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The photographic news
- Bandzählung
- 7.1863
- Erscheinungsdatum
- 1863
- Sprache
- Englisch
- Signatur
- F 135
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- Hochschule für Grafik und Buchkunst Leipzig
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- Hochschule für Grafik und Buchkunst Leipzig
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- http://digital.slub-dresden.de/id1780948042-18630000
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- LDP: Historische Bestände der Hochschule für Grafik und Buchkunst Leipzig
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- Bandzählung
- No. 276, December 18, 1863
- Digitalisat
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Zeitschrift
The photographic news
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Band
Band 7.1863
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- Titelblatt Titelblatt -
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- Register Index 619
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Band
Band 7.1863
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- Titel
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December 18,1863.] THE PHOTOGRAPHIC NEWS. 607 that there should be one principal light, so arrranged as to im pinge upon the principal parts of the face. This principal light should not bo too strong, or it will destroy softness; and, although you may get excessive boldness, you will not get flesh. In such a room as I have indicated above, this would be comparatively easy, as the head, being nearest the illuminating source, would receive the most brilliant light, and the other parts would fall properly in their place, especially if the room is a long one, or you have a little front light to soften the shadows. This front light I consider very necessary in all rooms. It mattersnot whether it is literally a front or a side front, but I should prefer the former. Of course it must not be a strong light, but be properly subordinated—in fact, it should answer the purpose of reflected lights, softening and giving details to the shadows (and by that means helping to give roundness and contour to the features); for, if we are to represent Nature as sho ought to be represented, we must get details, even in the deepest shades, and this is one of the best means of getting it that I know of in the way of lighting. I should advise a certain amount of side light if you can get it. It is not absolutely necessary—still it is useful; and we have the power of stopping out light if wo have too much. This side light must not overpower the principal light. I also find a little subdued light between the sitter and back ground relieves the figure wonderfully, counteracting that inlaid effect wo often see in otherwise good pictures. In respect to the particular arrangement of light, as I have before said, no fixed principles can be given, as each model requires an entirely different one; for what woud suit a person with large full eyes would not answer for one with those useful organs deeply sunk into the head. In fact, in the proper judicious lighting of a figure the likeness to a great extent is secured. With reference to the direction in which the light should enter, as a general rule I find that an angle varying from forty- five to sixty is mostly required. The prevailing character of the light should bo what is called soft or diffused, but at the same time it should be brilliant or forcible, so that it may enter into and have its influence in the shadows to secure detail even in their greatest depths, detail being a necessary element of roundness. Returning again to the consideration of front light. It has often been said that a front light is addicted to giving flat pic tures—for what reason I do not know, unless it bo from a general want of knowledge in operators. I think you will admit with mo that the pictures of Disderi, Williams* and your res pected treasurer, Mr. Noel Fitch, are anything but flat, and that in all these cases the principal light appears to be a front one. The same remark also applies to pictures by Rejlander, which are so exquisitely round and well relieved, and whoso models receive a direct front light falling from above the head, as well as a subdued side front light. I think, then, the “ evils,” so called of this particular mode of lighting are altogether a mistake. Since writing the above, I perceive from an article in the Photographic News that Mr. T. R. Williams has re-arranged his light so as to secure a little of what may bo termed a higli side light. Still, that gentleman’s principal light is a front light, entering at a long angle. Perhaps, however, I have said * It is an error to suppose that in M. Disderi’s, Mr. Williams', or [Mr. Rejlander"s studio the principal light is a front light.—Ev. enough to show the importance of front light as an artistic desideratum, and one which cannot be discarded with impunity. In conclusion, I will try to describe how we may build a studio in which all the necessities I have now briefly described may be provided for, and in which we may be able to arrange our light, as the circumstances of the moment may dictate, with the greatest amount of ease and efficiency. The diagram to which I now call attention shows, you will perceive, a glass room similar to that of Mr. Rejlander’s, but with these differences—that there should be two front side windows instead of one, so that we could light from either side as might be most convenient or desirable, and not be con strained to putting the same one side of the face always either in light or shadow. Again, too, instead of being about 5 feet wide, I think they should be not less than 10 feet wide, and fitted with two sets of white blinds and one dark blind, run ning on rods from contrary ends, so as to secure any amount of light at almost any angle. We thus secure great control over the lighting. A short time since Messrs. Helsby and Co. recommended, in the British Journal, a room, for which they claimed great simplicity and ease in working. Instead of moving blinds, the sitter was to be shifted here or there. I need not point out to my practical brethren the difficulty of getting a nicely- lighted portrait in such a room. Picture the indignation of your sitter upon being shifted now to the right, now to the left, now backward, now forward ! and conceive how improving to the expression this would probably be! Surely, the simple moving to and fro of a few blinds would be simpler and easier, as well as more effective. In conclusion, I may add that, in opening this subject, I hope I may be the means of getting it well aired in a genuine South- London discussion, characterised by its usual animation, earnest ness, and good nature. I do not remember that the subject has received any fair share of attention at a society before, and I think it high time that it should now do so, and with this view at once entrust it to the many able gentlemen around me. • GLASS ROOMS. BY A. H. WALL.* Although most subjects have received their share of attention at photographic meetings, there is one which appears to have been unaccountably neglected. This one is “ Glass Rooms.” W e started in photographic portraiture with the idea that, as we needed all the light available, the rooms in which photo graphs were taken could not contain too much glass; conse quently, up to the present time, most of our studios have been constructed as if they were intended for greenhouses, the resem blance being not only in the amount of glazed surface secured, but also in the general form commonly adopted. Mr. Sutton was, I think, the first to point out this blunder by giving a diagram of a room which was a glass room in name only. It contained a long dark passage for the lens and camera, a front top light and side light, and most of my hearers have doubtless seen diagrams thereof. I had long held similar ideas with regard to the proper form of such a room, and finding that Mr. Sutton had done little more than describe the room in question, I set myself to work, and gave my reasons for the belief that was within me in a couple of “ Bits of Chat” in The British Journal. Somewhere about the same time Mr. Rejlander —in whom, I believe, the same thoughts had been long lying dormant—carried out his ideas, which resulted in a glass room of the principles advocated by myself. Mr. Lamb, of Aberdeen, also wrote to mo shortly after the publication of the remarks I had made on the subject; and, on my sending him a rough sketch of a glass room with comparatively little glass in it, he wrote by return, saying that it was just such a room as he had already erected, the only difference being in the fact that ho had a glass room at either end of the dark passage in which the lens stood, so as to secure the choice of two aspects, accord ing to the necessities of the weather, or the requirements of sitters. Afterwards I gave similar designs to several cor respondents who had read the articles I had written on the subject, and were desirous of carrying out the ideas therein developed. From some of these I have since received communications, * Read at a Meeting of the South London Photographic Society, December 10, 1803.
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