shadows.
Rather over than under-expose. In this way the difficulty can be
overcome. A diluted developer is best for contrasty lightings,
but the best plan is to light the subject exactly according to the
result desired in the finished picture.
285. Plate Developing Flat. This is the reverse condition to
plate developing contrasty. In this case it is caused either by flat
lighting of the subject or extreme over-exposure. Aim to secure
proper lighting and exposure, and in either case treat the plate
in development according to its exposure.
CHAPTER XVII.
At-Home Portraiture.
Part IX.
Rembrandt Lighting.
286. Introduction. Preceding chapters have dealt
with the photographing of subjects with Broad Lighting,
the greater portion of the face being illuminated. Rem-
brandt Lightings are made, to a certain extent at least, in
a similar manner, but the greater portion of the face is in
shadow, and the high-lights and shadows are quite sharply
defined. The subject is placed in practically the same posi-
tion, the camera alone being moved further from the light.
Most Rembrandt pictures are characterized by strong
shadows and small areas of strongly lighted parts of the
subject. The side of the face may have a preponderance
of shadow and high-lights, being full and forceful, or darker
notes of emphasis may predominate. This does not mean
that the person's head must be turned so as to give a full
side view of the face, with a strong light thrown on the out-
line of the profile and the rest of the face and figure void of
detail. This is precisely what a Rembrandt portrait should
not be. In making Rembrandt Portrait Lightings there
should be gradual blending from the highest points of light
into the deepest shadows, and even in these deep shadows
there must be some detail.
287. There are, practically speaking, three distinct
lightings of Rembrandt character practiced in photography:
Full or nearly full face portraits with illumination from the
131
132 Library of Practical Photography.
side; two-thirds side view with the face more or less looking
toward the source of illumination ; and full profile, in which
the whole of the face is in shadow, only the outline receiving
strong light. Sometimes this latter style is incorrectly
termed Line Lighting.
Brief General Instruction.
288. In, a Rembrandt Lighting the lights and shadows
are very sharply defined, and usually the greater portion of
the face is in shadow*
289. Definition of Rembrandt Lighting. When light-
ing according to the rules of Rembrandt, care must be exer-
cised to obtain the proper angle of light. The strongest
light should fall upon the forehead, extending down the
face and tipping the chin. The nose should be the dividing
line of the light on the face. The light should not be too
sharp and decisive. It should spread slightly across the nose
and rest in a diffused form on the opposite cheek directly
underneath the eye, on the shadow side of the face, there-
by supplying illumination to that eye. The iris of this eye
should catch a slight ray of light as it flows across the face,
sufficient to produce a little catch-light. (See Illustration
No. 16.)
290. Place the subject quite close to the light, and
lower the diffusing screen sufficiently to soften the strong-
est lights. Make liberal use of the reflecting screen in
this style of lighting, placing it as close as necessary to the
subject, but exercise care that the strong reflected light is
not cast on the shadow ear. Remember, reflected light
should be simply a continuation of the direct source of light,
and its function is to soften the harsh line which would
otherwise exist between the strong high-lights and the
shadows.
291. Study carefully Illustration No. 17. Note the
position of the subject, the angle of light, etc., as well as
the location of the camera, reflector and background.
Upper Illustration No. 16 See Paragraph No. 289
Lower Illustration No. 17 See Paragraph No. 291
AT-HOME PORTRAITURE-REMBRANDT LIGHTING
AT-HOME PORTRAIT
STUDY No. 9 See Page 402
MATHILDE WEIL
At-Home Portraiture. 135
292. Strength of Light. Different brands of plates
require softer or harsher lighting of the subject; for in-
stance, Seed, Stanley and Standard plates develop with a
tendency toward softness, so the subject should be lighted
a little stronger than would be necessary if employing
Cramer or Hammer plates. Both of the latter work a little
more contrasty, and, therefore, the high-lights may be con-
siderably diffused and they will still develop with plenty of
snap and contrast.
293. Controlling the Light. The next point for con-
sideration is the handling of the reflecting screen, as well
as the diffusing screen. It is quite important that the
reflecting screen be placed at the proper angle. Often you
may observe portraits made after this style of lighting,
where the shadow side of the face is as strongly illuminated
as the front. This is a mistake, caused by the reflecting
screen being placed at an angle which reflects light equally
as strong on the cheek as on the fore part of the face.
294. Diffusing Screen. Adjust the diffusing screen
on the window, likewise the curtains, which can be sepa-
rated at any point desired. Use this screen as a skylight,
by raising or lowering it, or opening or closing any por-
tion of the curtains. Drawing the curtains together at
the bottom, allowing them to be partly separated at the top,
will soften and diffuse the light on the drapery. If this
light were not restrained the drapery would photograph
more quickly than the face and hair, and would, when devel-
oped, either cause the face to appear much darker than the
drapery, or if developing for the flesh, you would pro-
duce a very hard drapery effect, requiring a great deal of
doctoring to make a good negative. Therefore, to avoid
unnecessary labor light the subject as you wish the negative
to appear when finished.
295. It is a good plan to close the diffusing curtains,
thus softening the light, and then separate them sufficiently
to supply the necessary " catch " or high-lights. You may
be led to think that because you have diffused the strong
lights by closing the diffusing curtains this will prolong the
136
Library of Practical Photography.
exposure. Such is not the case. On the contrary, it tends,
to shorten the time, for should an open light be used with-
out the diffusing screen, the shadows would be denser,
requiring a long exposure to fully time them. While timing
for the dense shadows the high-lights are sacrificed and
KEMBRANVT
Illustration No. 18
See Paragraph No. 297
" choked." By diffusing you equalize the light and illumin-
ate the shadows, and as time must be given for the shadows
they are not as dense after diffusion ; consequently, less time
is required for the exposure.
296. Reflecting Screen. The reflecting screen is used
At-Home Portraiture. 137
as an assistant to the diffusing screen. It aids in illuminat-
ing dense shadows, and must not be used too near the sitter.
The nearer the reflecting screen is to the light the stronger
will be the illumination reflected, and vice versa. There-
fore, place the screen as near the light as is found necessary
to supply the proper illumination to the front of the face.
Gradually turn the end of the screen nearest the subject at
an angle from the light, thereby reducing the strength of the
reflected light which illuminates the denser shadows
from this end of the screen. The angle at which the reflector
should remain depends entirely upon the effect produced
on the face of the subject.
297. Should the rear of the head, or the shadow portion
of the Rembrandt Lighting, be illuminated to the same de-
gree as the front of the face, you would experience the diffi-
culty known as blocked or clogged shadows. Note in Illus-
tration No. 18 (floor plan), the position of the reflecting
screen. Observe that it is not parallel with the window,
but at an angle of about 45. The correct angle can only
be judged by the strength of the light.
298. Carefully watch the light as it is reflected upon
the subject; then, using the end of the reflector nearest the
camera as a pivot, gradually turn the opposite end away
from the sitter, but not so far that no light is reflected. It
is necessary to produce enough detail to gradually blend
the high-lights off into shadow. Only a little practice is
required to thoroughly master the manipulation of this
screen.
299. Background. It is quite essential that you em-
ploy the proper background ; one that is dark and gradually
blended or a slightly clouded ground is recommended. This
style of ground can be used for all classes of subjects.
300. The most important consideration in regard to
the background is placing it in the proper light. It is exactly
as essential that the background be illuminated as that the
subject be, for the ground should carry out the idea of the
lighting on the sitter. For this reason, when arranging the
diffusing screen see that the background is properly ilium-
138 Library of Practical Photography.
inated, and place it as far away from the subject as possible
to supply good atmospheric effect. For Rembrandt Light-
ing see that the light portion of the background is back of
the shadow side of the subject, thus supplying relief to the
shadows as well as to the high-lights.
301. Exposure. In making these lightings expose to
secure detail in the shadows, and give full time. Usually
double the exposure is required for Rembrandt Lightings
that is given for Plain Portrait Lightings.
CHAPTER XVIII.
At-Home Portraiture.
Part X.
Rembrandt Lighting Detailed Instruction.
302. As only a small source of light is required in
making front or two-thirds views of Rembrandt Lightings,
it is fully as easy to produce these effects in the home as
under a studio skylight. It must be remembered, however,
that a small source of light always tends to produce contrast
and harshness. For this reason great care must be exer-
cised in diffusing the light sufficiently to secure a gradual
blending between the highest points of light and the deepest
shadows. If the light is not properly handled to produce
softness, or if insufficient exposure to obtain full detail in
the shadows is given, the high-lights will be so hard and
so extremely chalky that, no matter how the developer is
manipulated you will not produce a soft negative.
303. It is only by proper diffusion of the high-lights
with sufficient illumination in the shadows, accompanied
by correct exposure and accurate development, that the very
best results are obtained. No matter whether Rembrandt or
Plain Lightings are being made, if an extremely contrasty
source of light is employed, and the shadows are not suffi-
ciently illuminated, you will in almost every case suffer
lack of detail in the shadows, no matter how far the negative
is carried in the development. If carried beyond a certain
stage, even with sufficient exposure the high-lights will be-
come chalky, the shadows, instead of building up in detail,
189
140 Library of Practical Photography.
will merely fog over, and the resulting print will be only a
mass of black and white, with absolutely no intermediate
half-tones.
304. Care must be taken that the face is not turned
into the light more than sufficient to produce the proper ef-
fect of lighting, as the result will be large, strong catch-
lights. Besides, by so doing, the light is allowed to spread
to too great an extent over the face. Strong light also
causes the pupils to contract and become small, and the
expression is by no means as good as when the pupils are
larger or more dilated
305. Normal Rembrandt Lighting. To produce a full,
or nearly full, face portrait in Rembrandt Lighting, place the
sitter in exactly the same position as you would for Plain
Portrait Lighting, locating the camera further from the
light and viewing the subject from the shadow side. It may
be necessary to place the subject a trifle closer to the light,
this depending entirely upon the height of the window, as
the light must fall upon the subject in exactly the same man-
ner and at the same angle as for a Plain Lighting, which is
about 45.
306. Diffusing Screen. The diffusing screen on the
window is a very important accessory in correctly making
Rembrandt Lightings. By employing it judiciously you
regulate the strength of the high-lights, and require less use
of the reflecting screen to illuminate the shadows. When
direct rays of light enter a room, unobstructed, and fall
upon the subject, they will produce extreme contrast, result-
ing in strong high-lights and dense shadows, with absolutely
no half-tones. By gradually diffusing the source of light
with the diffusing screen on the window, the white, chalky
high-lights on the face will be softened. Diffusion of the
source of light causes a more uniform distribution of the
rays of light throughout the room. This actually shortens
the required amount of exposure.
307. Equipped with a diffusing screen and a reflecting
screen you have absolute control of the light. The diffusing
screen can be adjusted to various heights, and if light ad-
At-Home Portraiture. 141
mitted below the screen is too strong, it may be advisable
to hang a piece of cloth (denser than the screen) underneath
it. This will cut off, to a great extent, the rays of light
which would otherwise come in at the bottom of the win-
dow. Drawing the curtains of the screen together at the
bottom, allowing them to be partly separated at the top,
will, as stated in the " Brief General Instruction," also assist
in softening and diffusing the light on the drapery the
V-shaped opening permitting the strongest light to fall on
the face.
308. Light for Results. When the subject is dressed
in white, if the light were not restrained as it falls upon the
drapery, the highly illuminated drapery would affect the
sensitive plate more quickly than the light on the face.
When developed, the face would be much lighter than the
drapery; or, if you developed for the face, a very hard,
opaque drapery, requiring considerable dodging to make a
good printing negative, would be the result. To avoid un-
necessary labor, therefore, light the subject as you wish it
to appear in the finished picture.
309. It is a good plan to experiment with the controll-
ing of the light, as stated in the " Brief General Instruction,"
before attempting to make an exposure. The following ex-
periment should also prove interesting and practical :
310. Diffusing Experiment. Place a vase, cup, or any
opaque object, before a window, and about one foot from it;
hold a white cardboard back of this object, placing the ob-
ject between the light and the cardboard. By placing the
cardboard about 6 inches from the object, you will find the
object will throw a very strong shadow on the card. Now,
place a sheet of tissue paper between the light and the
object, when the shadow on the cardboard will be very much
subdued. This illustrates the effect produced by the
manipulation of the diffusing screen. If desired, an actual
photographic, test can be made.
311. Make an exposure with the open light (all dif-
fusing curtains having been drawn to one side). In this
case give as much exposure as is deemed necessary to secure
142 Library of Practical Photography.
detail in the deepest shadows, which, under the circum-
stances, will be very dense and will require about three times
the ordinary exposure. Now make a second exposure, hav-
ing properly diffused the light. Expose sufficiently to se-
cure the proper amount of detail in the shadows, which,
you will observe, are not nearly as dense as when the light
was not diffused, thus requiring about one-half to two-
thirds the exposure necessary with the former plate. Com-
parison of the two negatives will demonstrate the first to be
extremely contrasty, the high-lights will be blocked, and the
resulting print chalky. The shadows may have some detail
in them, if sufficient exposure was given and the develop-
ment carried far enough, but the chances are you will stop
the development before any perceptible amount of detail
has had an opportunity to develop. The reason for this is
that the high-lights become so dense you will consider the
negative fully developed.
312. With the second negative the conditions are en-
tirely different. The development \vill proceed gradually,
and if the high-lights have been softened by the diffusing
screen they will build up in proper relationship to the other
tones in the negative. By the time the high-lights have been
sufficiently developed full detail will be present in the
shadows, and all tones in the negative will be in proper
proportion to each other, exactly as they appeared on the
subject.
313. Background. Dark backgrounds should be em-
ployed. Where a graded ground is used one in which the
tone blends from dark to light it should be so placed that
the dark end will appear back of the light side of the face,
the light end being on the shadow side. The effect of con-
trast will in this way be accentuated, making the high-lights
more forceful, the darks more rich. At the same time the
actual contrast has not increased, but is kept within bounds ;
so with proper exposure the shadow detail will be recorded
before the high-lights are over-exposed.
314. Reflecting Screen. The handling of the reflect-
ing screen for this style of lighting requires much more
At-Home Portraiture. 143
careful attention than when using it for Plain Lightings,
although the greatest care must be exercised at all times in
securing just the proper amount of reflected light, and no
more. However, you should make free use of the reflecting
screen, placing it as close to the subject as necessary to ob-
tain the proper illumination. Bear in mind, there should be
no harsh lines existing between the high-lights and shadows.
A gradual blending from the highest lights to the most dense
shadows should be present.
315. The reflected light should, as previously stated,
be simply a diffusion of the direct source of light. There-
fore, the angle at which the reflector is placed is of vital
importance. Flatness and, in fact, complete ruin of an other-
wise good attempt at Rembrandt Lighting is the result of
reflected light being cast too strongly on the shadow side
of the face.
316. If one end of the reflector is nearer the light than
the other, the end nearest the light will throw the strongest
reflection. When placed at the proper angle it will cast the
strongest reflected light onto the front of the face. From
this it will be seen that it is essential to make various trials
with the reflector in different positions, not only placing the
screen at different angles to the light, but also near and
distant from the subject.
317. A careful study should be made of the floor plan
shown in Illustration No. 18, which gives the location of the
subject, camera, reflecting screen, background, etc.
318. Exposure. The exposure for Rembrandt Light-
ing requires approximately double that for Plain or Broad
Lightings. As it is better to err on the side of over than
under-exposure, do not hesitate to give plenty of time.
From six to eight seconds is usually required, all depending,
of course, upon the amount of illumination, as well as the
speed of the lens employed. If an anastigmat or portrait
lens is used, one to three seconds would be sufficient ex-
posure when using the lens wide open.
319. Developing. Negatives of Rembrandt Lightings
are developed exactly the same as any other style of light-
144 Library of Practical Photography.
ing, taking it for granted that they have received the proper
amount of exposure. The shadows must be fully timed. If
this is done the negative will develop evenly and the detail
in the shadows will build up proportionately to the increase
of density in the high-lights, and no difficulty should be ex-
perienced in producing a soft negative. If under-timed, de-
cided contrast and weak shadows will be the result. On the
contrary, if the negative is fully exposed, even if a trifle
over-exposed, the addition of a drop or two of Bromide of
Potassium, or the use of old normal developer, will enable
you to easily control the development. It is very seldom
necessary to restrain negatives of Rembrandt Lightings in
the developer, for in many cases you will have under-ex-
posures to deal with. The latitude in exposure in Rem-
brandt Lightings is much greater than with any other style
of lighting. It is, therefore, permissible to give fully one-
third more than the normal exposure, and yet produce good
results.
320. Side View Rembrandt Portrait. Rembrandt por-
traits, showing either a side or a two-thirds view of the face,
are very popular for window lightings. They are made with
the subject placed in exactly the same position as for the
front view, the camera alone being moved further from the
light to secure the proper view of the face. The contour of
the subject's face governs, to a great extent, the position of
the camera. A sufficient amount of the cheek on the high-
light side of the face must be admitted to give roundness to
the portrait and obtain the proper result, yet the position
may be such as to obtain any view of the face, from the ex-
treme front to the extreme profile.
321. Special Illumination of the Shadows. The
shadows may lack the required amount of illumination, in
which case the reflector should be placed as near the subject
as possible, thereby reflecting more light into the shadows,
illuminating them in harmony with the high-lights. The
same precautions must be taken in handling the reflector
in this instance as when making the regular Rembrandt
Lightings, bearing in mind that the object of the reflected
At-Home Portraiture. 145
light is to give softness between the high-lights and the
shadows, but under no circumstances must the shadow ear
be as strongly illuminated as the cheek on the same side of
the face.
322. Practice Work. Having become thoroughly fa-
miliar with the instruction contained in this lesson and with
the principles of Rembrandt Lighting, study carefully the
various examples of Rembrandt Lighting effects in this
volume ; then proceed to pose a subject and make this light-
ing. When the effect is satisfactory make an exposure.
Remember, that it will require about double the amount of
time for a Rembrandt Lighting that is necessary to secure
a correctly exposed Plain Lighting negative.
323. Develop the plate in normal developer, and ob-
serve its action. Does the plate develop evenly? If the
high-lights appear stronger than they looked on the ground-
glass, and the shadows hold back and do not build up in
detail, the plate is under-timed. Immediately dilute your
developer by adding an equal amount of water. This will
reduce its action, and the developer will have more time
to penetrate deeper into the emulsion, thus building up the
shadows. A diluted Pyro developer is known as a soft
working developer, for a negative in it gains detail in the
shadows at a more rapid rate than it does density in the
high-lights. Therefore, the high-lights of an under-exposed
negative placed in a weak developer are actually restrained,
while the shadow details are permitted to gain strength.
"When the high-lights are fully developed the shadows should
have the required amount of detail.
324. Should the plate develop evenly the shadows in
the same relation to the high-lights, as they appeared on the
ground-glass you will know that the plate has been prop-
erly exposed. In case of under-exposure make another nega-
tive, giving more exposure to fully time the shadows. In
fact, aim to slightly over-expose.
325. If the results of these first experiments are not
satisfactory, proceed to make additional negatives. Observe
the errors in your first attempts and try to overcome them.
146 Library of Practical Photography.
When you finally obtain a good negative, make proof prints
from each. Note on the back of the proofs complete data
regarding your method of procedure. It might also be ad-
visable to sketch on the back of at least one of the proofs, a
diagram showing the floor plan, position of camera, subject,
window, background, reflector, etc. Always state the ex-
posure given each plate, the time of day, the kind of lens,
etc. These proof prints should be filed in your proof file
for future reference, and by studying the different prints
carefully from time to time, you will avoid duplicating the
same errors, and in a very short time be able to produce
satisfactory results.
CHAPTER XIX.
At-Home Portraiture.
Difficulties Rembrandt Lighting.
326. Securing Sufficient Top Light. As the windows in many
homes are quite low it may be impossible to secure a sufficient
amount of top light to have the angle of light fall on the subject
at an angle of 45, unless the subject is placed quite close to the
source of light. Remember, however, that this will give you more
contrast unless you use double diffusing curtains. There must
be softness and a gradual blending from high-lights to shadows in
all portions of the figure.
327. Too Much Contrast. Too much contrast is due to one
of three things: (a) Having the subject too near the window; (b)
insufficient diffusion of the light; (c) lack of proper reflected light.
The remedies are: (a) Place the subject far enough away from the
window to secure the correct angle of light. As a rule, the distance
from subject to the window should be the same as the width of
the window, (b) When using a north light there is little trouble
in securing the proper amount of diffusion; but if a window is
employed with the sun shining on it, it will be necessary to diffuse
the light carefully with your diffusing screen, and perhaps also to
add an extra thickness of cheese-cloth, in order to have the light
under perfect control, (c) Should you be unable to properly soften
the high-lights with the diffusing screen, and thus reduce the amount
of contrast, it will be necessary to apply reflected light. This,
however, must be done very cautiously and care exercised that too
much light is not thrown into the deepest shadows on the back
of the head and ear. Remember, that reflected light should be a
continuation of the direct source of light. The object of reflected
light is to simply blend the harsh line which is formed between
the high-light and shadow and, in blending, the reflected light should
become very weak as it reaches the back portion of the shadow
side of the face.
328. Diffusing High-Ligths. If the high-lights are extremely
hard and lack flesh values, the subject has been placed too close
to the window, or you have not properly handled the diffusing cur-
tains. The further the subject is away from the source of light
147
148 Library of Practical Photography.
the more diffused will be the high-lights, yet placing the subject
too far away from the window will cause too low an angle of
light. Place the subject only far enough away from your source
of light to secure the desired angle of light. A good rule to fol-
low is to place the subject from the window the distance of the
width of the window. Then close the curtains on the diffusing
screen, and if this is not sufficient to give the desired diffusion
and softness, use another thickness of cheese-cloth on the window.
Sometimes a portion of a newspaper may be employed advan-
tageously.
329. If your curtains are stained a light coffee color, you will
not have any difficulty in obtaining sufficient diffusion, as the
brown color of the curtains gives a mellow light. Being very soft
in itself, and inclined toward flatness, be careful not to go to the
extreme and over-diffuse the high-lights.
330. Lack of Detail in Shadows. The improper handling of
the diffusing curtains to diffuse the light and the improper use of
the reflecting screen will cause lack of detail in the shadows.
Under-exposure is also responsible for this difficulty. Remember,
it is always necessary to give a sufficient amount of exposure to
secure on the sensitive plate the detail which is in the deeper
shadows. A negative which is under-developed and correctly ex-
posed will also lack detail in the shadows. Such a negative will be
improved by intensifying.
331. Judging Proper Exposure. In order to ascertain the cor-
rect exposure it will be absolutely necessary to make a number
of tests. If an exposure of two seconds is sufficient for Plain
Lighting, where the major portion of the face is in light, then
it is safe to give four seconds where the larger part of the face is
in shadow. It is advisable to keep a memorandum of all exposures,
time of day, conditions of light, complexion of the subject you are
photographing, etc. Upon developing the negative, if you find
it is under or over-exposed you should govern yourself accord-
ingly the next time you make a negative under the same, or nearly
the same conditions. Always make proof prints from each negative
made, and note on the back of each proof all the data pertaining
to its production, and by filing these proofs you have them for
your future guidance.
332. Reflecting Screen. Little or no difficulty should be ex-
perienced in handling the reflector, if the directions given in the
lesson proper have been followed. Bear in mind that reflected
light should be simply a continuation of the direct source of light.
The reflected light should blend the harsh line which sometimes
exists between the high-light and shadow on the face. Always
have the reflector toward the front of the subject, never directly
Difficulties Rembrandt Lighting. 149
at the side. By turning this screen first one way and then another,
observing on your subject the effect produced, you will soon learn
the proper angle at which it should remain. But be careful that
the reflected light is not thrown so strongly into the deepest
shadow on the rear of the head as to flatten the whole effect.
333. Background. For Rembrandt Lighting effects the back-
ground is best when of a dark shade. When possible, however,
it is advisable to place the ground so that the part directly back
of the shadow side of the face will receive light from the window.
In this way the general balance of the portrait picture will be cor-
rect, and the subject will stand out in relief from the background.
A shaded background may be employed which will aid in pro-
ducing this result.
334. Too Much High-light on Shadow Side of Face. The face
is turned too much toward the light; it should be turned away from
the light until the shadow cast by the nose blends to some extent
with the shadow of the cheek. There should be only a faint patch
of light on the top of the cheek bone under the eye on the shadow
side of the face.
335. Room Too Narrow. When working in a narrow room, or
in confined quarters, it may be necessary to place the subject closer
to the window and strongly diffuse the light so as to reduce the
harshness which would otherwise result from having the subject
so near the light.
CHAPTER XX.
At-Home Portraiture.
Part XL
Broad Profile Lighting.
336. Introduction. Not all faces are suitable for pro-
file lighting, for it is necessary that the outline of the profile
of the face, to be pleasing, possess graceful curves. There
are few who possess these qualifications and, therefore, the
number of subjects who make pleasing profile portraits
is limited.
337. Points to be Considered. A profile portrait to be
pleasing should not be made up of straight lines or angles;
neither must one feature be out of proportion with the
others, nor should the forehead or the chin recede too
abruptly from the front of the face. Curved lines are al-
ways pleasing, and the more these predominate in the out-
line of the face, and the better the proportion of the various
features, the more pleasing will be the profile outline.
338. Shape of Profiles. Where the outline on the fore-
head, the nose, lips and chin presents straight lines, with
angles at the root of the nose, the tip of the nose and on
the chin, we have one form of objectionable profile. Another
would exist if either the forehead or the nose or the chin
were out of proportion to any of the other features. For in-
stance, the forehead may 'be extremely high and its length
be equal to the total length of the balance of the outline.
If the forehead or the chin recedes very rapidly, the profile
outline will be displeasing. The best shaped profile is one
in which the length of the forehead, the length of the nose,
and the distance from the nose to the tip of the chin are
151
152 Library of Practical Photography.
equal and the lines forming each of these individual features
are curved and not straight or angular.
339. Placing the Subject for Broad Profile Lighting.
When arranging the subject, place him as far from the win-
dow as consistent with the size of the light you have to con-
tend with. Place the figure facing the light, at least partly
if not entirely; then turn the face in profile from the light.
Arrange the camera as close to the window as possible,
so as to obtain a profile view of the subject's face with-
out their turning the face too far from the light. In some
instances, placing the subject with the back to the light,
with the face turned over the shoulder towards the light,
gives a very pleasing effect.
340. By varying the arrangement of light, as well as
background, profile studies may be made giving a great
variety of effects. It is, however, advisable to hold to one
particular style of composition until that style has been thor-
oughly mastered, yet profile portraiture is one of those
phases of photography which affords considerable variety
and almost never ending change. One of the great attrac-
tions of the posing of faces in profile is, that the result shows
character and portrays, to a great extent, the facial strength
or weakness of the individual.
341. In full face studies we look more for a portrait,
while in a profile study the aim is to secure the personality
of the sitter.
342. Pose. The first and most important matter for
consideration is the way in which the head of the subject is
posed. A tip of the head too far back or too far forward,
leaning too much to the right or left, will make a wonder-
ful amount of difference in the final result. The head
should be held in a perfectly natural manner, as it is a very
easy matter to exaggerate the neck of the subject, especially
if of a lady gowned in evening dress or drapery. It is, there-
fore, necessary to be very careful as to the way in which you
place the head.
343. The Eyes. The direction in which the eyes are
turned is another point which must receive attention
At-Home Portraiture. 153
turned too much downward the model appears dreamy,
while if the eyes are turned too high a strained and staring
effect will be produced, the neck being exceedingly exagger-
ated in length.
344. The Lips. The lips contain a great deal of char-
acter, yet many times they appear to be glued fast and in
such a position, are very unnatural. It is advisable to re-
quest your subject to moisten the lips with the tongue,
which will restore their naturalness.
345. The Position of the Body. The direction in
which the body of the subject is turned is of equal import-
ance to the posing of the head. The body should not be
turned in the same direction that the eyes are looking. The
lines of the shoulders and arms combine naturally with those
of the neck and head, but this would not be the case if the
body be placed squarely with the camera.
346. When focusing the image on the ground-glass
be sure to provide for sufficient space for the subject to
look into, and by all means avoid placing the head in the
center of the picture space. This is extremely important
and should not be neglected, for there is nothing so disagree-
able as to see a face posed in profile with the nose almost
touching the edge of the print. There must be enough space
in front of the face to give your subject room in which to
look.
347. Lighting. Although the pose is an important
feature, the lighting is very essential in many profile pic-
tures in securing pleasing results. The direction from
which the light comes and the manner in which it falls on
the face, are all important factors ; therefore, due considera-
tion must be given to both the pose and the lighting. The
most successful form of lighting in profile portraiture is
that which draws into prominence the strongest character-
istics of the face of a subject. Thin face subjects are best
made with a broad light, as with it better modeling will be
obtained. Subjects with round faces are best portrayed in
the Rembrandt or Shadow Lighting. If a front light is em-
ployed for round faced subjects the results will very likely
154 Library of Practical Photography.
be flat and give a very characterless portrait. As examples
of portraiture the broad lighting effects on such subjects
may not lack interest, but character studies will not be
strong and convincing if the lighting is of this nature. For
subjects with round faces which are also suited for profiles
the strongest effect of relief is generally obtained by
placing them in such a position that the light is slightly
behind the plane of the figure, throwing the broad side of the
face in shadow; or, as it is photographically termed, Rem-
brandt Profile Lighting.
Part XII.
Rembrandt Profile Lighting.
348. The Lighting. A Rembrandt Profile Lighting is
a profile view of the face, the outline being the only por-
tion having a strong high-light. The rest of the face is in
shadow except on the shadow cheek underneath the eye,
where there is a small catch-light sufficient to supply illumi-
nation, giving roundness and clearness to this eye. In
lighting the profile proceed exactly as you would for any
other lighting. The strongest light should fall on the fore-
head, extending down the bridge of the nose, tipping the
lips and chin, and finally blending into the drapery. This
light should gradually soften as it descends from the fore-
head.
349. Use Plenty of Light. Many make a great mis-
take when posing subjects for profile portraits, for they fail
to avail themselves of the opportunity of using plenty of
light and, consequently, their pictures present a mass of
smudgy shadows with harsh high-lights for an outline, with
no half-tone values present. The picture as a whole lacks
the brilliancy which is so essential in profile portraiture. All
this can be overcome and the necessary brilliancy obtained
by the proper handling of the diffusing screen and making
free use of all the light you have at your command.
At-Home Portraiture.
155
350. You will observe in floor plan No. 19 how the
subject, background and reflecting screen are located for
producing this style of lighting. Owing to the fact that
you are working against the light you, of course, do not
PROFILE PEMBKANDT
Illustration No. 19
See Paragraph No. 350
have as much general diffusion of light in the shadows as
you would have in other classes of portraits, for there is
no way of admitting light into the shadows from your
source of illumination ; therefore, the larger the window or
source from which you receive your light the better. This
is why, under the studio skylight, these lightings are very
156 Library of Practical Photography.
much simplified, for under a large light plenty of illumina-
tion is available and all that is required is the proper con-
trolling of the angle of light to produce the correct lighting,
and less use of the reflecting screen is necessary; but, for
one working by the ordinary window free use must be made
of the reflector.
351. Proper View of the Face. Perhaps one of the
most important considerations in profile portraiture is the
photographing of the best side of the face. In every subject
there is what is known as the good and bad side, a right and
wrong side of the face. By this we mean that the lines of
the face are more graceful from one side than the other;
there is more expression of character and the outline is
more pleasing from the one side than the other. Usually
the left side supplies the most character. The best side of
the face is determined principally by the outline of the chin
and forehead.
352. Proper Subjects for Profile Portraits. A suitable
subject may be determined in the following manner. Ar-
range your subject in profile pose and view the image on the
ground-glass. Place a glass straight-edge on a line across
the front of the face in profile, starting at the forehead
directly over the eyebrow, extending through the nose, and
touching the lower lip. The closer the entire forehead
bends to this line the better; the nearer the chin comes with-
in the range of line the better also. If the chin or forehead
recede considerably from the line, the profile is bad. The
more they recede the poorer the profile. The nearer they
join this line the nearer perfect is the profile. See Illustra-
tion No. 20 of suitable subjects for profile portraits the
thin face subject in Broad Lighting and the round face
subject in Shadow or Rembrandt Lighting.
