RKMBRANDT LKiHTINC 



3 T 3 



smaller than the other, and the curtain on 

 the light will have to be lowered just a trifle 

 or until the light comes into the light eye. 

 These little darts of light are absolutely 

 necessary to the making of good work. 

 They give expression to the eyes, making it 

 possible to tell whether they are brown, blue 

 or black. Without them all eyes look the 

 same color, and none of them have the life 

 we like to see in pictures. 



Seventh — Next look for the shadow that 

 should fall from the nose. This we call the 

 "cast shadow," which means it is cast from 

 the nose. This shadow denotes the direc- 

 tion your light takes in falling toward the 

 subject, and the direction is a very impor- 

 tant matter. The more this shadow extends 

 under the nose the more top light is being 

 used. That is, the top light falling on the 

 subject is in excess of the side light, and will 

 cause heavy shadows under the eyes and 

 under the nose and chin. These shadows 

 should be lightened up, and the only way to 

 do it is to use more side light. To get more 

 side light, the curtain on the window must 

 be lowered a trifle, or until the shadow from 

 the nose takes a direction more across the 

 shadow cheek. 



Eighth — If the shadow from the nose 

 runs across the cheek, in almost a horizon- 

 tal line, it indicates that the curtain on the 

 light is too low, and that there is too much 

 side light. Draw the curtain up until the 

 shadow from the nose takes a more down- 

 ward course. The idea is to work the light 

 so that it will fall on the subject from an 

 angle of about 45 degrees. 



Ninth — Now look to the shadow on the 

 shaded cheek. If this shadow joins with the 

 cast shadow from the nose, it is because the 

 subject has not been turned far enough to 

 the light. The effect of having these two 

 shadows join would be a spot of light 

 directly under the shaded eye, and the rest 

 of that side of the face being in shadow 

 would give a " spotted" lighting. The sub- 

 ject should turn until these shadows barely 

 separate. 



Tenth — Look into the very deepest 

 shadows in the face, and see if you can see 

 the flesh, and if there is detail in the drap- 

 eries. If there is any doubt about your 

 being able to tell that the face is flesh, or if it 

 looks so dark that it might be leather, or 



painted over with lamp black, there must, be 

 a reflector used on the shadow side of the 

 figure. All that is needed is a white card 

 measuring about 16 by 20 inches, and this 

 can be held in the hand while the exposure 

 is being made. This card must be SO 

 manipulated that it throws a faint light into 

 the shadows. This must be done carefully, 

 as to overdo it would destroy the modeling 

 of the face. Work the card back and forth 

 until you are satisfied that you have the 

 correct value of reflected light, before 

 exposing the plate. All that is wanted is to 

 see the flesh through the deepest shadow 

 on the face. 



Eleventh — Walk over on the shadow side 

 of the subject and you will have the Rem- 

 brandt effect of light. Any position can be 

 made of the face that is desired. But make 

 the lighting first, and afterward choose the 

 view of the face. But the camera should 

 always be on the shadow side of the subject. 

 Refer to the sketch again, and the position 

 of the camera can be seen, as it was placed 

 to make our illustration. 



The exposure on such a lighting should 

 be about three times as long as would be the 

 case if the camera was on the light side of 

 the figure. The more shadow we show in 

 our pictures the more exposure we should 



S ive \ 



It is the same in making two views of a 



house. If we have the light falling full 



against it, and make one view giving 



one-twenty-fifth of a second exposure, and 



then make another of the same house, only 



having the camera on the shadow side of it, 



we should give much longer time. 



Now, just a word about the developing of 

 Rembrandt effects. The developer should 

 be weaker; that is, more water should be 

 added. Leave the ingredients the same, but 

 add about twice the amount of water that 

 has been used for broader effects of light. 

 This makes the developer work slowly, and 

 allows the shadows to come up fuller in 

 detail. Neither should a lighting of this 

 nature be carried so far in the developing 

 solution. Leave off just a little sooner than 

 you would for a broad lighting. 



After the plate is fixed, examine it care- 

 fully, and if the highest lights on the face are 

 rather stronger than you like they can be 

 made still softer, in the next attempt, by 



