PORTKAITS IN PHOTOfHiAFflY BY rm A;n of BY 0 PORTRAITS IN PHOTOGRAPHY BY THE AID OF .... BY . . Each photograph reproduced in this book bears its own copyright and must not be infringed upon. COPYRIGHT 189S, BY F. W. GUKRIN. PREFACE. FTKR frequent requests by many prominent members of the photographic fraternit}^ for some knowledge, or a treatise upon my method of securing portraits by the aid of flash light and photography, and after some consideration as to whether I was capable of doing myself justice in giving an explanation to an investigating people, I have been persuaded by my nearest friends and acquaintances to sub- mit to the members of my profession this simple but com- plete work upon the one subject, viz.: Portraits by the aid of Flash I^ight. I have endeavored to make my explana- tion brief and plain, in or.ler that their interpretation would be thorough. Fraternally, K. W. GUKRIN. MR. F. W. GUERIN. LOOKING BACKWARD. PART I. Fifteen years ago, if I could have possessed the knowledge of the correct methods of using the flash- light in portrait photography that I do to-day, I could have made an independent fortune alone by the aid it would have given me. About that time I first be- gan to make large photographs direct, to be sold by the different art and picture dealers of America. My best friend and helper in those days was a very large Hermatage portrait lens, which allowed me to make (what I considered then) very short exposures ; for instance, with the largest opening, an exposure of from three to four seconds was about the shortest time I could use and feel safe of good result, photo- graphically and otherwise. Then, from the fact that the lens had been worked at full opening, the diffu- sion was too great in the majority of instances. A great many photographers cling to the idea, and also TRY to make themselves believe that great diffusion is most artistic, and some fkw will even insist that the largest portion of the picture must be out of focus. If such is true art, all well and good, but I prefer not to be quite so narrow. For landscapes, at dusk or dawn, for views at great distances, storm scenes, interior supposed to be faintly lighted, and a few other condi- tions that exist under certain circumstances, a certain amount of diffusion is necessary to bring out the true meaning of the picture, but in the majority of in- stances I work to secure a general sharpness to my pictures (not a wireness), but well-cut drawing with as much ease of gradation as possible. Many large plates and much time was wavSted with the old method of daylight and time exposures. And then many of the best pictures I made were lacking in action, a feature most essential in attracting interest for the picture. My brain was inventive, but many of my best ideas had but short lives on account of the great handicap that was placed upon me in the way of time exposures. When the flashlight machine finst made its appearance I was among the foremost to investi- gate its claims. And among the many examples of photographs made with the different machines and powders, I found very few, if any, that were what I considered really good, or had the appearance of be- ing made with daylight ; .some had the appearance of being made out of doors in a world of light, others the appearance of being lighted through a scuttle hole, and many looked weak and muddy, with dirty faces and large staring eyes, as though the subjects were gazing full into the face of a bull's-eye lantern. These effects I could not tolerate, consequently I took very little part in flashlight photography until I made many experiments in my spare moments. I finally came to the conclusion that to succeed at all I must follow the same method in lighting by the aid of flashlight as I had previously done in my efforts with daylight. To fathom this theory and reach its ends I began with new trials and experiments. As to how well I have succeeded, I leave the proofs and all other evideuce in the hands of the photographic fra- ternity, and abide by their verdict. I will try and give my instructions as how to use the flashlight to the best advantage, in as few words as possible, and will depend upon the illustration and my refer- ence to them to enlighten the minds of the readers of this work, all reference and instructions are placed in the form of short 7iotes in order to be thoroughly inde- pendent of each other and consequently not confusing. The illustrations numbered icq, ioi, 102, 103, 104 and 105 are from 8 x 10 plates of photographs made at the time of exposure of some of the larger photos. They will surely answer the purpose for which they were intended, i. e. to show the position of subject, light, camera, reflector, etc., at the time of sitting. Inasmuch as the reproductions herein are self- explanatory to an experienced photographic eye, I will endeavor to go into details as to how each picture was made, giving full instructions in regard to a few, and simply referring to the others. FLASH LIGHT PORTRAITS. 