Lighting and Arrangement of in group and portrait photography by flashlight depends chiefly upon the arrangement of the light and sitter. A frequent mistake is to have the light at too low a level; it should be at least f ft. above the level of the sitter's head, and not on a level with it or lower. The higher the light (in reason) the more truthful will be the effect, and the less like the generality of flashlight photographs, which are distinguished by the glaring whites of the eyes and the harsh blacks and whites. In portraiture it is a good plan to place the flash powder on steps as at A (see preceding page), or if ribbon is used the operator may stand on the steps and wave the ribbon about, or the ribbon may be tied to a stick and waved about on high. At B is shown the plan of a suitable arrangement for taking portraits by flashlight ; a reflector of white material is needed on the shady side of the face, or if there happens to be a white wall surface on that side it will serve the purpose. Whitewashed ceilings serve admirably as a top light, as they reflect down wards an enormous amount of actinic light when the magnesium is fired. The light is placed and fired at a point on one side of the camera, but slightly nearer than the camera to the figure, yet not so near, as to be included in the view ; the flash must not be reflected in the lens, or the plate will be fogged. By varying the posi tions of camera, sitter, light, etc., any number of different effects can be obtained in one room. If there is nothing acting as a reflector on the shady side of the sitter, it will be necessary to interpose a sheet of white tissue paper or muslin between the flash lamp and the subject in order to diffuse the light and obtain softness in the photograph. Frequently it is the nearness of the light as well as its low position that gives a ghostly effect to flashlight portraits. The diffuser is useful in the majority of cases, and although it stops a little of the light and may mean a few extra grains of powder, the results obtained will be softer and better. In group work, two or more lamps may be necessary, in which case one lamp should be much nearer to the group than the others (see C), all the lamps being fired at the same moment. Professionals frequently employ electrical arrangements to syn chronise the ignition when more than one lamp is in use. The near lamp serves as the main light, and the other as a kind of auxiliary lamp to assist generally and light up to a small extent what would be the shady side.
In flashlight photography all the gas, electric, and other lights may be left burning, as they do not much affect the plate during the extremely short exposure. If the image cannot be seen on the ground glass sufficiently distinct for focusing, the sitter or sitters can hold a candle or a lighted match on a level with the face, and the flame can then be focused. The plate is then put in, the
dark-slide shutter is drawn, and the cap taken from the lens or the shutter opened, the exposure being made by firing the powder or ribbon. Only that part of the exposure made during the burning of the magnesium need be taken into consideration.
One of the great drawbacks to the use of flash light is the immense amount of white smoke given off. All windows and doors may there fore with advantage be opened ; and the smoke of one flash must be got rid of before another exposure is made. The smoke is quite harmless. Some of the patent commercial mixtures cause less smoke than others, while some of the more expensive and complicated flash lamps have smoke-catching devices. A home-made smoke catching device is formed by placing the flash lamp in a large box stood on its end with its open side towards the subject ; after exposure the lamp is immediately taken out, the box closed with a cloth or tightly fitting lid, and the whole taken to an open window or outside and emptied ; but the arrangement prevents much valuable light reaching the ceiling and walls.
Outdoor work with flashlight differs but slightly from the above, but more light is required, and there is little or no trouble with the smoke. More powerful (consequently more explosive) mixtures, of the firework type, can be used, as the risk of danger to human beings is so much less.
Flashlight work is not confined to portraits, groups or evening work generally, but is of great service in illuminating dark corners in interiors, such as crypts, workshops, underground work ings, etc., in the daytime. For this purpose ribbon is better than powder, but care must be taken to keep the naked light and the smoke from it out of the view of the lens, with which object the flash lamp may be fired behind a pillar or something of the sort.
Any developer will, with care, serve for deve loping flashlight exposures, but as there is always a risk of under-exposure and harsh contrasts, little or no bromide should be used, and the developer should be diluted with water. The following hydroquinone-eikonogen developer has been widely recommended for flashlight expos ures, but metol-quinol and similar developers can be made to give equally good results : A. Hydroquinone . f oz. II I g.
Hikonogen . . „ „ Sodium sulphite . 2i „ 5 5 '5 ,, Hot water to . 45 „ r,000 ccs.
Dissolve the sodium sulphite, then the eikono gen, and finally the hydroquinone.
B. Sodium carbonate 2i OZ. 55.5 g• Hot water . . 15 „ 333 ccs• For use take 3 oz. of A, 1 oz. of B, and 3 oz. of water ; this forms a normal developer which should give a good negative in from eight to ten minutes.