4 8 



RECREATION 



dow and the room, and our meaning* 

 can easily be grasped. 



Third: Have the subject face direct- 

 ly away from the window, turning his 

 back full to it. 



Fourth: Have the subject begin to 

 turn back slowly to the light and con- 

 tinue turning* until he reaches the Doint 

 where a little touch of light is about 

 to come on the shadow ear. I mean by 

 this the ear that is on the side of the 

 face away from the light. Do not al- 

 low the light to quite reach the ear, 

 but have him turn as far as is possible 

 without getting it on the ear. 



Fifth : Look at the shadow that is 

 cast by the nose. This shadow should 

 run from the nose downward toward 

 the corner of the mouth. If it does it 

 indicates the fact that the light is fail- 

 ing on the subject from an angle of 

 about 45 degrees, which is considered 

 the proper direction for light to fall by 

 the best workers. 



But if the shadow from the nose 

 should fall directly under the nose to- 

 ward the centre of the mouth it shows 

 that there is too much top light, or, in 

 other words, "the light is falling from 

 too high an angle. To overcome this 

 and make the light take the right di- 

 rection move the subject farther from 

 the window, and proceed as before, un- 

 til we reach the fifth step. 



But if the shadow from the nose 

 should fall away from the nose above ■ 

 the corner of the mouth across the 

 shadow cheek, it shows that the shade 

 on the window is too low, which al- 

 lows the light to fall on the subject 

 from a point below the top of the head. 

 This, we remember, destroys modeling. 

 The shade should be drawn slowly up- 

 ward, the operator watching the shad- 

 ow all the time, and when it is seen to 

 take a turn down to the corner of the 

 mouth the direction of light is correct. 



Sixth : Look at both * eyes, and if 

 there is a small dart of light shown in 

 them well and good. But if there is a 

 dart in the light eye and not in the 

 shadow eye, it is because the subject 

 has not been turned quite far enough 



to the light. But if there is a light in 

 the shadow eye and none in the light 

 eye it is because the light eye is smaller 

 than the other, and all that can be done 

 is to work in the light with a pencil 

 after the negative is developed. 



Seventh : Look at the highest light 

 on the face which is over the light eye, 

 and if it is so bright that the flesh can- 

 not be seen in it a while cloth should 

 be hung over the upper sash of the 

 window, so that all light will have to 

 pass through it to reach the subject. 

 This gives what we call "diffusion/' 

 which means that the light is softened. 



Eighth : Look at the deepest shadow, 

 which comes at the corner of the mouth 

 on the shadow side of the face, and if 

 the flesh cannot be seen in it there will 

 have to be some reflected light used to 

 illuminate it. To do this take a white 

 cardboard in the hand, and, while the 

 exposure is being made, reflect light 

 into the shadow until the flesh can be 

 seen. 



Ninth : Place the camera at the 

 point to secure the view of the face 

 desired. In the case of our illustra- 

 tion the camera was stationed just half 

 the distance from the window that the 

 subject was posed. In other words, the 

 subject being four feet from the win- 

 dow the camera was two feet. 



Tenth : Give plenty of exposure, but 

 do not think it will take so very much 

 longer than if made by the operator's 

 large sky light, for the difference will 

 be very slight. In the case of the large 

 light the subject will be posed farther 

 from it than is the case with the win- 

 dow. So that in posing farther away 

 it will take almost as long. This sit- 

 ting of Mr. Warner only required an 

 exposure of three seconds, and it was 

 made on an n x 14 plate. 



Eleventh : The choice of a back- 

 ground for the subject is largely a mat- 

 ter of personal opinion with the op- 

 erator, only let it be of a quiet nature. 

 Grounds showing figure work are to 

 be avoided, for the reason that they de- 

 tract from the subject, which should 

 never be. 