9 No. r. KISS ME " Was made with the flash-lamp five feet above and directly back of the subject; one end of the light came flush against the top of background; the re- flector was used in the ordinary way, six grains of powder being used in each of the thirty-six cups of the flash-machine (mention of diaphragm, lenses, developer and plate on another page). The day that this negative was made was very sultry, and I feel justified in making the statement that it would be impossible under the same circumstances to secure such results without the aid of the flash-light. lO FlvASH LIGHT PORTRAITS. No. 2. AIvONE AT LAST " Was made same as No. i, with the light above subject about eight feet, slightly in the rear, and the end of light touching background. The cut No. I02, on page 44, was taken at the time of exposure and illustrates how this negative was made. FLASH LIGHT PORTRAITS. ii No. 3. ''THE DIZZY WHIRL" I consider one of my best productions and was made as follows: The background was laid over on its side, the sub- ject was reclining on a board held in position by an iron rod which protruded through the background; the board was sus- pended about four feet from the floor, the subject laying at full length upon the board ; one side of her hair and dress would naturally hang down, the other side of dress being held up by subject. The flash in this instance being about four feet from the top of the head and raised a little above the figure, thereby giving the effect when in a perpendicular position as herein shown, of the average broad lighting; exposure, six grains of powder to each of the thirty-six cups. FIvASH I.IGHT PORTRAITS. No. 4. ''THE QUAKER" Was produced same as No. 3, the difference being that the subject was laying on her back on the board, which was suspended four feet from the floor, her knees extending upward ; the dress, being weighted, drops down below the subject, thereby pulling tightly around and over the knees ; the wheel was suspended by wires from the ceiling. After the negative had been developed and dried, the spokes of the wheel were removed by the retoucher, thus giving the appear- ance of very rapid movement. The flash machine was used exactly the same as for picture No. 3. FLASH LIGHT PORTRAITS. 13 No. 5. "TKMPKST" For this portrait the subject was lying on her left side on a small couch in this position. The hair natur- ally drops down, giving the effect of a strong breeze. The flash machine was placed just a little higher than the subject, and about one foot from her feet as she lay at full length on her side, thus giving the effect of the light coming from below when the picture is held in a perpendicular position. To better under- stand, hold the picture in horizontal position; this will give you the position of subject when picture was made. "MARY MARBI^e;." For description seepage 15. FLASH LIGHT PORTRAITS. 15 No. 6. *'MARY MARBLE." This picture shows what beautiful definition can be produced by flash-light in white draperies, at the same time preserving perfect gradation in the flesh tints. In making this, as well as all other heads, the flash ma- chine was placed about six feet from subject, the reflector used in the ordinary way, and the exposure was six grains of powder in each of the thirty-six cups. For illustration see page 14. No. 26. WHAT CARE I ? " This effect was secured by the machine being placed over top of background, a little to the left and about five feet from the subject, 710 reflector being used. For illustration see page 35. i6 FLASH LICxHT PORTRAITS. No. 7. **KTHKIv WINTHROP.'^ This portrait is given to illustrate what can be done with dark and heavy drapery. The material of the waist as well as that of the hat was the darkest of green plush velvet, which is very apparent in the portrait. The manipulation was the same as in No. 6, only the exposure was eight grains of powder in each of the thirty-six cups. FI.ASH I.IGHT PORTRAITS. 