Wilson's quarter century in photography : a collection of hints on practical photography which form a complete text-book of the art . UNDER THE SKYLIGHT. 113 violently; that it is not under the quick control of the artist, and shouldtherefore be used with extreme caution. Of course, this is a good suggestion,especially when the screen material is white and the direct light intense. Thecolor should be governed by the studio in which it is used. Thought and caremust be given to all of these things. To prevent harsh reflections, several forms of reflectors have been presented up and down like a w
Wilson's quarter century in photography : a collection of hints on practical photography which form a complete text-book of the art . UNDER THE SKYLIGHT. 113 violently; that it is not under the quick control of the artist, and shouldtherefore be used with extreme caution. Of course, this is a good suggestion,especially when the screen material is white and the direct light intense. Thecolor should be governed by the studio in which it is used. Thought and caremust be given to all of these things. To prevent harsh reflections, several forms of reflectors have been presented up and down like a window-sash, within another frame about six feet high, which standson legs like any background-frame, thus enabling one to throw the light up or down asthe case may be. On the back of the outer frame I have a black curtain of calico whichcan be drawn across the outer frame to cut off all reflection except from the reflectoritself. When the light is strong I hang a piece of tarletan or other gauzy material overthe face of the reflector to soften it. See Fig. 124. Fig. You would be surprised, upon using this contrivance, at the pretty effects that can beproduced by it. I am working by a small sky- and side-light, and I find it are many useful effects which can be produced by it by using differently coloredgauze over the reflector. For instance, for a round, smooth, light face and light hair,a buff color gives pretty shades, greater strength or contrast in the negative. For sharpfeatures, sallow or tanned, a blue color is useful. The inner frame can be fastened atany point desired.—M. M. Griswold. In making Rembrandt pictures the usual routine of operations is abandoned andreversed. Instead of at the side of the subject nearest the camera, the main light comesfrom behind the sitter, as it were, or falls upon the side of the subject from the camera,the side toward the camera being in shadow. To get detail in this shadowed side it is 8 114 Wilsons quarter
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Keywords: ., bookcentury1800, bookdecade1880, bookidwilsonsquart, bookyear1887
