We receive inquiries from time to time as to the best methods of photographing various objects that any photographer may be called upon to photograph. And as any information we are able to give by correspondence can only reach a few, we will publish from time to time such information as we think may interest our readers.

Many photographers regard the copying in monotone of a painting as a thing to be avoided, and we will admit that the correct rendering of a highly colored painting is not so simple as copying a picture done in black and white, but it is not difficult if one goes about it in the proper way.

Color sensitive plates and filters have brought such work within the range of practical workmen and it is now possible for any photographer to produce copies of pictures which, for correctness of tone and color values, far surpass the work of the best specialists of a few years ago.

The subject is an exhaustive one, so we will not go into the treatment of old paintings which often require considerable preparation to put them in condition for photographing. Most of the work encountered will require merely proper lighting, the right materials and filters and correct viewpoint.

Eastman Portrait Film Negative, Artura Print By Blank & Stoller New York, N. Y.

Eastman Portrait Film Negative, Artura Print By Blank & Stoller New York, N. Y.

A modern painting may be improved by varnishing, if it is an oil and has become dull, and this the owner may agree to have done. Water colors and pastels need no such treatment, though pastels should be framed with a glass sufficiently away from the surface to prevent the glass from touching the surface and smudging the picture. This may be accomplished by using a moulding with a lining which is the same as one frame inside another. The glass is placed in the frame with the lining back of the glass. The picture is then held as far away from the glass as the thickness of the lining.

When viewed from the position of the lens a painting should be evenly lighted over its entire surface and there should be no reflections. Pictures vary considerably owing to the roughness of the canvas and the method used in applying the paint. As a general rule placing the picture a trifle less than at right angles to the source of light (75°) is most suitable. The distance from the light depends upon the size of the picture. The larger the picture the further away from the light it must be placed to secure even illumination.

Reflection must be entirely overcome, and this is simple if the light is from the proper angle and the lens is not of too short focal length. When a ray of light strikes a plane surface the angle of incidence and the angle of reflection are equal. You can readily determine where it is necessary to place the camera to avoid these reflections.

Reflections most likely to reach the lens would be those from the left edge of the picture. Draw an imaginary line from the left edge of the picture towards your camera at a right angle to the plane of the picture. If the source of light is three feet to the left of this line at a point eight feet from the picture, the reflection will be three feet to the right of the line at eight feet from the picture. If the picture was six feet wide you would have to place your camera directly in front of its center so you would be unable to photograph it at a distance of eight feet without getting a reflection.

This reflection would be overcome by having the light come more from the side, causing it to be reflected more to the opposite side or by using a lens of greater focal length, enabling the camera to be placed sufficiently away from the picture to escape all reflections from the light source. Reflections from the floor, the ceiling, the side opposite the light or from the front must be eliminated. Those from the source of light must be avoided.

Eastman Portrait Film Negative, Artura Print By Blank & Stoller New York, N. Y.

Eastman Portrait Film Negative, Artura Print By Blank & Stoller New York, N. Y.

(To be continued.)