17 No. 8. '^THE CHOIR." This group was taken at 9 p. ni., the lens being stopped down to one-half inch opening. The dis- tance of the front of camera from the foremosi: figure of the group was sixteen feet. The flash machine was supported at the top of a ten-foot step-ladder and placed about ten feet forward and to the left side of the group. The expOvSure was twenty-four grains of powder to each of the thirty-six cups of the Williams' machine. Cut No. 105 was taken at the instant of the flash and shows the general arrangement. i8 FLASH UCxHT PORTRAITS. No. 9. ^'BY MOONLIGHT ALONE." The flash machine in taking this picture was placed directly over the left hand corner of the background and about eight feet from the subject ; exposure, six grains of powder to each of the thirty-six cups. FLASH I.IGHT PORTRAITS. No. 10. "IN HIS LIBRARV." The surroundings in this picture being dark, eight grains of powder was used in each of the thirty-six cups, and the machine placed five feet from and a little back of subject. 20 FI,ASH LIGHT PORTRAITS. No. II. *'MAUD DURBIN." This picture was produced same as No. lo, but five grains of powder to each cup being used, as white drapery requires less powder. FivASH LIGHT PORTRAITS. No. 12. WHITBBCK." In making this picture the machine was placed as close as possible to the subject in order to secure fuller illumination and less contrast, six grains of powder being used in each cup. 22 FLASH I.IGHT PORTRAITS. No. 13. ^'SNOWDEN WARD." Occasionally we have a subject that closes the eyes at the very instant the flash is made, but this very, very seldom happens. When this exposure was made Mr. Ward (who is familiar with all photographic methods, and was consequently conscious of what was going to happen), closed his eyes. To a great many the negative would have been worthless, but with the skill of my retoucher I produced other eyes for the subject without even slightly changing his expression. See explanation on another page. FI.ASH LIGHT PORTRAITS. ■ ■ ^^^^ ■% mm No. 14. CHARITY." For this head eight grains of powder were used in each cup, the light placed well back and a little far- ther from subject, which gives greater contrast and stronger effect of direct light. 24 FivASH IvIGHT PORTRAITS. No. 15. ROUNDING THB HORN." Taken while subject leaned forward in order that the hair may fall forward as shown in picture, the machine being on the left side and slightly raised above the subject. The ground, boat, and subject were all leaning at an angle of about forty-five to fifty degrees. FLASH LIGHT PORTRAITS. No. i6. *'THK REHKARSAIv.' To produce this effect the flash machine was placed a little higher than for single figures, say- about nine or ten feet from subject, and an exposure of seven grains of powder to each of the thirty-six cups. 26 FIvASH LIGHT PORTRAITS. No. 17. AU REVOIR." The flash was placed in same position as for No. 16. This picture shows the advantage of the flash light in securing action and expression in your large work. Exposure, six grains of ''lyUxo" flash powder in each of the thirty-six cups. FLASH LIGHT PORTRAITS. 2/ No. i8. ^'BEATRICE McKENZIE." It is only upon rare occasions that I use a screen between the subject and the flash, but in this instance a side screen was used, the curtains on screen being separated just enough to illuminate the subject with direct light through a small opening, ten grains of powder to each cup being used on account of the dif- fusion caused by screen. 28 FLASH I^IGHT PORTRAITS. No. 19. ''FIRST LOVE." In this picture is shown that natural childish ex- pression, caught upon each of the subjects at the same instant, something that would be next to impossible without the aid of the flash-light. The light was used same as usual. FLASH I.IGHT PORTRAITS. 29 No. 20. ''SWB^T CHlIvDHOOD." We can also include in this reference, Morning Glory," **Ouch, Don't," and ''Good Morning." Any photographer with years of experience knows how difficult a matter it would be to photograph these five subjects with the aid of daylight alone. And if accomplished at all, must be after many plates and much time had been wasted. Then what about the ex- pressions? These four pictures were each made in the usual way, i. e.: with the lower arm of the light about six feet from the floor, and the Williams machine about four feet directly to one side of the subject ; exposure, six grains of powder in each of the thirty-six cups ; reflector, as you would for day- light. 