This is, no
doubt, in a great measure due to the sitter feeling more at ease in the
amateur friend's drawing room than in a stranger's studio. Particularly
is this the case in some excellent work--full-length pictures--sent
from the other side of the Atlantic, and taken in a room of very modest
dimensions, and with only one window. Among the failures (if such they
may be called) the chief fault lies in the lighting, and from either
under or over exposure--the former chiefly arising when a landscape lens
was used, and the latter when a portrait combination was employed. Some
correspondents also complain of the long exposure that, in their case,
had been imperative; but, curiously enough, with all the successful
pictures a very brief exposure has always been mentioned, and generally
with an exceedingly small window.
With a view to the further assistance of those who have met with
difficulties, we recur again to the subject of the lighting, for
upon this must entirely depend the success or failure in producing
satisfactory results; and, as we explained in previous articles, unless
proper _chiaroscuro_ is secured on the model, it will be impossible to
obtain it in the picture.
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