353. Improving Profile by Proper Lighting. The
subject with a perfect profile may be placed in any position
and under any style of light and will always present a good
profile; but, while there are very few who really have a
perfect profile, there are many whose profiles, if properly
posed and lighted, can be improved and good profile pictures
THE CUP THAT CHEERS
STUDY No. 10 See Page 403 MRS. M. S. GAINES
At-Home Portraiture. 159
made of them. For instance, we have some subjects with
square, broad, flat chins. In lighting such a subject for
Rembrandt Lighting, by turning the face from the light into
the shadow only a trifle more than you would were the
profile a perfect one, the high-light side of the square, broad
chin will throw a shadow across the width of the chin, thus
increasing its length. This is also true of the forehead
where the forehead recedes the more breadth you can ad-
mit into the view and yet retain the profile outline, the less
curve it will show, thus producing a more square forehead
than would be the case if made exactly the same as you
would a perfect profile.
354. Tipping the Head. By slightly tipping the head
towards the camera we also gain a little length ; that is, we
apply some of the width of the face to the length, thus
giving us more breadth to the profile. Many obstacles
may be overcome by the simple turning of the head a little
one way or the other, tipping it to or from the camera, rais-
ing it or lowering it. Each movement will show its effect
and must be closely observed.
355. The View of the Face. There are also times, as
previously stated, where one side of the face presents a bet-
ter profile than the other, for the reason that the qualities
that are lacking on the one side may appear stronger on
the other, for by their shape they project or recede more
when viewed from one side than they would from the other.
Consequently, all this must be taken into consideration when
posing and lighting the subject.
356. Where you are working in the home by an ordin-
ary window, unless the room is sufficiently large to admit
of working from either end you will be somewhat handi-
capped for space in which to work, for where the profile
style of picture is desired you may not always be able to
take advantage of the best side of the face and yet light it
properly in the small room you have at your command. For
instance, you may have a subject with better lines on the
right than on the left side, yet the room in which you are
160 Library of Practical Photography.
working is such that you cannot shift the subject to the
other side and have sufficient space in which to work your
camera. You will, therefore, necessarily have to sacrifice
the drawing and give preference to your facilities for light-
ing. This is not necessary when you have a large room and
can work from either end of it.
357. As before stated, in the majority of cases you will
find the left side of your subject will supply the best draw-
ing. It is, therefore, advisable, when selecting a room for
the making of your portrait work, that you choose one so
located that your subject may be photographed from the
left side.
358. In making this style of lighting place your back-
ground close to the side wall. It will be necessary for
one end of this ground to be set very close to the window,
and, perhaps, if you are working in a crowded place, you
will need to have it lap over the window a foot or so. Place
your subject in identically the same place as you would for
an ordinary Rembrandt Lighting ; that is, not more than two
or three feet from the source of light, thereby making free
use of all the light coming from the window to supply the
necessary illumination. With your diffusing screen drawn
to one side of the window, the illumination upon the subject
may seem harsh and strong. If so, raise your diffusing
screen and draw its curtains sufficiently to subdue the harsh
lights. This screen (the curtains of which are made in
sections) is so arranged that you may separate any portion
of the curtains and admit any amount of direct light you
may require. Care must be exercised in admitting your
light through the screen that it does not extend beyond
the profile of the face. Your strongest light, as before
stated, should rest on the forehead, the next strongest on
the nose, following down tipping the lips and chin, and
finally blending off into the drapery.
359. Illuminating the Background. It is essential that
the background in this style of portraiture receive some at-
tention. You undoubtedly have seen profile portraits where
the face seemingly was sunk into the background instead
Al-Home Portraiture. 161
of standing out in relief. This is because the operator, in
lighting his subject, paid no attention to the illumination
upon the background, leaving it in total darkness. It is
exactly as essential that the background be properly illumin-
ated as the subject, for it supplies a part of the picture ;
therefore, separate your curtains on the diffusing screen
in order to supply catch-lights on the subject, also separate
them at the end of the screen next to the background. You
will then, when securing the proper lighting effect on the
subject, illuminate the background as well, giving good
roundness to the portrait and supplying the desired back-
ground relief.
360. The Reflecting Screen. You will find more use
for the reflecting screen in making Rembrandt Profile Light-
ings than in any other style of lighting, for you have a larger
area of shadow to illuminate. The reflector assists in illum-
inating the most dense shadows which cannot be reached by
direct light. The greatest care must be exercised in the
use of this screen, lest you overdo the reflection and produce
stronger light in the deepest shadows than you have in the
middle tones.
361. In the floor plan, Illustration No. 19, illustrating
this lighting, you will observe the position of the reflecting
screen, it being placed at an angle instead of facing broad-
side to the light. Should it face broadside to the light, the
reflected light coming from this screen would be more pow-
erful than the direct light and, therefore, the shadows, in-
stead of blending off gradually as they approach the rear
of the head, would be choked with a false light. By using
this reflector at a suitable distance from your subject, and
placing it at an angle so as to partly catch the direct rays
of light, it will sufficiently accentuate the shadows. The re-
flected light will not be strong enough to intrude upon the
shadows, but merely assist in producing the desired detail.
362. Shielding the Lens. When making Rembrandt
Profile Lightings, the camera, of course, is directed towards
the source of light, and unless the lens is shielded from the
rays of light you will be troubled with reflections, resulting
162 Library of Practical Photograph]).
in fogged plates ; therefore, the lens should be shielded with
a hood or funnel-shaped cone, which is attached over the
lens. This cone can be made of tin or of cardboard and
should not be made shorter than 6 inches, the size of the
cone depending entirely upon the angle of the lens. It must
be wide enough at the mouth so that it does not interfere
with the angle of the lens. The cone should be painted
black, on the inside at least. Should it be painted a light
color, you would be troubled with reflections from the cone
itself therefore some dead black paint must be used. Any
black paint that will not give a glossy finish can be em-
ployed. (Detailed description for making a cone is given in
Paragraphs 501-506.)
363. Exposure. The exposure required for this style
of lighting is a trifle longer than for ordinary Rembiandt
Lighting, for the reason, as before stated, that you have a
larger amount of shadow to illuminate and, therefore, re-
quire a longer exposure. You, of course, judge the amount
of exposure by the appearance of the image on the ground-
glass, and your judgment is based upon the appearance of
the shadows, paying no attention whatever to the high-lights.
In other words, calculate on an exposure sufficient to fully
time the most dense shadows. This will require approxi-
mately double the exposure of an ordinary Rembrandt front
or two-thirds view, and four times the exposure of a Plain
Broad Lighting.
364. Developing. There is no difference in develop-
ing Rembrandt portraits from any other style of lighting,
for the difference in the illumination must be made up in the
exposure ; therefore you may apply the regular normal de-
veloper, and we particularly recommend the Universal for-
mula given in Volume II. As previously stated, you expose
for the shadows, and the high-lights will care for themselves.
Should your negative show signs of contrast you will readily
understand that the plate is under-exposed. If the high-
lights and shadows develop in harmony with each other,
exactly the same as they appear on the ground-glass, you
will know that your plate is properly exposed and the
At-Home Portraiture. 163
development can be completed in this bath. In case of slight
under-exposure, the addition of more water will aid you in
obtaining more detail.
365. Practice Work. For your model select a subject
having a profile which is not angular, but contains graceful
curves. The face should be quite full, in order that the
greatest amount of roundness and beauty of light effect
may be obtained. Proceed to arrange your subject in
exactly the same manner as required for the regular Rem-
brandt Lighting. If the outline of your subject is better from
one side than the other, you, of course, select the best side.
You may find that the subject has a very short neck and
that the best position would be with the figure facing the
camera and the head turned from it into the light. The
subject sitting quite erect and the head slightly tipped
toward the camera will give an easily held position. A good
way to overcome the exaggerated appearance of an ex-
tremely long neck, when making a profile picture, is to turn
the back of the subject to the camera, with the face toward
the light, gradually turning the face from the light until
the proper line of illumination is obtained. Should the
light be too strong in the outline or high-lights, make use
of your diffusing curtains, raising or lowering the screen
until you have supplied sufficient diffusion to these high
points of light. If entirely closing the curtains on the screen
gives you too much diffusion, or flattens the high-lights,
then separate them slightly, just sufficient to produce catch-
lights that will give crispness and roundness.
366. With this accomplished turn your attention to the
shadows. If they lack detail or sufficient illumination, then
make use of your reflecting screen. Place this screen at an
angle that will illuminate the shadows more strongly from
the front of the face than the rear, thus permitting of the
gradual blending away of the light into the deepest shadows.
367. Your attention must next be turned to the back-
ground. See that the background is properly illuminated.
You may find it necessary to have this ground overlap the
window a trifle in order to have it come outside the range
164 Library of Practical Photography.
of the lens. With the background in place you are ready
for the exposure.
368. Locate your camera in such a position as to secure
the profile, or nearly a profile, of the face. If an exact pro-
file was made, you would have what is termed a line light-
ing, which is not at all pleasing and does not give you the
features of the face. You, therefore, want a trifle less than
the profile and must admit into the view the full width of the
bridge of the nose. This will give more roundness to the
portrait. A good guide to follow is to turn the head towards
the light until the eyebrow or eyelashes on the high-light
side of the face are just out of range of the view. This
will give you the full breadth of the forehead as well as
the width of the nose, thus supplying the needed roundness
to the portrait.
369. The camera is placed at a point from which you
have viewed the subject when arranging the light, and in
order to avoid reflections, shield the lens with the cone pre-
viously mentioned. When focusing on the ground-glass be
careful that more space is allowed in front of the subject
than in the rear. Never place a profile exactly in the center
of the plate. Many times the exact profile view of the face
is undesirable owing to the fact that the outline is too an-
gular or the lines may be too straight. Should this be the
case, move the camera around more towards the front of
the subject, say about a two-thirds view, or until a pleasing
outline is secured. Never select the position between a two-
thirds view and a profile, for in doing so you will have dis-
pleasing angular lines of the cheek and only a partial view
of the high-light eye, thus losing its shape and roundness.
370. When you have chosen a position which gives
you the desired roundness make an exposure, bearing in
mind that it will require, approximately, twice the exposure
as for a front view Rembrandt Lighting. It is advisable
after making the first exposure, to arrange your subject in
a different position, yet carrying out the same lines of light-
ing. You may have posed them with the head drooped, or
slightly tilted towards the camera. There might be another
At-Home Portraiture. 165
view that would appear pleasing by raising the chin a trifle,
of if the neck is quite long, lowering the head. A slight
tilting, raising or lowering of the head makes a vast differ-
ence in the general appearance of the picture; therefore a
large variety of effects may be obtained by slight changes
in position.
371. After exposing a few plates, proceed to develop
using the normal developer and develop these lightings the
same as you would any other portrait. When the plates
are dried, make proof prints from them, printing sufficiently
deep to show all the quality there is in the negative. Note
on the backs of these proofs all data regarding your method
of procedure, being particular to note the time of day, the
amount of exposure given, etc. File these prints in your
proof file for future reference and for your next experiments
be guided entirely by the results of your former efforts.
They will serve as an excellent key for your guidance.
CHAPTER XXI.
Baby and Child Photography.
372. Introduction. The actual cash returns for those
who make a business of photographing children in their
homes is a most attractive feature ; while to those who de-
sire to take up the work for their individual pleasure, and
as a means of recording their own children in different at-
titudes, portraying their characteristics and securing pic-
tures which are many times impossible for the professional
photographer to produce, photography in the home becomes
of invaluable service.
373. The father, mother, brother or sister, being per-
fectly familiar with the child subject, is better able to se-
cure natural photographs of it in its different moods and
attitudes than a professional photographer at the studio.
The child is under no restraint whatever in the home and
will assume most natural poses, while at the studio, among
strangers and strange surroundings, it may become self-
conscious and most unnatural in manner, and oftentimes un-
ruly, either from fear or perhaps restraint. The many ad-
vantages of photographing children in the home are, there-
fore, very apparent.
374. The photographer who makes a business of photo-
graphing children, whether in the home or studio, in order
to be successful must have a natural liking for children ;
otherwise it would be far better to leave this field of work
entirely alone. One must be ready at all times, and under
all circumstances, to do or say something that will interest
the little subjects, for by this means their confidence is
gained and held, which is absolutely essential if satisfactory
results are to be obtained. Although the modern studio is
usually equipped in a most perfect manner for the photo-
167
168 Library of Practical Photography.
graphing of children, these little subjects appear more
natural in their own home than in the studio, and for this
reason the opportunities for obtaining a variety of interest-
ing expressions and natural positions are far better. The
principal requirement, aside from thoroughly understanding
the manipulation of the instrument and the proper lighting
of the little subject, is to gain its confidence, and with this
accomplished the balance of the work is easy.
375. Comparing the two classes of persons who at-
tempt to photograph the child in the home the professional
photographer and the amateur photographer we find that
the amateur who photographs his own children will invar-
iably produce more pleasing pictures than the professional,
as he understands his own children far better than any
stranger, and for this reason he is able to secure expres-
sions and positions that are perfectly natural, although his
finished results may not be the best obtainable. But even
this difficulty may be surmounted after a little practice and
the application of the instruction which is to follow, as well
as the instruction contained in the other volumes of this
library.
Brief General Instruction.
376. Principal Requirements. The principal require-
ment for the securing of portraits of children in the home
is plenty of illumination. For infants the easiest and most
simple method is to arrange them in a one-armed chair,
commonly known as a three-cornered chair; or, a corner of
a couch will answer very nicely. Place a sofa pillow in the
corner and arrange the infant leaning against the pillow, and
not sitting on it. Have it sitting quite straight. By means
of such an arrangement as above mentioned it need not be
fastened, for by placing it in the corner leaning against the
pillow, the child cannot easily fall forward. In Illustration
No. 21 is shown a series of infants' and children's pictures,
very simply arranged, which are along the lines just sug-
gested.
Illustration Xo. 21 See Paragraph No. 376
Series of Infants' Pictures
Illustration No. 27
See Paragraph No. 435
Group Pyramidal
Arrangement
Illustration No. 28 See Paragraph No. 436
Group Pyramidal Arrangement
Baby and Child Photograph}). 171
377. For children from one to five years of age a sit-
ting or lounging position will be found most suitable, and
such subjects are best handled when given something to
do some toy to play with, a picture book to look at, etc.
Where toys are employed the subject may be arranged on
the floor near a window. If picture books are used a loung-
ing position on a sofa or large chair is best, or a table may
be worked in as an accessory, with the child leaning on the
table, etc. Any position that seems careless and natural
cannot help but please.
378. Lighting. As previously stated, supply all the
light possible, and while ordinarily a room with a northern
exposure would be preferred, yet where the sunlight falls
upon the window, with its angle in the direction of the space
to be occupied by the subject, you will have stronger illum-
ination, and if the sunlight does not come within the picture
space it will do no harm. The light will be very much dif-
fused by tacking a sheet of white muslin over the window,
and the subject may be placed quite near without any harsh
effect.
379. Plates to Use. None but the most rapid plates
should be employed for children's portraits, enabling you to
make reasonably quick exposures and obtain expressions
which could not be secured if slow plates, requiring long
exposures, were employed.
380. Exposure. The required exposure will depend
upon the strength of illumination, also the speed of the lens
employed. Use the lens at its largest aperture, thus allow-
ing for the quickest possible exposure, which will vary from
one-half second to two seconds, depending on the light and
the speed of the lens.
381. Development. Use any developer. The Univer-
sal Developing Formula given in Volume II is recommended,
but as exposures made under such conditions are very apt
to be short, double the amount of water should be added to
the regular formula. This will give you more detail and a
softer negative.
CHAPTER XXII.
Baby and Child Photography.
Detailed Instruction.
382. When photographing children there are many lit-
tle details that are commonly overlooked, yet are very im-
portant for successful portraiture. While you may have
good illumination, and even natural, easy positions of the lit-
tle subjects, they may lack something to make them entirely
satisfactory, unless care has been taken throughout all the
manipulation.
383. As stated in the Brief General Instruction, first at-
tention should be given to the selection of a portion of the
room supplying the best light for the kind and style of a
picture you expect to make. With this settled, observe the
kind of a background you will have for your subject under
such conditions. The background should not be white,
neither is it advisable to have it black nor very dark. A
neutral tint is best, it being more in keeping with the sub-
ject.
384. Where dark furnishings predominate in the home,
these may be broken by means of portieres, draperies, sofa
pillows, etc., of a more neutral tone. Any of these articles
properly arranged will tend to neutralize the tone and over-
come the decided contrast which is very undesirable. The
admission of a portion of a window in the view will, many
times, improve the effect of the picture, and give it more of
an appearance of home. So, before placing your subject
observe the amount of space that will be included in the pic-
ture, and make your alterations accordingly. All such
changes must be made to appear natural and careless, and
173
1 74 Library of Practical Photography.
be entirely void of the appearance of being placed there
in a stereotyped form expressly for the picture. While
making these arrangements you must have in mind about
the kind of a picture you are going to make, whether sitting,
kneeling or lounging on the floor, or arranged in a chair,
couch, or at a table, etc. This must all be considered. This
accomplished you are ready to set up your camera.
385. Arranging the Camera. The arranging of the
camera is a very important consideration, for if the camera
is too high it will make a marked difference in the resulting
picture. Where a child is seated on the floor the tripod
must be lowered as much as possible, so as to keep the
lens on a level with the eyes of the subject. W T here they
are arranged at some elevation the camera must be raised
accordingly. A good rule to follow is to keep the lens as near
on a level with the eyes of the subject as possible, and for
Plain or Broad Lighting place the camera as close to the
source of illumination as convenient. The closer you can
work to the light the better, as this will allow a broader light
on the subject.
386. Lighting. Plain Broad Lightings are best for
children, and they should be arranged so that the light falls
from the side and front. The side light supplies sufficient
shadows to give roundness. The front light combined with
side light gives more general illumination. A front light
alone, or, in other words, the subject facing square to the
light, will give you flat results. So aim for some side light,
and where the subject is gowned in white arrange the figure
turned slightly from the light so it will not fall broadly upon
the drapery. This will throw the dress into slight shadow,
thus producing softness to the drapery; while roundness will
be given to the face if it is turned more toward the source
of light. For black drapery you may invert this order, thus
permitting the black goods to receive full illumination, and
by turning the face slightly from the light you will give a
better balance to the picture.
387. Spacing. When observing the image on the
ground-glass always provide for sufficient space in front of
Baby and Child Photography. 175
the face, thus supplying space for the subject to look into.
If placed in a lounging position the feet may come close to
the edge of one side of the picture space, but the head should
not come anywhere near the opposite edge of the space,
but may occupy a position slightly beyond the center.
388. Posing the Child. No greater mistake can be
made than to attempt posing a young child every action
should come from the subject itself. To attempt posing the
little one out of its own natural attitude would result in
failure. Little girl subjects may be well handled playing
with a doll, a toy piano, or similar toy. A boy will be in-
terested in a picture book or some boy's toys. Avoid large
articles, as they detract from the portrait. A few simple
toys are not objectionable, but many good results may be
obtained without them. As children naturally assume very
graceful, easy positions of their own, with a little coaching
and observing some of their characteristic attitudes, you will
be able to produce very interesting pictures.
389. The Light. One should aim to have as strong a
light as possible, so the exposure may be made very quickly.
Use all the light obtainable, yet do not have it too harsh.
If the source of illumination is somewhat small, you should
diffuse it slightly by pinning a small piece of cheese-cloth
across the window, or at least the lower half of the window.
See that the child is reasonably in range of this light ; in fact,
it would be better if placed in the center of the strongest
illumination.
390. A reflector may be required to assist in illuminat-
ing the shadows. Before placing the subject in final posi-
tion, locate your camera and obtain a focus on the ground-
glass. Insert the plate-holder and be ready to make the
exposure at the opportune moment. If you possess a good
rapid rectilinear or anastigmat lens you should not stop it
down to any extent. With good light conditions and using
the lens wide open the exposure may be made as quickly
as you can press the bulb and release it. The exact exposure
required can only be ascertained by experiments.
391. Accessories. Careful attention should be paid
176 Library of Practical Photography.
to the accessories, and if you have any doubt as to the value
of the admission of any article into the composition, remove
it. Do not include in the picture any accessories which have
not a direct connection with or do not improve the com-
position.
392. The high chair, the cradle, the little chair or
stool, the rocking-horse, a toy piano, a little table (on which
may be spread a luncheon), and an endless number of min-
iature accessories and toys may be advantageously included
in the little portrait to very materially assist in securing an
interesting child study. By no means admit too many of
them, however, in a single picture. Amidst these surround-
ings the child will appear perfectly at home, and its expres-
sion will be more natural.
393. When toys are employed do not have them ar-
ranged so they appear too conspicuously. When large toys
are used place them to one side of the subject never in
front of them for all articles in the foreground will be ex-
aggerated in size and appear too prominently. If used in the
background, or even at the side, they will appear less con-
spicuous and will not detract from the portrait itself.
394. Dress. Children photographed in the home
should be dressed in keeping with their surroundings. If
they are to be photographed with toys, they will naturally
look better in their romping clothes than if dressed in their
very best garb. If photographed for the sake of the por-
trait and no toys are admitted, then they should be gowned in
keeping with the style of the portrait to be made. Usually,
however, portraits of children in the home are valued more
when made as the little ones appear when at play, or as they
are seen throughout the day.
395. When a child is taken to a professional photog-
rapher's studio it is invariably clothed in white, and its best
dress is used. It is perfectly natural that the mother should
insist that the child's picture be taken this way, but this
class of picture appeals to the parents only as a portrait,
while the picture taken in the home appeals to them more,
owing to the natural surroundings, and because the child
Bab]) and Child Photography. 177
is portrayed as they are accustomed to seeing it. A con-
ventional style of picture made in the home would, there-
fore, be uninteresting and unappreciated.
396. Obtaining Expression. The obtaining of proper
expression is one of the principal difficulties connected with
photographic portraiture. The proper expression is con-
trolled entirely by the photographer, who must have per-
fect control over his little subjects, so that whatever he does
or says will interest them. Having obtained the desired
expression, the making of the exposure must be done
quickly and at a time when they are not moving about. To
become expert at this requires practice. Even with children
who are quite mischievous and move about considerably,
there is a time when they are quite still for a moment, and
this is the instant the exposure should be made.
397. By experience you will observe, when you have
the close attention of a child, that there is a time, just be-
fore you are about to say something, when it has an expres-
sion of expectancy, which causes it instinctively to be quiet
for an instant. This is one time that the exposure can be
made. There is another time, immediately after you have
done or said something which pleases the subject about
the moment it is sobering down and before it has become
completely sober when the exposure should be made.
In the one case you get a more quiet attitude, in the other
you obtain an expression of expectancy, the severity of
which must be controlled by the manner of amusement or
entertainment.
398. Entertaining Children. The secret of amusing
or entertaining children, in order to obtain expression, lies
in the simple manner of entertainment, which must be such
that they can comprehend instantly what you are doing
and see the amusing side of it at a glance. To employ any
method beyond their comprehension, even if only slightly
so, will give them a wondering expression, which will result
in a stare, which is unnatural. One can do no better than
to practice simple methods for obtaining expression. This
will prove of real value for successful At-home Portraiture
of children.
CHAPTER XXIII.
Children's Portraits in Drapery.
399. Children from two to twelve years of age lend
themselves admirably to the securing of drapery pictures.
The photographer with some idea of lines and composition
(which are quite essential for the successful draping of his
little subject) will, with a little care, be able to secure some
very beautiful effects. By the carefully careless arrange-
ment of simple drapery the interest of such portraits is cen-
tered in the face, where it properly belongs, thus making
this class of pictures more artistic and always to be admired.
400. Class of Goods to use for Draping. Any soft
goods may be employed for draping. The best material,
however, would be a delicate chiffon, of a pink color. Never
use blue. Pink and a delicate Nile-green are the best for all-
around purposes. From two to three yards will be sufficient
for any purpose in which you may require its use.
401. Arranging the Drapery. Apparent carelessness
should be at all times introduced in fixing the drapery, for
set arrangements are undesirable and should always be
avoided. If the drapery is drawn tightly about the figure
the child will appear uncomfortable and difficulties will
be encountered in securing a pleasing result, while if the
drapery is arranged loosely and fluffy, more soft and dainty
effects will be secured. When draping your little subjects
exercise care that the drapery is arranged in soft folds, and
not perfectly flat, for the folds in the drapery supply your
lines, which are important in the making of the picture.
Without these folds you would have no high-lights or
shadows, and the result would appear flat, which is very
undesirable. Many times the drapery may be arranged in
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a manner that will assist in breaking up the straight par-
allel lines which frequently run from the shoulders toward
the front of the figure.
402. The drapery shown in Illustration No. 22, as
you will observe, has been carelessly arranged over the
the one shoulder and underneath the other arm, with the
ends of the drapery loosely gathered in the right hand
and held before the little subject, thus supplying an easy,
graceful position of the hand, and also giving a careless
and unpretentious arrangement of the drapery. By this
arrangement the lines from the shoulder have been par-
tially covered and broken, while the new lines formed have
pleasing curves and angles, which give a more pleasing
effect.
403. Where a child has long or curly hair, it should be
placed about the shoulders, hanging loosely, and arranged
in such a manner as to break up straight lines. If the hair
has been curled these curls should appear loose, and not
be allowed to hang straight and stiff, for in such a position
the edges would form parallel lines. Where the hair hangs
over the shoulders the ends should slightly curve inward,
and not outward.
404. Posing the Hands. Children usually uncon-
sciously assume very graceful positions of the hands. They
are not conscious of posing for a picture, and, in conse-
quence, almost any turn or fold of the little hand is void
of any attempt at posing. While many little ones, placed
before something upon which they can rest their arms,
will unconsciously fold their hands in some graceful atti-
tude, there are others, however, who may be a little back-
ward but will very readily assume a position of the hands
with a little coaching. A good way, under such circum-
stances, to obtain a perfectly natural pose of the body, head
and hands of children, is to show them by assuming the
desired position yourself. Then, with a little assistance from
you, they will take the same position. In many instances
they will drop into it in a graceful, natural manner, and
you will have but little correction to make in obtaining the
Illustration No. 22
Child Drapery Portrait
See Paragraph No. 402
Illustration Ao. 23
Hand Posing
See Paragraph No. 406
Illustration No. 24
Statuette
See Paragraph No. 408
Children s Portraits. 183
pose desired. A few words of encouragement during these
moments will bring them in closer touch with you.
405. The posing of the hand in children's portraits
especially when the children are garbed in dainty drapery
aids considerably in producing artistic results, as the ar-
rangement of the hands adds to the drawing of the finished
portrait. Of course, all children are not graceful, and those
who lack this quality should not be posed in such posi-
tions as would seem unnatural. Children should be por-
trayed as they really are. A child void of grace should
be photographed as simply as possible any other attempt
would be fruitless.
406. In Illustration No. 23 is presented a very simple,
and yet artistic, specimen of hand posing of a child clad in
drapery. The material was carelessly arranged about the
body, falling over one shoulder and underneath the arm of
the other. You will observe. that the drapery falls over the
shoulder on the high-light side of the face. Where one
shoulder is to be bared always have this shoulder in shadow.
If the child is plump and of good form, it is advisable to
drape below the arms, exposing the breast. Do not draw
the chiffon tightly, but, on the contrary, arrange it very
loosely, so it will appear soft, dainty and fluffy. By draping
the chiffon in folds, one fold crossing and overlapping the
other softly, you will produce this effect and supply shadows
and half-tones, without which the drapery would appear
hard and flat.
407. Lighting. The lighting is very important in
drapery portraits for the light must, in a way, fall across the
subject, and not fall from the front. A cross light will give
snap and roundness, while a front light, where drapery is
employed, will result in flatness. Therefore, place the sub-
ject so as to receive the light from the side, and only partly
from the front.
408. Statuettes. The almost perfect forms of some
little children, between the ages of two and five years,
make most beautiful statuette pictures, and many interesting
studies may be made of them. These little subjects are
184 Library of Practical Photography.
usually best photographed in a standing position, and, while
they may be photographed entirely nude, a tiny bit of drap-
ery gathered in one hand, draped across the trunk very
carelessly, will aid in breaking lines and will not detract
from the subject itself. (See Illustration No. 24.)
409. Sitting positions may also be made of them, but
they are not so attractive, and do not show their little forms
so well. The best effects are obtained by placing the child
on a white pedestal, or some small object to give it a support
on which to stand. The figure should be so turned as to
give the most pleasing lines of composition. The body is
best posed when at an angle to the camera, but broad-side
to the light.
410. The arrangement of the feet is of considerable
importance. Both should not be the same distance from
the camera. The attitude of the subject will determine
exactly the position they should occupy. One should avoid
the duplicating of lines or giving exactly the same positions
for either hands or feet.
411. A black background should, of course, be em-
ployed, and the ground turned away from the source of
light to keep it as dark as possible. The body of the sub-
ject should face the light, to receive full illumination, and
the exposure should be made as short as possible. The
object of the short exposure is two-fold. First, the little
subject cannot hold an attitude for any length of time.
Therefore, an exposure not to exceed a second or two should
be given, and the illumination should be sufficient to enable
you to make exposures in this time. Second, if too long an
exposure be given there is danger of halation around the
white figure and drapery, contrasting, as it does, with the
background.
412. Many times it will be necessary to etch away the
effect of halation around the figure, and perhaps remove the
film comprising the background, in order that this may be
made perfectly black. This is done by scraping away the
film with the etching knife, instruction for which is given
in Volume X.
Children's Portraits. 185
413. Never start to etch away from the outline of the
figure. Begin about one-sixteenth inch from it, and after
cutting away the background entirely, then, using the
rounded edge of the etching blade, work in toward the figure
outline, for in this way you secure a soft blending; whereas,
by starting to etch away from the outline itself a white
line would result.
414. Your first efforts should be devoted to simple posi-
tions, always having in mind the attitudes you expect your
little subject to take. Strive to carry out these ideas in the
picture. Working in a haphazard manner, with no particu-
lar aim or idea in view, will invariably result in failure.
It is, therefore, advisable to first train your subject before-
hand, before undressing it, practicing different attitudes,
and when the child seems to understand what you require,
prepare it for the position. Work as rapidly as possible,
for the little subject becomes tired very easily and you lose
the life that should be injected into such a picture.
415. In Illustrations Nos. 21, 22, and 23 we supply
some suggestions for suitable positions for infants and
children. The infant's picture shown in the lower row of
the picture in Illustration No. 21 will give you an idea of the
arrangement of the pillow for supporting a baby. The
upper row of pictures in this same illustration offer some
suggestions for pictures of older children, and Illustration
No. 23 supplies a very simple study for hand posing, while
in Illustration No. 24 we present a statuette portrait, very
simply posed and easy to produce. These examples we
trust will serve the purpose of supplying suggestions of
simple positions that may be employed for child portraiture.
CHAPTER XXIV.
Photographing Children Outdoors.
416. Introduction. Some exceedingly interesting pic-
tures may be made of children in the open light. A child
picking flowers, playing with a garden rake, digging in the
sand, attempting to push a lawn-mower, or any mischievous
work for a child, will form interesting pictures, if taken
when the subject is unconscious of your presence. Such
pictures can be made in bright sunlight, and, of course, with
a hand camera. Pictures of this nature are not made for
their portrait value, but for the record of the characteristic
attitudes and expressions of the little one that cannot be
obtained in any other way.
417. Where it is desired to make pictures outdoors
for their portrait values, the subject should not be placed in
direct sunlight, for the strong light will cause the eyes to
squint. Select some location in the shade, but do not at-
tempt to make an exposure under trees which permit patches
of bright sunlight to come through the branches, and per-
haps fall upon the subject. It is best to work in the shade
of the house, or on a porch, for in either of these places
you will have plenty of illumination and should be able to
make very short exposures.
418. Never have the subject facing in the direction
from which the sun is shining, for even in the shade the
sun will cause the subject's eyes to squint; while if facing
in the opposite direction from which the sun is shining the
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188 Library of Practical Photography.
eyes will rest more easily and appear more natural, when
good expressions may be obtained.
419. Use of Hand Camera. If the background sur-
rounding the child is not dark, and if your lens is a rapid
one, you will be able to hold the camera in the hand and
with an exposure of 1-25 of a second, using the lens without
a stop, make a fully timed negative. This requires a very
fast lens. The ordinary lens attached to most cameras is
not fast enough to allow one to hold the camera in the
hand, as with such a lens an exposure of perhaps one-half
second will be required. In a case of this kind it will be
necessary to rest the instrument on some firm support an
ordinary chair or table, but better still your regular tripod.
