  Perhaps the beauties of nature are nowhere better exemplified than in flowers, and nothing can be prettier than photographs of them carefully arranged. When we say carefully arranged we mean, of course, artistically. The secret of arranging flowers—an art in itself—is to hide the fact that they have been arranged. Among the best pictures of flowers which have appeared in print, are those by John Carpenter, an English gentleman, who has made this particular branch of photography his chief study, and has been awarded many prizes and medals for flower studies. Some time ago we wrote to him asking for a few particulars of his method adopted, and he has been so very kind as to send the following valuable notes: Suitable Flowers.—I find that the best colors to photograph are pale pink, yellow, white or variegated colors. Reds, browns, and dark colors generally, do not answer well. Flowers of irregular form are most suitable, such, for example, as chrysanthemums, lilies, poppies, etc. These give beautiful gradations of light and shade. Grouping.—There is great scope here for artistic feeling. All appearance of formal arrangement must be avoided and a natural grouping should be aimed at. This becomes more difficult as the flowers must be somewhat on one plane to get them in proper focus. A round bunch of flowers which may appear very pretty to the eye would probably be utterly wrong to make a picture of. Fannie Cassidy. Lighting.—I have never worked in a studio, but have a small lean-to glass house in which I work. The top light is softened down by light shades so that the strongest light comes from the side. This gives solidity to the subject and is more pleasing than a flat lighting. Of course, the sun should never shine on the subject. Plates and Exposure.—If colored flowers are being photographed, orthochromatic plates are a necessity, but for white flowers and light-green foliage ordinary plates may be employed. I generally use a medium isochromatic, stop the lens to f:22 and give exposure of from thirty to sixty seconds in summer and vary according to the season; sometimes twenty minutes is not too much. Development.—My usual and favorite developer is pyro-ammonia, and in careful hands it cannot be beaten. I commence development with a minimum of pyro and work tentatively. Using such a solution, for 2 ounces of developer I should commence with 1-1/2 grains pyro, 1 grain bromide, and 2 grains ammonia. If the image does not gain sufficient density add more pyro and bromide, but unless very fully exposed it is difficult to avoid too much density, especially if white flowers are being photographed. I find a plain gray or dark background most useful, and to avoid flatness it may be set at an angle and not too near the subject. Flowers should be photographed as soon as gathered, and if possible be placed in water. I have often found a plate spoiled by movement of the leaves or flowers, even with short exposures, although the movement was not perceptible to the eye. This is more especially the case in hot weather. |
|
