Here we have three windows which we may call A, B, and C. A sitter directly opposite one of those windows, and very close to it, will be on one side of the face most brilliantly lighted, probably more so than in most photographic studios. The other side will, however, be in comparatively deep shadow, even if reflectors be used to the best possible advantage. Moreover, wher ever the camera be placed it will be impossible to get more than one-half of the face lighted.
If, on the other hand, the sitter be placed a little away from and behind the window, at such a position as D, the shadow will not be so deep in comparison with the light, and, moreover, it will be possible, by placing the camera anywhere between E and F, to get more than one-half of the face lighted. Therefore, at about D will be found the best position to place the sitter ; and for the style of portrait which is likely to be most popular with amateurs—that is, the head and shoulders —the best place for the camera will be a little on the F side of E.
Even with the sitter at D it will be found that there is too deep a shadow on one side of the face. It may not appear so to the eye, but a photograph taken as an experiment will prove it to be a fact. A reflector is therefore required, which is placed or held at about G. If the photographer can secure assistance, the very best reflector consists of a sheet held by persons standing on chairs. A slight degree of motion given to the reflector during exposure will somewhat soften the gradation from light to shadow. If the photographer has no assistance he must use either a light wooden screen with white paper stretched on it, or he may throw a sheet over either a clothes-horse or a folding screen. A little experience will show that practically the whole of the light which falls on the sitter comes through the window A, and that B and C may be entirely darkened without much altering the effect. On the whole, it is an advantage to do so. "False lights" are thus avoided, and there is less chance of dazzling the sitter.
Now, as to the other form of room. It will be found that the effects which can be procured by its means are superior to what can be obtained with the first men tioned. This especially applies to head and shoulder
portraits, the lighting of which will be quite as good as can be got in any studio. For these effects the sitter is placed at A, and the camera anywhere between B and C, according to the relative amount of light and shadow which is required. The reflector is used at D. For full-length portraits, either standing or sitting, the subject is placed at E, and the camera between C and F.
As to background something must be said. For mere head and shoulders, a quite plain background is, in most cases, to be preferred. The same is often suit able for half-length portraits hut is seldom so for full length.
At times, especially now, when distemper is so much used for colouring walls, the side of the room which is behind the sitter may make a good background. Possibly this may not be the case, however, and as no one tint is suitable for all cases, it would not do ever to rely on it. Still it may be used occasionally.
An artificial background is the best. The amateur can make one by stretching brown paper (sold in great widths and in continuous rolls as carpet-paper) on a wooden framework, and colouring it with distemper. Probably, however, he will find it best to purchase a background ready-made. He should have two different shades—a light one for vignettes, and a dark one for ordinary heads. Backgrounds are made with a suitable colour on each side, and go under the name of the Empire Background.
For full-length portraits it very often happens that one of the modern wall-papers makes an excellent back ground. No finer background can be had than a curtain, if of suitable colour, gracefully draped. In distemper the amateur may prepare backgrounds himself if he be sufficiently an artist. The carpet-paper is again good enough. It is stretched on a large light wooden frame, and the design is produced with distemper. It is made very sketchy with the gradation nowhere hard. It is to be understood that the background must be distinctly subordinate to the figure. Here again, in most cases, the photographer will find it best to purchase his backgrounds, either selecting from the stock of the dealer or getting it painted to order.