If the child is moving about to any extent, in order to avoid
error in focusing and yet secure a sharp image, stop the
lens down to f. 8. You will then have the subject suffici-
ently sharp, even though it should step a foot or two out
of the line of sharpest focus, and a quick bulb exposure
will be sufficient.
420. Securing Expression. To secure the most natural
expression, the child should not be conscious that the
picture is being made. Usually the most successful results
are achieved when you have an assistant to help you keep
the child entertained. While the little one is engaged at
play you must watch your opportunity to make the exposure
at a moment when it is not moving. This will, of course,
require patience, and perhaps several attempts, but if out
of a half dozen exposures you obtain one excellent picture
with natural expression, you will be amply rewarded for
the pains taken. Two excellent examples of Outdoor Pho-
tography are shown in the lower picture of Illustration No.
7 (see page 69), and in Illustration No. 25.
421. Developing. The Universal Developing Formula,
given in Volume II, will render excellent results, but
when quick exposures are made, such as are required
for children's pictures, the normal developer should be di-
luted with double the amount of water. Care must be ex-
Illustration No. 25
At-home Portraiture Out-of-doors by Henry Havelock Pierce
See Paragraph No. 420
AT-HOME PORTRAIT
STUDY No. 12 See Page 403 PERRY STUDIO
Allegheny, Pa.
Photographing Children. 191
ercised that you do not over-develop the negative, for in
doing so you flatten the high-lights and make them appear
chalky. When developing light drapery it should be carried
a trifle farther than dark, yet to develop a plate too far
means that you lose the soft delicate effects. If, by accident,
you do over-develop, the plate may be reduced by immer-
sion in a bath of Persulphate of Ammonia. (See Reducing,
Volume II.)
CHAPTER XXV.
Firelight Effects by Daylight.
422. Introduction. In addition to the regular forms of
lighting, there is an endless number of striking and odd
effects which may be produced by daylight as well as arti-
ficial light. When it is possible to use daylight it will be
found far easier, and, as a rule, the results will be better
than when employing flashlight, or any other form of arti-
ficial light. The greatest drawback of all, when using flash-
light material, is that the lighting effect cannot be studied
carefully previous to making the exposure, even if an ex-
perimental flash is used beforehand. The flash is so sudden
that there is no time to see what light strikes the subject,
or what undesirable reflections may be cast from any acces-
sory that may catch the light. If noted in time the ac-
cessory might have been easily removed, or turned at a
different angle so as not to catch the light. When daylight
is employed as the illuminant, the light is continuous and
steady and will give you sufficient time in which to study
your subject and to make alterations until you have secured
exactly the desired effect.
423. One of the easiest, and perhaps most interesting,
features of this class of work is the making of firelight ef-
fects by daylight. It is a very easy matter to control the light
and on referring to Illustration No. 26 the method of pro-
cedure will be clearly understood. The subject is raised to
the level of the window-sill, using a large table or boards
supported on trestles. This platform should be covered with
a carpet, which may be thrown loosely over it. The opaque
curtain on the window should be drawn down from the top
far enough to give an opening of suitable size to produce
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194 Library of Practical Photography.
the proper effect. The size of the opening will depend en-
tirely upon the position of the subject, etc. An artificial fire-
place must be constructed and usually a fender, andirons,
and tongs may be secured from a local hardware dealer.
This fireplace should be placed in front of the opening in
the window on the temporary floor. The subject should
be as near the source of light as possible, so that the light
may be concentrated and produce the slight harshness which
will make the scene appear natural. The remaining cur-
tains in the room should be drawn, as the only light desired
is that coming through the small opening in the window
you are using just in front of the sitter where the fire
is supposed to be. In some cases it may be found convenient
to place a mirror or a white piece of paper in the " fire-
place " to give an extra amount of reflected light upwards
into the face of the sitter.
424. This method of lighting has advantages over the
use of flashlight compounds, in addition to those previously
mentioned. The usual method of placing magnesium or a
flash-powder of some description in the ordinary grate, is
always attended by a certain degree of smoke and dirt.
Great care must also be taken to avoid flare around the
fireplace when employing this latter method.
425. The background must be black and may be com-
posed of very dark curtains if nothing more suitable is at
hand. These should be stretched tightly, otherwise awk-
ward streaks of light will show on the folds. An example
of a fireplace study is shown in Illustration No. 26, and
this will give you an idea of the effects which are easily
obtained.
426. Exposure. The exposure should be rather too
little than too much, as sharp detail is wanted only on the
face. A rather contrasty negative is best suited for this class
of work. Of course the actual exposure will vary according
to many prevailing circumstances, but if you have about
four square feet of light with the subject placed three
or four feet from it, using the lens working at f. 8 and a fast
plate, the approximate exposure will be three seconds.
Illustration No. 26
Fire-light Effect by Daylight
See Paragraphs No. 423-5
MAKING PAPER DOLLS
STUDY No. 13 See Page 403 FRANCES B. JOHNSTON
Firelight Effects. 197
427. Development. The development should be car-
ried until the high-lights have attained good printing density,
and no attention be paid to the shadows. The Universal
Pyro formula given in Vol. II is the best to use; for with
it the high-lights are not so likely to clog up as when
Hydroquinon or similar developers are employed.
428. Printing. The most beautiful effects are obtained
by the carbon process, the carbon tissue (a Black or Van-
dyke Brown) being printed in the regular way and an
orange color paper used for a support. This orange color
gives the effect of fire. Good effects are obtained on Plat-
inum and other printing-out papers, while Royal Velox
will also give good effects, as the body of the paper is of
a cream color which helps to carry out the idea of firelight.
429. Practice Work. The making of firelight effects
by daylight is no more difficult than the producing of regu-
lar portraits. All that is required is a little patience. By
carefully applying this instruction you will experience no
difficulty. If you cannot secure, from your hardware
dealer, the fender, andirons and tongs, you can, with a little
ingenuity, make these out of wood and then paint them
black, or perhaps you have the requisite accessories already
on hand.
430. Select a north window which will give you the
most even illumination and then, near the window, place
the table, or construct a small platform of suitable height ;
cover it with a carpet or hearth rug and set the fender in
position. Draw down the curtain on the window to within
two feet of the window-sill. Place your subject in position,
trying to have as natural a pose as possible. A couple of
children are excellent subjects for firelight studies. Now
place the camera in position (which should be almost on a
line with the subject, and parallel with the wall, so as to
obtain an end view of the fender) and, after having secured
a sharp focus, you may then find it advisable to decrease the
size of the opening in the window, remembering that only a
sufficient amount of light should be admitted to give the
exact effect of the ordinary fireplace. If the curtain is too
198 Library of Practical Photography.
high, you will have too much general illumination in the
room, which will result in too flat an effect. It is desirable,
in fact necessary, to have a contrasty negative. While fire-
light is generally quite strong, yet it only illuminates those
features of the individual which are directly facing it. It
is not necessary to soften or diffuse the light from the win-
dow in any way, nor should you use a reflector. Aim to
secure an effect similar to that shown in Illustration No. 26.
431. Be very careful not to over-expose your plate,
yet give a sufficient amount of exposure to fully time the
high-lights, then develop the negative until these high-lights
have become normally dense. When the negative is fixed
the shadows should be clear glass, the high-lights being
strong enough to hold up well in the printing.
432. In addition to filing proofs of the negative thus
secured, it also would be interesting to have a print from a
negative showing the general arrangement of your room.
On the backs of the proofs should be placed full data regard-
ing the manner in which you proceeded to secure the results
and these prints should then be filed in your regular proof
file.
CHAPTER XXVI.
Groups.
433. Very large groups cannot be made in the home
unless a large room with sufficient illumination can be had ;
therefore, it may be necessary for those who are compelled
to work in small quarters to arrange their large groups on
the porch or somewhere in the shade of the home.
434. Usually from two to four, with sometimes as
many as six figures, can be successfully lighted in an or-
dinary room ; more than this number should not be at-
tempted unless an extraordinary large room can be had
with good illumination. Those who have the proper facili-
ties, or the resident photographer who is working by a
perpendicular light which is generally an ordinary, large
window built in the residence, and from which sufficient
illumination can be obtained to make any style work, even
to good sized groups will experience no difficulty in pro-
ducing satisfactory results.
435. In Illustration No. 27 we have a group of two
children in which you will observe that the pyramid arrange-
ment has been adhered to. In this group, we recognize in
the older child the principal, the smaller one smiling
and content in the arms of her elder sister. Observe the
congeniality in pose and expression both having a per-
fectly natural attitude. (See Page 169.)
436. In Illustration No. 28 we have a group of three
children. Here the pyramidal arrangement is more in evi-
dence. The principal member of the group is on the end,
the other members close around her. Note that they are
not arranged on parallel lines and that all hands and arms
are differently posed, breaking up all lines and avoiding
repetition of arrangement. (See Page 169.)
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200 Library of Practical Photography.
437. In Illustration No. 29 we have a very pretty pose
of a mother and two daughters. Observe the arrangement
of the drapery and the preference in position given to the
younger daughter, the other occupying a rear position. The
group tells its own story.
438. In Illustration No. 30 we show a family group.
This is well balanced, well arranged and congeniality
throughout is very apparent. A very important feature of
this group is the distribution of color. In the previous illus-
trations we have pictured only white drapery, while in this
instance there are mixed colors some dark and some light.
Many make the mistake of distributing the dark and light
evenly throughout the group, first placing a subject gowned
in dark drapery, then a light one, then another dark
one, and so on. This is an error. You must avoid a spot-
ted group by arranging the majority of one color in one
group by themselves. This constitutes your principal,
around which the other should be arranged in separate
groups.
439. However, should your principal group be gowned
in dark drapery and you still have a number dressed in
dark while all the rest are dressed in white, then place the
remaining dark-gowned members at one end, forming a
small group at that end. The result will be that when view-
ing the picture, the eye is attracted, first by the principal
group in dark, next by the members in white, and finally by
the single figure or small group on the end. Such a group
will never lack interest, but, on the contrary, will grow more
fascinating each time you look at it. No matter how natural
all the members may appear and how gracefully each indi-
vidual may be posed, yet if the dark and light gowns are
scattered throughout the group, it will look spotted and
ill-pleasing to the eye. Your first consideration must,
therefore, be concentration of color. Collect your group
and divide it into two parts, separating the light-gowned
members from the dark. Construct your principal group
from the smallest number of one color.
440. In Illustration No. 30 you will note that there are
Illustration No. 29 See Paragraph No. 437
Group Mother and Children
Illustration No. 30 See Paragraph No. 438
Family Croup
Groups. 203
four members dressed in dark and one in mixed colors. The
least number in one decided color is always more conspic-
uous and, therefore, must not be scattered, but concentrated
in one locality as much as possible. In the large group
they should not occupy the extreme ends, neither should
they hold a central position. A little to one side is best,
usually the left side is selected. The ends of the group
should always be made up of persons gowned in the same
color either dark or light both ends must balance. Re-
ferring again to this illustration, observe we have formed
one end of our group by arranging first the mother, in a
dark dress, then the two daughters, who are gowned in
white. The three complete the first and principal section of
the group. Next, the father was seated comfortably at the
further end, with one son sitting on the arm of his chair.
We placed another son in the center, and finally, between
the two groups, arranged the younger boy in the fore-
ground, connecting and completing the group.
441. Upon first glance at this picture, the eye is at-
tracted to the brightest spots, which in this case are the
two children dressed in white. Almost at the same moment
the sweet expression on the mother's face is observed. The
little one resting on mama's knee arid the standing figure
leaning over the chair help to cement this group together
and make it complete in itself. Gradually the eyes drift
across the picture until you reach the face of the father with
the three sons around him, forming the additional group,
the principal subject of which is the father. By a glance
over the entire group you are impressed with pleasing coun-
tenances denoting congeniality.
442. By reference to the lines drawn across different
portions of this group, you will note how we have divided it
into sections ; each section remains a very pretty group by
itself, yet each individual group has a principal of its own,
less conspicuous, however, than the groups collectively.
443. Larger groups are constructed along these same
lines, and you must bear in mind that your individuality
204 Library of Practical Photography.
will count to a great extent after you have mastered these
elementary principles of arranging small groups.
444. Good Drawing. Good drawing is as essential in
a group as in a single portrait. We have found that the
pyramidal arrangement is very simple to handle and will
produce the best drawing with the least effort. Too great
an emphasis cannot be laid upon the excellent opportunity,
afforded in groups, for individual posing of a number of
subjects, each one in sympathy with the other members,
and each in an easy and natural position. If, after having
arranged the group, some of the subjects seem to be awk-
wardly placed and do not assume an easy position, change
them from the standing to a sitting position, or vice versa,
and you will generally find one position that will be the
more natural.
445. Lighting. When dealing with a large group, all
the available light in the room should be used, for the light
necessarily weakens at any considerable distance from the
window, and while the end of the group nearest the source
of the light will be strongly illuminated the furthest end will
be insufficiently so. A flat light should be avoided, but,
otherwise, there is plenty of latitude for securing a reason-
able amount of light on the face. This gives a new factor
to be considered when arranging figures to their best ad-
vantage, for taking two end figures which are oppositely
lighted, there are many intermediate positions between
them that would give intermediate forms of light which
will be found to suit a certain figure better than others.
This is but one of the many points to be thought of when
arranging a group, and the result must always be more or
less a compromise.
446. Unless you have a high window and one that
is quite wide, you will have difficulty in securing proper
light on a large group, such as this. However, for small
groups of from two to four members, the ordinary win-
dow will answer, and where the light from two windows
can be employed, you will experience less difficulty in ob-
taining the required illumination.
Croups. 205
447. To receive the full benefit of all the light com-
ing from your window, place your subject a trifle back from
the end of the window, and partly facing the light. You
will thereby illuminate the members on the far or shadow
end of the group as evenly as those near to the light. With
very large groups, however, it is best, as stated before, to
arrange your group out-of-doors in the shade of some
building, unless you can use a room with an extra large
window.
448. Never place a group in the shade of a tree, unless
the foliage behind the group is very dense, for if the sun
strikes through the foliage it will cause light blotches and
spots, which are very displeasing. A wide porch or veranda
may be used to good advantage.
449. Exposure. Group pictures will require more ex-
posure than the single portrait, for there is a larger space
with more shadows to cover, and therefore you can calculate
on at least double the exposure given single figures.
450. Backgrounds. Large portieres or curtains pro-
vided that they are not too dark make good backgrounds
for group pictures. If extremely dark they prolong the
exposure. Usually, sitting positions are the easiest ar-
ranged ; and then, too, when your subjects are seated loung-
ing, or even sitting erect, they hold their position with
more ease, and there is less liability of their moving during
the exposure.
451. Diffusing the Light. For groups you will re-
quire less diffusion of the light entering the window than
you will for single portraits, for you naturally work farther
from the source of light. However, some diffusion is neces-
sary in order to spread the light over the entire space.
452. Reflecting Screen. Frequent use of the reflecting
screen should be made, and it should be so arranged, and
placed at such an angle, as to reflect the light from the
front into the faces of the group, thus giving more round-
ness.
453. Practice Work. For practice work we would
recommend that not more than two or three figures be ar-
206 Library of Practical Photograph]).
ranged in one group and where two windows can be em-
ployed you should make use of them both and arrange
your subjects so they, partially at least, face the source of
light.
454. Having carefully studied the instruction regard-
ing the arrangement of figures, controlling the light, use
of the reflecting screen, etc., proceed to arrange your group.
For your first experiments you should not select subjects
gowned in contrasting colors. The more uniform the colors
the easier it will be for you to control the light. Place your
principal figure first, in a position where it will receive
fairly good light, and arrange it about as you would if you
were making a Plain Portrait Lighting. Then introduce
the second figure, arranging it in a like manner but posed
differently. If a third figure is to be admitted be sure to
have the figures placed so that the heads will not be on
a straight line. The farthest subjects from the window
should be arranged more facing the window, thus giving all
an equal illumination.
455. See that the light falls evenly and that all mem-
bers are uniformly illuminated. If the light seems too harsh
and strong, make use of the diffusing screen in the win-
dow. If the windows have lace curtains, draw them slightly
before the window, sufficiently to diffuse the harsh light
and distribute the illumination equally over the entire group.
You will find it necessary to make free use of the reflecting
screen. Place it at such an angle that it will reflect the
light into the front of the face of the subject. The camera
should be placed so as to secure a proper lighting on the
group. This will give you a position near the window.
Focus with an open lens and only stop down enough
to produce a reasonably sharp image throughout. Before
making the exposure, see that each member of the group
has an easy, comfortable, as well as natural, position and
then make your exposure. You can judge the amount of
exposure required by the appearance of the image on the
ground-glass. You will find that it will usually require
double the exposure necessary for single portraits and some-
Croups. 207
times more, all depending on the source of illumination
employed.
456. Do not make less than two negatives, giving one
almost double the exposure of the other, and on developing
the two plates you will have a good key to the proper ex-
posure of groups made under like conditions. Make proof
prints from both, noting all data pertaining to their produc-
tion on the back, being particular to note the amount of
the exposure given, the time of day, stop used, etc., also
the conditions of the source of light employed, whether
diffused or open. File these proofs in your proof file for
future reference.
CHAPTER XXVII.
Difficulties Groups.
457. Arrangement of Groups. Before attempting to pose
figures in the form of groups, a very careful study should be made
of the lesson, as well as of the group illustrations in this volume
and Volume VII. There are many ways of arranging subjects to
form pleasing effects, the best and easiest to arrange being those
in pyramidal forms. Always make your subjects feel perfectly at
home; otherwise, stiffness and set positions will invariably result.
The height of the subjects must be the first consideration,
while the second is the adaptability of the features of the various
subjects for various forms of lighting. Persons with full faces
photograph better in Rembrandt and Shadow Lighting effects.
Therefore, they should be placed near the light, but facing away
from it. Many persons photograph best in Plain Lighting, and
such should face the source of illumination. Tall persons should
usually be seated, while short ones are more easily handled, in
smaller groups, by having them stand. In large groups it is often
necessary to have an extremely tall person stand at the back and a
little to one side of the center of the group. Your individuality
must be brought into play, and judgment used in selecting the
subjects so each one will fall into the particular place that will
give him the best possible advantage, both for lighting effect and
for posing. Each subject in the group is of vital importance and
must receive individual attention. Do not try to bunch a number
of people together and expect to secure satisfactory and pleasing
results this cannot be done.
458. Arranging Groups of Children. As children are naturally
graceful they are very easy to handle, and readily fall into the
various positions given them. Stools or chairs of different heights
may be employed, yet usually a settee will be one of the most
convenient accessories to use for the smaller groups. Where a
large number of children are to be photographed, the addition of
a chair and other accessories may be necessary. Never try to force
children into the different positions. Simply direct them to take
209
210 Library of Practical Photography.
the positions you wish to have them occupy. Under no circum-
stance have one head directly over the other.
459. Arranging Groups of Adults. The same pyramidal idea
of arrangement should be carried out in grouping adults. Where
children are included in such groups, the older persons should be
grouped first and the younger members arranged about them.
Little ones may be arranged to fill in any gaps which may be
formed in posing the adults. Under no circumstance should all
figures face toward the camera. The greater the variety of indi-
vidual positions the better.
460. Arranging Groups of Two. The heads of the two sub-
jects should be quite close together, for if widely separated the
resulting picture will be practically square. A panel shape is far
preferable. Never have one head directly above the other, and do
not have both bodies facing in exactly the same direction. As
a rule, the bodies should face slightly toward each other. It is
permissible, also, to have one turned a trifle to one side and the
other facing almost squarely front, but the person who faces front
should be of slender statue. The bodies of heavy built persons
should never face the camera.
461. Arranging Large Groups. In arranging large groups the
ideas and the principles involved in handling small groups should
be carried out. In fact you should select the three most import-
ant persons and artistically group them. Then add the other
figures as you see fit. It might be a good plan to arrange two or
three groups of three, and then fill up the vacant spaces with the
remaining subjects. It is usually advisable to carry out the pyra-
midal form. Do not have one head come directly above the other,
and avoid having all bodies face straight toward the front. Have
some turned slightly to one side, but all turned toward the central
figure in the group.
462. Preserving Congeniality. To preserve congeniality in
a group consideration must be given to the most important sub-
ject first, and this subject properly posed and lighted, before
the other figures are introduced. When the principal subject
has been arranged to your liking, then surround it by the others.
Place them in such a manner that they will be interested in the
principal subject, and if possible give each individual something
to do or to look at. In this way their expressions will be far super-
ior to what would otherwise result if they had nothing to think
about.
463. Arranging Full Length Groups. The greatest difficulty
in arranging full length groups is in arranging the hands and in
placing the feet. Bear in mind that the nearer an object is to the
camera the greater will be the distortion. For instance, the feet,
Difficulties Groups. 2 1 1
as compared to the head and body, will be very much out of pro-
portion when the subject is seated facing the camera. Wide angle
lenses (lenses of short focus) will always give this exaggerated
effect; therefore you should use a lens of as great a focal length
as you can secure; remembering, however, that the longer focus
lens requires more room in which to work, and as the average
room is none too large for posing of groups it will be necessary
in many cases to use a short focus lens. If this is the case, the
swing-back on the camera should be used to equalize the distance
between the various parts of the group and the camera.
464. The Hands. Do not show the hands any more than is
absolutely necessary, as they very easily detract from the faces
of the members of the group, and may ruin what would otherwise
be an artistic result. At the same time you must avoid hiding the
hands completely, and never have a hand appear cut in two by
burying it in the drapery. When possible have the hands fall
naturally out of sight. Always have the fingers gracefully curved,
and avoid having the hands sticking out straight with the fingers
spread.
465. Arranging Three-Quarter Length and Bust Groups. The
same ideas must be carried out for this class of groups as for
the full length. It is permissible, however, to have the camera
much nearer to the subject, thus securing a larger image; but all
the lines of the bodies, the positions of the hands, etc., must be
the same as for full length groups, for if attention is not paid to
these points the best of results will not be secured. If the space
in which you are working is very small, the members of the group
may be bunched together. Have all subjects on one side of the
center face in one direction, and those on the other face in the
opposite direction. This will bring them closer together, but will
tend to produce a set formation, which ordinarily is not at all de-
sirable.
466. Correct Angle of Light for all Subjects. If each individ-
ual subject was properly lighted as it was introduced into the
group, the completed group, with but a few corrections will be
all right, and you may proceed immediately to make the exposure.
Hasty grouping would, however, result in lack of individual atten-
tion, and considerable time must be consumed at this point in
making changes and altering the position of each person to give
them proper lighting.
467. If you are not able to light each subject correctly with
the source of illumination at your command, the diffusing screen
and the reflector must be taken advantage of; and these, together
with the proper exposure, will give you as near a perfect result
on the individual subjects as is possible to obtain.
212 Library of Practical Photography.
468. Even Illumination. If the light is not properly con-
trolled the subjects nearest the window will be very strongly
lighted, while those on the opposite end will not receive a sufficient
amount of illumination. Soften the source of light and protect those
persons nearest the window from the direct rays by the use of the
diffusing screen. Then swing the end of the group, furthest away
from the window, around towards the window as much as possible,
with due consideration to the proper placing of your camera.
Throw as much reflected light as possible on this end of the group,
and then by giving plenty of exposure the developed negative
should show an even illumination of the whole group.
469. Proper Lighting for Quick Exposures. Bear in mind that
a harsh, contrasty lighting will require more exposure than a dif-
fused light, for, in the former case, the light being very contrasty,
the shadows will lack illumination. When the light is diffused the
high-lights will be softened and the shadows illuminated by
the general diffusion of light throughout the room.
470. Contrasty Results. Contrasty effects will result if the
light has not been sufficiently diffused, if the reflector has not been
used and if the exposure was too short.
471. Spotted Effects. When subjects of both sexes are posed
in a group you will have extreme contrast of white and black in
the drapery to contend with; the men usually being dressed
in black, while the ladies may be in white. Never separate the
various subjects so as to have the white draperies mixed in with
the black. So far as possible place the subjects in white drapery
together and those in black by themselves. If the background is
dark it is usually advisable to have the ladies occupy a central posi-
tion in the group, the men being arranged around them. If the
background is very light in color the reverse of these positions
should be taken. Avoid too set a formation, however. There
should be more subjects in black on one side of the center than on
the other, and you should strive toward a triangular form of ar-
rangement of subjects with regard to the color of the drapery.
CHAPTER XXVIII.
General Flashlight Photography.
472. Indoor Work with Magnesium and Flashlight
Powders. Photography by flashlight is now within the
reach of all without danger, difficulty, or much expense.
Ordinary care, of course, is still necessary and it is advis-
able to know something about the materials with which
you have to deal. There are many kinds of apparatus avail-
able, all of which are perfectly safe if understood and handled
properly.
473. Flashlight Powder. Magnesium is the principal
medium used for flashlight work, either alone in the form
of sheets or powder, or mixed with some chemical com-
pound such as Potassium Chlorate, Potassium Bichlorate,
Potassium Nitrate, Antimony Sulphide, Permanganate of
Potash, Gun-Powder or Pyroxyline. Some of these com-
pounds are extremely dangerous and, therefore, we will not
give them any consideration, as there are many excellent
flashlight compounds on the market which are perfectly
safe to handle.
474. Magnesium Flash-Sheets. The most simple and
least dangerous of all flashlight materials are Eastman's
flash-sheets, for with these sheets, all that is required is
to pin one or more on to a white cardboard and stand the
latter on end, or you can even hold the cardboard in the hand
and by touching a match to the lower edge of the sheet it
will burn rapidly and give a very bright light. Flash-sheets,
however, are not instantaneous and, therefore, should only
be used when photographing still-life, interiors, etc. As
the volume of light from flash-sheets is not great the sheets
can be used only where the amount of illumination required
is small.
21S
214 Library of Practical Photography.
475. Pure Magnesium Powder. Pure magnesium
gives a very white light, but as it does not explode from fire
or fuse, as do Luxo and other similar flash-powders, a ma-
chine must be used with a spirit-lamp attached, into the
flame of which the powder is blown from a magazine
chamber, where it burns with a very brilliant white light.
For a magnesium flash-machine see Illustration No. 31.
Illustration No. 31
Magnesium Machine
See Paragraph No. 475
Pure magnesium powder is seldom used for portraiture, as
it is not instantaneous. Its principal use is found in com-
mercial work and the beginner should not attempt to use
magnesium light until he has had some experience with
flash-powders generally. One objection against the use of
pure magnesium powder is that it cannot be handled as
conveniently as flash-powder. It is not possible to place a
heap of powder on any surface and fire it with a match, as
is the case with magnesium sheets or flash-powder. When
pure magnesium powder is employed, it is absolutely neces-
General Flashlight Photography. 215
sary to use a regular magnesium lamp containing a rrbber
tube with which you blow the magnesium into the flame,
when all the powder will ignite; while, if piled in a heap
and an attempt made to ignite it, it will simply make a
slight flicker and cake up and nothing more result.
476. A suitable magnesium lamp may be procured
from any supply dealer at a slight expense, the smaller sizes
selling as low as $1.50. Most of these machines, in addi-
tion to the magnesium powder-chamber, have a small pan
over an alcohol-fed wick with a blow tube directly over the
center of the pan, operated by a pneumatic bulb. With a
little practice a uniform flow of powder can be forced over
the alcohol flame by substituting for the rubber bulb and
tube a 3-ft. rubber tube with a glass mouth-piece. By blow-
ing through this tube, you will be able to secure a uniform
flow of the powder instead of a series of short puffs, and
thus attain a more even distribution over the flame. Be
very careful, however, not to draw the air from the pan into
the mouth. This can be easily avoided by taking a good
long breath of air before applying the lips to the tube. It
is possible to regulate the force of the air, without the
mouth-piece, by using a rubber tube to which is attached
an ordinary pneumatic bulb and a large storage bulb. The
storage bulb is fed from the small bulb until full and uniform
pressure is then given to the storage bulb while the powder
is blown evenly into the flame of the lamp.
477. If the blow is too violent, the powder will be
expelled from the pan unburned ; if too feeble the powder
will cake in the pan before being ejected. When the powder
begins to cake the most violent blow from the mouth or
bulb is insufficient to force it out. Therefore-, care must be
exercised not to blow too violently, but with sufficient force
to ignite all the powder that is blown into the flame.
478. Flashlight Compounds. It is not advisable for
anyone to make their own mixtures, for if the process be
not thoroughly understood and proper care exercised, there
is great danger of serious accident resulting. Chlorate of
Potash requires cautious handling. Excellent flashlight
216
Library of Practical Photograph]).
mixtures are on the market and obtainable from all dealers
at a price fully as reasonable as you would be able to
purchase the separate ingredients and mix them yourself.
Mixtures and compounds must not, under any circumstances, be
employed in the lamp intended for magnesium pozvder. If used
in such lamps as soon as the powder is ignited an explosion would
immediately occur. Specially constructed lamps are made
for flashlight compounds, which are operated in one of
three ways. In all instances, however, the powder is spread
out over a flat surface, and not concealed in a closed
chamber, as is the magnesium.
479. The first, and most popular, method employed
for igniting flashlight compounds, is to employ an alcohol
flame. The alcohol flame is perfectly protected from the
pan containing the powder and the flame is blown into
the powder by means of a blow-pipe, thus igniting it. A
second method is where an iron rod is automatically heated
over the alcohol flame and when it is desired to make the
flash, this red hot iron is forced into the powder. There
is still another method where an electric current is em-
Illustration No. 32
Eastman Spreader Flash Cartridge Pistol
See Paragraph No. 480
ployed, a fine piece of platinum wire being inserted un-
derneath the powder between two binding posts. When
the switch is set and the circuit completed, the electric cur-
rent will heat the platinum wire red hot, thus setting off the
powder.
General Flashlight Photography.
217
480. A very simple flash-pistol is manufactured by the
Eastman Kodak Company and sells for 50 cents. With this
pistol any work on a small scale can be accomplished with
little or no danger to the user. See Illustration No. 32.
For larger work or purposes requiring more powder than
Illustration No. 33
See Paragraph No. 480
the small cartridges contain, the style "D" Luxo lamp will
be found very serviceable. See Illustration No. 33. If it is
not possible to purchase a lamp in which to use the flashlight
compound, an apparatus may be very easily constructed at
home at little cost. A stand of some kind upon which to
218 Library of Practical Photography.
place the flashlight is essential, as it will be necessary to
vary the height of the flash. A tin dust pan or a large sheet
of tin or zinc may be placed on top of a box, small step-
ladder, or some such support, which may be regulated at
various heights, and the powder spread out on this pan or
sheet of metal.
481. Preparing the Fuse. To prepare the fuse, where
a flat pan is used, place a little cotton batting or absorbent
cotton on the pan (a pan with a handle preferred), pour
sufficient powder on the cotton, well scattered, and allow
a small piece of the cotton to hang over the edge of the
pan, say four inches. Use this as a fuse for igniting and
setting oflf the flashlight. When you are all ready place
the pan on a table, or step-ladder, and light the end of
the cotton with a match or lighted candle. Do not look
into the flash, but as soon as you light the cotton turn your
face away from the powder, as the light is very dazzling
and not good for the eyes.
482. Placing the Flashlight. The proper location of
your light depends a great deal on what you are photograph-
ing. If you are making a picture of an interior of a room,
you should place the flash one foot higher than the top
of the camera and only a trifle to the side of it. This will
save heavy shadows against the wall or background which
would result if the flashlight were placed more to one side.
If you are making a group picture you should turn the faces
a trifle away from the light and where a muslin screen can
be used between the flash and the group, it will be better
to locate the flash more to the side. (See the following
chapter Flashlight Portraiture.) For general interior
work it is best to place the lamp close to the camera.
483. Shielding the Lens. Caution. When arranging
the flash-machine, see that it is placed in such a position
as not to reflect into the lens, as the plate would be instantly
fogged and your negative result in a failure. Where you
find it necessary, which may be the case when working in
close quarters, to place the flash in front of the line of the
lens, carefully shield the flash from the lens by means of
General Flashlight Photography. 219
a screen or cardboard placed between the lens and the
flash. Another caution is, never, on any account, use flash-
light compounds in a magnesium lamp or cup intended for
pure magnesium powder, for, in doing so, you are sure to
have an explosion.
