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The photographic news
- Bandzählung
- 35.1891
- Erscheinungsdatum
- 1891
- Sprache
- Englisch
- Signatur
- F 135
- Vorlage
- Hochschule für Grafik und Buchkunst Leipzig
- Digitalisat
- Hochschule für Grafik und Buchkunst Leipzig
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- SLUB Dresden
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- urn:nbn:de:bsz:14-db-id1780948042-189100009
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- http://digital.slub-dresden.de/id1780948042-18910000
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- oai:de:slub-dresden:db:id-1780948042-18910000
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- Bandzählung
- No. 1726, October 2, 1891
- Digitalisat
- SLUB Dresden
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Zeitschrift
The photographic news
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Band 35.1891
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Band 35.1891
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OCTOBER 2, 1891.] THE PHOTOGRAPHIC NEWS. 687 LIGHTING* BY JOHN S. SCHNEIDER. We all know that one of the most necessary things in securing a good picture is that it must be properly lighted; and now the question arises, when are our subjects properly lighted ? If you were to ask an operator, “ How do you get this or that effect?” he would not use many words in trying to explain to you how it is done, but he would invite you under his light, and then, with the shifting of a background, the drawing of a curtain or two, and the placing of a reflector or screen, he would soon demonstrate to you how it is done, and you would be thankful for the instructions received. The operator has his eye trained, and is so familiar with his light, that it is no task for him to perform. By experience we train our eyes and hands so that it becomes a sort of second nature to us, and we never stop to think, “ Why do I pull down that curtain, and why do I not pull down this one ? ” We know by placing our subject here we get one effect, and by placing it there we get another ; and so it is in everything we do under the light. Now, I will ask, is your eye trained to that point of excellence where you can always rely upon it as your guide in your work ? If it is not, your work will show it, and it becomes your study to at once seek further in formation. This can be done by practice and experiment until you get the desired effect, and when you once get it you can get it again. How often do we pick up a picture made by a fellow photographer which in effect is different than anything we have ever produced, and we say, “ That’s fine ; how did he get it? ” but here is where so many of us stop. Why not take that picture and study it, and at the very first opportunity try to reproduce it ? If you don’t succeed at first, try it again, and you will soon see that your work is improving, to your joy and your customers’ satisfaction. By this I do not mean that we should always pattern after our neighbours, but a little of it can do no harm; it will always lead to something new, and we become more original from day to day. Why is it that we find so many of us are not making the advance ment we ought to make ? Why is it that our work is not being picked up by others as models of photographic lighting ? Is it not that we do not pay enough attention to the training of the eye ? I said it becomes second nature to us. How often do we find ourselves noticing the lighting in the face of a speaker, as he steps from one position to another ; or, in fact, wherever we are, in the parlour, or in a street-car, if our minds are not busy with some other important subject, we find ourselves engaged in lighting faces. So it is, and always will be. But, you ask, “ In what direction shall I train my eye ? Shall I train it to make bold, strong lightings, or shall I train it to make weak or soft lightings?” This, I will say, is always controlled by the subject, and by other circumstances, although in some cases we will find a bold lighting preferable. It is not necessary that a bold light ing should be a hard lighting; it can as well be soft and round. To get this effect, I always prefer to place the sub ject well under the light, and to work with the light con siderably open. You will find by doing this your lighting will be soft and round; in other words, your subject will be well illuminated. You cannot expect to get a rich lighting unless you have plenty of illumination. This * Abstract of a paper read before the Oh : o Photographers’ Association. will help to round the face and give the drapery the rich ness that is so desirable, be it black or be it white. I said place your subject well under the light; by this I mean to get out under the light from four to six feet, and to work with a considerable amount of back light. This, I find, is a help, especially in white drapery; and in all shadows or Rembrandt lightings, as well as in the ordinary plain lighting. There are a great many lightings which are called fancy lightings, as, for instance, the one which throws the face all in shadows—that is, a profile in shadows; and a great many can easily be had by coming out under the light. But here I should like to say that the great secret in all lightings, shadows plain or fancy, is to illuminate your shadows. I believe in the theory of contrast lighting. Make your lightings light with detail in the lightest lights, and make your shadows deep with illumination in the deepest shadows. If you do this your roundness, brilliancy, and strength will come by itself. There are many reasons why a subject well illuminated is better, and the one above all is, it saves your retoucher a great deal of work, it gives him the modelling that is desired, and he can give you a better and more satisfactory piece of work. It is not only necessary to illuminate your subject, but it is also very important to illuminate your background. If you do this you will find that your subject will stand out from the background, and you will get an atmospheric effect. This is very important towards the light or from the light, any way to get contrast between your subject and background. Now I should like to call your attention to another and very important point, and that is direction of light. If you take unto yourselves the pleasure of going through some of our great artists’ studios, and studying their pic tures and studies of art, you will find in all of them a direction of light—that is, by looking at the picture you can see the direction from which the light came which illuminated the study. Now this is the point. Have your subject so illuminated that, by looking at the picture, you can see the direction of light, or, in other words, on which side of the face the side light was. If you will always bear this in mind you will find it of great benefit to you. Why is it that we see so many flat and weak photographs that (to use a slang phrase) make us tired of them? They have no strength or brilliancy, or, in other words, no direction of light. They are flat because the operator did not illuminate the subject; he failed to give it light and shade, lightings and shadows. The idea is, to give your work an artistic merit your lighting should always be full of art. It is the lighting, above all, that gives your work tone and style. • A Perfect Ink.—An ink which is said to be permanent and unaffected by the application of acids, alkalis, &c., and which renders forgeries and erasures, additions, or alterations easy of detection and difficult to accomplish, is said to be made as follows. To carbon black (preferably prepared by the action of concentrated sulphuric or other acid on sugar) are added a solution of gum or other mucilage, caustic soda, oxalic acid, and Indian ink. Vanadium in any form, Aleppo galls, nut galls, and a small quantity of an aniline dye are then added, with sufficient water to make the ink flow readily. The following proportions yield good results :—Nut galls, 20 per cent.; Aleppo galls, 5 per cent. ; carbon black, 10 per cent. ; vanadium, 1 per cent. ; Indian ink, 10 per cent. ; oxalic acid, 3 per cent. ; aniline dye, 1 per cent. ; rain water, 50 per cent. The whole is boiled, filtered, and strained.
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