586. Plain Portrait Lighting

Plain Portrait Lighting. Plain Portrait Lightings are made by flashlight, of course, in identically the same way as Plain Portrait Lightings by daylight. In fact, for one's first experiments it is advisable to light the subject under the skylight in the day-time, and then to set the flash-lamp under the skylight, so that the light will fall on the subject at the proper angle. Care must always be taken that the flashlight be far enough above and behind the lens that the light will not be reflected into the latter. The handle of the diffusing umbrella should point directly toward the nose of the sitter, for when in this direction the light will fall on the subject at the proper angle, 45°. This will be seen by referring to Illustration No. 81.

587. On referring to the floor plan (Illustration No. 82) the angle at which the reflecting screen is placed, as well as the position of camera, flashlamp, subject and background, will be easily observed. Bearing in mind, however, that it is necessary to have this arrangement practically identical to that needed for securing portraits when daylight is used, no difficulty, whatsoever, will be experienced, and portraits by flashlight will, after one or two experiments, be as easy to make as by daylight.

588. Although the handle or rod of the umbrella is a guide as to the height the lamp should be placed above the sitter's head, it may be taken as a general rule, that the lamp should be 2 1/2 feet above the head of the subject, 3 1/2 feet to the side of the subject, and 2 feet in front.

589. If a three-quarter view of the face is desired, the camera should be placed on the same side of the subject as the flashlamp - the ear on the shadow side of the face being just out of view. The distance from the camera to the subject will depend entirely upon the size of the image desired. The subject should, of course, have the face turned directly toward the front; or, in such a way that the light from the flashlamp will cause a shadow to be cast by the nose, the tip of the shadow blending with the shadow of the cheek.

590. When subject, lamp, reflector, background and camera have been placed in proper position, and the image carefully focused, the lens of the camera should be closed, the plate-holder inserted in the camera, and the slide drawn. The lamp should now be loaded with the powder, which for an ordinary portrait on a 5 x 7 plate will require about one-sixth ounce of powder. The alcohol lamp should then be lighted, the tube connected with the tube of the shutter, and both joined to the bulb by means of the Y connection. All being in readiness the exposure is made by giving one hard pressure on the bulb, which opens the shutter and simultaneously ignites the flash powder. The bulb should be then immediately released, when the shutter will close. Illustration No. 82a shows an example of a Flashlight Plain Lighting Portrait.

Illustration No. 8l Flashlight Portraiture Plain Lighting Portrait and Room

Illustration No. 8l Flashlight Portraiture-Plain Lighting-Portrait and Room.

See Paragraph No. 586.

Illustration No. 82a Example of Plain Lighting Nichols' Flash lamp

Illustration No. 82a Example of Plain Lighting-Nichols' Flash-lamp.

See Paragraph No. 590.

Flashlight Portraiture.

Illustration No. 84. Flashlight Portraiture Rembrandt Lighting Floor Plan

Illustration No. 84. Flashlight Portraiture-Rembrandt Lighting-Floor Plan.

See Paragraph No. 591.

.V.»l. Rembrandt Lighting. - In making a Rembrandt Lighting proceed in exactly the same manner as for a Plain Portrait Lighting. The subject and the flashlamp should be placed in the same position. The camera, however, is moved so that the ear on the light side of the face is unobserved from the camera. In this position more of the shadow side of the face will be seen on the ground-glass, and the effect is of the Rembrandt type. If a seven-eighths or full Profile Lighting is desired, the camera should be moved around still farther to the shadow side of the face-in fact, a Rembrandt effect may be secured from a three-quarter view of the face, the extent of profile view all depending upon the position occupied by the camera; the lamp and the subject's face occupying exactly the same position at all times. Reference to the accompanying Illustrations Nos. 83 and 84 will give a perfect idea as to the manner of securing a three-quarter Rembrandt portrait.