484. Practice Work. For your first experience at
flashlight photography, you should not attempt to work
with difficult subjects, such as portrait or group subjects.
Try an interior or a still-life object a vase, a small piece of
carving or statuary, etc. In so doing you will become
acquainted with the manipulation of the powder and be
better able to judge more accurately how much powder
is required and how to control the light on the object.
With the object about four feet from the lens and your
flashlight placed to one side of the camera, you will require,
if the flash-sheets are used, about eight to ten inches of the
flash-sheet, or about twenty grains of flash powder. With
this amount of illumination and with the lens stopped to
f. 8, using ordinary dry plates or film, you should be able
to make a fully timed exposure.
485. Developing. The plate should be developed with
a quick-acting developer, such as Pyro, Metol, Rodinal, etc.
The Universal Pyro formula given in Vol. II will give good
results. Strive for delicacy of detail; avoid contrast and
density. It is advisable always to cover the tray during de-
velopment. Make proof prints of all exposures. Note on
the backs of these proofs all data connected with the produc-
ing of the results, whether by flash-sheets or flash-powder,
giving number of the negative, subject, date, etc. Also
give the distance (in feet) of subject from lens and back-
ground; distance of the flash to right, left, front or back,
or above subject and amount of flash-powder used; kind
of reflector, aperture of lens, plate used, etc. Each and
every one of these items are useful for your future guidance.
CHAPTER XXIX.
Flashlight Portraiture.
486. Introduction. It often will be found inconven-
ient and practically impossible to secure a portrait lighting
m the home on account of the location or size of the win-
dows. It may be desirable to make portrait lightings at
night and, of course, the daylight could not then be em-
ployed. An excellent substitute for daylight for the At-
home portrait worker, is to be found in the flash-light, and
the modern compounds on the market at the present time
will be found available for this purpose, as they are prac-
tically instantaneous and there is very little likelihood of
any movement of the subject.
487. As a rule, the first attempts to make photographs
by flashlight result, in a vast majority of cases at least,
either in partial or complete failures, causing many to
become discouraged and to give up making further attempts
at this feature of photography. As a rule the difficulty is
always due to lack of knowledge of the peculiarities of
flashlight work. If ordinary precautions be taken and the
instruction contained in these lessons carefully followed,
results equal to daylight will be secured. If much portrait
work is to be done by flashlight, it would be very advisable
to employ a simple and practical flash-lamp one that is
perfectly reliable and safe, easily set up and operated, and
occupies little space. The flash-powder should be one that
is safe, instantaneous, yet not highly explosive, producing
the greatest amount of actinic light, of uniform mixture,
leaving no undesirable odor and giving off the least amount
of smoke.
488. Flashlight for portraiture will produce exactly as
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Library of Practical Photography.
good negatives as daylight, for while the light is concen-
trated yet it is under perfect control for shading and for
softened effects. One advantage the flashlight has over
daylight, especially in At-home Portraiture, lies in the
exposure, which is instantaneous, the amount of exposure
being measured only by the amount of powder used. These
conditions being always the same, you can invariably give a
Illustration No. 34
Nichols' Professional Flash- lamp
See Paragraph No. 489
Illustration No. 35
Nichols" Junior Flash-L
See Paragraph No.
amp
uniform exposure ; accuracy in timing the negative is there-
fore a very easy matter.
489. Of course it is not necessary to go to the ex-
pense of purchasing a flash-lamp. You can easily construct
a simple piece of apparatus which will answer the purpose,
but it is, naturally, not so convenient. One of the
most successful and practical lamps and one which has
been on the market long enough to have been thoroughly
tested, is the Nichols' Portrait Flash-Lamp. This lamp,
however, is intended more for professional work. (See
Flashlight Portraiture. 223
Illustration No. 34.) A smaller size, known as the Nichols'
Junior Flash-Lamp, is intended particularly for home por-
traiture and is a very convenient lamp to operate and is
also perfectly safe. (See Illustration No. 35.)
490. The powder in this lamp is ignited by means of
a small quantity of alcohol which is forced through a
flame onto the powder. The alcohol, being ignited in pass-
ing through the flame, produces a large spread of flame
which is forced down on to the powder by the pressure of
the air following. There are two cones fastened to the
flash-pan. One-third of the whole charge of powder is to
be used in front of and between these two cones, not spread-
ing it out, but placing it in the shape of a V. The remaining
two-thirds of the charge should be placed in the two cones
Illustration No. 36
Sectional Front View of Nichols' Flash-lamp
See Paragraph No. 491
so that the holes in the apexes are filled and the powder
unites with that placed between them. There will then
be three separate lots of powder all connected at the center.
491. Explanation of Front View Illustration No. 36.
H H H Safety back completely separating the alcohol
flame from the flash-powder; K Cap over the end of the
blast-tube, employed to spread the flame of burning alco-
hol, throwing it in such a manner that flash-pan, J J J, is
covered with a mass of flame with the result that the pow-
der is sure to ignite instantly ; 1 1 Two cones into each of
which one-third of the whole charge of powder is placed,
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Library of Practical Photography.
the remaining one-third placed in front of cones and the
piles uniting at the ends, L L. The powder in the cones,
when ignited, forces the flame out to either side, giving a
very broad flash flame; M is a hole into which the folding
screen is fastened.
492. Explanation of Rear View Illustration No. 37.
^ H H M Safety back ; E Alcohol lamp burner ; B Brass
Illustration No. 37
Sectional Rear View of Nichols' Flash-lamp
See Paragraph No. 492
tube, to which the rubber tube running to bulb is attached ;
A Spring holding alcohol reservoir, C, in place ; G Brass
tube through which a small quantity of alcohol, which is
automatically trapped, is forced by a pressure of the bulb
through blast tube F onto the flash-pan. This small quantity
of alcohol on passing the flame from the burner E is ignited,
forming a great mass of flame which insures instant and
noiseless ignition of the powder placed on the flash-pan.
493. A regular standard may be purchased with the
lamp, which is convenient and light, handy to carry and has
an elevation of over ten feet, ample for all practical pur-
poses.
494. Diffusing Screen. As the light from the flash-
lamp is very concentrated, there is a strong tendency to-
ward harshness. In portrait work, therefore, by the use of
a cloth screen between the lamp and the subject, or even a
group, any amount of diffusion may be obtained. For this
Flashlight Portraiture. 225
screen, a light-weight, bleached muslin or lawn should be
used, containing little or no starch and it should be not
less than three feet square. Common cheese-cloth will be
too thin unless very sharp lightings are wanted, while too
heavy cloth requires a large charge of powder, and gives
too much diffusion. Accompanying the Nichols' Flash-
Lamp is a folding, white muslin-covered umbrella which
will be found very suitable for all purposes. For At-
home portrait work, a frame built of light wooden strips
(window stops), covered with thin muslin will be found
very cheap and convenient. This screen should not be less
than five feet high and four wide. The bottom of the
screen should be four feet from the floor and it should be
set at an angle of 45 degrees from the perpendicular.
495. In a screen of this size the sitter is separated from
the flash, which will be found very advantageous at times
when working in one room. It would be convenient to have
the base or support of the screen provided with casters so
that it may be moved around as easily as the lightest back-
ground. Instead of moving the sitter to produce the desired
effect in lighting, you leave the sitter undisturbed and
adjust the lamp and screen instead.
496. The screen should be two feet from the lamp and
at such an angle that the rays of light from the lamp to the
sitter pass through it as nearly perpendicular as possible.
497. Reflectors. Reflectors to illuminate the shadow
sides of the subject should be exactly the same as for ordin-
ary daylight work. As a rule, the reflector should be placed
from three to five feet from the sitter on the side opposite
the lamp. Do not place the reflector directly at the side of
the sitter, at an angle which will reflect the light on the
front and side of the subject as well. A safe rule to work
by is to place the reflector at as near as possible the same
angle from the sitter as that at which the lamp is placed.
The light will then be reflected onto the shadow side of the
sitter's face at the same angle that the direct source of
light from the lamp falls on the light side and will not have
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the effect of flattening the shadow side of the face by pro-
ducing a high-light where there should be a shadow.
498. For producing Rembrandt effects, the reflector
should be somewhat nearer the sitter than in making Plain
Lightings. If you do not use a diffusing screen, the re-
Illustration No. 38
Lens Hood
See Paragraph No. 502
fleeter should be considerably nearer than when the diffus-
ing screen is employed.
499. In photographing a person wearing glasses, use
no reflector unless a Rembrandt Lighting is made. The
use of a reflector in making a Plain Lighting is quite likely
to produce a bad reflection in the glasses.
Flashlight Portraiture. 227
500. Shading the Lens. In extreme shadow lightings,
or with full length figure positions, when a larger lens is
used than is necessary to cut the size negative being made,
the camera is often located at such a distance from the sub-
ject that the flash is closer to the subject than to the camera.
Then, even though the flash be out of direct range of the
lens, it will cause a diffused or false light to be reflected in
the lens, producing an even fog over the plate. In such
cases it is necessary to shield or shade the lens, which can
be effected, when making the exposure, by holding a large
piece of cardboard in the proper position between the lens
and flash, or by placing a screen between the two. No
matter what device you employ in shading the lens always
be careful that it does not come within the range of view.
This adjusting is best done when focusing.
501. Lens Hood. When there is any danger of strong
light striking the curved surface of the lens, and thus caus-
ing cross reflections and light fog on the plate, one should
use a lens hood to cut out all side reflections. Especially
in flashlight photography is it essential that a lens hood be
employed. In fact, one should be used in all cases where
the lamp is placed even with or in front of the lens, for the
volume of the flash extends some little distance in front of
the lamp, and although one might think that the light will
not fog the plate, the chances are that it may; so pre-
caution, when using flashlight, is important.
502. A hood may be easily made of heavy black paper
or light weight cardboard, by cutting the sheet the shape
shown in Illustration No. 38. The dimensions given for
this hood are correct for the average hand camera lens of
1 to 1 T 3 6- inches in diameter. Before pasting the two ends
together the cone should be placed around the end of the
lens tube, so that it will be tight and fit perfectly. The two
ends should then be pasted or pinned together.
503. In cutting the pattern for this hood the outside
is the arc of a circle, the radius of which is six inches, while
the inside edge is the arc of a circle having a two inch
radius. This will give a cone practically four inches long.
228
Library of Practical Photography.
The distance between the two extreme corners is
inches, while that between the two inside corners is
inches.
504. After the two edges of this cone have been fast-
ened together, a band one-half to one inch wide should be
pasted around the small end of the cone, so as to give a sup-
Plain Lighting
Illustration No. 39
See Paragraph No. 508
port, and have the cone fit snugly over the lens mount. The
point where this band and the end join should be fastened
by pasting a strip of black cloth around the inside and
outside. Black paper or cardboard must, of course, be em-
Flashlight Portraiture.
229
ployed, in order that there will be no reflection of any kind,
and care must be taken that the hood does not cut into the
angle of view.
505. To make a larger cone the dimensions should all
be proportionately increased. For instance, doubling all the
Illustration No. 41
See Paragraph No. 509
measurements will give a cone that would fit on a lens of
approximately two inches in diameter.
506. By using precaution in shading the lens in flash-
light work, you will never be troubled with fogged nega-
tives.
230 Library of Practical Photography.
507. Position of the Light. To properly illuminate a
face, the light should all come from one source and should
fall at an angle of about 45 degrees.
508. Plain Portrait Lighting. To secure a Plain Por-
trait Lighting the lamp should be placed 2% feet above the
sitter's head, 2 feet in front and 3^/2 feet to the left of the
subject. Have the face of the sitter turned so that when
you stand directly between the lamp and the sitter, the tip
of the nose just breaks the outline of the shadowed cheek.
(See diagram No. 39 of floor plan.) The amount of powder
required will depend upon the surroundings and also the
size of plate used. Usually from -fa to % of an oz. will
be sufficient if a white reflector be placed about four feet
from the sitter. In making this lighting it will seldom
be necessary to shade the lens. In Illustration No. 40 is
shown an excellent example of the results obtained with
the Nichols' Flashlamp.
509. Rembrandt Lighting. For Rembrandt Lighting
the lamp is placed in almost the same position as for Plain
Lighting, but the camera is moved so as to secure a view of
the opposite side of the face (shadow side). See diagram
No. 41. A white reflector should be placed about five feet
from the subject and directly opposite the lamp. From
% to 14 oz - f flash-powder will be necessary to give the
proper amount of illumination and the lens should be shaded
as previously directed.
510. Groups. In making large groups, the lamp may
be used without a screen, but it is always best to use the
screen as softer results will be produced. If the ceilings are
sufficiently high the lamp should be elevated enough so that
the light falls at the proper angle on the subjects in the
center of the group. The lamp must always be placed near
enough, in front of the group, so the shadow cast from any
one face is thrown back of it instead of on the person sitting
next. Avoid grouping close to the wall, as shadows cast
on it are anything but pleasing. The group should be at
least four feet from the wall or background.
511. Focusing. Always focus with the lens wide open.
Illustration No. 40
Child Portrait Made with Nichols' Flash Lamp
See Paragraph No. 508
Flashlight Portraiture. 233
Usually in the ordinary home there is sufficient illumination
from gas or electric-light to light the subject so that you
can obtain a focus. If the general illumination in the room
is insufficient to light the subject, have an assistant hold
a lighted lamp or candle close to the face of the subject;
you can then focus more accurately. If a group is being
made, focus on the central member and the rest will very
likely be sufficiently sharp.
512. Stops. Stop down only just enough to give suf-
ficient sharpness. In portraiture use the lens wide open.
If a group picture is being made, after having focused on the
center member, it is advisable to use a one size smaller stop
than what is required for average sharpness. This will allow
for any getting out of line, etc., on the part of any individ-
ual member of the group.
513 Amount of Powder to Use. The amount of pow-
der required for illuminating groups depends upon varying
conditions, much the same as timing in daylight. When
a muslin screen is used a trifle more powder is required
than when an exposure is made without it. The speed of
the lens, the size of the stop, the distance of the lamp to
the subjects being photographed, the size of the room and
the color of the wall paper and ceiling are all important fac-
tors. In rooms finished in dark colors, there is little or no
reflected light and therefore, at least one-third more powder
will be required, otherwise negatives made under such con-
ditions will have an undertimed appearance.
514. Never stop the lens down more than is necessary
to cut everything fairly sharp. In portraiture use it wide
open.
515. Operate the lamp as near as possible to the object
being photographed.
516. For a group in an ordinary sized room with a
rapid rectilinear lens and stop f. 11, or U. S. 8, unless the
walls are very dark, i/4 oz. of powder will be sufficient,
using the lamp without the diffusing screen. Where the
screen is employed y more powder will be required. Al-
ways use a good flash-powder, one that is quick and uni-
234 Library of Practical Photography.
form. The Nichols' Portrait flash-powder, Luxo and East-
man's powders are recognized as good reliable ones and
are safe to use.
517. The Exposure. In working at night it will not
be necessary to employ the shutter, but in the daytime in a
well lighted room, the shutter and flash must be operated
simultaneously. This is accomplished by either running a
rubber tube from each end of a double-end rubber bulb
one to the shutter and the other to the lamp or by using a
hard-rubber Y, such as may be secured from photograph
dealers. If this is not obtainable you can have the tin-smith
make a Y out of brass or copper tubing. In using this Y,
connect a short piece of rubber tubing with the bulb on the
end of the lower prong of the Y. To each of the upper
prongs, attach a long rubber tube, connecting one with the
shutter and the other with the lamp. Should there be a
difference in the length of the tubing, give the shutter the
benefit of the shorter one.
518. Shutter to Use. Any plain pneumatic shutter
that works easily will be found satisfactory, but any of
the tension shutters operating with a spring and pneumatic
or trigger release, will not answer. Therefore, if you are
using an ordinary hand camera and desire to work in day-
light, when ready to make the exposure the direct source of
light should be curtained down and the exposure made
with the bulb operating the shutter in one hand and one
for the flash-lamp in the other. Press the shutter bulb first,
followed by the flash bulb next, then release the shutter
bulb closing the shutter. By practicing this a little no dif-
ficulty will be experienced in making the proper exposure.
Care must be taken, however, that the daylight is not given
any great opportunity to affect the sensitive plate, for there
will be danger of movement of the subject.
519. Before proceeding to arrange the subject and
place the camera in position, spread the proper amount of
powder on the flash-pan of the lamp. When everything
has been adjusted and the subject properly lighted and
posed, the shutter closed, plate-holder in place and slide
Flashlight Portraiture. 235
pulled, place the lamp where you want it, light it and step
back to the side of the camera so that you may see the pic-
ture from the same point as the lens sees it. If using but one
bulb you should hold it behind you out of sight. See that
the positions are what you want and just before exposure,
designate the place upon which you wish the eyes to rest.
Do not stop talking but continue some pleasant conversa-
tion which will assist in obtaining a more pleasing expres-
sion. When the position and expression are what you de-
sire, and if you cannot connect the flash and shutter with
the same bulb, squeeze the bulb of the camera first and
follow instantly by squeezing the bulb of the flash. Then
quickly release the camera bulb as soon as the flash is made,
in order that the shutter may be closed at once.
520. Smoke. All flash-powders produce some smoke
and in making more than one flash the greatest care should
be taken to see that the room is cleared of the smoke be-
fore making the second exposure, otherwise under-timed
negatives will result. Always open the windows at the
top as the smoke rises to the ceiling and will soon work its
way out.
521. Development. In developing negatives made in
accordance with the above instruction, there will be prac-
tically no difference between the development of the day-
light and the flashlight exposures. Full instructions re-
garding the development is given in Vol. II. There is one
caution which may be given, however: As there is a ten-
dency toward under-exposure in flashlight work, it is ad-
visable to start development with a diluted solution, carry-
ing the negative in this solution until you have ascertained
whether or not the negative was correctly exposed. The
contrasty lighting produced when working without a dif-
fusing screen, will make it particularly necessary to use a
diluted developer, which will soften the contrast.
CHAPTER XXX.
Groups and Interiors by Flashlight
522. Groups by Flashlight. The flashlight will be
found far better sometimes for making pictures of groups in
the home than daylight, as it is very seldom possible to se-
cure a sufficient amount of illumination when employing the
light from an ordinary window. By means of the flash-
light this difficulty is entirely overcome, for the volume of
light may be made as strong as desired and it can also be
placed in any position with reference to the subject.
523. The groups should be arranged in precisely the
same manner as has been described in Chapter No. XXVI.
The flash-lamp should be placed on one side of the camera
but quite near to it, leaving the lamp as high as possible,
taking care, however, that it is not closer than two feet to
the ceiling.
524. If using a Nichols' lamp and you have the diffus-
ing umbrella, turn the latter so it will come between the
light and the members of the group nearest to the light,
thus allowing the light to proceed undiffused to those mem-
bers of the group furthest from it. If the umbrella is not
employed and if you have a diffusing screen, it may be
placed in the same position as the umbrella, for by diffus-
ing the light falling on the persons nearest to it you obtain
an even and uniform illumination over the entire group.
The lamp being placed to one side of the camera will cause
a slight shadow on one side of the faces and thus give a
Portrait Lighting to each individual.
525. In all flashlight work the lamp should be loaded
with the powder before focusing but the alcohol flame
should not be lit until everything is ready for the exposure.
237
238 Library of Practical Photography.
Care must be taken when elevating the light, not to jar it
nor to have a draft through the room, as there might be
danger of the flame being blown on to the powder. Al-
though this danger is a very remote one, yet it is always
advisable to be cautious in handling all flashlight mixtures.
Too much care and precaution cannot be taken at all times
to avoid accident.
526. Caution. Always lower a window or open a
door of the room in which you are working before making
an exposure. This will supply a vent for the concussion,
which will be quite apparent where much powder is used.
527. General Flashlight Interior Photography. Arti-
ficial light forms a very convenient method of photograph-
ing many interiors, for there are times when daylight can-
not be employed on account of the poor location of the
windows with reference to the important pieces of furniture
or other items in the rooms.
528. All the principles referred to in Chapter No. I,
General Interior Photography, hold good in making flash-
lights of interiors, the only difference being in the illumin-
ant. The camera, after having been placed in position, may
be focused by having someone hold a lighted candle in var-
ious portions of the room if there is not sufficient natural
light to focus by.
529. The articles included in the angle of view should
be the most important ones in the room and blank spaces
should be avoided as well as any effort at over-crowding
any portions of the picture. If windows are included, the
opaque curtains should be raised to the middle sash and
everything about the room placed in exactly the same order
as it would appear by daylight.
530. Kind of Flash Material. Pure magnesium ribbon
is a very convenient and perfectly safe form of illuminant
to employ for small views of still-life subjects, and after
one becomes accustomed to its use, it will be preferred to
any other method of lighting. It burns slowly as compared
to the other illuminants and it is possible to move it while
it is burning so as to soften or accentuate various lights.
Groups and Interiors by Flashlight. 239
From the fact that it does not give an instantaneous flash
it is not suitable for portraiture or where figures are in the
view. Short or long pieces of the ribbon can be burned
in different places so as to secure a perfectly correct il-
lumination throughout the entire room. Great care must
be exercised, however, that no strong light be placed in
front of the lens and that the light from the burning rib-
bon be not included in the angle of view. It may, however,
be ignited in the rear portion of the room, provided there
is something between the light and the camera. For in-
stance, if there is a piano at one side of the room, you could
stand at the end of the piano and hold the ribbon so that the
rays from it would not reach the lens. In this way you will
illuminate some shadows at the rear of the room which
could not be reached by the light when it was burning in
a position near the camera.
531. For the average interior with medium colored
walls and dark furniture, about 20 inches of ribbon will
be required. Twelve to 15 inches should be burned on one
side of the camera and five inches on the other. This will
produce a sufficient amount of contrast ; the secondary light
illuminating the shadows enough to do away with any
harshness or lack of detail.
532. When the walls of the room are very dark and
everything in the room is exceptionally dark, it might re-
quire more ribbon burned as a secondary illumination, for
the shadows in this case will be exceedingly deep and
will require a considerable amount of light in order to ob-
tain the desired amount of detail. Under no circumstances
should the secondary light, however, be more than one-half
as strong as the main light.
533. When it is deemed advisable to burn either mag-
nesium ribbon or magnesium powder near the rear of the
room in order to illuminate shadows, it will not require as
much ribbon or powder in the main and secondary posi-
tions. However, if the room is exceptionally long, the
same amount of powder will be required near the camera,
as the additional flash for the shadows in the rear of the
240 Library of Practical Photography.
room will only take the place of the additional amount
of ribbon or powder which would otherwise be required in
the main or secondary light to fully illuminate the far dis-
tance. The results will be superior if the extra light be
employed, for by this means there will not be as much con-
trast as when all of the source of illumination is very near
the camera, or, in other words, from the front of the room.
The shadow flash should be only a light one, from *4 to %
the strength of the main light.
534. Pure Magnesium Powder. Pure magnesium pow-
der ignited with a special lamp is generally employed for
illuminating interior photographs where figures are not in-
cluded. The number of grains of powder will depend en-
tirely upon the size of the room, color of the walls, as
well as color of the furniture, etc. As the magnesium
machines usually hold a minimum of one ounce, the chamber
may be filled and any portion of this amount required may
be used. If the tube for blowing the powder into the flame is
used, even illumination will be effected by blowing a few
light puffs from different points.
535. Interiors of halls, churches, stores, and other public
places, are made on exactly the same principle as the photo-
graphing of interiors of residences, the only difference
being in the required amount of powder.
536. Where figures are included within the field of
view, it will be necessary to use a flashlight compound in-
stead of the magnesium ribbon or powder, as movement
would result if either of the latter were employed owing
to the prolonged duration of the flash. There are occasions
where the magnesium powder may be employed on interiors
where figures are included in the view, but in such cases the
subjects must be informed that the exposure is not instan-
taneous and, therefore, a position should be given them
which they can hold for a few seconds without movement.
The magnesium machine should be held in the hand and by
moving about from a position on the right to one on the
left while lightly blowing puffs of magnesium into the
Groups and Interiors by Flashlight. 241
flame, a very even illumination can be given. Never pass
in front of the camera while the flame is burning.
537. Flash-Machines. Usually, where many figures
are introduced, the regular flash-powder and a flash-ma-
chine will be found the most satisfactory, as it works in-
stantaneously and there is no movement of any subject
during the exposure.
538. When using the flash-machine on interiors, re-
member, that the larger the interior the higher you should
place the lamp and, of course, the more powder will need
to be used.
539. As each room, hall, store, church and other in-
terior requires special handling and lighting, it is not pos-
sible to give detailed instruction regarding each case, but
the general information contained in this chapter should
be adequate to enable you to proceed in securing the very
best of results. It is not advisable, of course, to attempt
anything on such a large scale as this until you have used
flashlight material in a small way, such as photographing
the average room, a figure or even still-life subject. It
requires the fundamental training which you will secure
with these simpler subjects to acquaint you with the pe-
culiarities of this branch of photography. For smokeless
flashlight work on a large scale, see Vol. IX. ,
Practice Work.
540. After having procured the necessary material for
making of flashlights, it is advisable to first experiment in
photographing the interior of a room or some inanimate
object the latter is preferable. Light this object in exactly
the same manner as you would a person. Carefully load the
flashlight apparatus which you employ, and proceed to
make the exposure. A proof print should be made from the
final negatives, with a memorandum of conditions noted on
the back, and these proofs then filed in the proof file.
242 Library of Practical Photography.
When, to your satisfaction, you can make a good negative ol
the still-life subject, proceed to make a Plain Portrait Light-
ing of a person, carefully following the instruction given
for lighting, etc. Go about the work carefully and you
will be successful. After your first experiments you will
have less fear of accident and will be able to produce some
very pleasing results. Proof prints should be made of all
your first experiments with complete data noted on the back
of each and all proofs should be filed in your proof file for
future reference.
CHAPTER XXXL
Difficulties Flashlight Photography.
541. Lighting Hard. The flashlight was too concentrated, too
near the center, and not sufficiently diffused. Diffuse the light
through muslin or similar cloth stretched on a frame, or use a
secondary source of light. In any case, neither should be too near
the object or subjects.
542. Lack of Detail in Shadows. This difficulty will be exper-
ienced if the light is too concentrated, too near the sitter, or in-
sufficiently diffused. If the correct amount of powder has been
used, and the instruction in the preceding lesson carefully followed
and a reflector used to illuminate the shadow side of the face
a full amount of detail should be easily obtained.
543. Eyes of the Sitter Closed. The subject, by watching your
movements, knew approximately the moment you were going to
make the flash, and the eyes were instinctively shut at the moment
of exposure. Whenever possible, the ordinary illumination of
the room should be maintained while making the exposure. It is
a mistake to turn down the lights, as the eyes used to darkness
are sure to shut or appear unnatural when the flash is made. Sub-
jects should always be advised to look away from the light so as
to receive the illumination more from the side. This will give
more of a Portrait Lighting and will also overcome the closing of
the eyes during exposure.
544. Misty, Foggy Appearance of Portrait. The light from
the flash has been reflected onto the lens and has fogged the plate.
See that the flashlight is clear of the angle taken in by the lens.
If not, shield the direct rays from the camera, and see also that
the light is not reflected into the lens from mirrors or picture
glasses. The smoke from a previous flash, if hanging about, even
if only faintly visible will produce an effect of fog. Lower the win-
dows and open the doors after an exposure. This will create a
draft and carry off the smoke.
545. Portrait Flat and Lifeless. The lighting has been too
243
244 Library of Practical Photography.
much in front of the sitter, and probably too low. The best posi-
tion for the light is at an angle of 45 degrees from the sitter. The
light should be at least 8 feet above the floor for a standing figure.
A three-quarter side lighting, with reflector, gives the best results.
Too much powder, or working the reflecting screen too close to the
subject, will give flatness.
546. Flash-Compound Refuses to Ignite. The powder is
damp. Flash-powder should be kept very dry and handled care-
fully. Be sure you have not used pure magnesium in place of
flash-powder.
547. Flash-Lamp Explodes. A flash-compound has been used
in a lamp intended for the pure magnesium metal powder. The
greatest of care must be exercised in this respect, and under abso-
lutely no circumstances use a flash-mixture in a closed lamp which
is intended only for pure magnesium powder. If in doubt as to
whether the powder you are using is magnesium or flash-powder,
test a small quantity of the powder before using it in the machine,
by placing a small amount of powder on a pan and igniting it with
a match or long taper. If the powder explodes with a flash it is flash-
powder you are using; if it cakes up and only flickers it is magnesium
powder.
548. No Image on Plate. If upon attempting to develop the
plate, you find that after a sufficient length of time no image
appears, the trouble is no doubt due to the fact that the shutter
was not open when the flash took place. It is advisable to experi-
ment in manipulating both the shutter and the lamp (without hav-
ing the lamp loaded) so as to become thoroughly accustomed to
the manipulation. It often happens that one also forgets to draw
the slide of the plate-holder.
549. Focus. Sometimes trouble will be experienced in secur-
ing a sharp focus, owing to the lack of illumination in the room.
Especially is this true when working at night. All of the ordinary
illumination of the room should be used, and if this is insufficient
to properly illuminate the face so that you can see it distinctly on
the ground-glass, have some one hold a lamp, match, or candle
close to the subject's face. If a group is being photographed, a
lighted candle may be held by the member in the center of the
group and the member at each end, and you can then sharply
focus on the flame of the candle. Always focus with the lens wide
open.
550. Proper Amount of Powder to Use. The required amount
of powder is governed by many different conditions the color of
the walls and ceiling of the room, the distance the lamp is from
the subject, size of stops, speed of plate, etc. In the lesson proper
we have given approximate amounts of powder to use under vary-
Difficulties Flashlight Photography. 245
ing conditions, but the exact amount can only be ascertained by
trial. A record should be kept of each and every exposure made,
so that you will be able to profit by previous experience.
551. Magnesium Lamp Chokes Up. This difficulty will be
caused by not giving that even, steady pressure to the air which
forces the powder into the flame uniformly. A few repeated trials
will give you a perfect idea as to the manner of operating this
kind of a light. The magnesium lamp should be cleaned each
time immediately after use. If this is done there will be little
danger of the lamp choking up.
CHAPTER XXXII.
Reflex Camera in Conjunction with Flashlamp.
By M. J. Shiels.
552. Introduction. Serious workers frequently refuse
to consider the hand-camera otherwise than suitable for
recreative work, owing to the uncertainty of the results it
yields, and leave it out of consideration for professional
work. The aim of this article is to demonstrate how these
objections are entirely overcome in the Reflex cameras,
which, although hand-cameras in the strictest sense of the
word, give a greater control over the combined operations
of focusing and exposing than is obtainable with tripod
cameras of all types.
553. Essential Feature of the Reflex Camera. The es-
sential feature of the Reflex camera consists in the placing
of the ground-glass in the top of the camera, whereas film
or plate occupies the usual place in the back. A mirror
placed at an angle of 45 to the plane of the sensitive plate
or film reflects the image from the lens to this ground-
glass. This arrangement permits of having the ground-
glass and the plate both ready in their operative positions
at the same time, whereas in tripod cameras the insertion
of the plate or film renders the ground-glass inoperative.
554. Ready for Instant Exposure. In all cases where
continuously moving objects are to be photographed, the
time required to insert the plate renders the previous focus-
ing useless, as at the time of the exposure the objects may
have approached toward or receded away from the lens
sufficiently to require a different adjustment of the latter.
The Reflex construction permits of focusing up to the
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248 Library of Practical Photography.
very instant of exposure, and is thus really the only prac-
tical instrument for this kind of work.
555. Compared with Twin-Lens Cameras. It may be
said that twin-lens cameras perform the same service, but
this is not so in practice nor in theory. The finder lens of
a twin-lens camera, usually placed above the photographic
lens, never shows the same picture as that which will be
developed on the plate, owing to the different position of
the finder lens. Particularly when the subject is nearby
will the difference in foreground as shown and as photo-
graphed be sufficient to produce faulty results.
556. As a twin-lens camera is bulkier, and neither
simpler nor cheaper than the single lens Reflex camera,
which shows under all circumstances exactly what will
appear on the picture, it is easily understood why this
latter type of construction is so universally preferred.
