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November ist, 1933
ing for HOME PORTRAITURE
sleeve, made to slide easily over the outside of the tin. The beam is narrowed by extending the sleeve.
A large number of lamps is unnecessary, as they may be changed from one arrangement to another. Most of my work is done with the four 100-watt lamps referred to before. Sometimes only two of them form the main source, while the others are used to provide reflected light. When additional lamps are required, they are “ commandeered ” temporarily from other rooms.
Cheap lamps, by the way, are a bad investment ; it is better by far to buy one of good make, such as Osram, than four of some of the cheap “ nameless ” varieties. If you doubt this, test your doubt — at your own ex¬ pense ! Another point of economy is that the lamps of
higher wattage are expensive to replace — it is less expensive to use a cluster of four 60-watt lamps than one of 250 watts, though more lamp¬ holders are re¬ quired initially.
W i t h fast lenses and S.S. panchromatic plates or films, wonderful things may be done with electric lighting, but a time expo¬ sure is usually necessary if the light is too weak. This is far better The second lamp. avoided, if pos¬
sible, as “ snap¬ shot ” work of \ second or less with a lens aperture of f/4.5 is far more likely to catch the expression wanted, and less likely to result in movement, or stiffness, of the subject. Why do we so rarely get " naturalness ” by the time-exposure method ? Because the result is most often composite — an overlapping of infinite changes of expression (or position) during the period of exposure.
The only virtue of short time exposures is that they permit full exposure, which is essential. The same thing may be effected by increasing the strength of the lighting'. Increasing its nearness is not the same thing at all — it results in over-exposed high-lights and under¬ exposed shadows.
Th{ amateur photographer
P b CINEMATOGRAPHER a
Taken with one source of light and white reflector.
For this type of home portraiture a focussing camera used on a tripod, or a reflex on a similar support, is undoubtedly the best for the purpose, but with the modern ultra-rapid panchromatic plates and films that are now available practically any type of camera will give a good rendering of these subjects, the exposures being entirely governed by the largest available stop aperture.
With the lighting installation that has been described, there is no doubt that the modern miniature camera with a lens working at f/3.5 or larger, and extreme speed pan. film, would enable exposures of 1 /5th or i/ioth of a second to be given with satisfactory re¬ sults. There is no reason, also, why the lighting that has been described should not be further augmented to give still greater illumination and
make shorter ex „ „ „
• A. Sitter. B. Camera. C. Mam lamp. D. Reflector.
pOSUreS possible . £. Secondary light. F. Background.
Plan of lighting for above portraits .
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