30 FLASH LIGHT PORTRAITS. No. 21. "A MORNING GIvORY.' FLASH LIGHT PORTRAITS. No. 22. GOOD MORNING. 32 FI.ASH LIGHT PORTRAITS. No. 23. *'OUCH! DON'T FI,ASH LIGHT PORTRAITS. No. 24. BABES IN THE WOODS." This picture I do not believe could be made with any other light than the flash and obtain good results The expression of child was not assumed for the occa- sion, but was perfectly natural, for when I was all ready to make the exposure, my assistant, who was on the floor behind the child, pricked the little one with a needle, consequently the expression followed by an instantaneous exposure. Light used in the usual way. FLASH IvIGHT PORTRiVlTS. No. 25. **THE FLYKR." I take the greatest pleasure in producing studies of Child Life^ and in this particular work the flash-light is of the greatest benefit, allowing as it does, the opportunity to catch an expression when the features of the child are the most pleasing, and when the figure is in action. *'The Flyer" was taken against a 6x8 foot background, four feet of the lower part being spread over boxes, raised as shown in cut No. 103 on another page. The wagon was held in position by wires running through the background and fastened to the floor in the rear. The spokes of wheels were removed by retouching after the the negative had been developed and dried, thus giving it the appearance of being in rapid motion. The flash was raised at an angle of about forty-five degrees and placed about four feet from and directly at side of subject. No. 26. 'WHAT CARE I?' For description see page 15. 36 FLASH LIGHT PORTRAITS. No. 27. "IvAURA MII.LARD." The light was placed more to the front of subject for this picture than is usual in most of my work; this of course gives more front illumination with less shad- ows and less boldness or relief. FLASH LIGHT PORTRAITS. 37 No. 28. "MILKMAID." Cut No. loi, on another page, illustrates how this effect was produced, the lower arm of flash machine being about six feet from floor. 38 FivASH I,IGHT PORTRAITS. No. 29. ''THE DANCING LESSON." In this picture the left foot of the lady was resting upon a small support, which was removed by the retoucher. The flash machine was placed about six feet from the side of the subjects and raised to the usual height (ten feet) for group. The rest under the foot can be a thin strip of wood, metal or glass, the latter being the best. FLASH LIGHT PORTRAITS. 39 ''TILLIE CRAMER." No. 30. For this portrait the subject was leaning against the background, the light being about five feet to the left and three feet above the subject. 40 FLASH LIGHT PORTRAITS. No. 31. *'THE FISHERMAN'S PRIDE." In this picture the flash was placed the same as for any of the plain or broad lightings, about six feet above and to the side of the subject, the white re- flector being placed about eight feet from the opposite side. The ribbons, scarf, apron and dress were fast- ened to wires and drawn to the side, thus giving the effect of a breeze. FI.ASH LIGHT PORTRAITS. 41 No. 32 ''NYMPH." This subject was in a reclining position on her back, the harp being suspended by wires and held in position by subject. The machine was placed over the subject and above right-hand corner of back- ground, the cloud effect in corner being part of the flash. 42 FI.ASH LIGHT PORTRAITS. No. 33. ^'MASONIC GROUP." Taken at 11 p. m., in a room 25x30. Walls were rather light in color, and answered the purpose of a reflector. The flash machine, when exposure was made, was about four feet forward and at the side of group. The lower arm of a Williams machine was resting on the top of an eight-foot ladder; exposure twenty grains of powder in each of the thirty-six cups. FIvASH I,IGHT PORTRAITS. No. 34. ''MY BEST FRIENDS." The subjects for this combination are Mr. Billy Rundle and his three dogs, Kaiser, Fannie and Ponto. The picture was made in the usual way, the light being about four feet directly behind Mr. R.'s back. The rapidity of the exposure can be determined, as it can easily be seen that the dog in the rear (Ponto) has his tongue hanging out and is panting very hard. Mr. Ponto is only a pup of ten months, and very restless. This group would be impossible to photo- graph under the sky-light without the aid of the flash. FLASH I.IGHT PORTRAITS. No I02. This cut shows position of light, ground, camera, reflector and subjects of the picture ^ 'Alone at I^ast," at the time of expOvSure. FLASH IvIGHT PORTRAITS. 