557. Focusing Hood. In order to obtain full advan-
tage of the focusing facilities of the Reflex camera the
focusing hood has been most carefully designed. It is of
sufficient length to permit of placing the eyes directly on
it. The hood itself is perfectly rigid when extended, and its
top is provided with a plush-covered flexible eye-piece,
fitting tightly around the eyes and completely excluding all
outside light. It shows the ground-glass from corner to
corner, and the image appears with its full brilliancy, en-
abling the operator to focus quickly and with precision.
Even with a diaphragm stopped down to f. 16 the image
has all the necessary strength to allow accurate focusing.
This would be impossible if its brilliancy should be dimmed,
by light entering through the focusing hood.
558. The necessity of a hood which completely excludes
the outside light becomes most evident when the light on
the subject is extremely bright, as in plain bright sun-
shine views on the water, and snow scenes. When looking
at such scenes the pupil of the eye contracts to a small
opening, thereby preventing one from seeing the image
immediately and focusing accurately unless that image is
perfectly sheltered and protected from false light. Only
Photos by Shields and Keller, N. Y.
Illustrations Nos. 42, 43, and 44
Examples of Work with Focal Plane Shutter
See Paragraphs Nos. 559> 56> and 570
Reflex Camera with Flashlamp. 251
a close-fitting hood, as provided on the Reflex cameras,
will properly cover this condition. A further material ad-
vantage offered by this construction, is that the forehead
is used to steady the camera instead of the chest, insuring
thereby increased steadiness.
559. Advantages of the Focal-Plane Shutter. The
focal-plane shutter used on the " Reflex " allows the
widest range of speed. Besides time exposures, it will give
instantaneous exposures from five (5) seconds to 1-1200 of
a second, and requires only a few seconds to change to
these extremes. The ability of these shutters to make
the fastest exposures has led many photographers to place
the Reflex camera in a special field of usefulness. Their
field, however, is far wider, and they should be used in
every instance where accurate focusing on movable objects
is required, immaterial if they move rapidly or slowly. The
illustrations accompanying this article aptly explain this
point. The picture of Major Delmar (See Illustration No.
44), who was going at the rate of 2.08!/2 on a half-mile circu-
lar track when this plate was exposed, was made in the 1-1200
of a second, and is a typical example of the speed work of
which these cameras are capable. The children on the swing
(See Illustration No. 42), were photographed in 1-250 of a
second, and this picture is here reproduced to illustrate the
perfect control a Reflex camera offers when it becomes neces-
sary to " divide " the focus. The full opening of the lens
(a No. 4 Goerz Celor of 9%" focus) was used, and it was thus
required to carefully set the lens to the most advantageous
focus. Besides this, the proper moment of exposure and
the most satisfactory composition could be determined
with the greatest facility and certainty.
560. Adapted to Interior Portraiture. The vivacious
baby boy (See Illustration No. 43), required an exposure
of 1-5 of a second only, but nevertheless moved sufficiently
to make focusing right up to the instant of the exposure an
absolute necessity. As this last named picture was ob-
tained in a rather unusual way, we give illustrations of
this device and describe more in detail how an ordinary
252
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Reflex camera can be used with perfect success in the
studio and the living room.
561. Combination Daylight and Flashlight Exposure.
The window shown in this picture being the only source
of daylight, it was necessary to resort to combination light-
Illustration No. 47
Diagram of Electric Connection for Reflex Camera
See Paragraph No. 563
ing, for which purpose an electrically controlled flashlight,
charged with 10 grains of flash powder, was used. The
shutter of the Reflex camera was opened to the full width
of the plate, and wound up just enough to completely
uncover it. The flashlight was placed in position and the
circuit breaker attached to the release button of the Reflex.
Reflex Camera with Flashlamp. 253
The camera was then focused in the usual manner and the
exposure made, same as if daylight only was used. The
electric contact is made just before the release button
reaches the end of its course, thus releasing the shutter at
the instant the flash is made. In this manner the child and
the dog, together with the interior of the room, are produced
by the flash, whereas the view outside the window is ob-
tained by the daylight.
562. Flashlight Equipment. Our illustration of this
equipment shows how simple and portable is the whole
device, and how well adapted it is to be taken to customers'
residences when required. The extension support of the
lamp is formed by three sections of telescoping brass pipes,
which provide the necessary elevation of the lamp for the
various kinds of pictures. The battery box itself forms the
base and is amply stable for this purpose. This disposition
also simplifies the wiring. The larger view of the camera
and the battery box plainly show this in detail. The
switch plate is attached to the outside of the Reflex camera
and carries two binding posts, each one of which is con-
nected with one of the wires of the two-wire cable, the
other ends being spliced on wires connecting the lamp with
the battery. (See Illustration No. 46.)
563. Construction of Flashpan. The flashpan of the
lamp (See Fig. 1, Illustration No. 47) is made preferably
from a thin piece of slate (B), about 7 inches long, 2 inches
wide, and as thick as an ordinary school slate. A %-inch hole
(C) is drilled in the middle, and on either side of this hole
a flat strip of thin German silver (A, A), &" wide and fa"
thick, is held against the under side of the flashpan, by means
of screws (D, D), which serve at the same time as the bind-
ing posts for the electric wires. A metal or wooden socket
(E) is also attached to the underside of the flashpan, per-
mitting of its being attached on top of the telescopic stand.
In case this socket is of metal, care should be taken to keep
it free from contact with the binding posts and springs, to
prevent short circuiting.
564. The Fuse. The fuse is made from a thin piece
254 Library of Practical Photography.
of mica, 1" x 1%" (F, Fig. 1, of Illustration No. 47). In
the middle of the short sides a small incision is made with
scissors or pocket-knife, and a piece of thin German silver
wire 3-1000" in diameter and 2" long is laid over this mica,
the ends projecting equally on both sides (G, G), and then
bent back and under against the mica plate, thus forming
a double-ended hook which cannot slip out of position.
The fuse so prepared is slipped in between the springs
(A, A) and the flashpan (B), so that the wire (G) appears
through the middle of the opening (C).
565. Electric Current. The current is provided by a
battery of six ordinary dry cells. For convenience sake
they are placed in a suitable wooden box, with binding
posts on the lid, which also carries an ordinary circuit
breaker or switch. The cells are to be connected in series.
The switch is not absolutely essential, but is desirable as
an extra safety device, being left open until all preparations
are completed, and closed only just before the picture is
focused.
566. Release for Making Exposure. The equipment
is finally completed by constructing and attaching a special
circuit breaker to the release button of the Reflex camera.
A view of this is shown in Figure 2 of Illustration No. 47.
The base (J) is a piece of vulcanite or other suitable in-
sulating material. The two rods H and I are pivoted to the
vulcanite piece, by means of the binding posts D, D, which
latter thus serve two purposes a pivot for the rods and
connecting posts for the electric wires. The ends of the
rods at K are kept separated by means of the coil spring
E. The upper rod H is further held in position by the
little pin L, while the lower rod I is kept from being
forced upward by means of the pin L'. The spring G,
which is wound around the pin F, keeps the rod I in con-
stant contact with the pin L'; so when the upper rod is
forced downward by pressure on the button A, there will
be instant contact at the point K. A is the shutter release
button on the Reflex camera, and when this is pushed
downward to make the exposure, it comes in contact with
Reflex Camera with Flashlamp. 255
the projection B, which latter is fastened securely into the
rod H. This circuit breaker should be covered, as shown
in Illustration No. 46, so the mechanism will not be
disarranged.
567. Adjustment of Release and Circuit Breaker.
In order that the circuit breaker may be adjustable in height,
the two slots C, C are cut in the vulcanite base, and this
little instrument is attached to the side of the camera with
wood screws. Practice has shown that it is quite safe
to adjust this device so that contact of rods H and I is made
at K when the lower edge of the mirror in the camera is
on a line with the top of the lens.
568. Electric wires are fastened to the binding posts
D, D, Figure 1, on the bed of the flash machine, and the
other ends of these wires (O) attached to the binding
post in the battery box. The ends of the wires (P), Figure
2, are also connected to binding posts on the battery box.
These two sets of posts should be connected by means of a
switch, which should be disconnected excepting when
ready to make the flashlight exposures. The exact instant
that the exposure is made can be easily determined by
means of a one-half candle power incandescent lamp, to
be held against the binding posts of the flashpan.
569. Caution. It is, of course, necessary to do this
before placing either the fuse or the powder charge in the
pan, to prevent accidents. This test, moreover, proves the
soundness of all contacts and secures a prompt firing of
the charge when operating. The completed apparatus is
clearly shown in Illustration No. 45.
570. Making Exposure. Having thus prepared the
installation, the camera is focused and the exposure made
in exactly the same manner as if daylight were used, not
forgetting, however, that the shutter must be set with its
full sized opening in front of the plate, and not wound up
entirely. The release of the shutter takes place immediately
after the firing of the flash and stops the additional day-
light exposure, if any. The lens opening should be regu-
lated accordingly, and in its turn determines the quantity
256 Library of Practical Photography.
of flash powder. In the example illustrating this article
a Goerz Dagor, Series III, No. 3, was used, with an open-
ing of f. 12, the powder charge being 10 grains, as pre-
viously stated. The picture of the race-horse was obtained
with a Goerz Celor, Series IB, No. 4, at its full opening of
f. 5.
571. The electric flashlight, as described, is the in-
vention of Mr. E. F. Keller, of New York, to whom we
are greatly indebted for this valuable adjunct to the Reflex
camera, of which he is an expert user.
CHAPTER XXXIII.
PHOTOGRAPHIC LENSES THEIR NATURE AND USE.
By S. Lawrence
(Of the Bausch & Lomb Optical Co., Rochester, N. Y.)
572. The function of a photographic lens is to project
upon the sensitive plate an image of some object or objects
situated in front of the lens.
573. Function of the Lens. From an object in front
of the lens light is reflected in all directions. Some of this
light is gathered in by the lens and transmitted to the plate,
there to form an image of that object. The rays of light
which travel from the object toward the lens are bearers of
the image. The function of the lens is to assume control of
these image bearing rays and convey them, steer them so to
say, to the plate, in such a manner that the image there
formed by them will be a true representation of the object.
From each and every point of that part of the object facing
it a set of rays reaches the lens and these are transmitted to
the plate, where they form an image of that point each
image point thus being a representation of its correspond-
ing object point. In order to understand how this is accom-
plished, it is necessary to have some knowledge of light
and optics the composition and transmission of light.
574. It is not my purpose to dwell on the theory of
light but to explain in a simple manner and with the least
possible use of scientific terms and mathematical formulae,
the elementary principles of optics involved in lens construc-
tion, and the properties of photographic lenses as based on
those principles.
267
258
Library of Practical Photography.
575. One of the first and simplest optical truths is that
lir/Jit travels in a straight line as long as it continues in the same
medium, or in passing from one medium into another of the same
density. When it passes from one medium into another of
different density, if it enters the new medium at right angles
to its surface, it continues in a straight line; if it enters at
an oblique angle, it is bent out of its original course and
proceeds in a different direction.
576. Thus a ray of light Fig. 1 (a) entering from air
into another medium, say glass, (A) at right angles to its
surface perpendicular, or normal, to the surface of the new
medium will proceed straight through, without deviation.
If the two surfaces of the new medium are parallel, the
direction of the ray will be perpendicular, or normal, to the
second surface also, and again, in passing out, it will suffer
no deviation, thus passing through and out in a straight
line (a c).
577. Refraction. Another ray (b), entering at an ob-
lique angle, will be bent out of its original course (b d).
Glass having greater density than air, the ray, on entering,
will be bent towards the normal (a c) (a line perpendicular to
the surface of the new medium at the point of entry) and it
will proceed in its new direction till it reaches the opposite
surface (E). Passing here from a denser medium, glass,
into a rarer medium (one of less density), air, at an oblique
angle, it is again bent (E f), this time away from the normal
Photographic Lenses Nature and Use. 259
(E E). This bending is termed refraction. It takes place when-
ever a ray of light passes at an oblique angle from one medium
into another of different density. The surface at which it takes
place is called a refractive surface. The angle which the
entering (incident) ray forms with the normal at the point
of entry (incidence) is termed the angle of incidence; the
angle formed by the refracted ray at the same point is
termed the angle of refraction.
578. The degree of refraction depends upon two
factors : I. the angle at which the incident ray meets the refrac-
tive surface: II. the relative density and consequent relative
refractive power of the two media.
579. This refractive power of glass is of value in the
construction of photographic lenses, for it makes it possible
to control the image bearing rays, to make each set of rays
emanating from a point (a point in the object) converge to
a point (the corresponding point in the image) and form a
correct image.
580. Dispersion. But glass possesses at the same time
another property which is a distinct disadvantage to the
lens maker. A ray of sunlight falling on a prism of glass
Fig. 2
would be bent according to the laws of refraction and pro-
ceed as in Fig. 2, providing that the prism had no other
effect on it than to bend it. But if we place a white screen
in its path after it emerges from the prism, we find that
instead of a disc of white light, as we would expect we
have a band of color, Fig. 3. This shows us immediately
two things; first that a ray of white light is composed of
several rays of different colors, red, orange, yellow, green
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blue, indigo and violet, and second that the different
colored rays are differently refracted, and consequently
separated, in passing through the prism. This separation,
spreading apart, is termed dispersion and is caused to a dif-
ferent degree by different kinds of glass.
581. Visual and Actinic Bays. The band of colors is
called the spectrum. The different colored rays have differ-
ent luminosity, the yellow being the brightest. But this is
not the only difference which concerns us. If the spectrum
Fig. 3
falls on a strip of photographic printing out paper, we find
that the paper soon begins to darken at and beyond the
violet, but that no darkening, even after quite a while, is
perceptible beyond the blue toward the yellow. This shows
that the blue and violet rays have the strongest action on
the sensitive silver salts. Thus we distinguish between I.
the luminous or visual rays which form the visible photo-
graphic image, and II., the actinic or cliemical rays, which
affect the sensitive surface on which the image is received.
582. Chromatic Aberration. If we have two prisms
identical in shape, made of the same kind of glass and
placed base to base, a pair of rays entering those
prisms as shown in Fig. 4, will be similarly af-
fected. A lens made of a single piece of glass (a
"simple" lens) and corresponding in shape to the com-
bined prisms, as also shown in Fig. 4, would simply be a
modification of those prisms (a lens being in effect a com-
Photographic Lenses Nature and Use. 261
bination of an infinite number of prisms of different angle)
and would produce a similar effect. For photographic pur-
poses such a lens would be of very little value. Let us as-
Fig. 4
sume that the two rays have proceeded from a point on
some object. Instead of meeting as one pair, at one point, to
form one image, they are divided up into several pairs meet-
ing at different points and forming several images, each pair
of rays of the same color forming an image at their point
of meeting. The most luminous image is the one formed by
the yellow rays. Focusing this image as sharply as pos-
sible and exposing a plate, we do not get a sharp image in
the negative. The reason is apparent. The blue and violet
rays have the strongest action on the plate. These rays have
their meeting point, their focus, nearer to the lens than the
yellow rays and are consequently out of focus, forming only
a blurred image when they reach the plate. The resulting
image in the negative is therefore blurred; the yellow rays
which would have formed a sharp image, having had no
perceptible effect. The only remedy is to bring the plate
closer to the lens where the actinic rays form a sharp image.
This fault in a lens of bringing the actinic and the visual
rays to a focus at different distances (in different planes)
is called chromatic aberration color aberration and no lens
formed of a single piece of glass can be free from it.
583. Correction of Chromatic Aberration. Readjust-
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Library of Practical Photography.
merit of the plate for the plane of focus of the actinic rays
even though such a lens were perfectly satisfactory in
other respects is inconvenient, except when the lens is al-
ways used at the same distance from the object. It there-
fore becomes desirable to so construct the lens, that the
actinic and visual rays will come to a focus at the same
point. Figures 4 and 5 together will give us an idea of
how this may be accomplished. A pair of prisms placed
base to base as in Fig. 4, and a simple lens corresponding
in shape, will have an inward bending and spreading tend-
Fig. 5
ency, bringing the violet rays closer in towards the lens.
Another pair of prisms, placed apex to apex, as in Fig. 5,
and a simple lens of corresponding shape, will have an op-
posite, outward tendency, bringing the violet rays farther
out and away from the lens. The inward tendency of the
one is opposed by the outward tendency of the other, and
it is not very difficult to see from Fig. 4 and 5 that by com-
bining the two lenses, choosing for them glass of proper
refractive and dispersive power and giving them suitable
curves, we can re-combine the yellow and the violet, the
visual and the actinic rays and converge them toward the
same point. This is how the optician corrects chromatic
Photographic Lenses Nature and Use. 263
aberration in a photographic lens, and a lens thus corrected
is called achromatic.
584. Spherical Aberration. Another inherent fault in
a lens is spherical aberration, due to the spherical shape of
the lens, and it may be described as the inability of a lens
to bring both the central and marginal rays of the same
pencil of light to a focus at the same point. Suppose that in
Fig. 6 a set of rays emanating from the same point on an
object enter the lens. The function of the lens then is to
bring these rays together in one and the same point, to con-
Fig. 6
verge them to the same focus and make them all form one
image point corresponding to the object point from which
they all emanate. But the rays passing through the mar-
gins are bent more than those passing through the center,
that is, the marginal rays are brought to a focus nearer the
lens than the central rays. In Fig. 6 each pair of rays, aa,
bb, cc, meets and forms an image at a different point, aa
nearest to, and cc farthest away from the lens, and conse-
quently we can get no distinct image point, for where we
would get a distinct image formed by one pair, we also get,
superimposed on it, the blurred images formed by the two
other pairs.
585. Correction of Spherical Aberration. It is evident
from Fig. 6, that we can, to quite an extent, remedy the
trouble, by cutting off the marginal rays. If by interposing
a stop either in front of or behind the lens we cut off aa
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and bb we can get a distinct image formed by only the cen-
tral pair cc. This, however, means a loss of much illumina-
tion and it therefore becomes incumbent upon the optician
so to construct the lens, if possible, that it will converge
both central and marginal rays of a light pencil to one
point. It is accomplished in the same manner in which
chromatic aberration is corrected by combining two or
more glasses of suitable character and suitable shape. A
lens is commonly said to be aplanatic when corrected for
both spherical and chromatic aberration.
It should be well understood that spherical aberration,
caused by the unequal bending of individual rays (members
of the same light pencil) passing through the different por-
tions of a lens is distinctly different from chromatic aberra-
tion, caused by the separation of the different colors in each
one of those individual rays. Chromatic aberration refers
to the separation of the constituent parts of the ray, caused
by their unequal ref rangibility ; spherical aberration refers
to the bending of those constituent parts collectively the
bending of the ray as a whole. Thus we may presume that
within each ray in Fig. 6, the actinic and visual colors are
combined, but a ray as a whole suffers more bending the
nearer to the edge of the lens it passes.
IV
Fig. 7
586. Forms of Lenses. Lenses are divided into two
classes : positive or converging lenses which bend the rays
toward the axis; negative or diverging lenses which bend
the rays away from the axis. The various forms of lenses
are shown in Fig 7. Positive lenses are, I., double convex;
II., piano convex; III., convex meniscus. Negative lenses
Photographic Lenses Nature and Use. 265
are, IV., double concave; V., piano concave; VI., concave
meniscus.
587. A lens surface is either plane or curved, and the
curved surface is a perfect portion of a sphere. The prin-
cipal axis (often called only the axis) of a lens is a straight
line passing through the centers of curvature if both sur-
faces are curved, or the center of curvature and the center
of the plane surface. A ray of light coinciding with the
principal axis will pass straight through the lens, without
deviation. When two or more lenses are used together,
either in one combination or in different combinations, their
principal axes must coincide there must be one common
axis for all of them. To so adjust them center them is a
very delicate operation.
588. Astigmatism Anastigmat. Astigmatism is the in-
ability of a lens to render at the same time a sharp image
of horizontal and vertical lines situated in the same plane.
It exists only in oblique pencils, pencils of light passing
through the lens obliquely, not parallel with the axis and
affects the marginal definition. It is thus possible for a lens
which is astigmatic to render both horizontal and vertical
lines equally sharp at the same time in the center of the
plate, but only one set at a time, either the horizontal or the
vertical, at the margin of the plate. When a lens is free
from astigmatism it is termed an anastigmat.
589. The following is a simple test for astigmatism.
Draw a black cross on a white card and set it up in front
of the lens so that one bar is horizontal and the other one
vertical. Focus it on the center of the ground-glass, and
both bars will be equally sharp at the same time. Then
move either the camera or the card to one side, until the
image of the cross is near one corner of the ground-glass.
If both bars show equally sharp at the same time, the lens
gives freedom from astigmatism over an area at least as
large as the ground-glass. If astigmatism is present, only
one bar can be focused sharply at a time. The distance
which the ground-glass must be moved to bring the other
266 Library of Practical Photography.
bar in focus, measures the degree of astigmatism, the astig-
matic difference.
590. A set of rays emanating from one point should
be brought together in one point and form one image point.
However, if they pass obliquely through the lens, they are
not brought to one point, but to two lines (or properly
speaking, two very attenuated ellipses) some distance apart
and at right angles to each other. The image point is ex-
tended into a vertical line (or ellipse) nearer the lens, and
into a horizontal line (or ellipse) farther from the lens.
Somewhere between the two, at a point where a cross sec-
tion of the rays is most nearly circular (the "circle of least
confusion") is the best mean focus. The smaller this cross
section is, the more nearly it becomes a point and the less
apparent is the effect of astigmatism.
591. Being confined to oblique pencils, unless the lens
is very poorly made, astigmatism is not present in the center
of the field. It increases toward the margin, and, as with
spherical aberration, the difficulty of correcting it increases
as we approach nearer to the margin and as the lens is
given a larger relative opening.
592. The Field of the Lens. The field of a lens may be
defined as the surface (imaginary) on which the image is
formed. This must not be confounded with the surface
(sensitive or otherwise) on which we intercept the image.
A surface in geometry is considered to be made up of in-
numerable points. The image-bearing rays emanating from
innumerable points on the object, form correspondingly in-
numerable image points, and we can imagine a surface made
up of those image points. Now let us suppose that we
point our lens at right angles to a flat object. The surface
of this object we consider to consist of innumerable, in-
finitely small points from each one of which a set of rays
enters the lens. Their course is so controlled that each set
of rays is conveyed to one point, and all the points together
constitute the surface which we term the field of the lens.
As each point is an image point, we also say that the image
is formed on that surface. If all the points are in one plane,
Photographic Lenses Nature and Use. 267
that is, if they form a flat (plane) surface, we say that the
field of the lens is flat, and the image is flat. In other words,
a lens has a flat field when it is capable of producing a flat
image of a flat object. Perfect flatness over the whole field
Fig. 8
of a lens has not yet been attained, the field of all lenses
being more or less curved, concave towards the lens; but
the best modern lenses come very near perfection.
593. Curvature of the Field. After what has just
been said, the term curvature of the field will hardly re-
quire any explanation. Fig. 8 shows a curved image of a
straight object. If the object were a flat surface, it is
evident that the image would be saucer like in shape. This
defect is to a very great extent inherent jn lenses of the old
type, as flattening of the field in those lenses can be effected
only to a very limited extent without causing too much
astigmatism.
Fig. 9
594. The disadvantage of a curved field is apparent
from Fig. 9. The surface on which we project the image
being flat, it would evidently be impossible to find a position
268 Library of Practical Photography.
for it where the different portions of the image would be
rendered equally sharp, or even nearly so. In the plane of
"c" the center only would be in focus; in the plane of "a' :
the margin only; and intermediate positions, as "b" for
instance, would give us only intermediate portions of the
image sharp. Reducing the aperture of the lens (stopping
down) and thus gaining depth of focus, we might find an
intermediate position where the whole image would be
fairly well rendered; but as reduced aperture means re-
duced speed of the lens, the effort of the lens maker has
been directed towards giving the lens as flat a field
as possible without impairing its perfection in other re-
spects. The flatter the field the larger is the area over
which it will coincide with the flat surface on which the
image is projected, consequently the greater is the covering
power of the lens, providing it is at the same time capable
of giving critical definition, over that area.
595. Circle of Illumination. The aperture of the lens
being circular, the rays of light passing out from the lens
form a cone of light, and the field of the lens is therefore
circular. A cross section through this cone at right angles
to the axis of the lens will be a disc of light, smaller or
larger as the section is taken nearer to or farther from the
lens. This disc is the circle of illumination. If we take the
cross section at the equivalent focal distance (see paragraph
No. 608) from the lens, the disc is the circle of illumination
at that distance. It is also referred to as the image circle, be-
cause the area of the disc is also the area of the field the
surface on which the image is formed and when the diame-
ter of image circle or circle of illumination is referred to in
lens makers' catalogues, it means the diameter of the field
at the distance of the equivalent focus.
596. Angle of Field. The angle of field is the angle
included between the lines drawn from opposite ends of the
diameter to a certain point in the lens (the node of emis-
sion). For our purpose it will be sufficient to imagine the
two lines drawn to the center of the diaphragm opening in
Photographic Lenses Nature and Use. 269
a doublet lens. As this angle is narrower or wider, the leus
is relatively a narrow angle or a wide angle lens.
597. Angle of View. Angle of view is differently
given sometimes on the longer side of the plate and some-
times on the diagonal (a straight line joining two opposite
corners). In the former case it is included between the
lines drawn from the opposite ends of the plate, in the latter
case between the lines drawn from the two opposite corners,
to the same point in the lens. If the two lines, after cross-
ing each other, are continued through and out in front of
the lens, the amount of view included between them will
be the amount included on the plate, either from end to end
or from corner to corner.
598. Wide-Angle Lens. The term "wide-angle lens"
is very often popularly misunderstood. All lenses of the
same focal length will form an image of the same size, will
include the same angle, on the same plate, provided they are
capable of covering the plate, but a lens built especially
for wide-angle work will have a larger field a larger diam-
eter of field in comparison with its focal length than a
rapid (narrow angle) lens of the same focus and will thus
be capable of taking in a larger amount of view on a larger
plate.
599. Defining Power and Definition. The terms "de-
fining power" and "definition" are often used indiscrim-
inately to convey the same meaning. There is, however, a
difference the difference between cause and effect. Defi-
nition is the effect, the result of the defining power of the
lens. We have spoken of the image as made up of points,
image points formed by rays of light reaching the lens
from points on the object. If all the rays reaching the lens
from one object point could be converged to one point, the
image of the point would be a point. In reality, however,
it is not a point but a tiny disc. The greater the defining
power of the lens the more nearly to a point the rays are
converged, the smaller is the disc (the more nearly it be-
comes a point), and the finer, or sharper, is the definition.
"Sharpness," therefore, as we can readily see, is merely a
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matter of degree, and the question is, when can the photo-
graphic image be considered "sharp?" A disc of not more
than 1-100 inch diameter appears as a point to the unaided
Fig. 10
eye at a distance of 10 or 12 inches, hence an image made up
of such discs will appear sharp when viewed at such distance.
600. Covering Power. The covering poiver of a lens
depends on several factors the area and the curvature or
Fig. II
flatness of its field, the area of critical definition (see para-
graph No. 602), evenness or unevenness of illumination, and
last but not least, the relative aperture of the lens. The ex-
Photographic Lenses Nature and Use. 271
treme limit of covering power is determined by the area of
the field. The largest plate a lens can under any circum-
stances cover, is the largest one which can be placed within
its image circle; that is, a plate the diagonal of which is
equal to the diameter of the image circle. If in Fig. 10 the
circle represents the field of a lens, it is evident that the
largest plate fully covered would be one, the corners of
which would come out to the edge of the field. The plate
could vary in shape, but no matter what the shape, the diag-
onal of the plate would be the diameter of the field.
601. Curvature. How curvature or flatness of field
affects the covering power, can be understood from Fig. 11.
The greater the curvature, the smaller is the area which
is sufficiently flat to coincide with our plate (p). The three
curves, aa, bb, cc respectively, may be taken to represent
the comparative curvature of three types of lenses, the por-
trait lens, the rapid rectilinear and the anastigmat lens. The
superiority of the anastigmat over the two older types is
too apparent to require any further explanation.
602. Critical Definition. The area of critical defini-
tion is an important factor. The larger the area over which
Fig. 12
the lens gives critical sharpness, everything else being equal,
the greater is its covering power. This area can be extended
by reducing the aperture of the lens, thus excluding the
more or less imperfectly corrected marginal rays, and hav-
ing the image formed by the more central and more per-
fectly corrected rays. The area of best definition being in
the central portion of the field, the most advantageous
272
Library of Practical Photography.
position of the plate is as shown in Fig. 12, the center of
the plate coinciding with the center of the field.
603. Relative Position of Plate and Field. The posi-
tion of the plate relative to the field, therefore, plays an im-
13
portant part. Raising the lens and consequently raising
the center of the field above the center of the plate as in
Fig. 13, the upper portion of the plate would be within the
area of critical definition but the lower portion, especially the
corners, would be outside of it. More or less curvature of
the field would also be perceptible. Lowering the lens or
Fig. 14
moving it to one side, the effect would be similar at the top
or at one end of the plate. Remedy: reduced aperture re-
sulting in extended area of critical definition and increased
depth of focus. If the plate is not at right angles to the
axis of the lens but inclined, as (pp) in Fig. 14, (f represent-
Photographic Lenses Nature and Use. 273
ing the field of the lens), we are working under still greater
disadvantage. The remedy here also is reduced aper-
ture. Fig. 14 shows the position of the plate when the cam-
era is tilted upwards, as is often necessary when we photo-
graph a tall building at close range. If the lens is also
raised, we add the disadvantage illustrated by Fig. 13.
604. Evenness of Illumination. Unevenness of illum-
ination is an inherent fault in the old lenses. Outside of a
more or less limited area in the center of the field, the il-
lumination rapidly diminishes towards the margin, causing
a vignetted effect. A smaller aperture reduces this effect,
but as it also reduces the speed, the evenness of illumination
with a large relative aperture is a desideratum. A large
area of critical sharpness, great flatness of field and evenness
of illumination with a large relative aperture, are advan-
tages which give the best modern lenses a vast superiority
over the old ones.
605. Focus. Focus is the point in which the rays of
light meet after transmission through the lens, and at which
the image is formed. In Fig. 15 a certain luminous point
Fig. 15
(a) on an object sends a number of rays in the direction
of the lens. Those which fall upon the lens (as do all the
rays included between m and m 1 ) are so directed that they
all pass through the same point (f). They all meet in this
point, and this common meeting point for them all is their
focus. We also say it is "the focus of the lens" for those
rays, because it is the point to which the lens steers them.
274 Library of Practical Photography.
606. If a lens were pointed toward the sun (it is not
advisable to do so, however), the sun's rays would be con-
verged to a point behind the lens the focus for solar rays,
or the solar focus, the principal focus of the lens. We also
term this point the focus for parallel rays, because, coming
from such a distance, all the rays would be practically
parallel when entering the lens. But in commonly speaking
of the focus of the lens of the rays, we do not refer to their
meeting point, but to the distance between this meeting
point, the principal focus, and another point, the one from
which the distance is measured. This point has been var-
iously termed the "optical center," the "center," the "nodal
point" or the "node" of the lens. It is nowadays termed
the "node of emission," and it is sometimes located
within the lens, sometimes outside of it. In doublet lenses
it is generally located sufficiently near the diaphragm to
make it in most instances safe and accurate enough to
measure the distance from there. For the sake of conven-
ience, and to avoid going into explanations which might
prove confusing, we shall here use the term "center." Thus
when we say that the focus of a lens is 10 inches, or that a
lens has 10 inches focus, it means that the distance from the
"center" of a lens to the point where parallel rays come to
a focus, is 10 inches. Whenever the focus of a lens is given,
it is always the focus for parallel rays. It is also referred to
as focal length.
607. The point where parallel rays meet is the principal
focus. The distance from the " center " of the lens to the
principal focus is the focal length (commonly referred to as
the focus).
608. Equivalent Focus. If we could easily and accur-
ately locate in any lens the point from which to measure,
the exact focal length of the lens could easily be ascertained
with perfect accuracy. In the case of an extremely thin
single lens, like "B" Fig. 16, we could simply measure from
its rear surface. The error would be infinitesimal, and the
distance from lens to focusing screen, when focusing for
parallel rays, would be the exact focal length of the lens.
