"One of the finest lighting effects in the making of portraits is the line or back lighting. It is meeting with much favor and those who have tried it find it very interesting.

"I have been working this light for seven years and feel very well acquainted with it, so I may be able to give a few hints to those who try it for the first time.

"Some of the best examples of lighting to-day are found in motion pictures which introduce light effects of all descriptions, and one who is at all observing will learn many clever and artistic methods of lighting from this source. When you see a lighting that appeals to you, see that film again and study it.

"In photographing against the light, great care should be taken to shade the light. This is the secret of back lighting. By this I do not mean screening the lens, as this is not practical. It is the light that must be screened.

"I work the back light by using a thousand Watt Mazda, Z3 globe, with a revolving black shade attached to the lamp stand. (This shade is shaped something like a grocer's sugar scoop, covers one side of the lamp and revolves around the base of the lamp socket.) You may think that a white lamp reflector should be used, but my experience has taught me that a white lamp reflector has a tendency to cause more or less halation.

"The three things that will do most to prevent halation are, first, the use of Portrait Films; second, shading the light from the lens; third, the use of a shade that is black inside and does not reflect any of the light from the lamp.

"The adjustable stand that I use enables me to place the light any place in the picture. One of the fine effects of back lighting is secured by placing the light directly back of the subject, a bride for example. This produces catchy lights through the delicate draperies and adds considerable to the general effect. The light used over the head and just back of the subject gives another popular effect. You will also secure novel effects by placing the light on the floor just back of the subject in reading poses with the eyes looking down.

"The four characteristics of the back lighting are these: it subordinates detail, it softens and enriches the shadows, it intensifies the highlights and beautifies and simplifies the composition.

"To educate one's self to back lighting one should study the form against the light. This can be done on the street cars, in church, in the theatres, in fact any place where you see people against a strong light.

Portrait Film Negative, Artura Print By L. J. Buckley Binghamton, N. Y.

Portrait Film Negative, Artura Print By L. J. Buckley Binghamton, N. Y.

"At first, photography against the light may seem easy, but there are many obstacles and you will make failures before you have such a light under control. For example, your modeling may not be right, you may not have sufficient light on the side facing you, making your shadows appear muddy, or you may have too much front light killing the effect you are trying to produce in the back or you may have difficulty in lighting your background.

"These obstacles are easily overcome by patience and the use of good common sense. By getting enough light on the front side, from whatever general source of illumination you use, the lighting is balanced and a good effect easily secured.

"Just one word about the ar-tisticness of this lighting, since I have heard some call it a freak lighting. In the Cosmopolitan Magazine for March, 1919, you will find some very beautiful reproductions of paintings by Flem-ming. Mr. Flemming is recognized as an artist of unusual ability and I would advise every photographer who is interested in creating new effects to study those pictures. Most of them have the back lighting and are handled with such grace that their beauty impresses you from the moment you see them. They illustrate how one of the masters of art handled this particular schemeof lighting and what wonderful results he secured."

We show several examples of Mr. Buckley's back lighting as well as other lights which he handles equally well. One's work must be diversified and that it may be it is well to learn new things but not overdo them.

We would add to what Mr. Buckley has said that we think he goes about the making of a back lighting by first lighting the subject in the ordinary way from the front, making the light rather soft. Then with the back light his shadows are transformed into highlights and his former lighted side into the shadow side. And just here is the secret of the wonderful transparency of the shadows in such work.

Eastman Portrait Film Is used - and appreciated - in all parts of the world. Here is a recent testimonial:

"I have quite given up glass plates and will certainly never go back to them if I can avoid it."

J. C. Munro, Pretoria, South Africa.

Portrait Film Negative, Artura Print By L. J. Buckley Binghamton, N. Y.

Portrait Film Negative, Artura Print By L. J. Buckley Binghamton, N. Y.