Now place the sitter once more near the window, (diagram D), the camera being at (b), the effect will be as in figure VI. In order to soften the strong direct light it is well to pin a piece of butter muslin across the opening of the window ; the effect of doing this will pro bably be much more noticeable in the re sulting negative than it will be apparent • to the eye, at any rate to the untrained'eye.
In these few examples, some idea can be got of various lighting effects possible under the most simple conditions. How often has one seen it said that the student should make a series of similar experiments for himself, and it would be interesting to know how often this advice has been followed. It remains, nevertheless, the fact that by no other means can so rapid improvement be made, provided the experiments are conducted with ordinary common sense. Going through the few examples which we have made, we find that the characteristics of a person can be accentu ated according to his position relatively to the light and to the camera. There is no secret in successful photography. It is a matter of common sense and principles, applied with judgment.
For instance, in the case of old people with well accentu ated features, a soft light would be employed in order to avoid too great hardness and heaviness. But in the case of young people, where the face is full of " unwritten promise," a stronger and more accentuated light would be used in taken under these conditions. The position of the camera and sitter was the same as in diagram B (illustration No. IV.) and a comparison in order to see the difference made by the second window is instructive.
More interesting effects can be obtained by photographing the sitter against the light. If the sitter were placed in a direct line between the camera and the window, the face and figure would appear almost as a silhouette, and much too dark and hard, against the light behind it. A more pleasing effect will be obtained by placing the sitter a little away from the two windows. The figure is now lit from behind at an angle, and the profile stands out in fine relief against the dark wall. The effect is clearly shown in No. VIII. and diagram F. The sitter is placed between the camera and the corner of the room and the lens is pointed towards the light. To diffuse an otherwise too hard light the muslin curtains were drawn.
T order to avoid weakness. Now, suppose that we have two win dows ; if we place the sitter at g (diagram E) the light will be received not only from the side window nearest to him but also in a more diffused form from the distant window, and thus will fall on the shadow side of the face and result in a soft harmonious light. Portrait No. VII. was
Effects like the above may be resorted to in special cases, but they should be an exception rather than a rule. The treatment requires judgment and, what is intended as a subtle variation only, may easily become a bore and lead to a mannerism. It should be our endeavour to develop in all directions and never to allow ourselves to be limited to any special form or effect. It must be remembered also that such a pronounced form of lighting may destroy the likeness owing to the somewhat unusual conditions.
Under ordinary circumstances the eye of the beholder will not rest comfortably on the face of a friend when the latter is placed in front of the source of light ; and when the result of such a lighting is seen in a photograph, it is at once considered extraordinary, although possibly beautiful in effect. (See illustration " Maud Allan—a study in tones.") Posing and lighting, these two factors are most important, the one depending on the other. It is the duty of the portraitist to make a true and sincere picture of his sitter, and to do this he must avoid any attempt at "posing" as it is ordinarily understood. The subject must be arranged with taste, and the most perfect result will be obtained by the man who understands how to combine natural charm with truth. We would submit that success does not depend so much on the following of certain fixed laws of composition, as in the innate sympathy which must exist between the photographer and the sitter, sympathy which will be apparent by an increasing ease and naturalness, resulting in the true individuality of the sitter being duly expressed. Even the most experienced photographer cannot do much, if all he has is mere knowledge of the rules of composition. Nature must come to his assistance. Compo sition alone and study of effect on preconceived lines can do nothing. One may succeed in getting harmonious effects, but will at the same time lose the " soul " of the sitter, the one thing necessary in a portrait. It is of great help to study the work of others in this respect and to endeavour to see what it is that gives to a picture the attributes of success ; and then to compare it with one of our own pro ductions, and endeavour to find out in what respects the latter is lacking. Such an exercise is of great assistance for the purpose of strengthening the artistic perception, but, of course, if we are slavishly copying, we are not only untrue to nature, but we are stealing another man's ideas, and worst of all, putting a limitation on ourselves.