Photographic Lenses Nature and Use. 275
Not so in the case of a doublet. The point from which to
measure may be located within the lens, or it may be located
outside of it. We therefore compare a doublet with a single
lens as described which would produce the same size image
as the doublet. The image formed by the doublet being
equivalent in size to the image formed by the single lens,
and as size of image depends on focal length, we say that
the focus of the doublet is equivalent to that of the single
lens. Placing the two lenses as in Pig. 16, in front of the
same focusing screen, if we then focus an object the image
Fig. 16
of which we can accurately measure, and find that the two
images formed by the two lenses have exactly the same
dimensions, the two lenses must have the same actual focal
length; but finding it inconvenient to accurately measure
the focal length of the doublet, we only compare it with the
single lens which we can measure exactly. If we were then
to focus solar rays sharply with both lenses on the same
screen, the distance (f) would be the actual focus of B, and
the distance (e) would be the actual, and also the equiva-
lent focus of A. The point from which to measure the focus
(focal length) of the doublet would then be situated in the
same plane as the point from which the focus (focal length)
of the single lens is measured ; the measurement of the focus
of the single lens would also be the measurement of the focus
276 Library of Practical Photography.
of the doublet; and if the actual focus of the single lens
were 10 inches, its equivalent the equivalent focus of the
doublet would also be 10 inches.
609. To focus an object, or to focus on or for an object,
or to focus the image of an object, are expressions which
hardly require any explanation. To focus is to so adjust
the lens relative to the focusing screen, or vice versa, that
we have the focusing screen in the plane where the image
bearing rays are brought to a focus (the plane of sharp
focus, or the focal plane for these rays), and thus give us
a sharp image. When this is not the case, we say that the
image or the object is "out of focus."
610. Back Focus. "Back focus" is a term which is
sometimes used to indicate the distance from the rear end
of the lens to the principal focus (the distance back of the
lens back focus). Its practical value is that it indicates
the minimum camera extension required behind the lens.
If we focus on an object situated at a moderate distance
from the lens, other objects situated near to or far away
from the lens are out of focus. If we focus on an object
situated a great distance away, all objects situated beyond
that distance may also appear in good focus. If we focus on
nearer objects, one after another, we find that as the object
nears the lens, the focusing screen is farther away from the
lens. As the object is brought toward the lens, the image
Fig. 17
recedes farther away from the lens, and the farther away
the object, the more slowly does the image recede as the
object moves, while as the object approaches near to the
lens, the image recedes more rapidly. A change in distance
between lens and object causes a change in distance between
lens and image, and the image moves in the same direction
Photographic Lenses Nature and Use. 277
as the object. Fig. 17 illustrates this. When the object is
a great distance away, the image is at (f) ; when the object
is nearer, at A, the image is farther away at (a) ; when the
object is still nearer, at B, the image is still farther away
at (b).
611. Conjugate Foci. For every distance between lens
and object, there is a certain corresponding distance be-
tween lens and image. These distances are termed "con-
jugate foci" (conjugate, yoked together, coupled) ; the
distance between lens and object is the anterior or major
conjugate, and the distance between lens and image is the
posterior or minor conjugate (except in enlarging, when
their positions are reversed). With the variation of dis-
tance, we also find that there is a variation in the size of
the image. As the object approaches, the image recedes
and becomes larger; as the object recedes, the image ap-
proaches nearer to the lens and becomes smaller.
612. Ratio of Distance and Size. A very simple
mathematical rule governs both the relative distance of ob-
ject and image from, the "center" of the lens and also the
relative size of object and image. The ratio of distance is
also the ratio of size, for size of image compares to size of
object as distance of image compares to distance of object.
If the distance of the object is two, three or four times that
Fig. 18
of the image (the distance of the image then being one-half,
one-third or one-fourth that of the object), the image is
one-half, one-third or one-fourth the size of the object, and
so on. Expressing the distances in multiples and fractions
of focal length, we can formulate a very simple method of
determining either distance or size.
278 Library of Practical Photography.
613. When object and image, O 1 and I 1 Fig. 18, are
of the same size, they are equidistant from the center (c)
of the lens, and the distance in either direction is twice the
focal length or the distance from the center of the lens to
the principal focus. Now let us measure off the focal length
in either direction from the "center" when f will be the
principal focus, and f 1 its corresponding point in front of
the lens. These points will be our starting points, the points
from which we will measure. Let us call the focal length
F (F thus being equal to cf and also equal to cf 1 , because
either distance represents the focal length of the lens). We
then find the object, O 1 , 1 F beyond f 1 , and the image, I 1 ,
1 F beyond f. Then let us move the object another focal
length away and place it in the position of O 2 , 2F beyond
f 1 . The image will then be in the position of I 2 , F beyond
f, and its size will be one-half the size of the object. Move
the object another focal length away, to the position of O 3 .
3F beyond f 1 , and the image will be found at I 3 , y^F beyond
f. Its size? Just one-third the size of the object. If the
object is ten focal lengths beyond f 1 , the image is one-tenth
of a focal length beyond f and is one-tenth the size of the
object. A distance of 100 or 1000 focal lengths beyond f 1 in
one direction means 1-100 or 1-1000 of a focal length beyond
f in the other direction, with corresponding proportions of
image.
614. To Measure Focal Length. The practical appli-
cation of this method is varied. Say that we want to find
out what is the focal length of our lens. We focus an ob-
ject carefully at actual size; then measure accurately the
distance between object and focusing screen and divide by
four. The quotient is the focal length of the lens. Thus, if
we find that the distance from object to focusing screen is
40 inches, the focus of the lens is 10 inches. On the other
hand, if we are to photograph an object actual size, what
camera extension is required with a 10 inch focus lens?
Object and image are equidistant from the lens, each two
focal lengths away; consequently we must have camera
extension sufficient to give us a distance of 20 inches from
Photographic Lenses Nature and Use. 279
center of lens to plate. Or we want to know what distance
is required between lens and object to give us an image of a
certain size. For instance, we want to know at what dis-
tance a 12 inch focus lens will give us a 4 inch image of a
person 6 feet tall. Size of object is 72 inches, size of image
4 inches; ratio of image to object (scale of image we will
call it) therefore is 1-18. Consequently the object must be
18 focal lengths beyond f 1 , and 19 focal lengths beyond the
center (c) of the lens 19 times 12 inches, or 19 feet. In
the same manner the distance required with a 20 inch focus
lens is found to be 19 times 20 inches, or 380 inches, or 31
feet 8 inches.
615. Conversely we want to know the focal length of
lens required to give us a 4 inch figure of a person 6 feet tall
at a distance of 20 feet. Scale of image, as before, is 1-18,
which means that the object must be 18 focal lengths away
from f 1 and 19 focal lengths from the center (c) of the lens.
In other words, the distance of 20 feet or 240 inches must be
equal to 19 times the focus of the lens required, or the focus
of the lens must be 1-19 of 240 inches. Divide 240 by 19 ;
the quotient is 12 12-19, and we therefore require a lens of
12 12-19 (12 2-3) inches focus. If the distance is 15 feet,
the 15 feet or 180 inches must be equal to 19 times the focus
of the lens. Divide 180 by 19 and the quotient is 9 9-19 ; the
required focal length is 9 9-19 inches, or just about 9| inches.
616. Again, what size image will a 10 inch focus lens
make of an object 6 feet tall at a distance of 30 feet? Dis-
tance, 30 feet or 360 inches equals 36 times the focus of the
lens. Distance between f 1 and object is therefore 35 focal
lengths ; scale of image is 1-35, which means that the size of
the image is 1-35 of 72 inches, or about 2 inches.
617. For group work in a short gallery the choice of
lens has often proven both difficult and puzzling. Say that
we require a lens for 8x10 groups in a gallery where we can
get an operating distance of 18 feet. The width (or length,
if we so wish to term it) of the group is of course, limited
by the width of the gallery, so that we can without much
difficulty determine how wide will be the widest group
280 Library of Practical Photography.
which we can arrange there. Let the maximum width of
group be 15 feet. On an 8x10 plate we could not very well
make it over 9 inches. Size of object then is 15 times 12
inches or 180 inches ; size of image 9 inches ; scale of image
1-20. Distance from lens to group, 18 feet or 216 inches,
must therefore equal 21 focal lengths, or 21 times the focus
of the lens required. Dividing 216 by 21, we get the quo-
tient of 10 2-7 and we know that the lens must have a
focus of 10 2-7 inches. It then becomes a question of finding
a lens which with this focal length combines sufficient cov-
ering power and speed for our purpose that is, one which
will cover the plate satisfactorily with a relative opening
large enough to give satisfactory speed.
618. Depth of Focus. Depth of focus or depth of
definition, in the popular meaning of those terms, is the
property possessed by a lens of rendering at the same time
sharp images of several objects, situated at different dis-
tances from the lens. Strictly speaking, from a purely
optical point of view there can be no such thing as depth
of focus; for, as was pointed out in connection with con-
jugate foci, any variation in distance of object means a
variation in distance of image ; but in practice we find that
there is a more or less considerable distance within which
we apparently have all the objects sharply defined. We
all know that if we focus on an object very far away,
everything beyond that is apparently sharp ; also that, if we
focus on an object a moderate distance away, we have other
objects some distance nearer to and farther away from us
in apparently good focus, because an image disc appears as
a point when its diameter is sufficiently small; therefore
when the discs which compose the different images of the
different objects are within this limit, the images all appear
sharp. The closer together the more nearly in one plane
the different images are, the more nearly they possess the
same sharpness. The reason why all objects situated be-
yond a certain distance appear in equally good focus is
therefore apparent. Focus with a 10 inch focus lens an
object situated at a distance of 1000 times the focal length
Photographic Lenses Nature and Use. 281
of the lens (about 833 feet). The image will then be located
1-1000 of a focal length behind the principal focus. Any
and all objects situated between 833 feet and infinity will
have their images all located within that distance of 1-1000
of a focal length, that is, within a distance of 1-100 of an
inch. They will be very nearly in the same plane, and the
diameter of the disc of confusion in all of them may be so
nearly the same as to make them all appear equally sharp.
For similar reasons, if we focus an object a moderate dis-
tance away, we find that other objects, both nearer and more
distant, appear in good focus. Their distances relative to
the object focused upon are such as to cause only a slight
difference in distance of images ; so slight that their disc of
confusion is less than 1-100 of an inch in the plane of sharp
focus for the object we selected to focus for. If we then
select, one after the other, objects situated nearer to us,
we find that as the object focused upon is nearer, the
distance through which other objects will also appear in
good focus is lessened the depth is less, because there is a
greater variation in distance of image and a consequent
greater variation in the diameter of the disc of confusion,
the nearer the object is to the lens. We can thus see that
the farther the distance focused for, the more depth we have; the
nearer that distance, the less depth, with the same lens.
619. Influence of Aperture on Depth of Focus. Apart
from the distance, depth of focus depends on two factors:
the aperture of the lens and the focal length of the lens.
How the aperture affects the depth needs very little ex-
planation. Every photographer knows that he can increase
the depth by decreasing the aperture (stopping down), and
that with a larger aperture (stop) the depth is less. The
increase or decrease of the depth is proportionate to the
decrease or increase of the diameter of the aperture ; in other
words, depth of focus varies inversely as the diameter of the
aperture. Fig. 19 illustrates the influence of aperture on
depth. The larger pencil (D) tapers to a point rather ab-
ruptly, and even a very slight variation in the position of
our focusing screen (b) will be apt to give us a disc of more
282
Library of Practical Photography.
than 1-100 of an inch diameter, while the gradual tapering
of the smaller pencil (d) will allow of a considerable dis-
placement either in front of or behind the plane of greatest
Fig. 19
sharpness. Thus the one object sharply focused at (b) will
appear sharp enough at (a) and at (c) ; and other objects so
situated that their images would have their greatest sharp-
ness at (a) or at (c), will also appear sufficiently sharp at
(b).
620. Influence of Focal Length on Depth of Focus.
The influence of focal length on depth of focus is often
either not at all understood, or entirely misunderstood. The
idea is very prevalent that longer focus means, or should
mean, greater depth, while in fact it is just the reverse.
The distance between the principal focus and the sharp
image being a certain fraction of the focal length, it is
plainly evident that the longer the focus, the greater must
be the variation in distance of the focal planes for objects
situated at different distances from the lens. For instance,
two objects situated respectively 50 feet and 100 feet from
the lens, will have their images about 1-32 inch apart with a
6 inch focus lens, and about % inch apart with a 12 inch
focus lens. It is therefore plain that the range of distance
or the space throughout which different objects may be
distributed and yet appear sharp at the same time (in the
same plane) is greater, the shorter the focus of the lens is,
Photographic Lenses Nature and Use. 283
and vice versa. In other words, the shorter the focus of
the lens, the more depth; the longer the focus, the less
depth.
621. With the same relative aperture, depth varies in-
versely as the square of the focus. Thus, of two lenses of the
same rapidity (that is, having the same ratio of aperture
to focal length) the one having double the focal length of
the other will have only one-fourth its depth. Take for
example one lens of 2 inches aperture and 6 inches focus,
and another one of 4 inches aperture and 12 inches focus.
The aperture ratio (ratio of diameter of aperture to focal
length relative aperture) is the same (1-3) in both lenses;
therefore, their relative depth is inversely as (6x6) 36 and
(12x12) 144, or directly as 144 and 36, or as 4 and 1. Two
lenses of respectively 2 inches aperture with 8 inches focus
and 3 inches aperture with 12 inches focus, will also have
the same relative aperture, and their relative depth will be
inversely as 64 and 144, or directly as 9 and 4; that is, the
8 inch focus lens will have fully twice the depth of the 12
inch focus lens.
622. To sum up : Depth varies inversely as the diameter
of the aperture, and inversely as the square of the focus; there-
fore, 1 With the same focal length and the same relative aper-
ture in any two or more lenses, the depth is the same; 2 With
the same focal length but different relative aperture,
the depth is inversely proportionate to the diameter of the
aperture; 3 With the same relative aperture but differ-
ent focal length, the depth is inversely proportionate to the square
of the focus.
623. Speed of Lenses How Determined. The term
speed, or rapidity, as applied to a photographic lens, refers
to the energy or intensity of light action on the sensitive
plate. The stronger, or more energetic that action is, the
more rapidly it produces the desired effect on the sensitive
silver salts, and the greater, we say, is the speed of the lens.
It is needless to say that the volume of light here plays an
important part. It is quite plain that the greater the
volume of light acting on the plate, the more rapidly must
284 Library of Practical Photography.
the result be obtained ; consequently, the more light the lens
transmits to the plate other conditions being equal the
greater is its speed. The volume of light, therefore, is one of
the factors which determines the speed of lenses. Another
factor is the concentration of the light, or, as we generally
term it, its intensity when it reaches the plate. Other con-
ditions, such as quality of material, perfection of workman-
ship, etc., being equal, those two factors determine the rela-
tive speed in all lenses, regardless of type or make.
624. The volume of light is regulated by the aperture
of the lens the opening (diaphragm) through which it
must pass in order to reach the plate. The larger the area
of this opening, the more light it will admit. Thus, if we
have two circular openings of different size, it is evident
that the larger one will let through more light than the
smaller one, in proportion as its area is larger in other
words, the volume of light is directly proportionate to the
area of the opening. If we know how much larger in area
one opening is than the other, we also know how much
more light it admits.
625. From geometry we know that circular areas com-
pare as the squares of their diameters; consequently the
volume of light transmitted through the two openings re-
Fig. 20
spectively must be directly proportionate to the squares of their
diameters. In Fig. 20 we have two circles in which for easier
comparison the larger is twice the diameter of the smaller.
Inspection shows the square of the larger diameter to be
equal to four times that of the smaller. Since the areas of
the two circles are proportional to these squares, it follows
Photographic Lenses Nature and Use. 285
that the larger has four times the area of the smaller and
consequently transmits four times as much light. If the
diameters are one inch and two inches respectively, the pro-
portion of light is as 1x1 and 2x2, or as 1 and 4. In the
same manner diameters of two inches and three inches give
us the proportion of light as 2x2 and 3x3, or as 4 and 9.
626. If the distance between lens and plate is the same,
the intensity of the same volume of light is also the same;
there is no variation in intensity, and speed depends on the
volume of light alone. Thus, in one and the same lens, or in
several lenses of the same focal length, but different types,
when used under the same conditions, speed is proportionate
to the square of the diameter of aperture. If we have one lens
with, say four stops, 1, 2, 3, and 4 inches in diameter re-
spectively, the relative speed of the lens with those stops
will be as 1, 4, 9, 16. If we have several lenses, all of the
same focal length and with stops as just mentioned, their
speed will be the same with the same diameter of stops, and
different with different diameter of stops. In short, with
the same focal length and same diameter of aperture in any two
or more lenses, their speed is the same; with the same focal
length but with different diameter of aperture, the speed is pro-
portionate to the square of the diameter.
Fig. 21
627. If the focal length the distance of the plate
from the lens is different, the volume of light alone does
not determine the speed, for the intensity, or concentration,
of the light varies with the distance between lens and plate
286 Library of Practical Photography.
(the focal length of the lens). As the light travels farther
away from the lens, its intensity is diminished. Fig. 21 will
help us understand this. A cone of light emanating from a
source (a) in this case the diaphragm opening in a lens
forms a disc of light of a certain size on a screen placed at
(b) and a larger disc on a more distant screen (c). The
areas of these discs, as we already know, compare as the
squares of their diameters. Their diameters are propor-
tionate to their distances from the source of light; conse-
quently, the areas of the two discs must be proportionate to
the squares of those distances.
628. The total amount of light falling on the two
screens is the same, but on the more distant screen it is dis-
tributed over a larger area, and its concentration, its inten-
sity, is therefore necessarily less. In Fig. 21 the distance of
the screen (c) from the source of light is twice the distance
of the screen (b). Area being proportionate to square of
distance, the area of the larger disc is consequently four
times the area of the smaller one. Each corresponding part
(each one-fourth) of the larger disc can therefore only re-
ceive one-fourth of the total amount of light, and the in-
tensity can be only one-fourth of the total intensity. Thus
we find that the intensity of the light is inversely propor-
tionate to the area the smaller the area covered by the same
quantity of light, the greater is the intensity, and vice versa.
As the area is proportionate to the square of the distance,
and as the distance here means the focal length of the lens,
we conclude that the intensity of tJte light and the speed of the
lens in so far as it depends on that intensity is inversely pro-
portionate to the square of the focus.
629. If the volume of light remains constant, varia-
tion in speed is determined by variation in focal length
only. In two or more lenses of the same aperture, the
volume of light transmitted is the same, and speed is in-
versely proportionate to square of focus. The speed of a 3
inch and a 6 inch focus lens of the same aperture will com-
pare inversely as 9 and 36, that is, directly as 36 and 9; in
Photographic Lenses Nature and Use. 287
other words, the 3 inch focus lens will be four times as quick
as the 6 inch focus lens.
630. So far we have presumed that when one of the
factors, either the diameter of aperture or the focal length,
varied, the other remained constant, and the variation of
the one factor alone then governed the variation of speed.
We should bear in mind, however, that with a variation
in distance of the object there is also a corresponding varia-
tion in distance between lens and plate, with a consequent
variation in intensity of light, even though the aperture
remains constant. This variation is of little importance
when the lens is used at or near its equivalent focal dis-
tance from the plate, as for general landscape work, for
reasons which we understand from what was pointed out in
connection with conjugate foci. But when we photograph
near-by objects requiring the plate at a greater distance
than the equivalent focus, the variation requires considera-
tion. Using a 12 inch focus lens, take a distant landscape
requiring the plate at the equivalent focal distance, and a
near object requiring a distance of 15 inches between lens
and plate. With the same aperture giving the same volume
of light, the intensity of the light the speed of the lens
would be vastly different in the two instances. Being in
inverse proportion to square of distance, it would be in-
versely as 12x12 and 15x15, that is, as 15x15 and 12x12, or
as 225 and 144, or as 25 and 16. Exposure time being in
inverse proportion to intensity and speed, it would be di-
rectly proportionate to square of distance between lens and
plate, that is, as 12x12 and 15x15, or as 16 and 25. The near
object would therefore require fully one-half again the
exposure required for the landscape.
631. In our previous comparison of the speed of two or
more lenses we considered only the variation of one factor
at a time, assuming the other factor, either the aperture or
the focal length, to be the same in both or all of them. If
both aperture and focal length are different, the problem of
determining the relative speed becomes somewhat less
simple. We consider the variation in volume and intensity
288 Library of Practical Photography.
of light together in connection with each other instead
of separately. A certain diaphragm opening admits a cer-
tain volume of light. With any variation in diameter of
this opening, the volume of light varies directly as the
square of the diameter. The light possesses a certain in-
tensity at the diaphragm opening. This intensity is gradu-
ally diminished, and the diminution is proportionate to the
square of the distance traveled. As the relative speed ulti-
mately depends on the relative intensity of light action on
the plate, and as we cannot directly compare volume and
intensity quantity and quality it becomes necessary to
have volume represented by intensity, or to estimate the
relative intensity of different volumes of the same light at
the same point. A certain volume of light represents a cer-
tain amount of intensity initial intensity we may term it
at the point where that volume is estimated. An increase
in volume of the same light quite naturally means a corre-
sponding increase in the amount of intensity and vice versa.
The initial intensity therefore varies as the volume of light
varies, or as the square of the diameter of aperture. As this
intensity is diminished in proportion to the square of the
distance, we can without further preliminaries conclude that
the ratio of the square of aperture to square of focus denotes
the relative ultimate intensity, the relative speed.
632. For example let us take two lenses of respectively
2 and 4 inches diameter and 6 and 12 inches focus. Their
relative initial intensity as based on relative volume of light
is as 2x2 and 4x4, or as 4 and 16. The intensity is dimin-
ished in proportion to the square of the focus, or as 36 and
144. Therefore, the relative ultimate intensity, or relative
speed, must be as 4-36 and 16-144, or as 1-9 and 1-9 ; that is,
the two lenses have exactly the same speed with those aper-
tures. The fraction denoting the relative ultimate intensity
is termed the intensity ratio, or ratio of intensity, and when
that is the same for any two or more lenses, their speed is
the same.
633. We can analyze this example independently of
those figures. The 12 inch focus lens has twice the diameter
Photographic Lenses Nature and Use. 289
of the 6 inch focus lens and consequently transmits four
times as much light ; but the four times larger volume, after
traveling twice the distance, is distributed over a four times
larger area, and the ultimate intensity is therefore the same
with both lenses.
634. Further analysis shows that the diameter of aper-
ture bears the same relation to focus in both of them or,
as we generally term it, both lenses have the same relative aper-
ture. The ratio of 2 to 6 is as 1 to 3, or 1-3, and the ratio of
4 to 12 is as 1 to 3, or 1-3 ; that is, the diameter is in both
instances equal to one-third of the focal length of the lens
the aperture ratio (the ratio of diameter of aperture to
focal length) is 1-3.
635. The intensity ratio, as we can plainly see, is the
square of tlie aperture ratio.
We therefore conclude that
/. Speed depends on the aperture ratio, or relative aper-
ture.
II. Speed is proportionate to the square of the aperture
ratio.
III. The same aperture ratio, or relative aperture, means
the same speed.
636. Thus, if we know the ratio of the diameter of
aperture to focal length, regardless of their actual measure-
ments, it is an easy and simple matter to calculate the rela-
tive speed.
637. Various systems have been devised to express and
mark the relative value of certain openings. Of these sys-
tems we shall concern ourselves with two only, the focal ratio
system and the uniform system.
638. The focal ratio system is so called, because it is
based directly on the ratio of aperture to focus. The diam-
eter of the aperture is represented as a fraction of the focal
length (the fractional diameter) f/2, f/B, //4, f/S, etc.,
meaning that the diameter of the aperture is 1-2, 1-3, 1-4,
1-8, etc., of the focal length of the lens, or that the aper-
ture ratio is 1-2, 1-3, 1-4, 1-8, etc. The intensity ratio, or
relative intensity, relative speed, as we have previously seen,
Intensity ratio, or . l ^ ^
Relative intensity '
290 Library of Practical Photography.
is the square of the aperture ratio, or, 1-4, 1-9, 1-16, 1-64, etc.
Exposure time being in inverse proportion to speed, relative
exposure must be as 4, 9, 16, 64, etc.
639. Thus the fractional diameter gives directly, or in-
directly, aperture ratio (relative aperture), relative speed
and relative exposure. The ratio number, 2, 3, 4, 8, etc., as
denominator, with one as numerator, gives the aperture
ratio ; and the square of the aperture ratio gives the relative
intensity or relative speed and inversely the relative expo-
sure. The following table will help make this clear :
Fractional diameter f/2 f/3 //4 f/8, etc.
Aperture ratio.... ^, ^, ^, ^, etc.
) .
f
Relative exposure.. 4 9 16 64 etc.
640. The intensity, or speed, being in direct propor-
tion to the square of the aperture ratio, the speed value of
any two openings can thus be easily compared. The speed
of f/2 and f/4 for instance, is proportionate to 1-4 and 1-16
respectively. But these fractions compare inversely as their
denominators, and the denominators are the squares of the
ratio numbers ; consequently the speed is in inverse proportion
to the squares of the ratio numbers. Thus the speed of f/2
compares with the speed of f/4 inversely as the square of 2
compares with the square of 4, that is, inversely as 4 and 16,
or directly as 16 and 4, or as 4 and 1.
641. Exposure time being in inverse proportion to
speed (the more speed, the less exposure, and vice versa),
it follows that exposures are directly as the squares of the ratio
numbers.
642. It is needless to say that the same ratio number
means the same relative aperture, and consequently the same
speed and the same exposure time with all lenses.
643. Depth of focus being in inverse proportion to
diameter of aperture and therefore directly proportionate
to the ratio number, it follows that, I With the same lens, or
with several lenses of the same focal length, depth of focus with
Photographic Lenses Nature and Use. 291
the various apertures is directly proportionate to the ratio numbers;
II With the same ratio number (relative aperture) and the
same focal length, depth of focus as well as speed is the same.
644. The apertures which are marked have been so
chosen that each succeeding smaller one has one-half the
area of the preceding larger one and consequently requires
double the exposure.
645. Beginning with //I, an aperture the diameter of
which is equal to the focal length of the lens, the series of
apertures will be as follows :
f/l, f/1.41, f/2, f/2.83, f/4, //5.6, f/B, f/11.3, f/16, f/22.6,
f/32, //45.25, f/64, f/90.5.
646. The Uniform System (U. S.) is based on the focal
ratio system as shown in the following table, and the aper-
ture numbers give directly the relative exposures:
Relative Aperture f/4 f/5.6 f/B //11.3 f/lG f/22.6 f/32
U. S. No. 1248 16 32 64
//4S.25 f/64 f/90.5
U. S. No. 128 256 512
647. An aperture of f/4 is here taken as requiring a
unit exposure and is marked 1. The next smaller opening,
f/5.6, requiring double the exposure of //4, is marked 2;
the next one, f/8, requiring double the exposure of //5.6
and four times the exposure of jf/4, is marked 4, and so on.
The numbers 1, 2, 4, etc., thus have reference only to the
comparative exposures, and the exposures read directly as
those numbers. If No. 1 requires 1 second, No. 16 requires
16 seconds. If No. 8 requires 3 seconds, No. 32 requires 12
seconds. If No. 128 requires 2 seconds, No. 16 requires i/4
second, and so on.
648. Superiority of Anastigmat Lenses. From what
has already been said in explanation of spherical aberration,
astigmatism, curvature and flatness of field, covering power
and definition, the value of an anastigmat over an ordinary
R. R. lens is sufficiently clear to require very little further
explanation. Its superior correction for spherical aberra-
292 Library of Practical Photography.
tion and astigmatism not only results in more perfect defini-
tion per se, but this definition extends over a larger part of
the field with more perfect evenness. Its flatness of field
and larger area of critical and even definition combined,
give it a covering power vastly greater than that of the R.
R. lens. With the same focal length, the anastigmat is
therefore capable of giving, with the same or larger relative
opening, more perfect and even definition over a considerably
larger area. In addition to this, it gives more even illumina-
tion over a larger area, and its superior marginal correction
extends its covering power close to the edge of the field,
when the aperture is reduced.
CHAPTER XXXIV.
WHY AN ANASTIGMAT IS DESIRABLE.
649. There are a great many photographers who possess,
or who look forward to one day possessing, an anastigmat
lens, who may not fully understand the special advantages
of such an instrument. Thoughtful workers, however, may
pause to ponder over the matter, and it is this class of worker
that will benefit, to the greatest extent, by the following :
650. Not Always Desirable. The modern lens is not
always the most suitable instrument to use for all work.
There are some subjects more pleasingly rendered with the
blending of definition and diffusion, both of which qualities
are characteristic of the spectacle lens or the single land-
scape lenses which have recently been introduced by the
leading manufacturers.
651. Purely a Matter of Speed. The anastigmat is
superior in point of speed, that is all. Take two lenses of 6
inches focal length one of them an anastigmat, the other a
rapid rectilinear. Select an ordinary landscape, with noth-
ing nearer than 50 feet, and expose one plate with the anas-
tigmat working at its full aperture say, F. 6.3; then,
changing the lens, expose the second plate, using the rectili-
near at, say, stop F. 22, giving, of course, the proportionate
exposure, approximately twelve times as long. On develop-
ment of the two plates the negatives will appear the same,
the one taken with the rectilinear lens being as crisp right
up to the edges as the one produced by the anastigmat. We
arrive, therefore, at this conclusion : That if we are working
on subjects admitting of lengthy exposures, supporting the
camera on a tripod and indifferent as to whether the wait
while exposing on dark subjects is long or short; such as
293
294 Library of Practical Photography.
interiors, the rectilinear (and cheaper form of lens) will
answer requirements. The anastigmat gives nothing more
than the stopped down rectilinear, but it permits the same
result (in this instance) in one-twelfth of the time.
652. The Difference in Definition. A further experi-
ment may be made by exposing two more plates on the same
landscape, using the two lenses at the same aperture and
giving equal exposures. As in all likelihood the largest
stop on the rectilinear lens is F. 8, this must be employed,
stopping the anastigmat to the same aperture. After de-
velopment of the negatives make a careful comparison of
the definition, and you will find that although the center of
the negative made with the rectilinear lens will be very
sharp, the margins will be less so. This will be particularly
noticeable if such subjects as leafless twigs of trees come
near the edges of the picture. We have already dismissed
those cases where this blurring or softening of definition is
wished for, and are assuming that sharp definition all over
the plate is required.
653. Let us now consider why the anastigmat lens
gives proper rendering of sharpness, while the rectilinear
lens fails to accomplish this result unless its aperture is
considerably reduced.
654. Why the Margins are not Sharp. As we have pre-
viously indicated, the two defects in the rectilinear lens
which render the marginal definition imperfect are astigma-
tism and curvature of field. Astigmatism is an error existing
in oblique rays of light, and so effects, to any noticeable
extent, the margins only. To study it you may fix against
the window a large sheet of thin cardboard or stout black
paper ordinary brown paper has too many holes in it for
this purpose. Now make a pin-hole with a good size pin,
as smoothly as possible. Place the camera about a yard
from the sheet of cardboard, and, using the rectilinear lens,
focus the pin-hole sharply on the center of the ground-glass.
Then rotate the camera until the image falls on the margin
of the ground-glass, and rocking it backwards and forwards
you will find that instead of a sharp image you secure, first,
Why an Anastigmat Is Desirable. 295
a long narrow ellipse almost a line in fact running verti-
cally ; next, a circular blur, and then a long ellipse, this time
running horizontally.
655. Now turn the camera around, take down the sheet
of thin card, and fix up, about a yard away from the lens,
in a good light, a white card, on which you have drawn, in
good black ink, a plain cross like the -\- sign. The arms may
be about an inch long, and should be as thick as an ordinary
stroke of a pin. Kegard this cross as consisting of a great
number of points like the original pin-hole. With the screen
in the first position each point is represented as the long
ellipse running vertically. The upright arm of the cross is
thus clearly defined, because the many ellipses overlap each
other, but the horizontal arm is represented by multitudes
of ellipses arranged side by side instead of end to end, and
is thus blurred. If the lines of the cross are very fine, it is
possible that one arm may disappear entirely on the ground-
glass image.
