The ridge form has the advantages that it is easy of construction by the ordinary builder ; that almost any width can be covered by it ; that it gives plenty of headroom for the easy moving about of backgrounds (the square in each diagram represents an 8-ft. stretched back ground), and that its roof may be made almost of any patch desired. That in the diagram is at an angle of 45°, in which case, however, unless erected in a sheltered position, it would require a sun-screen on the ridge, at least, at midsummer. By making the slope of the roof 6o°, and putting a flat on the top, this could be avoided, and the size of the roof be kept down, but in that case the " single slant " form, as shown in the last diagram, would be preferable. One of the defects of both the lean-to and the ridge forms of a roof is, that as ordinarily constructed, it is frequently necessary to make the wall plate at the eaves of such dimensions that it becomes a positive obstruction to the light, cutting it in two, and so producing a double high-light in the eye of the sitter which has to be either taken out by the use of the knife on the negative or by that of the brush on the print. In those two forms of studio, also, there is the necessity of having two complete sets of blinds, which when both dark and light ones are used, as is most generally desirable, involves a great complica tion of cords, wires, and pulleys, to distract the attention of the operator. For these reasons and others, the single slant form of studio has of late obtained. Of course, like most other things, the single slant studio is not absolutely perfect, it being sometimes not easy to get quite all the top light required, and, unless it is wide enough for one to work across it, it is not altogether a good studio for copying ; yet for a fairly wide design, in which case there is also obviously more head room, it is a capital form for general portrait years come more and more into favour, and with it, when roofed to an angle of 6o°, the direct rays of the sun are excluded ; there is no trouble with snow or leakage ; the glass is easily cleaned both inside and out ; and with opaque blinds pulling down from the top and up from the bottom, on spring rollers, and a series of transparent ones running on horizontal wires within, all varieties of lighting can be easily work, and is generally considered the best and most modern form of construction.
With regard to the diagrams F, G and H, it may be noted that the dotted lines to the right enclose between themselves and the base or ground line, an angle which may be subtended by adjacent buildings without the latter obstruct ing much, if any, of the lighting of the studio itself. In neither of the forms of studio shown is it necessary to carry the side lighting down to within less than 3 ft. from the floor, and in most single slant designs 4 ft. 6 in. will be found quite sufficient. Neither in any studio, unless it be very short indeed, is it necessary to carry the side of top light right to the ends, from 3 ft. to 5 ft. at the extremities being preferably built solid to admit of the shading of backgrounds and the getting of a dark atmospheric space behind the sitter when required.
The length of the studio may be anything from zo ft. to 35 ft., less being too short for the use of ordinary portrait lenses for full length figures, and a greater amount being of not much real practical use. A good amount of width is, how ever, always an advantage. A very fairly pro portioned studio is one in which the width is rather more than half the length. As regards height it must be remembered that all tie rods and similar obstructions must be at least 9 ft. from the ground to allow of the movement of strained backgrounds beneath them ; also that as the intensity of light decreases in the ratio of the square of the distance from the source, a very high studio may have a disadvantage in that respect.
The glazed portion of the studio should be executed in one of the many forms of patent glazing without putty which are now on the market. Clear glass is desirable in most positions,
as transmitting most light, but if the situation is overlooked, or necessarily of such an aspect as to receive the direct rays of the sun, some kind of obscured glass may be used, the varieties known as rolled and fluted plate being those which stop the least amount of light.
In planning a studio, the entrance doors and those of the dressing-room and dark-room should, if possible, be kept in the unlighted side so as not to interfere with the use of both ends, which may with advantage be fitted up as permanent fixed backgrounds, with plain or papered walls, Lincrusta or other relief work, panelling, tapes try, or whatever form of artistic decoration, suitable for backgrounds, that the taste of the designer may suggest. In the matter of studio decoration generally, light and pleasant tints, such as warm and delicate greys and greens, may be recommended, but heavy and sombre colours should be avoided as absorbing light ; strong reds and yellow are unsuitable on account of the non-actinic character of the light reflected from them.
A good smooth floor is, of course, a necessity to facilitate the easy movement of cameras, furniture and backgrounds, and if a stained and polished or parquet floor is not attainable, the best covering for an ordinary one is good inlaid linoleum, on which a few good rugs will produce a pleasing effect. D. B.
Studio Blinds.—The amount and direction of the light admitted to the studio is usually regu lated by means of spring-roller blinds, of dark blue or dark-green lining. It is advisable to have a double set for all the glazed portion of the studio, overlapping after the manner shown in the illustration. One set, A A, should draw from top to bottom in the ordinary way, while the other, B B, is arranged to pull up from bottom to top by cords passed over pulleys, y P, and carried down again, the free ends being then fastened to brass hooks, ia a. The number of blinds required will depend on the size of the glazed portion, which need not be of very large extent. They should not be too wide, or the lighting will be less under control ; about 2 ft. is a convenient width. Where there is a good unobstructed light, white calico blinds are frequently fitted underneath the dark ones, to secure any desired degree of softening. Many workers prefer, instead of this, to have loose white muslin curtains running on wires behind or in front of the dark blinds ; while another alternative is to paste white tissue paper on the glass, or to glaze the studio with ground glass. The last two methods have the disadvantage that they may obstruct too much light on dull days. When it is not desired to incur the expense of blinds, dark curtains made to run on wires or rods may be substituted.
Greenhouse as Studio.—Generally, a greenhouse is glazed on two, three, or four sides, and pro bably down to within i ft. or so of the ground, thus admitting light all around the figure. It is necessary to block out all unnecessary light by gluing Willesden waterproof paper, or similar material, on the inside of the glass. The choice of aspect depends on whether the studio is to be used most frequently in the morning or in the afternoon ; if the former, choose a western aspect, and if the latter, an eastern aspect. If the studio is likely to be used at any time, heavy opaque blinds should be provided for each side ; or one set of blinds may be made to do duty for either side as required by simply changing over the cord. The opaque blinds and the interior of the studio may be painted a light grey colour. Spring blinds are best for the roof, and two sets will be required, each blind being about 2 ft. across ; one set should be of a dark blue (not a green-blue material), and one set of white calico. To regulate the light from the side, dark blue blinds on small brass rings, suspended from a wire, can be used.