The Dictionary Of Photography

A True Historic Record Of The Art & Practice Of Photography 100 Years Ago.

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side of his face is brightly illuminated, but the other has a heavy black nose shadow, and the one ear is hardly to be seen. Now let the chair be moved back from the window about five or six feet, and the same operation be gone through, when it will be seen that there is less contrast between the light and shade, and we know we can further reduce this contrast by the use of reflectors. More is to be learnt by thus figuring about and admiring yourself and features in various attitudes and positions as regards the window, than any amount of reading how to do it; but still, for the instruction of those who like everything illustrated, the following diagram (fig. 108) will be of assistance. a and b are two windows; b should be blocked out entirely by blinds, or curtains, etc. The softest and most harmonious lighting may be got by placing the sitter about s, and the camera
placed about c or H, according to whether profile or full face be required. For full lengths the camera will have to be placed about E. Now for a few general hints on lighting, etc. Never put your sitter at F in the above diagram, or directly opposite the window and the camera in the window recess. Full-front lighting makes any face look like a plain, flat piece; there is no relief, no roundness, no shadow. Another important point is the character of the face, and the way this can be altered by varying the position of the camera and lens. Let us take, for instance, a long, thin, cadaverous face, with abnormally long upper lip, and sharply-defined septum of the nose, with rather receding nostrils. Now let us place the lens level with the nose, and what do we see ? Why, the lip and nostril natural, it is true, but too long and too prominent. Placing the lens so as to slightly look down on the nose and lip reduces