45 No. loi. This cut illustrates the general arrangement for the picture ''Milkmaid" at the time of exposure. 46 FLASH UGHT PORTRAITS. No. 103. This cut shows position of the flash machine, ground, etc., as arranged for the picture ''The Flyer." The position of the flash light in the cut is correct for all ordinary lightings. FIvASH LIGHT PORTRAITS. 47 No. 105. This cut shows position of group and the surround- ings of the picture ^'The Choir." Made at 9 p. m., in the organ loft of the church. 48 FLASH I.IGHT PORTRAITS. FLASH LIGHT PORTRAITS. 49 No. loo-A. No. TOO. FI,ASH IvIGHT PORTRAITS. 51 ANSWERS TO ALL QUESTIONS. PART III. To those who have auy doubts as to their ability to place the machine in the proper position to secure the effect of light that they would like, I would sug- gest to them to arrange the ground and subject first, then close up all of your skylight, leaving only an opening where you naturally would if you were work- ing for certain light effects with daylight alone. After you have the effect of light that you want, place your flash machine in exactly the position and place oc- cupied by the opening in your light, only bring the machine to a distance from five to ten feet from sub- ject. Use the reflector in the ordinary way, and you will readily understand how to produce any effect of light that you desire. Judgment must be used in filling the cups with powder for an exposure. All depends upon the si/.e of stop, size and speed of plate, size of the open- ing of diaphragm, and the distance of the machine from the subject or size of the room to be illuminated. In cases of such groups as the Choir, picture No. 8, I have given the number of grains of powder that was used, and the details of each photo illustrated in this book, and how each was made. These explanations can serve as examples, and you can make your calcu- lations b)^ comparison. 52 FLASH I,IGHT PORTRAITS. I use no shield or hood over my lens, and take no precaution to keep out the light of the flash lamp. I do not argue that it must not be done, but I get along very nicely without doing so. LENS. The make and kind of lens that all of my flash- light work has been made with is a No. 6 Somerville, rectilinear, which cost (new) $75.00. DIAPHRAGM— OPENING. Very near all of my flash-light work has been made with a stop, with an opening of from i inch to Yz inch in size, or about the size of the ac- companying circle. PLATES. Any of the leading brands of plates would perhaps answer, but I prefer the Cramer Crown Plate, which is in use at the present time in my studio. DEVELOPER. While there may be many good developing agen- cies in use at the present time, I find that the best results, and especially the best printing quality in negatives, are obtained with pyrogallic acid. FLASH POWDER. The flash powder that has given me the best satis- faction, and the brand that is in use in my studio at the present time is the ''Luxo." FLASH LIGHT PORTRAITS. FLASH MACHINE The flash machine that I use, and one I considei the very best, is the Williams Flash Lamp of 36 cups. Trade agents, E. A. & H. T. Anthony. THE BULB* The bulb that I make the exposures with is an ordinary shutter bulb, and is attached midway be- tween the hose running from the camera to the flash machine, thus opening the shutter of lens and setting off the machine at the same instant and with the one pressure. NO. OF GRAINS OF POWDER. For all exposures that were not mentioned in giv- ing explanations of how each picture in this book were made, 6 grains of powder were used in each of the 36 cups. In measuring the grains of powder it is best to be provided with small measuring cups. They are made in different sizes, holding 6, 10 or 12 grains. POSITION OF LIGHT* In all of the cuts or instructions that I have ever seen relating to the position of the flash machine for making portraits of single figures or groups, according to my idea, the would-be-instructors have invariably made the same mistake, that of telling the beginner 54 FLASH I.IGHT PORTRAITS. to place the flash machine on top of or behind the camera. If such instructions were followed, the only possible results would be all front light, and conse- quently the flattest of flat pictures with staring eyes. Then deep shadows are produced by placing the light too far behind the subject, giving a lack of illumina- tion in front. Placing the light too far