. The book of photography; practical, theoretical and applied. , which willdetract from the subject and, in somecases, even spoil the outline where it con-tains any fine detail. Moreover, the rough-ness of the surface easily catches the dust,which is always much in evidence in asculptors studio. A good-sized piece ofsheeting painted deeply with a mixture oflampblack and size will be found best,since it may be painted again as soon assoiled, and will not so readily take thedust. The background should be keptrolled up painted side inwards. Whenphotographing sketch models in clay thebackground ma
. The book of photography; practical, theoretical and applied. , which willdetract from the subject and, in somecases, even spoil the outline where it con-tains any fine detail. Moreover, the rough-ness of the surface easily catches the dust,which is always much in evidence in asculptors studio. A good-sized piece ofsheeting painted deeply with a mixture oflampblack and size will be found best,since it may be painted again as soon assoiled, and will not so readily take thedust. The background should be keptrolled up painted side inwards. Whenphotographing sketch models in clay thebackground may be much lighter, in pro-portion to the tone of the clay bronzes a light grey background ismost suitable, such as is generally em- ployed for portraiture. It should be bornein mind that considerable variation in thetone of the background may be made byturning it either towards or away from thelight. The difference, however, will bevery slight in the case of the dark back-grounds. It frequently happens that thesuiTOunding work will not allow of the. Fig. 793.—Ruled Focussing Screen. erection of a backgiound, and, as a con-sequence, other objects come in and spoilthe outline. In such cases these must beremoved in the negative, either by cuttingaway the other portion of the picture, or K^^yK/-^/^/^/^^^ AAA AAA^^X^ Fig. 794—FORTABLE B.\CKGROCND. else by blocking them out with opaquepaint or varnish, the former giving a blackbackground and the latter a white same methods must always be em-ployed when either an absolutely black orwhite background is desired. 690 THE BOOK OF PHOTOGRAPHY. Lighting the Subject. The photographer is practically tieddown to one kind of lighting, fancy effectsbeing, as a rule, out of the a piece of work has to bephotographed in such light that it will havethe same appearance as when fixed in itsproper position. For this purpose somemeans of controlling the light at closequarters is necessary. In a small sculp-t
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