Now for the modus operandi. 'We will presume that the work is being done in the evening. If in the daytime, do not have too much daylight in the room. Close the shutters and light the gas as if it were evening When making the exposure do not turn down the gas, but leave it lighted and burning brightly. Plenty of gaslight in the room will do no harm and will prevent the eyes from having that stare so often seen in flashlight The color and size of the room is an important factor in the result, and I would much prefer a medium size room like the ordinary sitting room or dining room and one with light colored walls and ceilings. This will give an all around diffusion of the light which will help greatly in softening the effect.
The first thing to be considered is the size of the flash sheet to be used and the placing of the light. Regarding the size of the sheet we must con sider the color of the subjeal, the color of the room and the distance of the light from the subject}.. For example, if our subjeel is quite fair, with light hair and white dress, and the room is of the color and size before mentioned, a No. i sheet would be sufficient, placed at about six feet distance. For medium complexion use No. 2 sheet, and for very dark, a No. 3, or put the No. 2 sheet a little closer. A greater distance of the flash from the subje1 tends to make a softer lighting and a lesser distance a bolder and stronger ; but about six feet I would consider an average distance. If it is desired to place the light eight feet away, a larger sheet must be used— say a No. 3 instead of a No. 2, and if it is placed closer than six feet, a smaller sheet will be better.
The light can be placed anywhere except within immediate range of the lens. Diagram A, page 63, illustrates where it can be placed, but where it is to be placed for each subjeCt will depend upon the wish of the operator, taking into consideration the features of the subjeCt and the style of lighting desired. There seems to UC a genes a luca among amateurs that the light should never be placed anywhere except behind the camera, as it might cause a reileCtion in the lens ; but I place my light anywhere, ex cept in the picture, and have never had any trouble from reflections of this kind. Another mistake I have noticed among amateurs is that they do not place the light high enough. If the light is six feet dis tant from the subje6t, it should be about three feet higher than the head of the sitter so as to give roundness and modeling to the face. Of course, this is subjeCt to excep tions, as in the case of a subjedt with deep set eyes and heavy eyebrows, or of a lad lnrry. hat
where it is not desired that the hat should throw a shadow on the face. In such case the light should be accordingly lower.
The illustrations presented herewith give an idea of the wide variety of lightings that may be made. Each of them is lettered with direct reference to Diagram A, and a careful study of the pictures in connection with the diagram is well worth while. In making portraits by the light from a window, the photographer cannot control his source of light to any extent. He may move only his camera and his sitter—by the flashlight method he has all conditions under perfect control—an especial advantage where one wishes to photograph the subject with some particular surround ings which happen to be in a part of the room where the window light is unsatisfactory, as in illustrations Nos. 2, 3 and 4.
Important helps toward making good portraits with the flash are a reflector and a screen. It is perfectly evident that unless some steps are taken to equalize the lighting on the two sides of the face the contrast will be too violent and the " chalk and soot " effects that are so undesirable will be likely to result. The use of a reflector to soften the contrast is perfectly simple. For a bust portrait where the subject is sitting down, a white towel thrown over the back of a high backed chair will answer admirably, the reflector must not be too low, however, as the reflected light coming up from below will have a tendency to " flatten " the shady side of the face. The reflector should also be kept somewhat forward of the sitter. Another excellent method of using the reflector, and one that is really necessary with standing figures in order to get it high enough, is to pin a small sheet or any light colored material over a drawing string of tape, that can be fastened across any part of the room with a couple of thumb tacks or Kodak Push Pins, so that it will occupy the desired position.
The screen (or perhaps it should be called the light " filter ") can be similarly arranged on another tape. This filter should be of cheesecloth, as nearly white as you can get it, and should be at least a yard square. Another method of using the filter is to tack it on a frame about a yard square and hold it in the left hand while the flash is lighted with the right —this latter method can hardly be used, however, where the S foot stick suggested in the fore going pages is employed as a flash machine.