away from the side of the subject only necessitates the use of more powder. To be successful simply use a little judg- ment, and apply the flash machine just the same as you would daylight, in every instance, and remember if you don't know how to control daylight you need never expect to be successful with any other kind of light until you can successfully read the gradations and directions of same. REFLECTORS* An ordinary white reflector, used the same as you would for daylight, is all that is necessary. TO RAISE AND LOWER THE LIGHT. My Williams flash lamp is attached to an ordinary back-ground carrier, at an angle of about 45 degrees and is raised and lowered at will. Any other contrivance that is convenient will answer the same purpose. MEDALS* Many of the pictures in this work have received gold medals at the various conventions held in differ- ent parts of the United States recently — always com- peting against work made by the aid of daylight. FLASH I,IGHT PORTRAITS. 55 HOW TO PRESS THE BULB^ The bulb, as has been described, is placed midway between the flash machine and the camera. When all is ready for the exposure, press the bulb quick and hard, thus opening the shutter and springing the machine at the same instant. Just the moment that the powder flashes let go of the bulb. - DEVELOPING, Experience has taught me that in developing large negatives made by flashlight, to use nothing but a nominal developer, only add about one-third more water and develop slow. No matter how correct the exposure has been, when the image first starts to come up it has the appearance of being under-timed. So be careful and not rush or push the development at the start. Again, I always carry the development just a little further for flashlight work than for work made by daylight, as it seems to fix out a little more. But in development, good judgment alone will guide you to the best results. TURN THE PHOTOS SIDEWAYS- Any of the pictures that I have described as being made with the grounds and subjects resting on their side, can be much more easily understood if you will turn the cuts in a horizontal position. This will give you the correct position of all surroundings when negative was made. For such exposures, of course, the plate was also placed in the holder in a horizontal position. 56 FLASH LIGHT PORTRAITS. WHAT A RE-TOUCHER CAN DO. The two cuts numbered loo and looA are from toned proofs made from the negative of Mr. Snowden Ward, described and illustrated upon another page. Cut numbered loo was made from the proof taken from the negative so as to show how the eyes of the subject were caught when the exposure was made. The negative was then taken and the film was cut out of the eyes by the use of alcohol and a small hard swab. Then proof was made which cut No. looA represents, showing condition of negative after the film had been reduced sufficiently. Following this operation an 8 x lo negative of just the head of another subject was made, precaution being taken to have the eyes the same size as those in the negative of Mr. Ward ; then the film of the eyes of this 8xio negative were circled with a pen knife ; then stripped from the plate by the aid of strong alkali ; they (the eyes) were then fitted in the place on the large negative from where Mr. Ward's eyes had been removed. After they had dried the blending was done by the re-toucher, with etching knife, pencil and brush. After the left eye had been nicely and perfectly blended in, the large print repre- senting cut No. 13 was made — the right eye being left unfinished in order to illustrate just how much of the film of the eye was put on — and etched out. Work of this kind need never be done, but has been de- scribed and illustrated in order to prove true what some would think impossible. FI.ASH LIGHT PORTRAITS. THE PICTURE. All illustrations in this work are made from copy- righted 18x22 photographs, and can be had by ad- dressing F. W. Guerin, 506 Olive street, St. lyouis, Mo. Unmounted post paid, or mounted on white card board sent by express at the expense of the pur- chaser, for $1 .00 each. . . Cbicago ... Ube ... Ibetberington Scenic StU^^O ^344 TOaebtn^ton Bvenue Ji3ac??9rounD6 anD Bcccseonea for yy,,,^^ IPboto^rapbere' TUse Omc8 Change Ttierefore, v^]:\er[ Pl\otograpJriers ^tJere looKirig for soir\etl:\ir\g r\e^ ar\d better, tlye Somemlle Symmetrical Xens, all sizes, \^as ir[troduced. 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