LIGHTING THE SUBJECT.
The photographer is practically tied down to one kind of lighting, fancy effects being, as a rule, out of the question. Occasionally a piece of work has to be photographed in such light that it will have the same appearance as when fixed in its proper position. For this purpose some means of controlling the light at close quarters is necessary. In a small sculp tor's studio the light is usually well under control, and probably little beyond the usual blinds will be necessary, but in large buildings the light can generally be con trolled very little, and a portable head screen, very similar in principle to that shown by Fig. 603, p. 474, will be indis pensable. It consists of an upright sup port, which may be of ordinary iron barrelling, containing a rod enabling it to be raised to various heights and clamped by means of a thumbscrew. The screen proper consists of a light wire frame over which are stretched two thicknesses of white muslin. Hinged to this frame are two hanging flaps, which may be folded out so as to cover a greater area. Some sheets of paper may be laid on the screen when less light is desired, while extra frames may be hung on and suspended as required to cut out the light from other directions. These are best of opaque
paper. As regards the direction of the light, it should in most cases strike the figure at an angle of ; but while this forms a good general ride, no exact directions can be given for the precise admixture of front, top and side light. As so much will depend upon the taste of the operator, it is useless to say more than that, bearing in mind that side and top light give relief and front light softens or flattens if used to excess, the operator should experiment with different degrees of each until the desired effect is obtained. Since it is the lighter tones which have to be rendered, the contrasts may be somewhat severer than would be allowable in ordinary por traiture. This remark only applies to photographing marble or plaster ; in the case of bronzes the contrasts should be more subdued. White marble does not photograph as easily as clay, so that, wherever possible, the clay should be chosen for preference.