656. Moving the screen to the second position we get
both arms equally blurred, and still further in the third
position the ellipses running in horizontal directions give us
an image with the horizontal arm sharply defined and the
vertical arm blurred and almost invisible. Obviously, what
happens in the case of the cross, happens to the tree twigs
in your landscape with lines and architecture, and so on
with all other subjects.
657. Curvature of Field. A further reason for the
blurring of the margins is found in the fact that the image
formed by the rapid rectilinear lens is not on a flat plane,
but is hollow like a saucer the field is said to be curved.
The optician can eliminate astigmatism, but as he does the
field becomes more curved. He can also flatten the field, but
to do so increases the astigmatic error. Aided by the
comparatively new Jena glasses he can construct a lens
which has both a flat field and freedom from astigmatism.
These glasses are more costly, and the degree of accuracy
in polishing their surfaces needs to be greater if errors are
296 Library of Practical Photograph]).
to be satisfactorily eliminated, hence the greater the cost
of the modern lens.
658. The use of a smaller stop, as you have seen, dimin-
ishes, to a certain degree both these errors, but at the same
time lessens the tendency of rapidity in the lens.
659. Size of a Lens. Some beginners think because a
certain lens includes more of a subject on the plate than
others that a larger and more bulky instrument must be
employed. A student once expressed himself that he could
not use a wide-angle lens on his camera, as the regular lens
he nad was so large he could hardly get it on the front
board; and as he knew the wide-angle lens would take in
more of th. subject, he thought it must, of necessity, be a
larger and bulkier lens.
660. What is Covering Power? The lens as ordinarily
fixed to a camera produces an image sufficiently large to
cover the whole of the plate, or ground-glass. That is, the
purchaser of a cheap 3^4 x 4*4 camera, on focusing a view,
finds that the picture extends to the corners of the ground-
glass focusing screen. Under normal circumstances then the
covering power of the lens is sufficient. Suppose, however,
that you take this lens off and attach it to a 12 x 15 camera.
An enlarging camera will do if you cannot borrow a land-
scape camera from a friend for the experiment. The front
of the camera will, of course, be only about 5 inches from
the ground-glass when the picture is sharp, and you will
find the image you get is circular, being about 7 or 8 inches
in diameter. At the edges of the focusing screen you will
secure no image at all, and, therefore, no light.
661. Now you have some indication of the covering
power of the particular lens you are experimenting with.
It will cover a 3*4 x 4^ plate, but not a 12 x 15. If you
will carefully examine the disk, or round image, on the
large focusing screen, you will find the definition is much
better in the center than at the edges. You will also notice
that the image is brighter in the center than at the edges.
The definition falls off towards the edges of the image, be-
cause the lens is not corrected for astigmatism and curva-
Why an Anastigmat Is Desirable. 297
ture of field. If you will stop it down to F. 16 or F. 22, a
reasonable amount of sharpness of definition will be pro-
duced up to the edges of the image. But, the stopping down
will not increase the size of the disk, or, in other words, the
circle of illumination. You will also find upon carefully
examining the brightness at the center and on the edges of
the disk, that much greater equality exists. Why is this?
662. Equality of Illumination. Open the lens to the
full aperture, for instance F. 8, and removing the ground-
glass place your eye one eye only, closing the other op-
posite the lens. You will observe from this position that the
full aperture appears as a circle. Now move the eye slowly
towards one corner of the camera back and notice what
change takes place in the apparent shape of the lens aper-
ture. The circular shape gradually changes to an ellipse,
which soon, owing to the ends of the lens barrel interfering,
becomes narrower and more elongated, until before the eye
reaches the corner of the camera back no direct light can be
seen at all. The quantity of light received by any portion
of the plate is, of course, proportional to the size of aperture
as seen from that portion. When the eye can see no direct
light, you have reached that part of the plate onto which
the lens projects no image. Now repeat this operation when
the lens is stopped down to F. 22, and it will be found that
the eye can be moved a considerable distance from the center
towards the corner before any part of the small circle of
light seen through the F. 22 aperture is obstructed by the
mount.
663. Wide-Angle Lens. It should now appear quite
clear to yom that if a lens is to have great covering power
its barrel must be short. In other words, the two glasses,
the front and back combinations, must be mounted close to-
gether. If you compare an ordinary especially an old pat-
tern rapid rectilinear lens with a wide-angle rectilinear,
you will find this is what the optician does. The close mount
tends to increase the curvature of field, however, and in
order to prevent the photographer using the lens at too
large an aperture and then condemning it for poor marginal
298 Library of Practical Photography.
definition, the stop F. 16 is usually the largest one provided.
Most of the modern anastigmats have their combinations
mounted close together in a short barrel, consequently have
great covering power; but as with them both astigmatism
and curvature of field are practically eliminated, the larger
aperture of F. 8, or even F. 6, is available.
664. What Plate Will the Lens Cover? Going back to
the 314 x 4 1 /4 lens you may measure the diameter of the
circle of illumination on the ground-glass of the 12 x 15
camera. Supposing this to be 8 inches, draw a circle of this
diameter on a sheet of paper. The lens will then cover any
plate that can be laid inside this circle. A 5 x 7 plate will
extend beyond it at each corner, so the lens will not cover
a 5 x 7 plate. The 4x5 plate will go inside the circle, as
will a 3!,4 x 414 plate, the lens covering either of these sizes
easily. Now, raise the front of the 12 x 14 camera and note
that the circle of illumination on the ground-glass is raised
at the same time. It will be quite evident, then, that there
must be an excess of covering power so that you can adjust
the image on the plate, the position of which in your camera
is fixed by raising or lowering the front carrying the lens.
In cases where none of this excess or reserve of covering
power exists, raising the lens frequently produces dark
corners in the sky of the picture.
665. The Focal Length. With the older types of lenses
the focal length had much to do with relation to covering
power, and it is with this type of lens that the focal length
must be not less than the diagonal of the plate. If shorter
than this (about 5 inches for 3*4 x 4*4 plate, 6 inches for 4
x 5 plate, and 9 inches for a 5 x 7 plate), there will be in-
sufficient covering power, and shorter foci lenses of the wide
angle type are necessary. With modern lenses, however,
there is, as has already been said, a reserve of covering
power. The lens may be chosen of a suitable focal length
with reasonable certainty of covering the plate. Thus a 5
inch anastigmat, which may be the normal lens, with 314 x
4 1 / 4 camera, can be used on a 5 x 7 plate with confidence.
This could not be done in the case of the rapid
Why an Anastigmat Is Desirable. 299
rectilinear. An approximate rule for determining the foci
to be used on any size plate is, for a wide angle, the shorter
dimension of the plate ; for a normal angle, the diagonal, and
for a narrow angle or long focus lens, the length and width of
the plate added together. In the case of a 5 x 7 plate the
three lengths would be approximately 5 inches, 8% inches
and 12 inches focus, respectively.
666. Schriever Universal Extra Rapid Lens, Speed
F/6. The production of this new lens is the result of a
pressing demand for a lens that would perform the high-
est grade of service in all the departments of photography.
667. The Schriever Universal fulfills alike the require-
ments of the studio, the commercial and landscape photog-
rapher, and can also be highly recommended for copying
and hand camera work.
668. With it instantaneous pictures can be made on
dark and misty days where slower lenses would utterly
fail. The 4x5 and 5x7 sizes readily adjust to hand cam-
eras. The larger sizes are highly recommended for studio
portraiture and group work. With the 8 x 10 size, a *full
length cabinet picture can be made in a fifteen foot operat-
ing room. Their speed, depth of focus, compactness and
high grade general utility at the moderate prices at which
they are quoted, give them much prestige in the photo-
graphic world.
669. Owing to the fact that the front and back com-
binations of this lens are individually corrected, the operator
may, by the use of the back combination alone, produce an
image of twice the size of one obtained with the entire ob-
jective, and also increase the focal length of same to double
that of the whole lens. These lenses are supplied fitted with
Iris diaphragm. They are also furnished fitted complete
with Unicum shutter. When equipped with shutter the Iris
diaphragm is included in the shutter.
CHAPTER XXXV.
STOPS OR DIAPHRAGMS.
670. The opening in a lens is its aperture. Anything
that will give various sizes of openings for the admission of
light may be termed a stop or diaphragm.
671. Stops and diaphragms, while used in the same
manner, are differently located. A stop is placed in front of
the lens, and a diaphragm is placed between the lenses. The
former is almost always used with single lenses, while the
latter is employed with doublets. For general use there
are three forms: The iris, waterhouse and rotating stops
or diaphragms.
672. There are three distinct uses to which stops may
be put. Unless the photographer realizes this and forms
some idea of the way in which each purpose is achieved by
the use of stop or diaphragm, he will be working in the dark
and not secure the results which might have been easily pro-
duced if proper consideration had been given to this subject.
673. The Three Uses of Stops. The first distinct pur-
pose to which the stop is put is to overcome the optical de-
fects of the lens should there be any ; second, it is to bring
objects located at various distances from the camera into
sharp focus at the same time, and third to accent the
shadows or give more contrast in flat scenes.
674. Comparative Sizes. In order that it may be an
easy matter to figure the required amount of exposure for
any particular stop, when the exposure is given for another
stop, it is necessary to have a system of numbering the dif-
ferent sizes. In common use there are two such systems,
one known as the f, or focal length system, the other U. S.,
or uniform system. The f system is a comparison between
301
302 Library of Practical Photography.
the focal length of the lens and the diameter of the stop,
while the U. S. system is simply a comparison of the expo-
sure values of the different size stops.
675. To Find the Focal Value of a Stop. To find the
focal value of a stop or diaphragm, first ascertain the equiva-
lent focus of the lens, and divide this by the diameter of
the stop. Example: If the focal length of the lens is 8
inches, and the diameter of the stop is y inch, the result of
8 divided by a /4 is 32. The number of the diaphragm is,
therefore, 32, and should be expressed f/32.
676. Systems Compared. In the U. S. system No. 1 is
y the focal length of the lens, which is written in the f sys-
tem, f/4. The diameter of No. 2 must be such that the area
of the opening will be half that of No. 1.
677. To Secure the f Value. To secure the equivalent
value of U. S. 2 in the f system, square the f value of U. S.
No. 1, which is 4 (this will give 16) ; then multiply by 2
(result 32), and finally extract the square root, which will
give a result of 5.6. Therefore, f/5.6, is equivalent to U. S. 2.
678. First, the volume of light that passes through the
diaphragm is proportionate to the area of the aperture.
Second, the areas of circles are proportionate to the square
of their diameters. By working out the remainder of the
figures the complete series will be as follows :
U. S. 1 2 4 8 16 32 64 128 256
f/4 5.6 8 11.3 16 22.6 32 45 64
679. Comparative Exposures. "With lenses numbered
this way, and the exposure is given for any one diaphragm,
the exposure for any other diaphragm may be easily ascer-
tained. The exposure for a certain stop is one-half that of
the size next larger, or double that of the next smaller.
Example : U. S. 4 or f/8 will require twice the exposure of
U. S. 2 or f/5.6, and on the other hand, it will need but one-
half the exposure necessary if stop U. S. 8 or f/11.3 were
employed.
680. To Find the U. S. Number When Number is Given
for the f System. When the diaphragm number is given
Stops or Diaphragms. 303
for the f system, and it is desired to find its equivalent
value in the U. S. system, square the f value and divide by
16. Example: To find the U. S. number of the diaphragm
which may be marked f/20, square the 20, which will give
400. Divide this by 16, and the answer will be 25, which is
the U. S. number.
681. How to Find the Relative Exposure. There may
be times when you desire to find the exposure of two dif-
ferent stops, which are not given in the regular scale, and,
therefore, you will be unable to find the correct relative ex-
posure. Take, for an example, stop f/7 and stop f/8. The
relative exposure is found by multiplying each of these
numbers by themselves, and then taking the proportion:
7 x 7=49, and 8 x 8=64. 49^64=3^ . therefore, f/7 requires
three-fourths the exposure of f/8.
682. The Larger the Stop the Better the Lens. It is a
mistake to suppose that with any lens made by a good manu-
facturer, a subject can be sharply focused in all portions
with the largest stop ; it depends not only on the workman-
ship, but also upon the design. A simple form of single lens
may have to be stopped down to f/22 to obtain a result as
good as may be secured with a rapid rectilinear at f/16, or
one of the finest modern anastigmats at f/6 or f/8. The
largest stop in a rectilinear lens is provided for use when
diffusion all over the plate is not so important as rapidity,
or when the subject is one which favors the lens. To a
great extent this subject has been covered in preceding
chapters, and it is, therefore, not necessary to go into detail
here regarding these differences.
683. Subjects Situated at Various Distances Rendered
Sharp at the Same Time. No matter how perfect the lens
may be it is impossible, when using the largest stop, to se-
cure a sharp image of objects situated close by and far away
at the same time. The larger the lens the more marked is
its failing in this respect. The better or more costly and
skillfully designed and made the lens the more is this no-
ticed, because its definition in part is such that where the
image is out of focus this blurring is made all the more con-
304 Library of Practical Photography.
spicuous by contrast. It is this failing which makes hand
camera work increase in difficulty with the larger size plate
employed.
684. Let us suppose two photographers are standing
side by side, each with a camera with an equally good lens,
each using the same stop, and each photographing the same
subject. The one using a S 1 /^ x 4*4 camera and a 5 inch lens
may get every detail near and distant as sharp as can be
desired ; the other, with the 5x7 camera and a 7 or 8 inch
lens, will be unable to get foreground and distance sharp at
the same time, and must stop down in order to do so. This
is quite distinct from any stopping down done to remedy
defects of the lens.
685. A Trial May be Quite Valueless. Unless the pho-
tographer knows how much he has stopped down on ac-
count of the difference of distances in the subjects, and how
much too great the optical defects of the lens, if any, he is
not in a position to say definitely whether his lens is a good
one or not. From this it follows that to try a lens on an
ordinary outdoor subject, where there may be objects at
all sorts of distances from the camera, as so many workers
do, can be little or no test of the lens. In practice, of course,
when you stop down on account of deficiencies in the lens,
you also, at the same time, render it better able to deal with
different distances in the subjects.
686. "What Stop Shall I Use?" Few questions are
more often asked of the photographer by beginners than the
simple one "what stop ought I to use?" The mere putting
of such a question is evident that the inquirer has no clear
idea of what the stop is supposed to do. No doubt he thinks
that if he uses the wrong size of stop his picture will be
wrong, though in what way he does not know. It is like
a certain amateur, who abstained from attempting anything
but portrait work for a long time because he only had a
portrait lens. Afterwards he found that it was one which
would make excellent landscapes, as well as commercial
pictures, when used with a fairly small stop, and that its
principal drawback for such work was its bulk or size.
Stops or Diaphragms. 305
687. There is, of course, no definite rule designating
the stop to use for different classes of subjects. For portraits
the full opening should be used as near as possible, because
it is necessary to reduce the length of the exposure. Land-
scape Photography does not make such demands upon the pho-
tographic worker. Good, fair definition is all that is re-
quired. With architecture, definition all over is important,
and a small stop must be used, but with interiors the largest
stop that will give clear definition is necessary to keep ex-
posures reasonably short.
688. "The Largest Stop." Perhaps it is best to sum-
marize the whole subject by saying that the largest stop
that will give the degree of definition required should in all
cases be employed, except when you deliberately stop down
to accent shadows.
CHAPTEE XXXVI.
PHOTOGRAPHIC SHUTTERS.
689. A shutter is a mechanical device so arranged that
it protects the sensitive plate from the rays of light enter-
ing through the lens, but is capable of being opened and
closed at the will of the operator, thus allowing the rays of
light to act upon the sensitive plate for as long or as short a
time as the photographer desires.
690. There are a great many of these mechanical ar-
rangements constructed in a very great variety of forms.
They may be divided into the following classes :
(1) The drop shutter.
(2) Between-the-lens shutter.
(3) The focal plane shutter.
(4) Behind-the-lens shutter.
691. The simple drop shutter when properly con-
structed is capable of giving very rapid exposures. It is
usually a plate of wood, metal or ebonite, which falls by
gravitation in front of the lens. The center of the falling
piece has an aperture of a certain length, usually two or
three times the diameter of the lens. Its rapidity can, of
course, be increased by means of an elastic band or string.
692. The between-the-lens shutter is composed of a
great many varieties, styles and makes, some of the more
simple of which we have described in Volume I., for in-
stance, the Wollensak Regular and Automatic Shutters. As
the principles of these have been very clearly defined, it is
not necessary to go into further detail in this volume re-
garding them, further than to say that the regular shutter
has to be set before each exposure is effected, while the
automatic shutter sets itself after each exposure, so by
307
308 Library of Practical Photography
merely pressing the bulb or moving a lever another exposure
can be effected. The speed of the shutter is regulated by
the position of a milled disc, on which is an indicator. To
set the shutter for the desired exposure the disc is revolved
until the indicator is opposite the proper figures on the dial.
The regular is made in six sizes, and is one of the best types
for general use on hand cameras. It is easy of adjustment,
and even in the largest size releases smoothly and without
vibration. This type of shutter consists of hard rubber
leaves, working between the cells of doublet lenses, or in
front of single lenses, their movement being controlled by
small levers and springs.
693. The same principle of the above mentioned Iris
diaphragm shutters is carried out in the Goerz X L Sector
Shutter (See Illustration No. 49), and B. & L. Volute Shutter
(See Illustration No. 50), both of which are much more effi-
cient than the Wollensak, and their greater cost is due to the
fact that their mechanical parts are of higher efficiency. In
addition to this the "Sector" and the "Volute" give prac-
tically accurate speeds up to 1/150 of a second, while the
Wollensak Shutters will not give speeds shorter than 1/100
of a second.
694. Pneumatic Release. The pneumatic release con-
sists of a rubber tube attached to a piston, at the other end
of which is a hollow rubber bulb or ball. Pressure upon this
bulb will cause the air in the tube to be forced through it,
causing the piston rod to set the shutter free. In this way
the camera is not moved during the exposure, and the opera-
tor can be at any distance from it. If the tube is long
enough, it is possible to photograph oneself or be included
in the group which he is taking.
695. Focal Plane Shutter. The focal plane shutter is
one which is placed directly in front of the sensitive plate,
and is composed of an opaque cloth curtain or blind, each
end of which is mounted on a spring-actuated spool, or
roller. The simplest form of the focal plane shutter has
one slit cut in its center, which can be made narrow or
wide, according to the desires of the operator, while another
Illustration No. 49
Goerz XL Sector Shutter
See Paragraph No. 693
Illustration No. 50
' B. & L." Volute Shutter
See Paragraph No. 693
Illustration No. 51
Photographs made with Multi-speed Shutter on a 3A Kodak
See Paragraph No. 7S
Photographic Shutters. 311
form has a series of fixed openings or slits of different sizes.
The curtain is wound on one spool and when the spring is
released it instantly winds on the other, by which operation
the slit or opening is drawn across the surface of the sensi-
tive plate, allowing the light passing through the lens to
act upon the sensitive plate. (See Ills. 5 la to 5 Id.)
696. The amount of speed, or amount of exposure
given the sensitive plate depends entirely upon the tension
or power of the spring, and upon the width of the opening
or slit in the curtain. The narrower the slit and the greater
the tension of the spring, the more rapid is the exposure.
The focal plane shutter forms part of the camera body, and
opens or uncovers the plate or film, having nothing what-
ever to do with the lens. Therefore, focal plane shutters
may also be termed plane shutters.
697. All of the modern reflex cameras are fitted with
focal plane shutters, these being built in the cameras. It is
possible, however, to purchase focal plane shutters and fit
them to the rear of most view or hand cameras. The shutter
consists principally of the rectangular wooden frame, hav-
ing the spring-actuated rollers at top and bottom.
698. The focal plane shutter, working as it does di-
rectly in front of the sensitive plate instead of between the
lens (thus being considerable distance from the plate), ad-
mits fully two times as much light, speed for speed, as any
other kind of shutter, with the exception of the Multi-speed
Shutter (described later). Consequently, if with the fast
between-the-lens shutter full exposure is obtained with say
1-50 of a second, then with the focal plane shutter, same
opening and same lens, the plate will get a similar exposure
at 1-100 of a second.
699. When employing a shutter between the lens the
entire aperture must be open for some parts of the time of
exposure, and the longer it is open, in relation to the time
of opening and closing, the better. The focal plane shutter
need not expose the whole area of the plate at the same
instant, but the opening in the curtain of the shutter may
312 Library of Practical Photography.
be narrowed down to a mere slit, and if this slit is passed
across the plate at a moderate speed the duration of the
exposure will be very short.
700. Efficiency. When using this word in connection
with an instantaneous shutter, it is understood to mean the
relation between the light passed and the total time from the
shutter beginning to open and ceasing to close. Every part
of a lens acts as a lens, and as soon as a shutter on a lens
has begun to open the uncovered part of the lens projects
the image on the plate. The brightness increases until the
lens is entirely open, and then decreases until the shutter on
closing cuts off all light, but any movement in the object
will be recorded whether the lens is partly or fully open, so
that the time from the first opening to the final closing of
the shutter is determined by the rate of movement of the
object being photographed, if it is desired to secure a per-
fectly sharp image. Should the time of a certain exposure
be 1-100 of a second, the loss of light the plate sustains on
account of the opening and closing amounts to 50 per cent.
Thus the efficiency of the average between-the-lens shutter
is low.
701. The efficiency of the focal plane shutter is double
that of a lens shutter, because the image is formed on the
blind of the shutter, the lens being fully open, and the image
is just waiting, as it were, to pass through the slit and im-
press itself on the plate. So far as light action on the plate
goes, the focal plane shutter set at 1-100 of a second would
give double the exposure of a lens shutter set at the same
speed. This is of immense advantage when working at high
speeds, or in a dull light on moving objects.
702. Accuracy. Many of the cheaper lens shutters
are notoriously inaccurate; the speed marked 1-25 of a
second may actually be 1-10 of a second, while that marked
1-50 of a second may be 1-60. With a focal plane shutter
the spring may be left alone and the width of the slit
changed to produce variations of exposure. Thus, if at a cer-
tain spring tension, with a slit 2 inches wide, you secure an
Photographic Shutters. 313
exposure of 1-50 of a second, it is obvious that with the
same tension and a one inch slit the length of exposure will
be exactly half.
703. Safety. The focal plane shutter affords a pro-
tection to the plate, in that the blind is close to the sensi-
tive plate and any trace of stray light entering the camera,
no matter whether through the diaphragm or through pin-
holes in the bellows, or cracks in the camera box, is kept
from producing fog. The blind or curtain should be fre-
quently examined for pin-holes, and if a plate is to be kept
in readiness for an exposure for any length of time, it is
well to place a cap on the lens.
704. Distortion. This disadvantage theoretically ex-
ists with the focal plane shutter, any moving object being
distorted to a certain extent. In the majority of cases, how-
ever, this distortion is not perceptible to the naked eye or to /'
the casual observer. Distortion is greatest when using a
narrow slit and slow movement of the blind ; i, e., weak ten-
sion of the spring. In practice, therefore, the wiser course
is to use a fairly strong tension and to keep the slit as wide
as necessary to give the calculated exposure. From an ex-
amination of many focal plane exposures you will observe
that the distortion is only apparent in cases where an object
containing straight lines was moving rapidly. For instance,
the funnel of an express locomotive.
705. Multi-Speed Shutter. A new form of between-
the-lens shutter has been recently placed on the market,
which gives the photographic worker one of the very high-
est types of shutter obtainable. Owing to its mechanical
construction and to the form of the leaves of the shutter,
this instrument will give the very best of results working
between-the-lens and doing the fastest work for which the
focal plane shutter has heretofore been absolutely neces-
sary. In addition to this the manufacturers claim that on
the highest speed this shutter gives three times as much
illumination as the focal plane shutter, allowing speeds of
1-2000 of a second even with the largest size shutters. This
314 Library of Practical Photography.
shutter is known as the Multi-speed Shutter. Photographs
made with it are reproduced in Illustration No. 51.
706. The range of speed for the fast exposures is from
1-200 of a second to 1-1000 of a second. For the slow in-
stantaneous exposures the range is from one second to 1-200
of a second. The slow instantaneous studio exposures can be
regulated from 1 to 6 seconds, as required by the operator.
707. The peculiar instantaneous movements of the shut-
ter blades increase the definition of the lens over 100 per
cent. This is due to the fact that it is absolutely unneces-
sary to stop the lens down with this shutter, while with any
other type it is necessary to use a much smaller aperture to
secure the same amount of definition, which would mean a
great loss of illumination.
708. The shutter has only one spring for all of the
different exposures, and is always ready for a new exposure
without being open for resetting. In general construction
the principle of this shutter is compound in the true sense.
The spring is subjected to two strains, bending and twisting.
Both of these strains grow in increasing ratio, so that a very
weak spring on the highest tension is a very powerful motor
for a shutter movement.
709. The movement of the four blades is again com-
pound. Starting in an almost straight direction they are
thrown over very quickly and settle in a straight direction,
having changed their position in the shutter altogether. This
straight starting and setting bring all strains right to the
restrengthened centers of the blades, and regulates the de-
finition and illumination through slow opening and setting
and quick full exposure. The same ratio in exposure is kept
for speeds of several seconds or 1-2000 part of a second.
710. The shutter opens from the center of the lens,
with an increasing star shaped opening. The blades expose
full in the middle of the movement and close again from a
different point of the circumference of the lens aperture.
In this way the circumferential rays are allowed to act
longer on the sensitive plate than the rays at the center.
Photographic Shutters. 315
The exposure excess, therefore, appears as a maltese cross
laid diagonally.
711. The results are that the corners of the plate are
longer exposed than the center, thus absolutely counteract-
ing vignetting even on wide angle work on large plates and
at highest speeds. This shutter is one of the most excellent
all around instruments of the kind obtainable, as it is
equally well adapted to landscape and interiors, also for
moving objects requiring the highest speed efficiency of the
shutter.
SOME BEGINNERS' NOTES ON INSTANTANEOUS
SHUTTERS.
712. Noise and speed are not necessarily connected.
A. shutter may make a loud bang, and yet not be as fast as
one which works almost noiselessly.
713. One of the essentials of a truly high speed shutter
is lightness of the moving part.
714. Some shutters are set by a cord, which hangs
loose until the shutter is liberated. If the cord is allowed
to catch in anything and the wind may blow it where it
will be caught the exposure will be spoiled.
715. For hand cameras the pneumatic release is rarely
an advantage; in fact it increases the risk of movement.
With a camera on a stand it is exactly the reverse ; there is
much less chance of shaking it when the bulb and tube are
employed.
716. A shutter that fits on the front of a lens should
have its opening wider than that of the hood, particularly
if the shutter is a thick one. If not, the shutter will not
fully uncover the lens.
717. No shutter actuated by a spring should be put
away for any length of time with the spring in a state of
tension.
316 Library of Practical Photography .
718. Focal Plane Shutters. The "focal plane" means
the position that the plate should occupy for the picture
upon it to be sharp ; hence a focal plane shutter does not
actually work in the focal plane, or it would be in contact
with the plate it should expose but it ought to be very near
it. Illustration No. 516 shows the Graflex Focal Plane Shut-
ter, while in Illustration No. 51^ its relative position when
fitted to ordinary hand or view cameras is clearly demonstrat-
ed. As explained in paragraph 695, there are two general
types of curtains employed in focal plane shutters. One of
these types is shown in Illustration No. 5 id; the other is
only one-fifth as long, the slot or opening being adjustable,
instead of a definite width as is the case in the Graflex shutter
illustrated. The focal plane shutter is a very important part
of the reflecting type of cameras, the principle of which in-
strument is shown in Illustration No. 510. The lens always
remains open, the image being cast on a mirror, which, in
turn, reflects it onto a horizontally placed ground-glass in the
top of the camera. When the exposure is to be made the
mirror is thrown upward, by pressure on a lever, and at the
instant the mirror is out of range of the lens the focal plane
shutter is released, making the exposure on the sensitive plate.
719. Wollensak Shutters. The shutters manufactured
by the Wollensak Optical company, illustrated on page 316^,
are of a most practical and durable construction. The Autex
Shutter, shown in Illustration No. 51^, is a type of the later
models which are now superseding the automatic and reg-
ular shutters previously on the market. The Optimo Shutter
(see Illustration No. 5i/) has a range of automatically con-
troled exposures, ranging from one second to 1/300 of a
second, the latter being sufficiently fast to cover any emer-
gency. The high speed efficiency is made possible by the star-
shaped aperture formed by the points of five leaves which,
in turn, revolve in making the exposure. The Studio Shutter
(see Illustration No. 51^) is made especially for the profes-
sional photographer, and its Iris diaphragm principle of con-
struction is also one of special merit, as the shutter thus acts
as a diaphragm.
Illustration No. 51 a.
Sectional View Showing Graflex Principle.
See Paragraph No. 718.
111. No. 5i3.
Graflex Focal
Plane Shutter.
See Par. No. 718.
Illustration No. 51*:.
Showing Relative Position of Focal
Plane Shutter.
See Paragraph 718.
111. No. 51^-
Curtain of Graflex
Focal Plane
Shutter.
See Par. No. 718.
Illustration No. 51*.
Wollensak Autex Shutter.
See Paragraph No. 719.
Illustration No. 5i/.
Wollensak Optimo Shutter.
See Paragraph No. 719.
Illustration No. 51^".
The Studio Shutter.
See Paragraph No. 719.
CHAPTER XXXVII.
BAUSCH & LOME LENSES.
720. As leaders in the manufacture of photographic
lenses and shutters, we mention the well-known name of the
Bausch & Lomb Optical Company, whose extensive factory
is located at Rochester, N. Y. This company produces many
lenses after their own formulae, but they are also the sole
American manufacturers of the world-famous Carl Zeiss
Lenses, including Planar, Unar, Tessar and Protar. These are
produced under contract which the Bausch & Lomb Optical
Company has as the sole American licensee, under identi-
cally the same formulae, methods of production and critical
tests in process and after completion. All changes and im-
provements are immediately imported and carried out by
these people. The following detailed descriptions of Bausch
& Lomb lenses have been carefully prepared and con-
tributed by the Bausch & Lomb Optical Company :
721. Our aim is the production of perfect lenses. To
this end we are constantly introducing new and improved
machinery and methods. Each element that enters into the
manufacture of our products, as well as the completed arti-
cle, is subjected to the most accurate and exhaustive tests,
to demonstrate its optical and mechanical construction be-
fore it is allowed to leave the factory.
722. The Bausch & Lomb-Zeiss Tessar is an unsymmet-
rical doublet of four very thin lenses (See Illustration No.
52) made of a new type of Jena glass manufactured espe-
cially for this purpose. The front lens is uncemented, the
two elements being divided by very appreciable air space.
The rear lens is cemented. The front and rear combinations
317
318
Library of Practical Photography.
are separated sufficiently to allow the Volute or Iris Dia-
phragm Shutters to be properly fitted. Tessar construction
is essentially characterized by simplicity.
\H ID
Illustration No. 52
723. The Tessar lens is light and compact, and there-
fore particularly suitable for use with the hand camera. The
actual size of the 4x5 Tessar is shown in Illustration 53.
724. Optical Qualities. Definition Here the Tessar
lens stands supreme. The image possesses a sharpness and
crispness not previously thought of in connection with such
great aperture and rapidity. The corrections are perfect,
the accuracy and precision of the image extending over a
field of great angular area.
725. Illumination. Because of the small number of
lenses, Tessar gathers a marvelously strong beam of light
and transmits it with undiminished intensity. The illumina-
tion is characterized by unusual uniformity from center to
margin of plate.
726. Rapidity. Because of this unusual light-gather-
ing power a rapidity indicated by f.6.3 is attained. This is
sufficient for all kinds of instantaneous photography.
727. A lens combining such simplicity of construction and
such speed with equally uniform illumination and precise defini-
tion has never before been placed on the market.
728. Application. Hand Camera Tessar is light and
compact and may be fitted to any hand camera. In the
shorter foci it is particularly adapted to use with cameras
of fixed extension employed for instantaneous work.
729. Portraiture and Groups. Here Tessar 's speed,
Bausch dr Lomb Lenses. 319
accuracy of definition, depth of focus and flat field give it
an important place.
730. Landscapes. Tessars of long focus produce ex-
cellent results in landscape work. Objects in the distance
and in the foreground are depicted with marvelous accu-
racy.
731. General Work None of the Zeiss series is so uni-
versally adapted to all the requirements of photography as
is the Tessar, save only the Convertible Protars with their
universality of focus. Superior optical qualities, choice of
long or short focus, compactness of the new mounting and
the applicability of the Volute shutter, make Tessar the
most satisfactory of the entire Zeiss series when one lens
alone must serve for all kinds of work. Tessar may be
relied upon absolutely in those instances where the condi-
tions of artistic and pictorial photography are peculiar and
unusual.
732. Process Work. The uniform brilliancy and de-
finition characteristic of Tessar make it particularly appli-
cable to industrial and reproductive photography where
these two qualities are of such importance. For projection,
copying and enlarging Tessar will give satisfactory returns.
For process work there is no better lens to be had on the
market. It is capable of giving the most precise delineation
of objects in half-tone and line engraving. Indeed, its
microscopic definition, while working at the large relative
aperture of f.6.3, makes it the objective par excellence for
half-tone work. We cannot impress the merits of Tessar
too highly upon all who are thinking of purchasing new or
added equipment for this class of photography.
733. Three-Color Work. "We manufacture a special
lens known as the Apochromatic Tessar, with a rapidity
varying in the numbers of the series from f.10 to f.15.
This lens stands alone in its applicability to three-color
printing as it is corrected perfectly for three regions of the
spectrum, and thus the photographer is enabled to proceed
with his work, substituting one after the other the three
ray filters employed in this branch of the art, without vary-
320 Library of Practical Photography.
ing the size or focus of the image and consequently without
the inconvenience of additional focusing and manipulation
incidental to the use of lenses not corrected apochromatic-
ally. In this field the merits of the Apochromatic Tessar
guarantee it a deserved popularity.
734. An Incidental Advantage. Attention is called to
the fact that another desirable feature is the moderate price
at which it is possible to place Tessar lenses on the market.
This is due to the simplicity of construction, which requires
less actual material and less labor than does the complicated
manufacture of the average high grade lens.
735. Tessar Lens, Series I-C. It has been found possi-
ble to increase the aperture without sacrificing brilliancy,
definition and flatness of field, and the result is a new lens
of the Tessar type, having a speed of f .4.5 ; that is to say, the
new lens is twice as fast as the Tessar f.6.3, which has been
so favorably received and is so well known. This lens is
known as the Series I-C, and is shown in Illustration No. 54.
736. This Gain in Speed is a most important considera-
tion to the newspaper photographer and others engaged in
speed work, and makes it possible to secure pictures of
rapidly moving objects with a sharpness of definition hither-
to unattainable. This speed of f.4.5 is not restricted to the
smaller sizes, but extends to all the lenses up to the largest
foci.
737. Illumination and definition are not only better in
the center than in other lenses, but extend more evenly over
the entire field. Its optical corrections are so exceptionally
good as to render it well adapted for the use of process
workers.
738. The New Tessar will also be found unsurpassed
for instantaneous exposures, portraits, groups and land-
scapes.
739. The Bausch & Lomb-Zeiss Protar Lens is made in
various series and embraces a great variety of speeds, rang-
ing from f.8 to f.18. The Series II has for its chief aim a
lens combining rapidity and great extent of field. The
speed is f.8, which is fast enough for ordinary instanta-
BAUSCH & LOMB
LENSES
Illustration No. 53
See Paragraph No. 723
TESSAR
Actual Size
Illustration No. 54
See Paragraph No. 735
PROTAR
Actual Size
Illustration No. 55
"3 Paragraph No. 741
BAUSCH & LOMB
LENSES
PROTAR
Actual Size
Illustration No. 57
See Paragraph No. 748
PLASTIGMAT
Actual Size
Illustration No. 62
See Paragraph No. 760
RAPID UNIVERSAL
Actual Size
Illustration No. 66
See Paragraph No. 762
Bausch 6" Lomb Lenses.
323
neous work. The angle of view is 75 degrees, of which 60
degrees are utilized on the various plates. The definition
which the lens produces is excellent, for with it detail is
obtained with faultless exactness. This lens was primarily
intended for hand camera work, and is suitable for this
work because of its neat and compact mounting, short focus,
applicability of the shutters and excellent optical qualities.
This lens is an unsymmetrical doublet, neither system of
which can be used singly. This lens should always be
selected for hand cameras when symmetrical construction
is not desired and when a medium wide angle lens is con-
sidered necessary. Its focus is shorter than that of other
lenses, while at the same time the covering capacity is quite
equal to that of the rest.
740. In a studio where space is limited and good light-
ing conditions exist, the remarkable depth of focus renders
this lens suitable for groups.
741. The Series IV. of the Protar Lens works with a
speed of f.12.5. The angle of view of this lens is 100 degrees
in the six smaller sizes, and 85 degrees in the larger. The
actual size of the 5x8 lens is illustrated in Illustration No.
55, while the cross-sectional view of the optical construction
is shown in Illustration No. 56. This lens combines the two
l/
Illustration No. 56
important qualifications : That of wide angle aperture and
speed of unusual extent. It may be classed as a medium
angle lens, and is listed as such, giving sharp, well covered
pictures, free from the ordinary distorted edges, a very
important feature for a lens of this character, especially
for outdoor Architectural Photography. Its use as an ex-
treme wide-angle, however, is not precluded if the next
324
Library of Practical Photography.
smaller lens to the one listed is selected, or a given lens is
used on the next size plate. Its speed is such that it will
give instantaneous exposure, and it is particularly valuable
for flashlight exposures of large gatherings.
742. Series V. is intended for the most exacting wide
angle photography. For this purpose it is one of the most
desirable lenses made, and should be selected whenever an
extreme wide angle lens is required, as in architectural and
interior work. The anastigmat and spherical corrections are
practically perfect. The images produced by this lens are
entirely free from distortion from center to margin of plate,
even with the most extreme angle.
743. The larger sizes are designed specially for copy-
ing, and for that purpose produce unexcelled quality of
work. The angle of view is 110 degrees in size up to, and in-
cluding, No. 7A. Above that number the full angle is 90
degrees. The speed of this lens is f/18, which is sufficient
for most outdoor instantaneous work in sunlight.
744. In Illustration No. 57 is shown the Bausch &
Lomb-Zeiss Protar, Series VII A, which lens is the result of
efforts made to construct objectives of universal applica-
tion. This lens is composed of two Series VII. lens, each
system of which can be used separately, and when so used
the speed is f/12.5. When the combination of systems is em-
ployed greater speed and greater effective angle are secured,
the speed being f/6.3.
Illustration No. 58
745. "When the two single anastigmats have different
focal lengths, or foci, the lens is convertible into three in-
dividual, perfectly corrected anastigmat objectives in one.
Illustrations No. 59 and 60 See Paragraphs No. 753 ar >d 754
OFFICIAL TEST OF HIGH-PRESSURE WATER MAINS TRAVERSING THE PHILADELPHIA "FIRE
BELT." The upper of these Iwo pictures was made with Series VIIA, No. 17, with 12 inch
focus. The lower picture was made with the rear combination of the same lens.
Illustration No. 6l
Relative size of image in a picture made with a No. 8 Series VIIA
til Made with doublet. (2) With rear combination. (3) With front combination
See Paragraph No. 755
Bausch & Lomb Lenses. 327
When the single elements have the same foci, two separate
objectives may be formed.
746. By the addition of one single anastigmat, six
lenses, three single and three doublet are obtained, each
with different angle, focus, and covering power.
747. The addition of two single anastigmats gives ten
lenses, four single and six doublet.
748. A general exterior view of this lens mounting is
shown in Illustration No. 57, while Illustration No. 58 shows
the optical construction when the two single anastigmats
which make up the combined lens are of different foci.
749. The photographer possessing this convertible lens
is able to meet with practically all conditions of universal
photography, the single elements being used for landscape
work and other purposes where long focus, medium speed,
or low or medium angle are sufficient. The doublet gives
an extra rapid lens of wide angle, suitable for fast instanta-
neous work, most difficult architectural subjects, and any
situation where speed, angle, covering power, depth of focus
and brilliancy are required.
750. The average angle of view utilized on the differ-
ent plates is about 55 degrees.
751. When the foci of the two single elements are the
same the speed is f/6.3 ; when different, f/7 or f/7.7.
752. For hand cameras these lenses stand at the head
of the list, both in optical qualities and in their adaptability
to the limited space allowed for the lens. In selecting the
lens be sure that the back focus of no combination is longer
than the greatest extension of which your camera bellows
is capable.
753. In Illustration No. 59 we illustrate the use of the
Series VII A, No. 17, with 12 inch focus. The picture shows
the official test of high-pressure water mains traversing
the Philadelphia "fire belt."
754. Illustration No. 60 was made with the rear com-
bination of the same lens.
755. Illustration No. 61 illustrates the relative size of
image in pictures made with a No. 8 Series VII A Protar
328
Library of Practical Photography.
lens; (No. 1) made with doublet; (No. 2) with rear com-
bination; (No. 3) with front combination.
756. Bausch & Lomb Plastigmat Lens. This is a
strictly anastigmat lens. We have accomplished the pur-
pose so completely that this lens is giving an exceptionally
greet amount of satisfaction to all its users. The lens has
great speed, crisp definition over a large circle, wonderful
covering power and even illumination. It is a symmetrical
lens, the front and rear combinations being composed of
four lenses each. The glass used is very transparent and
absolutely permanent. The lens works with a speed of f/6.8.
757. The separate systems show truly remarkable
covering power. The rear combination can be used at a
speed of f/13.5 ; the focal length being nearly twice that of
the doublet, and therefore the images produced are twice
the size at the same distance, or the same size at twice the
distance.
758. Excellent perspectives can be obtained with these
lenses, because the focus is longer for the various plates
than is usual in other anastigmats.
759. This lens is particularly well adapted for use
with the hand camera, because of its excellent optical prop-
erties, light weight, compact form, and the applicability of
shutters between the lens combination. It is an ideal lens
for general photography, and we can recommend it in every
respect when a lens of the highest optical excellence is
desired.
Illustration No. 63
760. We show the actual size of the 4x5 Plastigmat
lens in Illustration No. 62, and in Illustration No. 63 is
shown a sectional view of the optical construction.
Bausch & Lomb Lenses. 329
761. Illustration No. 64 is a photograph of Mount
Shasta, at a distance of seven miles, made with the Doublet
Plastigmat, by H. H. Derr. In Illustration No. 65 is shown
Mount Shasta from the same point, the negative having
been made with the single combination of the Plastigmat
lens.
762. Extra Rapid Universal Lens. This lens is the
most rapid of the rectilinear type, working as it does at a
speed of f/6 and covering an angle of view of 70 degrees.
Although this lens is far from equal to the anastigmats, it
is a good lens for general work and gives admirable service
Illustration No. 67
for rapid instantaneous photography and portraiture in the
gallery and home. As will be seen from Illustration No. 66,
the mounting is very compact, and the lenses, although of
large diameter (See Illustration No. 67), are thin and do
not appreciably increase the weight.
763. We manufacture another rectilinear lens, known
as the Rapid Universal, having a speed of f/8, its angle of
view being 60 degrees. This lens is the original rectilinear
or symmetrical type introduced by us, and it was an im-
portant factor in the making of our reputation for the manu-
facture of photographic products.
GOERZ LENSES
CELOR
Illustration No. 68
See Paragraph No. 803
DAGOR
Illustration No. 70
See Paragraph No. 810
Illustration No. 69
See Paragraph No. 803
Illustration No. 71
See Paragraph No. 810
CHAPTEK XXXVIII.
GOERZ ANASTIGMAT LENSES.
By the C. P. Goerz American Optical Company.
764. The introduction of anastigmat lenses may cer-
tainly be considered the most notable step in advance in
the field of photographic optics made during the last twenty
years. In this instance, as in the case of all scientific prog-
ress, the improvements are not the work of one man, but
result from the joint labors of an army of scientists, each
member of whom contributed his share toward the achieve-
ment of progress.
765. We feel proud of the right to rank ourselves
among the first workers in the vast field of research that
was opened to manufacturers of optical instruments by the
advent of the now famous "Jena glass."
766. Duly impressed by the advantages gained by the
use of symmetrical components in photographic objectives,
we made a special study of the application of symmetry in
the construction of anastigmatic lenses, and succeeded in
producing and bringing upon the market, in 1893, the Goerz
Double Anastigmat Lens, the first anastigmat of symmet-
rical construction. This became at once, and remains today,
the standard of comparison for all anastigmatic lens.
767. The improvement in lenses, keeping pace with the
improvements in the manufacture of plates and films, made
possible the application of photography to a great many pur-
poses where formerly its services were unknown. The art
of photography is today intimately interwoven with the
entire industrial and commercial activity of the world, and
no event of any importance to mankind takes place, even
in the most remote corner of the country, without being
333
334 Library of Practical Photography.
photographically recorded and heralded to the millions.
Modern anastigmat lenses made this possible.
768. The main points of improvement and advantage
possessed by anastigmatic lenses over the older rectilinear
type, is the power to give sharp definition at large aperture,
and over a larger image surface than the older lenses could
show. Additional advantages are gained by the close and
compact build of the anastigmat as compared to the recti-
linear lens. Besides increasing the field of the image, there-
by making them useful as wide-angle lenses, the normal
image is very evenly illuminated, a point in which the recti-
linear type leaves much to be desired.
769. Although it may sometimes be advantageous to
use lenses of comparatively long focal length, considering
the required size of the image, it is an undeniable advantage
not to be compelled to use such a long focal length in order
to obtain satisfactory definition. In the case of the recti-
linear lenses, we have no choice, but with the anastigmatic
lenses we can give first consideration to any other condition
and select the focal length imposed thereby, knowing that
the covering power will always be sufficient.
770. In all Goerz Lenses, the astigmatism is completely
corrected, with the result that even at full aperture the
image is as sharp at the edge as it is in the center.
771. The curvature of the field is eliminated within an
angle of 72 degrees i. e., that part of the image which is
comprised within that angle is absolutely flat. The defini-
tion and depth are the same in all parts of the field.
772. The co-existence of these two essential qualities
perfect anastigmatism and flatness of field gives these
lenses supremacy over all other existing types.
773. They are, besides, spherically and chromatically
corrected for the axial and oblique pencils, even with the
largest stop.
774. By reason of the symmetrical arrangement of the
two combinations of the Goerz Lens, the image is perfectly
orthoscopic, and all traces of distortion are obviated, a
priori.
Coerz Anastigmat Lenses. 335
775. They are free from internal reflections and the
images produced are accordingly brilliant and free from flare.
776. The glasses employed in the construction of Goerz
Lenses are so chosen as to reduce the secondary chromatic
aberration to an inappreciable minimum. Apochromatic
correction is therefore well nigh perfect.
777. The symmetrical arrangement, which is a charac-
teristic of these lenses, permits the use of the single com-
binations of either type, but this use has been considered as
of secondary importance in all series except in the "Pantar"
double anastigmats, which are specially designed as con>-
vertible lenses, and have thus been calculated to work with
perfect sharpness of definition at the full aperture of the
single elements (F. 12.5). When using the single elements
of the Series III lenses, sharp definition is obtained at F.
13.5 for the smaller lenses (up to and including the No. 3),
and at F. 16 for the larger numbers. The single elements of
the type B lenses give soft definition admirably suited for
large portraits at an aperture of F. 15, and critically sharp
definition when stopped down to F. 22 and less.
778. On the Selection of Lenses. When it is desired
to use a photographic lens for more than one kind of work,
the selection of the most suitable objective becomes a matter
of careful thought. As to the so-called "all-around lens," so
much desired by the great majority of amateurs, only in-
struments of moderate rapidity come into consideration.
This is due to the fact that lenses of a rapidity exceeding
f.6.3 cease to be useful for wide-angle views, even when
worked with small diaphragm openings.
779. The longer the focal length of a lens the more
decided are its special characteristics. Consequently, long
focus lenses lack adaptability to a variety of purposes
whatever their rapidity may be. A lens for all-round
photographic work should not exceed 8 to 10 inches in focal
length, which limits the size of the camera to a 6% x S 1 /^
outfit. Applying these considerations to actual practice we
find that an outfit suitable to fill the greatest possible num-
ber of uses should preferably consist of a camera 5x7
336 Library of Practical Photography.
inches, or 6^2 x 8% inches, with an 16.8 lens, either of
or 9^ inches focus. "When long range work is a factor of
importance, it would be preferable to select a convertible
Pantar of corresponding focal length, as the single members
of these objectives are particularly suitable for long range
views. When the requirements go beyond the possibilities
of such equipment, they are no longer to be considered as
part of a variety of purposes, but lead to the use of special
instruments.
780. The principal branches of special work are por-
traiture and commercial photography. By the last term we
refer to the photographing of machinery, furniture, glass
and silverware, etc.
781. In portraiture great rapidity of the lens is, of
course, an important point. We, therefore, select the fast
lenses for this work, such as an f.4.5 or f.5.5. The cover-
ing power of these lenses is so great that it needs no special
consideration; but attention must be given to the choice of
the most suitable focal length. The size of the portrait
desired should be the controlling factor in the selection of a
portrait lens, and practice has proven that the most pleas-
ing results are obtained by the use of a lens, the focus of
which is twice the length of the largest "bust" which it is
to make. For instance, on an 8 x 10 plate one can properly
make a "bust" measuring 7 inches from the top of the
head to the chest. A lens of 2 x 7 inches=14 inches focus,
will do this at a comfortable distance, insuring good per-
spective. In short operating rooms it is not always possible
to follow the above rule, but, wherever possible, it is very
desirable to adhere to it. The degree of sharpness of defini-
tion is entirely in the control of the operator, and can be
changed from the most critical sharpness to the softest dif-
fusion.
782. For commercial work the principal condition is a
fine perspective effect. This can be secured by using a lens
of great focal length, so that the camera can be set up at
considerable distance from the object. Owing to the great
depth of focus required in such case, and therefore the com-
pulsory use of small diaphragms, it is not desirable to em-
Goerz Anastigmat Lenses. 337
ploy extra fast lenses for such work. An f.6.8 lens is per-
fectly suitable, as it permits of a sufficiently large aperture
for easy focusing, and will produce the maximum possible
depth of focus when stopped down to the smaller dia-
phragms.
783. Determining Focal Length of Lens Suitable for
Operating Rooms of Stated Length. As it may be valuable
to many photographers to know how they can determine
the focal length allowable in operating rooms of limited
length, we will give here the simple rules which govern
the relations between focal length, size of image, and dis-
tance of the subject. When speaking of focal length we
always refer to the principal or equivalent focus, which is the
distance from the optical center of the lens to the surface
of the plate when the object is at a very great distance.
784. Note: For all Goerz lenses the optical center is
situated in the plane of the diaphragm, and from that point
the focus should be measured.
785. When making a picture n times smaller than the
original, the object should be at a distance of (n-\-i}x focus
from the lens. If this distance is limited to D feet=izD
inches on account of the available space, it will be clear that
12D
i2D(n-{-i} focus, or focus inches. To illustrate: What
n+1
should be the proper focal length for making a standing
full-length cabinet portrait in a room 12 feet from wall to
wall ? This leaves, after allowing space for background and
length of camera and moving space for operator, a clear
distance of 8 feet between lens and sitter; thus, D=8xl2=
96 inches. A full-length cabinet picture measures 4%
inches from head to feet. Now, assuming the person to be
70
5 feet 10 inches tall, n= = say 14.5. We can now write
4.75
96
_=6.18, or say, 6 inches.
338 Library of Practical Photography.
786. As there is still in the minds of some photog-
raphers a great deal of misapprehension regarding the pres-
ence of some occasional air bubbles in the glass of high-
grade anastigmats, we think it advisable to publish the fol-
lowing communication from Messrs. Schott & Genossen, the
manufacturers of the celebrated Lens Glass, the discovery
of which has rendered possible the construction of the
modern anastigmat.
787. Communication from the firm Schott & Genossen, Jena
(Germany} Glass Manufactory for Optical and other Scientific
Purposes:
The efforts of opticians, during the last few years, to
improve lenses in their higher optical characteristics, have
led to more extended use of glasses in the manufacture of
photographic objectives, which differ widely in their optical
properties and chemical composition from the crown and
flint glass hitherto employed. Their manufacture is attended,
to some extent, by far greater technical difficulties than
are involved in the production of the optical glass formerly
in current use. In the manufacture of the majority of the
new kinds of glass which have taken front rank in the con-
struction of improved photographic lenses, there are excep-
tional difficulties in securing perfect purity, i. e., freedom
from small bubbles. The definite demands which have to
be met to obtain relative dispersion and refraction differing
from usual conditions, impose such stringent limitations
upon the chemical composition of the glass fluxes, that no
play is left to the manufacturer technically to provide suit-
able conditions for obtaining perfect purity. In consequence
of this, it is practically impossible to supply these kinds of
glass in uniform pieces free from a few small bubbles.
788. We would, however, point out that the presence
of these small air bubbles, even under most unfavorable con-
ditions, does not occasion a loss of light exceeding 1-50 per
cent., and their influence upon the optical efficiency of a
lens system is, therefore, of no moment whatsoever.
789. It is manifestly unfair to require that the manu-
facturer should reject nine-tenths of the glass which is made,
Coerz Anastigmat Lenses. 339
simply because it shows a fault that is of absolutely no im-
portance in practice, notwithstanding the fact that he is
able to satisfy the higher demands of the optician with re-
gard to all the really important properties the glass should
possess for the functions of the lens.
790. If purchasers make the usual objection that a
lens is ."faulty" because of a few small bubbles, the optician
must kindly explain that lenses of the highest class cannot
be made of any sort of crown and flint, and that more im-
portant considerations have to be taken into account in
selecting the glass than the absence of a few small bubbles.
GLASTECHNISCHEN LABORATORIUM,
Schott & Genossen.
791. Relative Exposures for Varying Proportions of
Image to the Original, by W. E. Debenham. Reproduced
from "The British Journal Photographic Almanac." When
an enlarged photograph has to be made, either from a nega-
tive or print, it is commonly understood that the greater the
degree of enlargement the longer will be the exposure re-
quired ; but I have generally found only the vaguest ideas
to exist as to the amount by which such exposures have to
be prolonged. Sometimes, indeed, it is assumed that the
exposure will be in direct inverse proportion to the area
covered, so that a copy of twice the linear dimensions of
the original covering, as it does, the area of four times the
size would require an exposure of four times that sufficing
for a copy of the same size. This calculation, however, omits
to recognize an important factor and leads to serious error,
the actual exposure required in the case mentioned (assum-
ing the same lens and stop to be used) being not four times,
but two and a quarter times that of a copy of same size;
whilst, when we come to high degrees of enlargement, the
error would amount to an indication of nearly four times
the exposure actually required.
792. To find the relative exposure add one to the num-
ber of times that the length of the original is contained in
the length of the image, and square the sum. This will give
340 Library of Practical Photography.
the figure found in the third column of the annexed table.
(See Paragraph No. 798.)
793. As examples: Suppose a copy is wanted having
twice the linear dimensions of the original. Take the num-
ber 2, add 1 to it, and square the sum, 3 2 =9. Again, if a
copy is to be of eight times the linear dimensions of the
original, take the number 8, add 1, and square the sum, 9 2 =
81. Copies respectively twice and eight times the size
(linear) of the original will thus require relative exposures
of 9 and 81 i. e., the latter will require nine times the expo-
sure of the former.
794. It is convenient to have a practical standard for
unity. An image of the same size as the original is a famil-
iar case, and serves as such standard. By dividing the
figures in the third column by four, we get at the figures
in the last column, which represent the exposure required
for varying degrees of enlargement or reduction, compared
with the exposure for a copy of the same size.
795. The table is carried up to enlargements of thirty
diameters. That is about the amount required for enlarg-
ing a carte-de-visite to life size.
796. The exposures required in reductions do not vary
to the same extent that they do in enlargements. It has.
therefore, not been thought necessary to fill in the steps
between images of 1-10 and 1-20, and between 1-20 and 1-30
of the size of the original. Beyond 1-30 there is scarcely no
perceptible difference in the exposure until disturbance
comes from another cause, a considerable distance of il-
luminated atmosphere (haze or fog) intervening.
797. The figures in the second column will also serve as
a table for distances from the lens to the plate, and to the
original ; all that is necessary being to multiply by the prin-
cipal focus of the lens in use. In the case of enlargements
the figures less than 2 must be multiplied to get the distance
from the original to the lens, and the figures greater than 2
for the distance from the lens to image. For reductions, the
figures less than 2, multiplied by the principal focus of the
Coerz Anastigmat Lenses.
341
lens, yield the distance from lens to plate; and the figures
higher than 2, similarly multiplied, give the distance of
original from lens.
798.
Proportion of
image to original
(linear)
Distance of image
from lens* in
terms of
principal focus
Proportionate
exposures
Exposures pro-
portioned to that
required for copying
same size
A
i*V
1.07
.27
A
1*
1.10
.28
X
1&
1.21
.3
If
1.27
.31
j j
li
1.36
.34
;,
JJ.
1.56
.39
i .
L-
2.25
.56
f
lj-
3.06
.76
(Same 1
2
4
1
size) 2
3
9
2.25
B
4
16
4
4
5
25
6.25
5
6
36
9
6
7
49
12.25
7
8
64
16
8
9
81
20.25
9
10
100
25
10
11
121
30.25
11
12
144
36
12
13
169
42.25
13
14
196
49
14
15
225
56.25
15
16
256
64
16
17
289
72.25
17
18
324
81
18
! 19
361
90.25
19
20
400
100
20
21
441
110.25
21
22
484
121
22
23
529
132.25
23
24
576
144
24
25
625
156.25
25
26
676
169
26
27
729
182.25
27
28
784
196
28
29
841
210.25
29
30
900
225
30
31
961
240.25
*With a double lens it is usually sufficient to measure from the
position of the diaphragm-plate.
342
Library of Practical Photography.
799. Increase of the Focal Distance of the Lens Due to
Different Distances of the Object. A certain distance exists
for each lens, at and beyond which the parallaxes of the
luminous points are so small that the incident rays may be
considered to be parallel to each other. In this case the
distinct image is situated in the principal focal plane of the
lens i. e., in the plane which is conjugate to infinitely dis-
tant objects. The subjoined table shows how far, in the
case of our lenses, the distant image lies behind the prin-
cipal focal plane when the object is situated at a finite (and
rather short) distance from the lens.
800.
No. of Lens
i
2
3
4
5
6
7
Focus in inches
4&
6
7
8J*
9%
1024
12
14
Distance of Object
in feet
Distance of the Conjugate Focus beyond the Principal
Focus in inches
1666
.0012
.0056
.0116
.0192
.0288
.0388
.0484
.0584
.0648
.0732
.0836
.0976
.1180
.1484
.2000
.3064
.656
.0020
.0092
.0180
.0300
.0452
.0604
.0760
.0912
.1016
.1144
.1312
.1540
.1856
.2336
.3160
.488
1.060
.0028
.0128
.0260
.0436
.0652
.0872
.1096
.1320
.1468
.1656
.1900
.2228
.2688
.3392
.4600
.7120
1.5800
.0036
0174
.0352
.0592
.0892
.1192
.1496
.1800
.2008
.2264
.2600
.3048
.3684
.4640
.6220
.9840
2.2320
.0048
.0232
0464
.0776
.1164
.1560
.1960
.2360
.2628
.2968
.3408
.4000
.4840
.6120
.8360
1.3080
1.0320
.0060
.0292
.0584
.0980
.1476
.1980
.2484
.2996
.3340
.3772
.432
.508
.616
.784
1.068
1.684
3.996
.0072
.0360
.0724
.1212
.1838
.2448
.3080
.3716
.412
.468
.536
.632
.764
.972
1.332
2.116
5.16
.0104
.0520
.1044
.1748
.2640
.3540
.444
.536
.600
.680
.780
.920
1.116
1.424
1.964
3.160
8.12
333
166
100
66
50
40
33
30
27
23
20
17
13
10
7
3
801. This table is very instructive. It shows, e. g., that
lens No. 0, in the case of an object situated at a distance of
166 feet requires a displacement of only .0116 inch of the
focusing screen (with respect to its position in the plane of
the principal focus), whereas lens No. 7 requires this dis-
placement when the object is at a distance of 1,666 feet.
Since, with the rapidities ordinarily employed, a difference
of .016 inches in the position of the focusing screen does
Coerz Anasligmat Lenses. 343
not produce any sensible diffusion, we see from the table
that lens No. is capable of simultaneously sharply depict-
ing objects situated at a distance beyond 50 feet; No. 7,
those beyond 1,666 feet; No. 9, however, only those beyond
3,333 feet, etc. In general, the table shows that caeteris
parlous, i. e., with the same relative apertures or with the
same rapidities, the depth of focus rapidly diminishes as the
focal length increases.
802. This table may be employed to sharply focus an
object without the aid of the focusing screen, when the dis-
tance of the former is approximately ascertained by pacing
off, or otherwise known.
803. Goerz Celor. F. 4.5 F. 5.5 (Series I B Extra
Rapid Apochromatic).
Special Objective for fastest instantaneous exposures,
portraits in room and studio; enlargements and reproduc-
tions; three-color process; telephotography; projections.
Also for landscape and architectural views, and for all
purposes requiring extreme speed. (See Illustrations No.
68 and 69.)
804. There are on the market several anastigmat lenses
working at a great relative aperture. Theoretically, their
speed leaves nothing to be desired ; but when they are used
at full aperture the extent of the field sharply covered is
not sufficient to allow one to make practical use of their
speed.
805.. To overcome this difficulty the focal length of
these lenses is generally increased, which accentuates all the
more the lack of "depth of focus," already very noticeable
because of their large relative aperture. Consequently, a
fast lens to be really serviceable for general photographic
work, should not only possess speed, but should at the same
time cut sharply, at full aperture, an image contained within
an angle of 60 degrees, or, in other words, a plate the longer
side of which is about equal to the focal length of the lens.
806. The Celor Lens combines these properties. It has
its place, therefore, in all up-to-date studios.
807. We claim that Celor lenses are superior to all r
344 Library of Practical Photography.
other anastigmats of equal maximum aperture, because of
their larger field of sharp definition at full aperture. This
enables one to select a Celor lens of shorter focal length
than that of other similar anastigmats, an important con-
sideration where the length of the studio is limited. This
is a great advantage for the photographer, meaning, as it
does, a gain in the depth of focus, and incidentally in actual
working speed.
808. The back combination of the Celor can be used as
a single lens of double the focal length. At F. 32 it will
yield about the same definition as the whole lens and twice
the covering power of the latter.
809. Goerz Dagor. F. 6.8 (Series III.) Universal ex-
tra-rapid lens for landscape, architectural, portraits, groups,
instantaneous photography, interiors, and scientific work of
all kinds.
810. Although it is but a few years since public at-
tention was first attracted to the Goerz Double Anastigmat
Dagor (Series III.), these lenses have won the most extended
recognition, not only from authorities in photographic
optics who have been in position to exhaustively test their
merits, but from the photographic confraternity at large,
whether amateur or professional. (See Illustrations Nos.
70 and 71).
811. The Dagor lens is a universal instrument in the
full sense of the word, and comes as near being an all
around lens as can be hoped for, considering the manifold
and complex requirements of the photographic craftsman.
812. Each Goerz Double Anastigmat Dagor supplies
1st. A rapid lens for general purposes portraiture, land-
scape, architecture, enlargements, etc., working at full aper-
ture with extreme sharpness to the edges of the plate for
which it is constructed. 2d. A wide angle lens for interiors
and all views at short distances, sharply covering a much
larger plate when smaller apertures are employed. 3d. A
long focus lens for distant objects, when the back combina-
tion alone is used.
Coerz Anastigmat Lenses. 345
813. Characteristics of Dagor Lenses. The astigmatism
is completely corrected, with the result that, even at full
aperture, the image is as sharp at the edge as it is in the
center.
814. The curvature of the field is eliminated within an
angle of 72 degrees i. e., that part of the image which is
comprised within that angle is absolutely flat. The defini-
tion and depth are the same in all parts of the field.
815. It is, besides, spherically and chromatically cor-
rected for the axial and oblique pencils, even with the largest
stop.
816. The Dagor lens is free from internal reflections
and the image produced is accordingly brilliant and free
from flare.
817. The two combinations are placed in close prox-
imity ; consequently, there is no falling off of the luminosity
toward the edge, and the entire surface of the image is
therefore uniformly illuminated. The compactness of the
Dagor lens renders it extremely r 
